Artist Jeff Koons partnered with Snapchat to release an augmented reality (AR) platform that allows users to see AR versions of some of Koons’s most famous sculptures by using their smartphones. The day after the project was launched, artist Sebastian Errazuriz vandalized “Balloon Dog” by creating an AR sculpture that was identical to Koons’s AR sculpture but covered with graffiti. When analyzed from a semiotic standpoint based on the work of Ferdinand de Saussure, the AR versions of Koons’s sculptures can be interpreted as creating a visual signifying system that is disrupted by Errazuriz’s intervention. Errazuriz’s “Vandalized Balloon Dog” reveals the potentially tenuous link between the sign and the signifier when applied to AR artworks and highlights the contested nature of public space as a site for viewing AR art. Just as Koons’s sculptures complicate questions of originality, Errazuriz’s work problematizes claims regarding the original AR work. The application of semiotics and an engagement with the history of conceptual art results in the development of a new understanding of the ethical and theoretical implications of the use of public space for AR art.
This paper offers a walk-through of the design and implementation of the physical exhibition Carver [ON] Record, housed in a historically African American school near Richmond, Virginia, the former capital of the American Confederacy. Over the course of a year, students utilized digital media to develop oral and written communication skills within the larger framework of exploring the relationship between intent and art making. In understanding their shared social responsibility to question the meaning of civil rights, students worked to ethically synthesize the oral histories of the community. This essay is an overview of the motivations, undertakings, and manifestations of a multifaceted and ongoing project. The artists and educators offer a blueprint for replication of the modular format used, describe how to effectively integrate the arts into core curriculums, and, most importantly, discuss the necessity for authentic, student-driven conversations in the creative and developmental processes.
In order to disrupt the masculine canon in fine art education, teaching staff could be encouraged to introduce greater parity in the provision of artist role models for the subject area’s majority-female student cohort. This article argues that the segregation of a masculine and feminine art history is problematic for both educators and learners, and that many female graduates are dropping out of practice due to few female role models and subsequent lack of confidence in career progression.