Fictitious or fake entries are deliberately incorrect entries in reference works such as dictionaries, encyclopedias, maps, and directories, added by the editors as copyright traps to reveal subsequent plagiarism or copyright infringement. There are more specific terms for particular kinds of fictitious entry, such as Mountweazel, trap street, paper town, phantom settlement, and nihilartikel.
Iris Haeussler is a conceptual and installation art artist of German origin. She lives in Toronto, Canada. Many of Iris Haeussler's works are detailed, hyperrealistic installations that visitors can decode as narrative stories. Recurring topics in her work include historic, cultural, social and geographic origins; family ties, relationships, memory, history, trauma and obsession.
Sustainable art is art in harmony with the key principles of sustainability, which include ecology, social justice, non-violence and grassroots democracy. Sustainable art may also be understood as art that is produced with consideration for the wider impact of the work and its reception in relationship to its environments.
The Bruce High Quality Foundation is an arts collective in Brooklyn, New York City, the United States, which was "created to foster an alternative to everything." The collective is made up of five to eight rotating and anonymous members, most or all of whom are Cooper Union graduates. The group has attracted attention with the subversive, humorous and erudite style of their work and operates an unaccredited art school, the Bruce High Quality Foundation University.
Jeff Wassmann is an American artist, writer and theorist, currently living in Melbourne, Australia. His first novel, The Buzzard, was released in October 2012. Wassmann's art work incorporates assemblage, photography, web-based new media and aspects of culture jamming.
Johann Dieter Wassmann (1841–1898) is a fictitious artist and sewerage engineer, purportedly from Leipzig, Saxony, in east-central Germany. He is the creation of the American-born artist and writer Jeff Wassmann. As a result of the widespread dissemination of his work, Johann Dieter Wassmann is sometimes mistakenly cited as a lesser-known figure among late-19th-century European artists; he is most often identified as an early purveyor of the Dada and Surrealist movements and has become closely associated with several notable artists of the first half of the 20th century, including Kurt Schwitters, Marcel Duchamp, Eugène Atget and Joseph Cornell.
Fictive art is a practice that involves the production of objects, events, and entities designed to support the plausibility of a central narrative. Fictive art projects disguise their fictional essence by incorporating materials that stand as evidence for narrative factuality and thus are designed to deceive the viewer as to their ontological status. Very often, these materials take a form that carries presumptive cultural authority, such as 'historical' photographs or 'scientific' data. The key tension in fictive art projects stems from the impossibility of 'making real' a fiction, no matter how many or what kinds of objects are produced as evidence. Since fictive art projects are designed to pass at least temporarily as 'real', fictive artists may draw opprobrium as hoaxers, pranksters, forgers, or con artists when their projects are revealed as fictional.
The Wassmann Foundation, Washington, D.C, is an arts collective based in Melbourne, Australia. Founded in 2001, the collective has a rotating membership from a range of fields, including artists, writers, curators, musicians and film-makers. The foundation oversees the estate of the fictitious Leipzig modernist and sewerage engineer Johann Dieter Wassmann (1841–1898). More broadly, it uses its art practice to call into question the growing role of artist, curator and art institution alike, as interconnected and synergetic brands, while exploring the realigned power structures presented by the proliferation of the web.
Ecofeminist art emerged in the 1970s in response to ecofeminist philosophy, that was particularly articulated by writers such as Carolyn Merchant, Val Plumwood, Donna Haraway, Starhawk, Greta Gaard, Karen J. Warren, and Rebecca Solnit. Those writers emphasized the significance of relationships of cultural dominance and ethics expressed as sexism (Haraway), spirituality (Starhawk), speciesism, capitalist values that privilege objectification and the importance of vegetarianism in these contexts (Gaard). The main issues Ecofeminism aims to address revolve around the effects of a "Eurocentric capitalist patriarchal culture built on the domination of nature, and the domination of woman 'as nature'. The writer Luke Martell in the Ecology and Society journal writes that 'women' and 'nature' are both victims of patriarchal abuse and "ideological products of the Enlightenment culture of control." Ecofeminism argues that we must become a part of nature, living with and among it. We must recognize that nature is alive and breathing and work against the passivity surrounding it that is synonymous with the passive roles enforced upon women by patriarchal culture, politics, and capitalism. Ecofeminist art is an art form that showcases the intersectionality that is present among gender, environmentalism, and social justice. It grabs ideas and concepts from the original term "ecofeminism" which was created to highlight the parallels between the historic oppression and exploitation of both women and the environment. This style of art can be presented in many different mediums including performance art, original literature pieces, and visual art displays. In simpler terms, ecofeminist artwork is environmental art that has been created by a woman who values gender equality and stronger representation of nature.
Eve Andree Laramee is an installation artist whose works explores four primary themes: legacy of the atomic age, history of science, environment and ecology, social conditions. Her interdisciplinary artworks operate at the confluence of art and science. Laramee currently lives in Brooklyn, New York, and Santa Fe, New Mexico. She is the founder and director of ART/MEDIA for a Nuclear Free Future. Laramee is Professor Emerita of Art at Pace University.
Joseph Wagenbach is a fictitious character created by German-Canadian visual artist Iris Haeussler. The original idea was conceived in 1999 as "Haus des Künstlers" while the artist still lived in Europe. After her move to Canada, Haeussler began work on the actual production of the project, developing her character's biography and his psychological state of mind and then stepped into Wagenbach's shoes to create his oeuvre of over 100 sculptures and some few hundred sketches from the late period of his life. The house in which Wagenbach's work was installed was opened to the public for tours for several months in 2006, both before and after it was revealed Wagenbach was a fictional character.
Peggy Gale is an independent Canadian curator, writer, and editor. Gale studied Art History and received her Honours Bachelor of Arts degree in Art History from the University of Toronto in 1967. Gale has published extensively on time-based works by contemporary artists in numerous magazines and exhibition catalogues. She was editor of Artists Talk 1969-1977, from The Press of the Nova Scotia College of Art and Design, Halifax (2004) and in 2006, she was awarded the Governor General's Award in Visual and Media Arts. Gale was the co-curator for Archival Dialogues: Reading the Black Star Collection in 2012 and later for the Biennale de Montréal 2014, L’avenir , at the Musée d’art contemporain de Montréal. Gale is a member of IKT, AICA, The Writers' Union of Canada, and has been a contributing editor of Canadian Art since 1986.
Muzeum Sztuki, or the Museum of Art in Łódź, is a museum of modern and contemporary art in Łódź, Poland, whose main goal is to research and display the history of avant-garde art, with a focus on Central and Eastern Europe. Founded in 1931, Muzeum Sztuki became the first museum in Europe and the second museum in the world dedicated to collecting and showcasing modern art.
John Parker Glick was an American ceramicist. Though open to artistic experimentation, Glick was most influenced by the styles and aesthetics of Asian pottery—an inspiration that shows in his use of decorative patterns and glaze choices. His experience working with ceramics led him to publish several articles about the craft. In addition to producing pottery, Glick began making "landscape oriented" wall panels during the latter part of his career. Known as "the people's potter," he is primarily remembered for his contributions to art and the field of ceramics.
The John Gibson Gallery was a contemporary art gallery in New York City, in operation from November 1967 to 2000, and founded by John Gibson. Early on, the gallery specialized in selling contemporary monumental–sized sculptures.
Ursula Biemann is a Swiss video artist, curator, educator, and art theorist.
Jane Hart is an American curator, gallerist, and artist in New York City. She has worked as an art curator since 1993, having been a gallery owner at in Los Angeles and Miami, and a contemporary art professional in Manhattan and London. As an artist, she has exhibited internationally, with solo exhibitions in South Florida and Cleveland, Ohio. Her specialty is contemporary collage, with works in private collections in the United States and abroad.
Alla Efimova is an art historian, curator, and consultant based in Berkeley, CA. She grew up in St. Petersburg, Russia.
Norman D. Daly, was an American artist who created the fictional Civilization of Llhuros along with hundreds of its artifacts, texts, and soundscapes. His work on The Civilization of Llhuros starting in the mid 1960s makes him the pioneering practitioner of an art genre now known as fictive archaeology.
