Thematische Bibliographien / Art 112 (Group of artists) / Zeitschriftenartikel
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Zeitschriftenartikel zum Thema „Art 112 (Group of artists)“

Autor: Grafiati
Veröffentlicht am 28. Juli 2024
Zuletzt aktualisiert am 31. Juli 2025

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1

Arutyunyan, Arutyunyan. "Self-portrait conception in the European engraving of the XVII century." Vestnik of Saint Petersburg State University of Culture, no. 1 (54) (2023): 110–16. http://dx.doi.org/10.30725/2619-0303-2023-1-110-116.

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Self-portrait in the art of the XVII century acquires an original and complex interpretation in the painting and graphics of European masters: increased emotionality, bodily transformations and theatricality turn the genre into one of the most interesting to study. Masters often include their own images in religious, historical and genre scenes, actively attract the language of allegories, the type of «painting in a picture», costumed images and group portraits develops. In graphics, along with lively dynamic sketches, there is a characteristic tradition of a representative interpretation of t
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Nelson, Glen. "Mormon Artists Group: Adventures in Art Making." Dialogue: A Journal of Mormon Thought 39, no. 3 (2006): 115–24. http://dx.doi.org/10.2307/45227285.

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Moss, Anne Eakin, Niloofar Haeri, and Narges Bajoghli. "Legacies of Protest Art in Iran." Public Culture 36, no. 2 (2024): 153–79. http://dx.doi.org/10.1215/08992363-11158958.

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Abstract This article examines the art practice of a group of professors and students—who later came to be known as Group 57—at the Fine Arts College of the University of Tehran during the revolutionary period of 1978 to 1980. Through interviews with artists and art historical research, the authors describe the artists’ workshop where they produced posters against the Shah, the United States, and imperialism. Their posters drew on the bold colors, clear text, symbolic imagery, and easy reproducibility of international radical poster art and the early Russian revolutionary avant-garde. The auth
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Zaynutdinova, Zukhra. "ACTIVITY OF THE GROUP OF ARTISTS "5 + 1" IN CONCEPTUAL ART." CURRENT RESEARCH JOURNAL OF HISTORY 02, no. 12 (2021): 6–12. http://dx.doi.org/10.37547/history-crjh-02-12-02.

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The article examines the role and significance of the "5 + 1" group in the development of contemporary art in Uzbekistan in the context of the creativity of the group's artists. The ideas and aesthetics of paintings, installations, video art in the work of individual artists are revealed in detail.
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Durand-Ruel, Victoria Mouraux, and John Zarobell. "Contemporary art from the Global South in the art auction market from 2020 to 2022." Arts & Communication 2, no. 1 (2023): 1608. http://dx.doi.org/10.36922/ac.1608.

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In recent years, emerging artists from the Global South have garnered substantial attention in the art market. This study seeks to examine the market value and ecosystem evolving around these emerging artists by analyzing the sales results of 51 artists between 2020 and 2022. This research aims to establish patterns linking unprecedented sales results with exhibition history and highlights the essential network required for these artists’ commercial success. The study reveals that the emergence of artists in the global art market results from a deliberate effort by a network of stake
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Winestein, Anna. "Artists at Play." Experiment 25, no. 1 (2019): 328–45. http://dx.doi.org/10.1163/2211730x-12341346.

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Abstract The exhibition of Russian folk art at the Paris “Salon d’Automne” of 1913 has been generally overlooked in scholarship on folk art, overshadowed by the “All-Russian Kustar Exhibitions” and the Moscow avant-garde gallery shows of the same year. This article examines the contributions of its curator, Natalia Erenburg, and the project’s instigator, Iakov Tugendkhold, who wrote the catalogue essay and headed the committee—both of whom were artists who became critics, historians, and collectors. The article elucidates the show’s rationale and selection of exhibits, the critical response to
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Lee, Eunji J. "Art as Pedagogy: A Multiple Case Study of Participatory Socially Engaged Art." Visual Arts Research 49, no. 1 (2023): 88–106. http://dx.doi.org/10.5406/21518009.49.1.08.

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Abstract In recent decades, contemporary art practices have expanded into social processes as art, and even to educational experiments. Artists create participatory projects combining art with educational activities and goals. Despite the prevalence of these art works, contemporary art literature continues to focus primarily on the artist, thereby displacing the experiences of participants. Hence, from the stance of an art educator, I carried out qualitative multiple case studies to examine the learning experiences of the participants as well as the pedagogical frameworks of the artists. On-si
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Shirai, Yumi, and Carissa Maria DiCindio. "Museum as a Mutual Learning Space for Artists with Intellectual and Developmental Disabilities and University Students." Canadian Journal of Disability Studies 11, no. 3 (2022): 30–60. https://doi.org/10.15353/cjds.v11i3.926.

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Using a university museum as a mutual learning space, guided by the core principles of multivocality and inclusive arts practice, six adult artists with intellectual disability and 16 undergraduate students collaborated to plan a public art exhibition. In this article, we describe the facilitation of the 6-week group process with artists with intellectual disability who have varied cognitive and communication abilities, to curate their own stories and prepare for a public art exhibition, and students to gain field experiences as community art educators, working with a community artist group. B
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Mon, Nor Suliana Mak, Siti Zuraida Maaruf, and Akmal Ahamed Kamal. "The Development of Artique - Independent Artists and Online Art Criticism." European Journal of Social & Behavioural Sciences 30, no. 2 (2021): 3358–68. http://dx.doi.org/10.15405/ejsbs.293.

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Learning art online breaks the geographical barriers and frontiers between art students, artists, galleries, and museums. Studio critique can now be performed beyond the brick walls of a physical room through the virtual platform. This research studies on the impact of art criticism in an online gallery for independent artists which was developed through the design and development method (DDR) while Visual Culture Model was employed for Phase One in the Needs Analysis. The positive feedback obtained from five independent artists who participated in the research revealed that it is common for a
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Lake, Susan. "The Challenge of Preserving Modern Art: A Technical Investigation of Paints Used in Selected Works by Willem de Kooning and Jackson Pollock." MRS Bulletin 26, no. 1 (2001): 56–60. http://dx.doi.org/10.1557/mrs2001.20.

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Willem de Kooning (1904–1997) and Jackson Pollock (1912–1956) are perhaps the best-known members of the abstract expressionist movement, a group of diverse artists from disparate backgrounds who radically transformed American art during the 1940s and into the 1950s. While the development and legacy of abstract expressionism remains a subject of considerable debate, what this diverse group of artists had in common was the belief that the materials, and the ways the artists applied them, are crucial to the expression of their art.
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Ittu, Gudrun-Liane. "Siebenbürgisch-deutsche Künstlerinnen vom Ende des 19. und Anfang des 20. Jahrhunderts." Studia Universitatis Babeș-Bolyai Historia Artium 65, no. 1 (2020): 127–55. http://dx.doi.org/10.24193/subbhistart.2020.07.

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"Transylvanian German women artists from the end of the 19th and beginning of the 20th century. The paper is aiming at analyzing the life and art of a group of six German women artists from Transylvania, the first ones who studied abroad, real forerunners for the next generation of female plastic artists. Emancipated ladies, determined to become artists and earn their own money, the gifted women studied in Budapest, Vienna, Munich or Paris. Only Molly Marlin did not come back home, while the others had a prodigious artistic and pedagogical activity, being present at the annual exhibitions, tog
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Nesterenko, Petro. "Cultural and Artistic Journals in Circumstances of Independent Ukraine." Слово і Час, no. 3 (March 30, 2019): 104–12. http://dx.doi.org/10.33608/0236-1477.2019.03.104-112.

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During the years of independence the diversity in the opinions on many important issues – the role of an artist and art in the world, the solution of the crucial contemporary problems, the understanding of the national characteristics – became particularly acute. This contributed to the revival of some old journals and creation of many new ones. Unfortunately, today’s typical situation with an extravagant appearance of the next new edition and its short-term existence is reminiscent of the events that took place nearly hundred years ago. Numerous periodicals were born at that time and then qui
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Belder, Lucky. "Art lending in the Netherlands." Art Libraries Journal 12, no. 1 (1987): 47–50. http://dx.doi.org/10.1017/s0307472200005071.

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The loan of works of art to the public was initiated in the Netherlands in 1955 through a scheme set up by a group of artists to encourage people to purchase contemporary art. The success of this scheme attracted support from the government, which was itself acquiring works in the process of assisting artists. Works thus acquired were lent to public institutions and government bodies, but from the 1970s they were also made available for loan to the public via artotheques. These two schemes gave rise to over a hundred art lending centres including hybrid establishments owing something to both;
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Tamás, Borbála, Andrea Barta, and István Szamosközi. "The effect of art expertise on visual symmetry and asymmetry preference." European Journal of Behavioral Sciences 5, no. 1 (2022): 11–17. http://dx.doi.org/10.33422/ejbs.v5i1.592.

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The main differences between artists and non-artists can be discovered in information processing, drawing performance and aesthetical preferences. Aesthetical preference is influenced by stimulus complexity and by the symmetry-asymmetry dimension of the presented stimulus. Although the differences between artists and non-artists are clear regarding aesthetical evaluation, there are evidence supporting the assumption that symmetry is preferred over asymmetry regardless of domain specific knowledge. In the current study we investigated the role of expertise in visual art on aesthetical evaluatio
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Sugiarta, Nugraha, Nissa Agustin, and Shinta Hartini Putri. "Traditional Artists Perceptions of Regional Arts." Social Science and Humanities Journal 6, no. 7 (2022): 2823–32. https://doi.org/10.18535/sshj.v6i7.595.

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Reak art is a regional art originating from West Java, reak art itself is included in the helaran art show which means art that runs with a treat of regional art attractions accompanied by music and dance. This study uses qualitative methods with the research design of Alfred Schutz phenomenology. Data collection techniques were conducted by interviews, observations, reference books, previous research thesis and the internet. Informant determination technique is done by purposive sampling and data validity technique using source triangulation. The result of this study is that the artists have
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Piątkowska, Renata. "Artystki i miłośniczki sztuki – kobiety w żydowskim życiu artystycznym międzywojennej Warszawy. W kręgu Żydowskiego Towarzystwa Krzewienia Sztuk Pięknych." Studia Judaica, no. 1 (47) (2021): 175–211. http://dx.doi.org/10.4467/24500100stj.21.007.14609.

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Artists and Art Lovers: Women in the Jewish Artistic Life of Interwar Warsaw. In the Circle of The Jewish Society for the Encouragement of Fine Arts Research on Jewish artistic life in interwar Warsaw, especially in the context of the activities of the Jewish Society for the Encouragement of Fine Arts (Żydowskie Towarzystwo Krzewienia Sztuk Pięknych), reveals active and numerousparticipation of women, both artists and art lovers (by and large a group of professionals, bourgeois, political and social activists, Jewish art collectors). In the article, special attention is paid to Tea Arciszewska
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Vašíčková, Kateřina, Andrea Mikotová, and Lucie Šilerová. "Stress in Music Managers and Artists: Pilot study on Czech and Slovak Students." Zeitschrift für Kulturmanagement 4, no. 1 (2018): 133–44. http://dx.doi.org/10.14361/zkmm-2018-0108.

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AbstractThe aim of the presented study was to do a pilot research on the comparison of the incidence of stress in a group of students of music management and art of music. We examined whether artists and music managers differ in the perception of the intensity of stress when playing (working) solo from the intensity when playing (working) in group. Furthermore, we focused on the most common stressors and main stress symptoms among music managers and artists. Total 63 students of music, cultural or art management (average age 28.6 years; 69.8 % were women) and 75 students of art of music (avera
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Choi, Sooran. "Art-Kut! The Counter-Cultural and Feminist Spirituality of Shamanism in Postwar South Korean Art." Religion and the Arts 27, no. 1-2 (2023): 86–106. http://dx.doi.org/10.1163/15685292-02701012.

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Abstract On 17 January 1981, during a cold Winter Day at the height of an authoritarian military regime, a group of South Korean artists named “Baggat Misul [Outdoor Art]” gathered around a riverbank outside Seoul to interact with nature and called it “jayeon misul [nature art].” A young woman artist Yong-sin Suh performed an act the group called “a lark,” during which Suh alternated with two male artists in reading aloud sections of newspaper articles. These unhinged, free-spirited acts were inspired by the Korean folk theater tradition of pansori (traditional Korean musical opera), and kut (
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Gavin, Sergey V., and Zoya A. Tanshina. "Tapestry art in Mordovia today." Finno-Ugric World 11, no. 1 (2019): 86–92. http://dx.doi.org/10.15507/2076-2577.011.2019.01.086-092.

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The article discussed the role of contemporary tapestry art in modern culture, the history of the formation and growth of national decorative-applied and monumental art schools in the Republics of former Soviet Union, the importance of both group and personal tapestry exhibitions organized by regional creative organizations of the Union of Artists and the Russian Union of Artists as well as the state Museum-Reserve “Tsaritsyno”. It emphasizes the importance of using richest traditions of folk art, stories and legends of the people living in multiethnic Russia. The works of teachers and graduat
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Ragil, Tri Wibowo, Srimuda Pitana Titis, and Abdullah Wakit. "The Existence of "Turangga Mudha" Jathilan Art Group in Pandemic Era." International Journal of Arts and Social Science 4, no. 3 (2023): 251–56. https://doi.org/10.5281/zenodo.7740869.

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: This research is used to know the change of jathilan art performance after Covid-19 pandemic strikes and to understand the factors which cause jathilan art survives in pandemic era. This is a qualitative research which employs descriptive qualitative research using data collection methods such as interview, documentation and theoretical review. Based on the research, “TuranggaMudha” Jathilan art group keeps performing but limited only for the residents of one village by applying health protocols. The health protocols are social distancing, washing hands, wearing masks and using h
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Bojić, Zoja. "The Slav Avant-garde in Australian Art." Poznańskie Studia Slawistyczne, no. 18 (April 28, 2020): 37–48. http://dx.doi.org/10.14746/pss.2020.18.2.

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Australian art history includes a peculiar short period during which the European avant-garde values were brought to Australia by a group of Slav artists who gathered in Adelaide in 1950. They were brothers Voitre (1919–1999) and Dušan Marek (1926–1993) from Bohemia, Władysław (1918–1999) and Ludwik Dutkiewicz (1921–2008) from Poland, and Stanislaus (Stanislav, Stan) Rapotec (1911–1997) from Yugoslavia, later joined by Joseph Stanislaus Ostoja-Kotkowski (1922–1994) from Poland. Each of these artists went on to leave their individual mark on the overall Australian art practice. This brief momen
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Bocharov, Taras, and Petr Kozorezenko. "Russian Landscape Linocut, 1910-1970." Scientific and analytical journal Burganov House. The space of culture 16, no. 4 (2020): 101–12. http://dx.doi.org/10.36340/2071-6818-2020-16-4-101-112.

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The article examines the origin and development of Russian graphic landscape art, performed in the technique of engraving on linoleum. It covers the period from the early 20th century, the moment the first masters of this direction of graphic art appeared in Russia, until the late 1960s when linocut, the landscape, in particular, reached its prime and acquired its completely individual, unlike any other graphic technique, characteristic. The authors analyze the linocut landscapes of notable artists of the period described starting with the founder, N.Sheverdyaev, and the leading propagandist o
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Ort, Thomas. "Cubism's Sex: Masculinity and Czech Modernism, 1911–1914." Austrian History Yearbook 44 (April 2013): 175–94. http://dx.doi.org/10.1017/s0067237813000118.

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Among those who interest themselves in modernism in the context of the Austro-Hungarian Empire, Prague is sometimes referred to as the “second city of cubism.” In 1911, at a time when the style was still largely unknown in Europe, an artists’ group devoted to the defense and promotion of the new art was founded in Prague. The members of the Skupina výtvarných umělců, or Visual Artists Group, wrote extensively about cubism in their journal Umělecký mesičník [Art Monthly] as well as in other publications. They sponsored numerous exhibits of the art at home and participated in shows of Czech cubi
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Styrna, Natasza. "Malarki, rzeźbiarki i graficzki z krakowskiego Zrzeszenia Żydowskich Artystów (1931–1939)." Studia Judaica, no. 2 (48) (2021): 407–35. http://dx.doi.org/10.4467/24500100stj.21.017.15072.

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Painters, Sculptors and Graphic Female Artists From the Kraków Association of Jewish Artists, 1931–1939 Eleven women belonged to the Kraków Association of Jewish Artists, active in the 1930s. They dealt with painting, graphic art and sculpture. Unfortunately, not much has survived from their achievements. One of the most interesting artistic personalities in this group was Henryka Kernerówna, educated in Vienna. From 1918 on, female artists younger than her could benefit from studies at the Academy of Fine Arts in Kraków. In the reviews of the exhibitions of the Association, the gender of arti
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Hall, Gregory M. "Tension in the Field of Art: The Practical Tattoo Artist and Perceptions of the Fine Art Community." Qualitative Sociology Review 10, no. 2 (2014): 102–14. http://dx.doi.org/10.18778/1733-8077.10.2.06.

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This is an ethnographic study utilizing observation and in-depth interviews. The following research analyzes a collaborative circle of tattoo artists and its tension with the fine art community. The tension is a result of perceptions of the fine art community and the nature of tattoo shops as enterprises. This article contributes to the understanding of collaborative circles by incorporating taste distinctions and a formal group element, the enterprise. Taste distinctions and the enterprise allow artists to erect boundaries between themselves and others in the art community.
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Cui, Zhenye. "Collision and Challenge: Influences of Sociocultural Contexts in Early 20th Century China on Storm Society Artists Exploration and Practice of Western Modern Art." Communications in Humanities Research 4, no. 1 (2023): 596–602. http://dx.doi.org/10.54254/2753-7064/4/20220896.

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This essay engages with the topic of Chinese modern artists introduction and adaptation of Western modern art. This essay conducts its analysis on a modern artist group named the Storm Society (JuelanShe) active in 1920s and 1930s China. Inspired by a social art historical approach, this essay places its focus on the sociocultural contexts specifically present during the active years of Storm Society artists. Three factors are identified to be influential challenges in these artists efforts of exploring and introducing Western modern art to China: Cultural conservatism, inhospitable social env
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Mironova, Tatiana. "Plurality the types of art in contemporary art: specifics of media art." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 139–48. http://dx.doi.org/10.32461/2226-3209.2.2021.239992.

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The purpose of the article is to study the types of artistic creativity in modern fine arts, taking into account the specifics of media arts. The methodology is the cultural-semiotic analysis of the forms of manifestation of visualization of modern art culture. The application of a systematic approach allowed us to study semiotic systems that contribute to the comprehensive disclosure of the problem of the semantics of modern forms of visualization. The scientific novelty of the work is to understand the specifics of the new media arts, taking into account their interactivity, network communic
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Huhmarniemi, Maria. "Berry-picking culture and conflicts in Finland1." International Journal of Education Through Art 20, no. 1 (2024): 51–67. http://dx.doi.org/10.1386/eta_00151_1.

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The ‘Berry Tours’ art project brought together artists, activists and scholars from the fields of art education, political science and environmental sociology to engage in discussions about berry-picking and the conflict between the berry industry and the rights of foreign berry pickers in Finland. The project was a practical part of art-based action research that aimed to promote the involvement of artists in environmental politics and science communication. Art-based research methods were used to examine berry-picking culture, communicate the reasons for the conflict through installations an
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Adams, Jacqueline. "When Art Loses its Sting: The Evolution of Protest Art in Authoritarian Contexts." Sociological Perspectives 48, no. 4 (2005): 531–58. http://dx.doi.org/10.1525/sop.2005.48.4.531.

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Change in art is an understudied topic in sociological research. This article examines protest artworks ( arpilleras) produced by shantytown women during and shortly after the dictatorship in Chile, to explore the question why political art that is for sale changes over time. This research is based on 136 semi-structured and in-depth interviews with various members of the art world in Chile, Europe, and the United States, a year's worth of participant observation of art groups in Santiago and over five hundred photographs of arpilleras, taken by the author and analyzed thematically. Political
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Lee, Jung-Hyun, and Hee-Chung Lee. "A Study on Commercialization of Mullae Art Village and Changes in Art Ecology." Korean Association of Urban Policies 14, no. 4 (2023): 143–65. http://dx.doi.org/10.21447/jusre.2023.14.4.8.

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This paper aims to analyze the impact of the commercialization of the recently emerged Mullae Art Village, an art cluster, on the art ecology, specifically the creative activities of artists. To achieve this goal, Focus Group Interviews (FGI) and in-depth interviews were conducted with a total of 13 artists. Various data related to Mullae Art Village were also analyzed to examine the current state of commercialization and its effects on the art ecology. The analysis revealed that Mullae Art Village has entered a rapid stage of commercialization. Significant changes in the local space are rapid
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Доронина, Мария Андреевна. "Умолчание, бессмысленный труд и офисная культура: административно-бюрократическая эстетика в российском искусстве начала XXI века". Actual Problems of Theory and History of Art 14 (11 жовтня 2024): 572–80. https://doi.org/10.18688/aa2414-7-46.

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The article examines the work of two generations of artists from the 2000s to the 2010s, who sought to interpret the traditions of Western conceptual art and explore the material and formal structures of the corporate world and office life. The purpose of this introductory material is to identify key trends in addressing new types of reading the administrative-bureaucratic discourse of Conceptualism of the 1960s on the territory of artistic life of the last twenty years. Its main goal is to map the key conceptual and event series that illuminated the art of this era. The article examines the w
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Sandberg, Berit. "Art Hacking for Business Innovation: An Exploratory Case Study on Applied Artistic Strategies." Journal of Open Innovation: Technology, Market, and Complexity 5, no. 1 (2019): 20. http://dx.doi.org/10.3390/joitmc5010020.

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Despite a growing interest in the effects of arts-based interventions on organizational change, concepts aiming at business innovation and product development other than residencies are rare. Furthermore, little is known about the role and impact of artists involved in idea-generating formats. How does the personal presence of artists in a heterogenous working group influence the procedure? To what extent do artists unfold their creative qualities while dealing with such a non-artistic challenge? The paper introduces a method named Art Hacking that applies professional labour attitudes typical
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Tanyildizi, Seda Ozen. "Scale: New Strategies in Site-Specific Art." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (2017): 107–12. http://dx.doi.org/10.18844/prosoc.v4i11.2864.

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Today, one of the crucial issues for discussions on site-specific art is scale. The journey of site-specific art, starting with a quite minimal insertion into an empty gallery space is now institutionalised according to utterly different aims, sometimes involving enormous dimensions. However, to discuss the subject of ‘site-specific art’ only with regard to high-budget projects of major institutions would mean ignoring the large group of artists who work outside these controversial circumstances, employ physical features of a site as a tool to convey their artistic approaches, and do not make
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Aaftab, Mohsina. "INSTALLATION ART IN INDIA: CONCEPTS AND ROOTS." International Journal of Research -GRANTHAALAYAH 4, no. 10 (2016): 16–20. http://dx.doi.org/10.29121/granthaalayah.v4.i10.2016.2483.

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Present study focuses on the new media Installation Art in India, its present scenario, and backgrounds. Essentially installation art has taken its heritage from conceptual art, which came into prominence in 1970s, when the concept or idea was prominent – when an artist uses a conceptual form of art which means that all of the arrangement and conclusion are made previously and the implementation is an obligatory concern. So, spontaneously idea became a machine that makes the art. An idea suddenly pops in his mind and he just implemented it, in his very own way. This kind of art does not narrow
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Bramantijo, Bramantijo. "Menjelajah Kultur Majapahit, Mencari “Identitas” Seni Rupa Kontemporer Jawa Timur." Jurnal Budaya Nusantara 1, no. 1 (2017): 31–43. http://dx.doi.org/10.36456/b.nusantara.vol1.no1.a989.

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The identity of Indonesian art is loaded with political contents in the interests of harmony. Indentity becomesthe differentiator and positioning in artwords. East Java gets the fortunes to be the locus of Majapahit and heritage ofthe Majapahit culture, but the atmosphere of contemporary art gives artists of freedom to explore the variety oftraditional cultures in various loci and make as identity. The sole recognition of a culture by a group community is nolonger relevant. The other way, it occurs the ability of artists to discover the characteristics of traditional cultures and topresent it
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Fox, Charlie. "Strata for Crossfiring: Immersive Interactivity with Sound." Canadian Theatre Review 129 (January 2007): 89–92. http://dx.doi.org/10.3138/ctr.129.014.

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Crossfiring was a dynamic multidisciplinary art event, involving a dedicated and inventive group of contemporary artists in the creation of dance, theatre, performance art, music and installation art. Presented at the Claybank National Historic site, just outside the village of Claybank, Saskatchewan, Crossfiring was organized by the innovative collective Knowhere Productions, August-September 2006. One of the main features of Crossfiring was the commissioning of a diverse group of artists to create site-specific artworks, including audio-based artworks. The commissions challenged each artist
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Schneider, Rebecca. "Nomadmedia, On Critical Art Ensemble." TDR/The Drama Review 44, no. 4 (2000): 120–31. http://dx.doi.org/10.1162/10542040051058519.

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The Critical Acts Ensemble, CAE for short, is a tightly knit group of artists exploring intersection between art, technology, critical theory, and political activism. We have given CAE a big chunk of space to present and explain their work. Added to that is a critical essay by TDR Contributing Editor Rebecca Schneider.
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Fraser, Lorinda Christine. "The Barbizon School (1830-1870): Expanding the Landscape of the Modern Art Market." Arbutus Review 8, no. 1 (2017): 4–14. http://dx.doi.org/10.18357/tar81201716809.

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During the 1830s to the 1870s, a cohort of French artists developed new approaches to landscape painting and became known collectively as the Barbizon School. This informal group of artists were proponents of an innovative way of painting in which nature was the central subject of their artworks. Moreover, nature was depicted without the classical idealization or polished refinement required by the French Academy at the time. Barbizon artists were also the catalysts for changes in how art was sold during the 19th century, paving the way for an open art market system that spread across the glob
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Nyarko, Nyamekye Nyamekye. "Can Art be Offensive? To Whom? A View of Artistic Obligations." International Journal of Current Research in the Humanities 27, no. 1 (2024): 426–34. http://dx.doi.org/10.4314/ijcrh.v27i1.27.

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All over the world, there are artists of varied fields. These artists express their skills, thoughts, philosophies, and beliefs through their artistic works. Humans are not a homogenous group who share common and basic beliefs and philosophy of life. Consequently, any work of art is mostly not going to be liked by all. To address the need the question; can art be offensive and to whom? requires us to first examine the works of art and the persons who appreciate them as a means of examining how artworks could be considered offensive to people. This article uses textual and content analysis as a
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Lochmann, Erin M. "The art of nothingness: Dada, Taoism and Zen." Journal of European Studies 48, no. 1 (2018): 20–36. http://dx.doi.org/10.1177/0047244117745434.

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When examining the art, actions, and writings of Zurich Dadaists it becomes apparent that there is an affinity with Eastern thought, namely Taoism and Zen Buddhism. These artists not only make direct references to aspects of Taoism and Buddhism, but their philosophies on art and life mirror concepts in both so strongly that this relationship cannot be ignored, although most scholars have done just that. Exploring this connection offers not only a new perspective on Zurich Dada but encourages a reconsideration of the commonly misapplied label of nihilism to this specific group of Dada artists.
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Wang, Yuxin, and Cheeyun Kwon. "2023 Frieze Seoul and Kiaf Seoul Art Fair: The Chinese Art Collectors’ Collecting Motivations and Taste." Korea Association Of Cultural Economics 27, no. 3 (2024): 115–45. https://doi.org/10.36234/kace.2024.27.3.115.

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The number of Chinese visitors to the Frieze Seoul art fair has been increasing in the past two years. The Chinese art collectors have shown great interest in the Korean art market and artists. This has led to the purchase of artworks, impacting on the Korean art market. Based on in-depth interviews, this study analyzes the collecting motivations and taste of 10 Chinese VIP art collectors (from Beijing, Shanghai, Hong Kong, and Taiwan) who visited Seoul during the Seoul Art Week from September 6-9, 2023. The collected data were coded using the NVivo 14 and analyzed by Strauss and Corbin’s grou
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Lodder, Christina. "1905 and Art: From Aesthetes to Revolutionaries." Arts 11, no. 3 (2022): 65. http://dx.doi.org/10.3390/arts11030065.

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This article examines the impact that the experience of the 1905 Revolution had on the political attitudes of professional artists of various creative persuasions and on the younger generation who were still attending art schools. It inevitably focuses on a few representatives and argues that Realists as well as more innovative artists like Valentin Serov and the World of Art group became critical of the regime and began to produce works satirizing the Tsar and his government. These artists did not, however, take their disenchantment further and express a particular ideology in their works or
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Segal, Orna. "Beyond Bezalel: Expressions of Jewish Identity in the Art of Female Israeli National Religious Graduates." Ars Judaica 20 (November 2024): 139–59. https://doi.org/10.3828/arsjudaica.2024.20.8.

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Artists from the National-Orthodox sector have become more prominent in the Israeli art scene in recent years. I here present research on the expression of Jewish identity in the works of three active artists who studied in religious educational institutions, as reflected in interviews with them, and in works that contain elements related to their identity and the world from which they emerged. The study investigates the extent of expression of Jewish-religious identity in their art, how it is expressed, and whether the goals of the promotion of art within the religious education system are re
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Хайрулина, А. В. "The inspirer of the Shikotan group of artists O.N. Loshakov." Iskusstvo Evrazii [The Art of Eurasia], no. 2(29) (June 30, 2023): 210–23. http://dx.doi.org/10.46748/arteuras.2023.02.006.

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Статья посвящена творчеству академика Российской академии художеств, заслуженного художника Российской Федерации, профессора Олега Николаевича Лошакова. Материалы исследования расширяют диапазон представлений о годах творчества мастера на Дальнем Востоке. Вместе с организованной им группой молодых живописцев и графиков, первых выпускников Владивостокского художественного училища, он несколько десятилетий писал пейзажи на острове Шикотан. В статье представлены произведения живописи членов Шикотанской группы, обозначены характерные стилевые, композиционные и колористические особенности их работ.
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Hume, Naomi. "Avant-Garde Anachronisms: Prague's Group of Fine Artists and Viennese Art Theory." Slavic Review 71, no. 3 (2012): 516–45. http://dx.doi.org/10.5612/slavicreview.71.3.0516.

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The Czech Group of Fine Artists published their journal, Umělecký měsíčník (Art Monthly, 1911-1914) to justify their abstraction and their interest in French cubism in response to criticism that denigrated their work as incomprehensible and foreign. In this article, Naomi Hume argues that the Group's strategy was fundamentally at odds with how avantgardes have been understood to operate in scholarship on modernism. Rather than asserting a break with the past, the Group applied new Viennese art historical approaches—particularly those of Alois Riegl, Max Dvořák, and Vincenc Kramář—to draw paral
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Braden, L. E. A. "Networks Created Within Exhibition: The Curators’ Effect on Historical Recognition." American Behavioral Scientist 65, no. 1 (2018): 25–43. http://dx.doi.org/10.1177/0002764218800145.

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This research examines artist networks created by shared museum exhibition. While previous research on artistic careers assesses self-cultivated networks, historical recognition may be further influenced by connections created by important others, such as museum curators and art historians. I argue when museum exhibitions show artists together, curators are creating symbolic associations between artists that signal the artist’s import and contextualization within his or her peer group. These exhibition-created associations, in turn, influence historians who must choose a small selection of art
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McKenzie, Jon, and Rebecca Schneider. "Critical Art Ensemble, Tactical Media Practitioners." TDR/The Drama Review 44, no. 4 (2000): 136–50. http://dx.doi.org/10.1162/10542040051058537.

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The Critical Acts Ensemble, CAE for short, is a tightly knit group of artists exploring intersection between art, technology, critical theory, and political activism. We have given CAE a big chunk of space to present and explain their work. Added to that is a critical essay by TDR Contributing Editor Rebecca Schneider.
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Zheng, Jihui. "Analyzing the Opportunities of Art Trends Based on Contemporary Spiritual Needs." Arts Studies and Criticism 4, no. 2 (2023): 36. http://dx.doi.org/10.32629/asc.v4i2.1457.

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The art trend of thought should adapt to the contemporary art needs and promote the help and progress of art for the group. Modern art should help build the spiritual level of each person and heal the mental and spiritual health of the individual. By popularizing basic art education and providing entry points for art viewing, enhancing the personal empathy and tolerance of the general public is a new opportunity to adapt to the artistic trend of human development and needs. This paper provides an idea of one of the possibilities of artistic trend of thought. Artists leave traces of clues in ar
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Perreau, Madeleine Elna, Muhammad Fauzan Abu Bakar, Muhamad Hafiz Hassan, Valerie Michael, and Mohd Razif Mohd Rathi. "The impact of technology development upon art essence intricacy on arts: The perspective of art practitioners in Malaysia." International Journal of Asian Social Science 13, no. 10 (2023): 328–43. http://dx.doi.org/10.55493/5007.v13i10.4898.

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This paper presents and discusses the relative issues of the development of modern technology that directly impact the creation of artwork. The artistic value has always been argued and discussed as the era changes occasionally. The artistic world has again learned the value of integrating and applying technology to artists' artworks. The technology enforcement, in alignment with the demands of the new generations, kept contextual and conceptual artworks secondary. This paper will elaborate on the relationship between technological applications and artworks' impact. As the digital era shifted
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Armenakyan, Hratch. "Post-Art Situation: Logical Syntax." ARTMargins 2, no. 1 (2013): 129–36. http://dx.doi.org/10.1162/artm_a_00037.

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The two texts presented here were written by members of conceptual artists' group ACT operating in Armenia in 1994–1996. The group developed affirmative artistic actions and exhibitions to support the constitution of the new state based on the principles of liberal democracy and market capitalism. Its conceptual interventions and actions, both in conventional spaces of exhibition, but also on the street and in the already dysfunctional factories, were often formally minimal and austere, but almost always prescriptive in terms of offering a model of political and aesthetic participation.
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