Installation and Sculpture

Potts, Alex

doi:10.1093/oxartj/24.2.5

Cited by 7 publications

(3 citation statements)

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“…Artists use their sculptures to comment on issues such as identity, inequality and environmental issues. Potts (2001) corroborates that contemporary Ghanaian wood sculpture art initiates political, environmental and social discussions. Jin (2017) argues that contemporary Ghanaian wood sculptors push the boundaries of wood art beyond traditional woodcarving by combining contradicting forms, scales, abstracts and concepts.…”

Section: Introductionmentioning

confidence: 54%

“…The choice of wood in contemporary Ghanaian wood sculpture varies depending on the artist's preference, the desired effect and the subject matter asserted by Adu-Agyem et al (2013). Some contemporary wood sculptors work with wood offcuts giving them a chance to live in an art space (Potts, 2001). Others select specific types of wood including branches of wood, logs and stems for their installations which is similar to traditional woodcarving (Irvin, 2020).…”

Section: Introductionmentioning

confidence: 99%

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Traditional Wood Carving and Contemporary Wood Sculpture in Ghana

Awuni

2023

JAAE

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Traditional wood carving and contemporary wood sculpture are amicable in the world of art and have coordinated their working ways in shaping the wood art traditions. The study, comparatively, assesses Ahwiaa traditional wood carving and contemporary wood sculpture in Kwame Nkrumah University of Science and Technology (KNUST) in Ghana based on their materiality, forms and functions. The study adopts descriptive research design using observation, interviews and photography to gather data from twenty (20) purposively sampled experts in the study area. Data collected for the study were transcribed and analysed using thematic analysis tool. The outcome of the study shows that Ahwiaa carvers used locally produced tools for carving while KNUST contemporary carvers employ sophisticated equipment in their carving activities. However, both traditional and contemporary wood practices in the study area used wood as the common material to produce carvings that impact Ghanaian cultural heritage, social progress and artistic practices. The study therefore concludes that traditional and contemporary woodcarving practices in the study area are two interconnected forms of wood art that have the potential to inspire, challenge, and complement each other when collaboration and interdependence exist between them. The study calls for collaboration and interdependence between Ahwiaa traditional wood carvers and KNUST contemporary wood sculptors to inspire and open up exciting opportunities for artistic exploration, adventure, innovation, cross-pollination of ideas and expertise for the growth of wood art in the study area.

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Section: Introductionmentioning

confidence: 54%

Section: Introductionmentioning

confidence: 99%

Traditional Wood Carving and Contemporary Wood Sculpture in Ghana

Awuni

2023

JAAE

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“…Taking her lead from Alex Potts (2001), Rebentisch (2012, 222) has referred to the 'double localisation' of installation art as a context sensitivity to both host space and the social frameworks that influence reception. I want to ally this to Iser's notion of a 'bracketing' that must be disclosed, also conceived as a form of doubling, and involving a constant slippage between the work's material presentness and its semblance.…”

Section: Revisiting the Dream Space: Mike Nelson's Mirror Infillmentioning

confidence: 99%

Self-disclosure and the ‘staging’ of autonomy in installation art

Wilder

2022

Theatre and Performance Design

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The adoption of theatrical devices in intermedial art is often characterised in terms of the 'immersiveness' of contemporary installations or assemblages. These are described as 'staged' precisely because they utilise overt scenographic strategies. Claire Bishop, for instance, employs the symbolically-charged term 'dream scene' to characterise a mode of installation resembling an abandoned theatre set, where psychological absorption is achieved through physical immersion. For Bishop, this characterises the 'total' installations of Ilya and Emilia Kabakov. But might we understand 'staging' not merely as scenography (even in its expanded sense) but as a 'bracketing' of the represented world in such a way as to reveal its fictionality through self-disclosure? Drawing upon (1) Juliane Rebentisch's critique of the spatial time of theatrical installation, and (2) Wolfgang Iser's literary anthropology, I consider the 'staging' of autonomy in relation to a work exemplary of Bishop's 'dream scene': Mike Nelson's Mirror Infill (2006). I will explore how its particular form of self-disclosure counters misconceptions of such 'immersive' work as context-independent and reveal how Nelson's work makes available something absent (undisclosed) through representation conceived not as mimesis, but as a performative act.

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Installation Art and the Question of Aesthetic Autonomy: Juliane Rebentisch and the Beholder's Share

Wilder

2020

The Journal of Aesthetics and Art Criticism

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Installation and Sculpture

Cited by 7 publications

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Traditional Wood Carving and Contemporary Wood Sculpture in Ghana

Traditional Wood Carving and Contemporary Wood Sculpture in Ghana

Self-disclosure and the ‘staging’ of autonomy in installation art

Installation Art and the Question of Aesthetic Autonomy: Juliane Rebentisch and the Beholder's Share

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