Unframing/Reframing in the Contemporary Visual, Performing, and Media Arts
open access | peer reviewed-
a cura di
- Pietro Conte - Ca' Foscari University of Venice - email
- Cristina Baldacci - Ca' Foscari University of Venice - email
- Susanne Franco - Ca' Foscari University of Venice - email
Over the last two decades, the notion of the frame has been radically challenged in the visual, performing, and media arts, particularly as a consequence of the introduction of two mutually related concepts: ‘unframing’ and ‘reframing’. While the first refers to the gesture of ideally getting rid of any framing device, the second offers alternative ways to contextualise objects, acts, and images in time and space. This issue of JoLMA proposes to examine the concepts of unframing and reframing from the interdisciplinary perspective of visual art, performance, and media studies, by following both a theoretical and a practice-based approach. The entanglement of theory and practice becomes crucial when an attempt is made to introduce new epistemological standpoints.
Keywords Single Images • Judy Chicago • Picture Thresholds • Frame • Art Ontology • Framing in art • Framing • Reframing • Conversation • Artists’ magazines • Interpretation • Pictorial Storytelling • Narration • Art theory • Human-machine entanglement • Fictional Worlds • Re-framing • Training humans • Virtual Reality • Art of the 1960s and 1970s • Image • Art magazines • Sequential Images • Avalanche magazine • Camille Henrot • AI • Re-enactment • ChatGPT • Hyper-enactment • Augmented reality • Visual Culture Studies • Feminist art • Storytelling • Desktop documentary • Contemporary art • Grosse Fatigue • Art
Permalink http://doi.org/10.30687/Jolma/2723-9640/2023/01 | Pubblicato 25 Settembre 2023 | Lingua en, it
Copyright © Pietro Conte, Cristina Baldacci, Susanne Franco. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.