Art Lies, Volume 50, Spring 2006 Page: 19
128 p. : col. ill. ; 28 cm.View a full description of this periodical.
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'I
w*
r .Whether expressed through an engagement with the process or an engage-
ment with the audience, in cyber-productions, everyday activities or private
encounters, this work is contrary to Western dualism because it accepts the total-
ity of human perception and sensation as a rich and embodied way of being in
the world. In her essay on workmanship, Ullrich observes that "scholars and art-
ists-even those in media that seem most dematerialized-are now working out
a kind of integration of the visceral body and the cerebral mind that centuries of
Western thought have attempted to deny." The old internal, Cartesian model is
slipping, giving way to an understanding that consciousness emerges from a net-
work of cognitive, experiential and perceptual functions. This tendency, discern-
ible in a wide variety of art forms produced by a wide variety of artists, suggests
that the locus for aesthetic experiences-or, more to the point, our understanding
of them-is not only expanding but shifting radically.ilk
"YARTL!ES Spring 2006 19
OPPOSITE: Rafael Lozano-Hemmer, Vectorial Elevation, Relational
Architecture 4, 1999-2004
Interactive installation/performance at the Z6calo Square in Mexico City
and on http://www.alzado.net
Photos by Martin Vargas
LEFT: Janine Antoni, Caryatid, 2003
C-print and broken vessel
Egg pot with brown oxide over clay with black glazed interior, brown
tea jar
Photo: 311/4 x 873/4 inches
Vessel: 13 x 14 x 16 inches
Collection of the Blanton Museum, Austin
Courtesy the artist and Luhring Augustine, New York
Notes
1 Antoni, whose primary tool for making art has always been her
own body, reports that "performance wasn't something I intend-
ed to do. I was doing work that was about process, about the
meaning of making, trying to have a love-hate relationship with
the object. I always feel safer if I can bring the viewer back to the
making of it."
2 M. Anna Fariello and Paula Owen, eds., Objects and Meaning:
New Perspectives on Art and Craft, Lanham, MD: Scarecrow Press,
2004).
3 Alyssa Dee Krauss says that what excites her is "the relation-
ship that can exist between a piece and its wearer, an object and
its holder; the idea that people develop personal, sentimental, or
intellectual affinities with objects."ti
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Bryant, John & Gupta, Anjali. Art Lies, Volume 50, Spring 2006, periodical, 2006; Houston, Texas. (https://texashistory.unt.edu/ark:/67531/metapth228015/m1/21/: accessed April 19, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; .