Turn your trash into… Rubbish,art and politics. Richard Wentworth's geographical imagination

This paper analyses the photographs and installations of artist Richard Wentworth in order to examine his urban imagination and the cultural politics of rubbish that underlie it. In doing so this paper contributes more broadly to understandings of rubbish and material culture, and to geography's attention to artistic understandings and inhabitations of urban spaces. Central to this analysis are the geographies of Wentworth's work, its production, consumption and circulation. The paper attends to three nested sets of practices: the ‘everyday’ practices of people which draw Wentworth's eye, the potential of creative cultural practices for developing critiques of space and place, and the practices of the artist. As a result the paper pushes forward debates around the relationship between geography and art, reflecting on the analytical value of art practice to contemporary social-cultural geographies.     

Bittersweet ambivalence: Austin’s street artists speak of gentrification

Both gentrification and street art are concerned with the conquest of urban space. Although historically, graffiti and street art have functioned to challenge the status quo, a growing appreciation for urban art unveils a far more collaborative attitude between some street artists and the elite. A familiar esthetic of gentrified terrains involves repurposing spaces that capture the urban experience. In some cities, urban redevelopment preserves original materials that capture that “urban feel” by highlighting exposed brick structures, rustic furnishings, industrial lofts, and urban art. In other cities, these styles are recreated consciously. This paper draws from in-depth interviews with street artists from Austin, Texas, one of the fastest growing urban landscapes in the U.S., to discuss street artists’ attitudes towards gentrification. Its examination of stories and personal narratives about gentrification shows the complexities of rapid urban expansion as perceived by Austin street artists, and concludes that street artists remain ambivalent towards gentrification. While street artists experience some negative effects resulting from gentrification, urban redevelopment also has another clear benefit for them: an expansion of their urban canvas. The growth of city space extends street artists’ creative playground, which advances the artists’ opportunities for paid work and exposure.     

Planting Roots,Making Place: Urban Autochthony in Port Vila Vanuatu

A contentious issue for Pacific Islanders, as well as researchers of the Pacific Islands, is ni-Vanuatu notions of ‘belonging’ to urban centres. Previous research in Vanuatu has shown that despite generations of people born and raised in Port Vila, the nation's capital, the urban centre is not generally perceived as a ‘place’ to which urban migrants can say they are from. For many, exclaiming that one is ‘from’ town is tantamount to admitting one has ‘no place’. This paper, based on fieldwork among a group of urban young men in Freswota, a residential community of Port Vila, argues that in contrast to this, Freswota young men are generating a new locative identity. Their urban community rather than their parents' home island places is emerging as their primary location of belonging and the source of their sense of self, personhood and social identification. As such, these young men are the urban autochthones of the country.     

Italian cultural geography,or the history of a prolific absence

This article focuses on a group of buildings that form the site for a Steiner school in Pembrokeshire, West Wales. It examines the ways in which an environmentally friendly, ‘ecological’ structure was (and is) constructed such that the building and its accompanying practices might be seen as ‘performed art’. By more critically examining the school's geographies through ethnographic material, the paper moves away from the buildings' symbolic meanings to demonstrate how art and nature intersect in various ways, in the school's life. Art and nature were crucial to the type of education there, the physical process of building the school, and daily uses of the buildings. The paper also explores how the art-nature intersection is involved in the construction of ethical discourses and practices constitutive of ‘childhood’ and ‘education’.     

Villagizing the city: turning rural ethnic heritage into urban modernity in southwest China

This paper examines the rural ethnic heritage-inspired transformation of the built environment of a relatively small county town in China. The paper explores the ways village-based ethnic heritage is being repositioned by local leaders as a resource for tourism-oriented revenue generation and for ‘improving’ the ‘quality’ and behaviour of town residents. Viewing heritage as a ‘technology of government,’ the paper provides an analysis based on three interrelated themes: the discourses by which town leaders and planners have conceived the heritage development project as one of improvement, the spatial practices by which those discourses have been realised in the built environment, and the ways residents themselves have appropriated and ‘inhabited’ this new ‘villagized’ city as they go about their everyday urban lives. Based on ethnographic field work, a survey, and extended interviews over a period of four years, the paper finds the town leadership’s faith in the ability of the built environment to shape and improve the conduct of citizens to be overstated. While the town’s transformation has generated a new sense of urban modernity among residents, their ways of inhabiting and using urban space have little relevance to the ‘heritagized’ environment in which they now live.     

‘We don't do dots ‐ ours is lines’ — Asserting a Barkindji Style

ABSTRACT This paper offers an ethnographic exploration of the assertion of a ‘Barkindji style’ art: why this matters and to whom it matters. Focusing particularly on the Darling River area of Wilcannia and on the period from the 1980s to the present, the increasing interest in art‐making by local Aboriginal people is considered. Through a dialogue with artists, artworks, and others, the work examines the changing form, design and content of art and the role of art in defining ideas of Barkindji Aboriginal culture and tradition. Invocations by key cultural brokers to produce work that is seen to ‘belong to us’ is explored in terms of the cultural, political, and personal work that this involves; particularly as this intersects with ideas of artistic freedoms versus artistic direction by cultural brokers. The paper discusses the personal considerations and tensions that come to bear in the processes connected with production of art and its making. In so doing, this paper engages with, and extends, the work of Tacon et al. (2003), Cooper (1994), Kleinert (1994) and Morphy (2001) as this pertains to art ‘styles’ and material culture from what is widely referred to as south‐eastern Australia.     

Redfern as the Heart(h): Living (Black) in Inner Sydney

Before the arrival of the ‘white fella’ over 200 years ago, the Gadigal people and others of the Eora Darug occupied the place where the city of Sydney now stands. At the heart of this second tier global city, the inner‐city suburb of Redfern has become a mainstay of urban Aboriginal identity. Yet, this troubled and stigmatised focal point of populist media representations and government policy does not reflect the diversity of urban Aboriginal life in inner Sydney. This paper draws on a range of sources about living in Redfern, from the difficult politics of establishing and retaining an Aboriginal urban space and place in the contemporary gentrifying city – achieved in large part through the establishment of now long‐standing service provision – through to the rise of alternate visions and lives and many more ‘ordinary’ ways of living in the city. This paper seeks to highlight that Aboriginal people variously inhabit, occupy, and sometimes thrive in Australia's first colonial city and the site of invasion. It also provides several of the author's personal experiences of engagement with some of these processes.     

Participatory action in the age of green urbanism. How Futurefarmers leapfrogged the culture consumer?

This article looks at a shift in urban governance and policy-making from a culture-led approach towards a ‘green turn’ and an environmentally informed approach. The particular focus of this exploration is how public art practices participate in this ongoing reconfiguration. We are especially concerned with the parallel effort by public administration and the art community to activate citizens through nature-oriented, public spaces. Our main target of interest is the city of Oslo where we investigate the art group that goes by the name of Futurefarmers, whose engagement with land development relates to planning, cultural strategies, curatorial approaches and related art projects. Our findings indicate that while this work pursues a mission of its own, it also has the potential to advance its position in public space by representing green values in decision-making processes. We argue that through this ability to operate both within and outside the system, art practice can introduce interdisciplinary collaborations that can drive change in cultural policy.     

Civic religion in late medieval Europe

This article reassesses the value of a term that has proved very durable in late medieval historiography. It identifies three main research clusters using ‘civic religion’ (North American, Francophone and Germanic), and examines inherent problems with the term, particularly its association with ‘civil religion’ and its ambiguity of meaning, at once ‘urban’ (specific to towns) and ‘municipal’ (governmental). The term has been applied particularly to the city-states of northern Italy: the article also looks at three different cities outside this region, Zaragoza, Bruges and Salisbury, as case studies to consider the term's wider applicability. Despite their differences, this article argues that there were in all of them common religious practices associated with urban government; and that ‘civic religion’ does serve as a useful term to classify these practices as a basis for future research – not as aspects of advancing ‘civil religion’, but to describe the connections and elisions that city councils made in sacred terms between ‘municipal’ and ‘urban’ interests.     

The matter of displacement: a queer urban ecology of New York City's High Line

This paper critically queers gentrification through an ecological analysis of the redevelopment of New York City's High Line. Taking the abandoned-queer-ecology-turned-homonormative park as a novel form of gay and green gentrification, I argue that the ‘success’ of the project must be critiqued in relational ecological terms. Intervening into the literature of gentrification, I begin to account for the material and symbolic aspects of ecological gentrification with the help of innovations in plant geography and queer ecology. To ground my analysis, I look to the process of ‘succession’, focusing, in particular, on one of the most established and successful plants growing on the abandoned High Line, Ailanthus altissima or the Tree of Heaven. Drawing on empirical insights, this account of the High Line's redevelopment tracks relations between queers and plants. Through layers of sexuality, ecology, and geography, the matter of displacement becomes central to a consideration of ethico-political possibilities for a queer ecological critique of urban space. In conclusion, I argue for an ethics and politics of responsibility to and for abandoned spaces that calls us to pay closer attention to the queer, the ecological, and their ongoing entanglement.     

The Death of Beauty: Goya's Etchings and Black Paintings through the Eyes of André Malraux

Modern critics often regard Goya's etchings and black paintings as satirical observations on the social and political conditions of the time. In a study of Goya first published in 1950, which seldom receives the attention it merits, the French author and art theorist André Malraux contends that these works have a significance of a much deeper kind. The etchings and black paintings, Malraux argues, represent a fundamental challenge to the European artistic tradition that began with the Renaissance, an essentially humanist tradition founded on the pursuit of a transcendent world of nobility, harmony and beauty—an ideal world outside of which, as Malraux writes, ‘man did not fully merit the name man’. Following the illness that left him deaf for life—an encounter with ‘the irremediable’, to borrow Malraux's term—Goya developed an art of a fundamentally different kind—an art, Malraux writes, ruled by ‘the unity of the prison house’, which replaced transcendence with a pervasive ‘feeling of dependence’ and from which all trace of humanism has been erased. Foreshadowing modern art's abandonment of the Renaissance ideal, and created semi-clandestinely, the etchings and black paintings are an early announcement of the death of beauty in Western art.     

Out of The Shadow of Vasari: Towards A New Model of The ‘Artist’ in Colonial Latin America

Within shifts affecting colonial studies, a ‘life-work model’ employed in colonial art history has been left unexamined. Developed by a contemporary of Michelangelo, Giorgio Vasari (Italy, 1511–1574), this methodology was grounded in particular European social conditions that allowed the creation of the ‘artist’ whose ‘artwork’ was the inalienable product of a single mind and hand. Following the art historical paths laid by Vasari in the viceroyalties leads to dead ends: indigenous artists who efface their individuality; painters who exist with little social or historical context; and artworks whose conservation denies finding the traces of the hands that made them. Because artworks were and are the connective tissue of complex social networks, reconfiguring concepts of ‘artist’ and ‘artwork’ and recasting them in accordance with social practices within Latin America, gains us purchase on how colonial subjects, in their engagement with their material worlds, came to be constructed.

Resemblance to European prototypes is an essential historical reality of colonial artworks: much artwork, particularly the painting, of colonial Latin America ‘looks’ like that of early modern Europe and thus has generated a foundational expectation, laid out in purest form by Manuel Toussaint (Mexico, 1890–1955), that Latin American art history might also look like Europe's. We argue that a mismatch with Europe and its methodologies means that certain, foundational historiographic assumptions about writing art history for Latin America need to be reassessed, in particular the ‘artist’ and ‘artwork.’     

Feminism in eighteenth-century England

Nietzsche's early work is located in the context of the various nineteenth century attempts to found a secular religion. His own attempt, it is argued, was particularly influenced by the work of Richard Wagner and F.A. Lange. It is premised on the claim that the ordinary rational capacities of most human beings are not sufficient for them to arrive at true beliefs. Philosophers do have the required expertise, but in the absence of widespread recognition of this expertise, it can have little effect on popular belief. Nietzsche therefore seeks a means of making philosophical insight popularly effective by harnessing the non-rational, persuasive power of art. However, the project does not turn out to be well-founded; its failure seems to demonstrate that a ‘secular religion’ thus conceived cannot provide us with a coherent conception of intellectual authority.     

The Unhelpful Notion of ‘Renaissance man’

The current journalistic use of the term ‘Renaissance man’ to describe someone whose work straddles boundaries between today's specialisms is a hindrance to understanding almost any aspect of the culture of the Renaissance — a culture within which both ‘art’ and ‘science’ had meanings different from those they have now, the most significant intellectual division being between the learned and the practical traditions. We look first at the learned tradition of the universities (where teaching was in Latin). The people considered include William Harvey, Johannes Kepler, Galileo Galilei, Nicolaus Copernicus, Regiomontanus and (very briefly) Isaac Newton. Within the practical tradition, centred on workshops, we consider the state shipyards in Venice (where Galileo claimed to have learned much), workshop practices in general and the emergence of the notion of ‘Fine Arts’. The individuals considered include Piero della Francesca, Leonardo da Vinci, Michelangelo Buonarroti and Raphael, as well as the famous clockmaker Jost Bürgi (who taught Kepler about algebra). We conclude by considering the transfer of skills between these two traditions. There are several areas of overlap, but here we concentrate attention on the story of algebra. Algebra was invented by al-Khwarizmi (whose name gives us the term ‘algorithm’) in the ninth century, within learned mathematics, in Baghdad. In the West, elementary algebra, derived from al-Khwarizmi's work but in the simplified form of problems, became part of ‘practical mathematics’. Slowly, from the fifteenth to the eighteenth centuries, developed forms of algebra crossed over into the learned tradition. This is as much a matter of crossing social barriers as of crossing intellectual ones. Eventually, the practical tradition as a whole became absorbed as an elementary part of the learned one.     

We are never alone: a conversation on bio art with Eduardo Kac

Brazilian-born artist Eduardo Kac’s (Rio de Janeiro, 1962) work has raised eyebrows especially for his ‘transgenic art’ projects, among others: Genesis, 1999; GFP Bunny, 2000; The Eight Day, 2001; Natural History of the Enigma, 2003/08. In all of these, Kac and his scientific collaborators realize genetic interventions into living organisms at the same time as they trigger audience reactions to these from playful kinds of interaction that is integrated into the works’ open and dynamic creative process. Yet whereas the ethical and political challenges Kac’s work poses have sparked lively debates within and beyond the realm of the arts – can and must art engage with the ‘creative’ potentials of biotechnology and genetics? Do these not in fact (as Vilém Flusser and others have suggested) hold the key to realizing the vanguardist dream of merging art and life? Or should the artist, from the vantage point of his own creative practice, not rather warn us against the ethical and political risks involved in genetic engineering? – much less attention has been paid to the way Kac’s art also continues and transforms a particular legacy of post-concretist, ambient and performance art in Latin America.

Kac himself has referred to Brazilian artists Flávio de Carvalho, Hélio Oiticica and Lygia Clark as informing his interest in open, participative forms, which characterize both his transgenic and his earlier ‘tele-presence’ art projects. Other Latin American artists of the late twentieth and early twenty-first century have been producing intriguing engagements with living materials, multispecies habitats and organic remains, including such diverse names as Luis Fernando Benedit, Nicola Constantino, Nuno Ramos, or Teresa Margolles. In a conversation with Jens Andermann and Gabriel Giorgi at the University of Zurich’s Center of Latin American Studies on March 12, 2015, Kac addressed the way in which his work might be seen as continuing or challenging long-standing representations of the New World as a repository of ‘nature’, from colonial chronicles of discovery to contemporary discourses of biodiversity and conservation. To what extent is bio art – and the questions it raises about the Anthropocene as a threshold of radical biopolitical convergence between ‘history’ and ‘nature’ – necessarily ‘transcultural’ and planetary in its extension?     

‘The Epitheatrical Cartoonist’: Matthew Somerville Morgan and the World of Theatre,Art and Journalism in Victorian London

This article examines the vibrant cultural milieu inhabited by one of Victorian Britain's most famous cartoonists, Matthew Somerville Morgan. Morgan is well-known as the cartoonist who attacked Queen Victoria's withdrawal from public life (and her associations with John Brown), and the lifestyle of Albert, Prince of Wales, in the short-lived rival to Punch: the Tomahawk. Likewise, his post-1870 career in New York as cartoonist of the ‘Caricature War’ over the 1872 Presidential elections, and involvement with ‘Buffalo’ Bill Cody have been well-studied. However, his involvement with the world of the 1860s Victorian stage – and the social circles in which he moved – have not been given close attention. This broader social, cultural, and economic context is essential to understanding Morgan's role as a cartoonist-critic of politics, class, gender and art in Victorian Britain. Special attention is given to the ways in which Morgan's work as a theatrical scene-painter informed his other pursuits, including his political cartoons for Fun, the Comic News and the Tomahawk. So central was the theatre to Morgan's life story that he may be appropriately described as an ‘epitheatrical’ figure. Indeed he is one of the most spectacular exemplars of the interconnected worlds of journalism, high art and theatre in Victorian London. The theatre provided him with the artistic and journalistic connections needed to raise himself above his lower-class origins; to move in ‘clubland’ and fashionable bohemian society; and to win an influential place in the key political and cultural debates of his age.     

Becoming‐urban,becoming‐forest: a historical geography of urban forest projects in Australia

In recent times, local governments in Australia's major cities have embraced the idea that the trees in their streets, parks, and private gardens are parts of a collective urban forest that can be managed to address complex policy problems and create more liveable and sustainable cities. In light of this proposition, applied and critical urban forest researchers have typically focused on questions of quantity with regard to some of the factors that influence the density and distribution of urban tree cover. In a few cases, however, researchers have documented qualitative changes to the urban trees and woodlands that ostensibly constitute the urban forest, suggesting that it might be apprehended in a more mutable and dynamic way. Building on these accounts, we turn to Deleuze and Guattari's theory of becoming to read the urban forest in an active and malleable light, developing a historical geography of urban forestry in Australia that discerns three urban forest projects we call the ‘forest in a city’, the ‘city forest’, and a new but not yet realised, ‘city in a forest’. This finding renders the urban forest in more contingent, multiple, and mutable terms, leading us to finish the paper with a consideration of what seeing the urban forest as becoming means for future research. There, we suggest that Deleuze and Guattari's becoming directs us to different kinds of empirical, political, and ethical concerns that haven't received significant interest in the current literature. These include asking how, why, and with what consequences do particular styles of urban forestry emerge at particular space‐times. How is qualitative difference and urban forest multiplicity dealt with in practice, as well as focusing on affect and everyday embodied encounters between people and trees in different urban places.     

‘The land and its people’: reflections on artistic identification in an age of nations and nationalism

From the late eighteenth century onwards, increasing numbers of visual artists came to identify with their nations and with the homeland and its people. This development was strongly influenced by growing national cultural support and regulation of the arts by academies, art schools, museums and art markets in Western Europe. On a subjective level, the Rousseauan movement of a ‘return to Nature’, Herder's espousal of vernacular cultural self‐expression and, above all, the widespread Romantic cult of authenticity, were potent influences on the inner self‐identification of visual artists after 1800, and were manifested in the novel importance accorded to landscape and rural genre painting in Western Europe. Here I consider the role of national sentiment, the ‘return to Nature’ and the cult of authenticity, first in landscape paintings by Paul Sandby, J. M. W. Turner and John Constable in early nineteenth‐century Britain, and then in the rural genre paintings of Jean‐Francois Millet and Jules Breton in nineteenth‐century France and Josef Israels, Anton Mauve and Vincent Van Gogh in the later nineteenth‐century Netherlands. Their work reveals how nineteenth‐century visual artists became inwardly identified with the ‘land and its people’, and how they in turn contributed, especially through prints and engravings, to the dissemination of national imagery and a cultural nationalism.     

Loosening/tightening spaces in the geographies of hanging out

The article is based on research conducted with young people who spend their free time hanging out in a shopping mall and its surroundings in the city centre of Helsinki, Finland. ‘Geographies of hanging out’ is understood here as an interaction between the location and young people: the space offers affordances to the young people and thus affects their ways of being. At the same time, they give new meanings to the space by hanging out and thus take part in the production of that space. Empirical material gathered in the project includes the researcher's observations, in-depth interviews conducted with young people, youth workers, the police and the management of the mall and the photographs taken by the young participants. In this article, hanging out is interpreted as a process where ‘looseness’ and ‘tightness’ of space are negotiated and re-defined. Shopping malls are seen as spaces where boundaries between public and private are often blurred. The presence of young people can make these commercial spaces tighter or looser and thus change the nature of urban space not only for the young people, but for other urban dwellers, too.     

The domestic residue: feminist mobility and space in Simryn Gill's art

Feminism, now nearly half a century old, is still fractured by two divisive forms – the desire to emancipate women from masculinist power structures, and the affirmation of woman's sexual difference. However, as Teresa de Lauretis and Gillian Rose argue, for feminism to remain relevant, it must also be attentive to the fluid hegemonic conditions of power, and thus, strive to evolve new ‘forms’, which emphasize feminism's political mobility. Developing this proposition, this article discusses how a new critical feminist mobility may be detected in the work of Sydney-based Malaysian artist Simryn Gill. Born in Singapore in 1959, and hailing from a migrant Punjabi family who first settled in Malaya in the 1920s, Gill constantly travels between her home in Sydney and her family bungalow in Port Dickson, a small coastal town in Malaysia. I will discuss how Gill's feminist perspective may be mapped through the artist's shifting spatial contexts by looking at three spaces – the gallery, the domestic interior and the tropics. Through these spaces, I will explore how the artist occupies the dual roles of ‘woman’ and ‘women’, thus demonstrating the changing and fluid energy of a mobile feminist stance. Gill's art valorizes the domestic sphere as a recurring theme with this subject being central to her self-definition in the public sphere. Yet, her treatment of domesticity is distinct in its furtiveness, a tactic, which I argue, enables a feminist agency that is politically mobile, and capable of engaging issues of gender, sexuality, race, class and citizenship.