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Thematische Bibliographien / Visual Arts and Crafts Studies / Zeitschriftenartikel

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Zeitschriftenartikel zum Thema „Visual Arts and Crafts Studies“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 1. Februar 2022

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1

Piters-Hofmann, Ludmila. "Regulating Russian Arts and Crafts." Experiment 25, no. 1 (September 30, 2019): 310–27. http://dx.doi.org/10.1163/2211730x-12341345.

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Abstract On March 10, 1913, the “Second All-Russian Kustar Exhibition” opened in St. Petersburg under the patronage of the Empress Alexandra Fedorovna. The largest display of folk art and kustar goods in Imperial Russia, it was a huge success with the public and significantly shaped the layman’s view of Russian folk art. Although this exhibition has garnered considerable attention within the scholarly discourse, it has mainly been discussed from the critics’ point of view. This article provides complementary insights by reconstructing the organizational efforts that contributed to the public s

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Tressol, Nathanaëlle. "The Reception of Russian Arts and Crafts in French Art Journals." Experiment 25, no. 1 (September 30, 2019): 346–62. http://dx.doi.org/10.1163/2211730x-12341347.

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Abstract This article focuses on the French reception of Russian Arts and Crafts in the early 1900s. As a consequence, firstly, of the Russian display at the 1900 “Exposition Universelle,” and, secondly, of the increasing number of Russian exhibitions and other cultural events in Paris, French art periodicals and sections on art in the mainstream press contained many reports about the movement. Several writers expressed their opinion about Russian modern Arts and Crafts and participated in their promotion in France. The main purpose of the article is to shed light on those French critics who w

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Oser, Jesco. "“Rodnik”: A Source of Inspiration." Experiment 18, no. 1 (2012): 61–88. http://dx.doi.org/10.1163/221173012x643053.

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Abstract The article discusses the history of Princess Mariia Tenishevaʼs workshops at Talashkino which, in the early 1900s, played a significant role in Russia’s Arts and Crafts movement. Recently discovered photographs of the interior of “Rodnik,” the store in Moscow that marketed Talashkino wares from 1903 to 1906, were the occasion to shed more light on Tenisheva’s attempt to revive popular craft traditions by creating artist-designed and hand manufactured goods for daily use.

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Behrens-Abouseif, Doris. "European Arts and Crafts at the Mamluk Court." Muqarnas Online 21, no. 1 (March 22, 2004): 45–54. http://dx.doi.org/10.1163/22118993_02101006.

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Harris, Trudier, and William Ferris. "Afro-American Folk Art and Crafts." Western Folklore 44, no. 1 (January 1985): 52. http://dx.doi.org/10.2307/1499953.

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Vyazova, Ekaterina. "English Influences, Russian Experiments." Experiment 25, no. 1 (September 30, 2019): 207–25. http://dx.doi.org/10.1163/2211730x-12341339.

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Abstract This article analyzes the Neo-Russian style in children’s book illustrations in Russia and compares it to analogous artistic developments in England, revealing a similar evolutionary path to that of other national variants of Art Nouveau. The initial aesthetic impulse for this evolution came from the promotion of crafts and medieval handicrafts by “enlightened amateurs.” The history of children’s books, with its patently playful nature, aestheticization of primitives, and free play with quotations from the history of art, is an important episode in the history of Russian and English A

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Stansky. "Arts and Crafts Objects, by Imogen Hart." Victorian Studies 54, no. 1 (2011): 157. http://dx.doi.org/10.2979/victorianstudies.54.1.157.

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Antaki, Berea, and Katalin Medvedev. "Bolivian textile crafts and the subversion of institutionalized sustainability." Clothing Cultures 7, no. 1 (March 1, 2021): 91–100. http://dx.doi.org/10.1386/cc_00031_1.

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This article describes the tensions between institutionalized and grassroots forms of sustainability and their subsequent effects on textile artisans in La Paz, Bolivia. Principles of the indigenous cosmology Suma Qamaña are applied to the twenty-first-century challenge of environmental degradation and governmental corruption in the description of craft practices at two artisan collectives in La Paz. Suma Qamaña is an expression of the harmonious and respectful coexistence of humans with nature, which entails communal values and reciprocal resource management principles. The study highlights g

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Waldron, Michael. "‘The wish to paint’: Bowen and the Visual Arts." Irish University Review 51, no. 1 (May 2021): 85–99. http://dx.doi.org/10.3366/iur.2021.0497.

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Throughout her life, Elizabeth Bowen maintained a rich network of artist friends and acquaintances. She often attended exhibitions and was an astute, sometimes caustic critic in letters as well as reviews. Her short tenure as an art student is an often mentioned but rarely, if ever, explored biographical fact, yet it was a key moment in her creative development. It is perhaps unsurprising then that she began to write while ‘still under the influence of … the wish to paint.’ This essay considers Bowen's significant relationship with the visual arts, from her art training and networks to her cri

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Teunissen, José. "Deconstructing Belgian and Dutch Fashion Dreams: From Global Trends to Local Crafts." Fashion Theory 15, no. 2 (June 2011): 157–76. http://dx.doi.org/10.2752/175174111x12954359478645.

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Weikop, Christian. "Arts and Crafts, Nietzsche und die frühe Brücke. Studien zur Graphik Ernst Ludwig Kirchners Louisa Theobald." Journal of Modern Craft 6, no. 2 (July 2013): 243–45. http://dx.doi.org/10.2752/174967813x13703633981136.

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Breward, Christopher. "Exhibition Review: satellites of fashion: hats, bags, shoes. The Crafts Council Gallery, London." Fashion Theory 3, no. 2 (May 1999): 269–72. http://dx.doi.org/10.2752/136270499779155023.

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Rusnock, K. Andrea. "All the Folk Art News Fit to Print." Experiment 25, no. 1 (September 30, 2019): 244–57. http://dx.doi.org/10.1163/2211730x-12341341.

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Abstract Neo-nationalism was concerned with a new aesthetic, not just in the fine arts but also in the crafts, particularly needlework. One way that this aesthetic was disseminated for needle art was through publications—magazines, pattern books, how-to-manuals, guides for schools, and the like. Publications on needlework were produced throughout the nineteenth century, and their output increased toward the end of the 1800s, with many portraying peasant imagery and patterns associated with this new style of Neo-nationalism. This article explores how needlework publications propagated Neo-natio

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Gesin, Michael. "Professional Pursuits: Women and the American Arts and Crafts Movement by Catherine W. Zipf." Journal of American Culture 31, no. 3 (September 2008): 335–36. http://dx.doi.org/10.1111/j.1542-734x.2008.00681_19.x.

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Siebenga, Rianne. "Crafts and industry in early films of British India: Contrasting album and process films." Early Popular Visual Culture 12, no. 3 (June 3, 2014): 342–56. http://dx.doi.org/10.1080/17460654.2014.920716.

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Carrillo Martínez, José Ignacio. "The Manufacture of Leather as an Applied Art in the Modernisme: the Factory-Workshop of Miguel Fargas y Vilaseca." Res Mobilis 10, no. 13-2 (June 14, 2021): 204–22. http://dx.doi.org/10.17811/rm.10.13-2.2021.204-222.

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This study intends to examine leather craft, an applied art that has not well studied in the context of Catalan Modernisme as well as raise awareness about its use for production and design of Modernista furniture and interior decoration. This handicraft, that had been in decline in the Catalan sphere since the 18th century, reappeared in Barcelona in the last quarter of the 19th century, due to the Modernista movement and the renaissance of medieval crafts. Thus, new workshops were created and their processes were modernized according to industrial progress. We will highlight the Miguel

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Root-Bernstein, Robert, Megan Van Dyke, Amber Peruski, and Michele Root-Bernstein. "Correlation between tools for thinking; arts, crafts, and design avocations; and scientific achievement among STEMM professionals." Proceedings of the National Academy of Sciences 116, no. 6 (February 4, 2019): 1910–17. http://dx.doi.org/10.1073/pnas.1807189116.

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Previous studies of science, technology, engineering, mathematics, and medical (STEMM) professionals have identified a common “mental toolkit” composed of 13 “tools for thinking” that STEMM professionals use in their problem raising and problem solving. The present research surveyed a convenience sample of 225 STEMM professionals to investigate whether these “thinking tools” are correlated with STEMM achievement measured variously as patents filed or licensed, companies founded, number of papers and books published, and copyrights assigned. Some mental skills such as modeling and playing are s

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Tymoszuk, Urszula, Neta Spiro, Rosie Perkins, Adele Mason-Bertrand, Kate Gee, and Aaron Williamon. "Arts engagement trends in the United Kingdom and their mental and social wellbeing implications: HEartS Survey." PLOS ONE 16, no. 3 (March 12, 2021): e0246078. http://dx.doi.org/10.1371/journal.pone.0246078.

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Evidence on the role of the arts in promoting health and wellbeing has grown over the last two decades. In the United Kingdom, studies using secondary data sources have documented temporal variations in levels of arts engagement in the population, its determinants and its mental wellbeing implications. However, arts engagement is often characterized by prioritizing “high-brow” art forms. In this article, we introduce the HEartS Survey, a tool that aims to increase the balance between inclusivity and brevity of existing arts engagement measures and to focus specifically on the connection betwee

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MacGregor-Villarreal, Mary, and John O. West. "Mexican-American Folklore: Legends, Songs, Festivals, Proverbs, Crafts, Tales of Saints, of Revolutionaries, and More." Western Folklore 50, no. 4 (October 1991): 438. http://dx.doi.org/10.2307/1499680.

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Phelan, Helen. "The Craft of Ritual Studies." TDR/The Drama Review 62, no. 3 (September 2018): 177–78. http://dx.doi.org/10.1162/dram_r_00780.

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Tonini, Lucia. "Russia in Rome." Experiment 25, no. 1 (September 30, 2019): 258–75. http://dx.doi.org/10.1163/2211730x-12341342.

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Abstract The presence of thirty-three Russian head-dresses, as well as other historical objects, in the collection of the American diplomat, George Wurts, and his wife, Henrietta Tower, is an uncommon example of collecting Russian folk objects abroad, and testifies to a universality of taste in international collecting during the late nineteenth century. The head-dress collection is part of a larger collection of around 4,000 pieces dating from antiquity to the early twentieth century, which was assembled at the Palazzo Antici Mattei and the Villa Sciarra in Rome between the end of the ninetee

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Long, Christopher. "Review: Silent Revolutions in Ornament: Studies in Applied Arts and Crafts from 1880–1930 by Lada Hubatová-Vacková; Adolf Loos: The Art of Architecture by Joseph Masheck." Journal of the Society of Architectural Historians 73, no. 2 (June 1, 2014): 285–87. http://dx.doi.org/10.1525/jsah.2014.73.2.285.

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Stansky, Peter. "From William Morris: Building Conservation and the Arts and Crafts Cult of Authenticity, 1877-1939 (review)." Victorian Studies 48, no. 2 (2006): 354–56. http://dx.doi.org/10.1353/vic.2006.0102.

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Helmreich. "Walter Crane: The Arts and Crafts, Painting, and Politics, 1875–1890, by Morna O'Neill." Victorian Studies 55, no. 4 (2013): 699. http://dx.doi.org/10.2979/victorianstudies.55.4.699.

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Pentcheva, Bissera. "Painting or relief: The ideal icon in iconophile writing in Byzantium." Zograf, no. 31 (2006): 7–14. http://dx.doi.org/10.2298/zog0731007p.

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This text is focused on the transformation of the definition of the icon in Byzantine image theory from an identification of graphe with painting in the writings of John of Damascus (ca. 675-754) to the equation of graphe with typos understood as the imprint of an intaglio on matter in the theory of Theodore Studies (759-826). The virtues of painting, therefore, are that its masters see their works admired and feel themselves to be almost like the Creator. Is it not true that painting is the mistress of all the arts or their principal ornament? If I am not mistaken, the architect took from the

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Silverman, Raymond. "Crafts and technologies: some traditional craftsmen and –women in the western grasslands of cameroon. part 4: handicrafts, music and the fabric of social life Knöpfli, Hans." Material Religion 2, no. 2 (July 2006): 247–48. http://dx.doi.org/10.2752/174322006778053771.

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Roloff, Bianka Nieckel da Costa, and Cida Golin. "A cobertura jornalística das megaexposições de artes visuais no Brasil (2010-2016): o mapa quantitativo de um acontecimento saliente // The news coverage of the visual arts blockbuster exhibitions in Brazil (2010-2016)." Contemporânea Revista de Comunicação e Cultura 16, no. 3 (February 6, 2019): 602. http://dx.doi.org/10.9771/contemporanea.v16i3.23369.

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Este artigo busca sistematizar e analisar quais indícios o jornalismo acionou ao cobrir o acontecimento de seis megaexposições de artes visuais que circularam no Brasil entre 2010 e 2016, a partir da cobertura de jornais de referência em suas plataformas impressa e digital. Tendo como base os estudos do acontecimento, entendemos que o jornalismo configura-se como um lugar especializado de construção de sentidos sobre arte e de mediação entre esta e os públicos, mediando também o próprio ciclo de existência dos produtos culturais. Recorte parcial de pesquisa, problematizamos os dados quantitati

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Hamlett. "Rethinking the Interior, c. 1867––1896: Aestheticism and Arts and Crafts, edited by Jason Edwards and Imogen Hart." Victorian Studies 53, no. 4 (2011): 749. http://dx.doi.org/10.2979/victorianstudies.53.4.749.

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Kromm, Jane. "Visual Culture and Scopic Custom in Jane Eyre and Villette." Victorian Literature and Culture 26, no. 2 (1998): 369–94. http://dx.doi.org/10.1017/s1060150300002461.

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Art making and art viewing activities steeped in assumptions about gender recur throughout Jane Eyre and Villette. This paper will argue that Charlotte Bronte developed these fine arts devices as part of a carefully crafted feminist critique of spectatorship and representation. Bronte pursued this end by demonstrating that incidents relating to the production and reception of visual culture were relevant for visual experience more broadly understood by linking these events in the narrative to “scopic custom”; that is, the art experiences of Bronte's characters are presented as occurring in rel

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Reagan, Trudy Myrrh. "The Study of Patterns Is Profound." Leonardo 40, no. 3 (June 2007): 263–69. http://dx.doi.org/10.1162/leon.2007.40.3.263.

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The author has studied natural patterns both by drawing them and by finding analogs for them in crafts materials and processes, including batik, shibori, wrinkled paper painting, paper marbling, moiré, painting and engraving on Plexiglas. She discusses the generation of patterns in nature and how scientists' understanding of them has expanded during the period of her own explorations. She recommends this study for enhancing one's connection to the natural world and the cosmos. The author also explains how she has found patterns useful as metaphors for philosophical ideas.

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Somers, Matthias, and Sami Sjöberg. "Reading Ray: Avant-Garde and Transnationalism in Interwar Britain." Modernist Cultures 16, no. 2 (May 2021): 216–41. http://dx.doi.org/10.3366/mod.2021.0329.

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The British modernist little magazine Ray: Art Miscellany (1926–1927) pioneered the combination of text and image in the vein of the Continental avant-gardes. Amid the surge of interest in periodicals within modernist studies, Ray has managed to escape broader attention. Its editor, Sidney Hunt, was an enigmatic figure and the magazine itself also eludes categorization, as it did not conform to the standards of English modernism, which were in the process of crystallising at the time of its publication and then dominated the scholarly consensus on artistic innovation during the interwar period

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Mayer, David R., and Kurosawa Fumiko. "Pfauendarstellungen in Kunst und Kunstgewerbe Japans. Pfauensymbolik und ihre Darstellungsformen in der ostasiatischen Kunst. [Representations of the Peacock in Japanese Art and Crafts. Symbolism of the Peacock and Its Expression in Eastasian Art]." Asian Folklore Studies 48, no. 1 (1989): 163. http://dx.doi.org/10.2307/1178544.

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Givens, Jean A. "Craft, Commerce and Den Permanente." Design and Culture 7, no. 3 (July 3, 2015): 335–56. http://dx.doi.org/10.1080/17547075.2015.1105587.

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Gagnier, Regenia. "William Morris and the Aesthetic Constitution of Politics, and: John Paul Cooper: Designer and Craftsman of the Arts and Crafts Movement (review)." Victorian Studies 43, no. 2 (2001): 350–52. http://dx.doi.org/10.1353/vic.2001.0017.

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Cooke Jr., Edward S. "Modern Craft and the American Experience." American Art 21, no. 1 (March 2007): 2–9. http://dx.doi.org/10.1086/518288.

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KITLV, Redactie. "Book reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 168, no. 2-3 (2012): 337–75. http://dx.doi.org/10.1163/22134379-90003565.

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Andrea Acri, Helen Creese, and Arlo Griffiths (eds), From La&#7749;kā Eastwards: The Rāmāya&#7751;a in the literature and visual arts of Indonesia (Dick van der Meij) Michael Arthur Aung-Thwin and Kenneth R. Hall (eds), New perspectives on the history and historiography of Southeast Asia: Continuing explorations (David Henley) Steven Farram, A short-lived enthusiasm: The Australian consulate in Portuguese Timor (Hans Hägerdal) R. Michael Feener, Patrick Daly and Anthony Reid (eds), Mapping the Acehnese past (William Bradley Horton) Geoffrey C. Gunn, History without borders: The making

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Lenssen, Anneka. "The Plasticity of the Syrian Avant-Garde, 1964–1970." ARTMargins 2, no. 2 (June 2013): 43–70. http://dx.doi.org/10.1162/artm_a_00047.

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This article examines Syrian art discourse on either side of the Naksa, the defeat of the Arab forces by Israel in June 1967, particularly transformations in the social value Syrian artists accorded to the irreducibly formal elements of the artistic craft. It analyzes these values by focusing on a reform program in the Faculty of Fine Arts at the University of Damascus, 1964–67, as well arts coverage in al-Bacth newspaper, exhibition texts, and the reception of artworks by Nazir Nabaa, Guido La Regina, Mahmoud Hammad, and Ahmed Nawash. It also explores the connotations of the term “plasticity,

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Edwards, Jason. "Bringing it all back home? Gibbons, William Coombe Sanders and mid-Victorian marine biology." Sculpture Journal: Volume 29, Issue 3 29, no. 3 (December 1, 2020): 361–78. http://dx.doi.org/10.3828/sj.2020.29.3.7.

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In this article, I examine in unprecedented detail little-known Victorian craftsman William Coombe Sanders’ remarkable sheepskin Frame Resembling Carved Wood with Lobster and Crab Motif, now at the V&amp;A, but first exhibited at the International Exhibition in London in 1862. The article asks three questions: What might we learn, from Sanders’ craft, about the likely mid-Victorian reception of Gibbons’s closely related marine works? How might we better understand Sanders’ and Gibbons’s work in the context not just of Victorian craft and design, but natural history and early twenty-first-c

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Adamson, Glenn. "Craft and the Romance of the Studio." American Art 21, no. 1 (March 2007): 14–18. http://dx.doi.org/10.1086/518290.

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West, Alana. "Frederick H. Evans: The Craft of Presentation." Photography and Culture 3, no. 1 (March 2010): 73–79. http://dx.doi.org/10.2752/175145110x12615814378315.

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Helland, Janice. "The Craft Reader by Glenn Adamson (ed.)." Design and Culture 3, no. 2 (July 2011): 269–71. http://dx.doi.org/10.2752/175470811x13002771868364.

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Kirwin, Liza. "Primary Sources for the Study of Studio Craft." American Art 21, no. 1 (March 2007): 23–27. http://dx.doi.org/10.1086/518292.

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Kurennaya, Anya. "Amateur Craft: History and Theory, by Stephen Knott." Design and Culture 8, no. 3 (August 16, 2016): 384–86. http://dx.doi.org/10.1080/17547075.2016.1218715.

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Johnson, Lorin, and Donald Bradburn. "Fleeing the Soviet Union, Dancing on the West Coast." Experiment 20, no. 1 (October 27, 2014): 297–316. http://dx.doi.org/10.1163/2211730x-12341266.

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In the 1970s and 1980s, Los Angeles audiences saw Soviet defectors Mikhail Baryshnikov, Alexander Godunov, Natalia Makarova, and Rudolf Nureyev in the prime of their careers at the Hollywood Bowl, The Dorothy Chandler Pavilion and the Greek Theater. Dance photographer Donald Dale Bradburn, a local Southern California dancer describes his behind-the-scenes access to these dancers in this interview. Perfectly positioned as Dance Magazine’s Southern California correspondent, Bradburn offers a candid appraisal of the Southern California appeal for such high-power Russian artists as well as their i

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Logie, Lea. "Developing a Physical Vocabulary for the Contemporary Actor." New Theatre Quarterly 11, no. 43 (August 1995): 230–40. http://dx.doi.org/10.1017/s0266464x00009118.

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One of the distinguishing qualities of live theatre is its built-in ephemerality: yet all too often this involves the loss not only of the fruits of theatrical experience but of ‘experience’ itself, understood as the learning of craft – and this puts experimental companies and practitioners alike in danger of constantly reinventing the wheel. Connecting this to the needs of serious performers to acquire a wide range of expressive movements, and to explore the process of relating these movements to thoughts and feelings, Lea Logie discusses both common elements and contrasting approaches in the

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Mason, Liz. "Exhibition Review: The Art and Craft of Gianni Versace." Fashion Theory 9, no. 1 (March 2005): 85–88. http://dx.doi.org/10.2752/136270405778051446.

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Ho, Christine I. "In Search of National Decoration." Archives of Asian Art 69, no. 2 (October 1, 2019): 121–54. http://dx.doi.org/10.1215/00666637-7719395.

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Abstract In the late 1930s, design studies in China underwent a paradigmatic shift when the cosmopolitan idioms fashioned within treaty-port cities were rejected in favor of populist ethnonationalism, developed along the border regions of wartime China. This essay examines design compendia by Pang Xunqin and Lei Guiyuan, founding figures in modern design studies, as proposals that advocate for a reevaluation of folk and ethnic-minority traditions. Shaped by a signal moment in wartime modernism, the design proposals are located at the conjunction of two fields of knowledge that were discursivel

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Mayer, Tara. "From craft to couture: Contemporary Indian fashion in historical perspective." South Asian Popular Culture 16, no. 2-3 (September 2, 2018): 183–98. http://dx.doi.org/10.1080/14746689.2019.1565332.

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James-Chakraborty, Kathleen. "Bauhaus Weaving Theory: From Feminine Craft to Mode of Design." Design and Culture 7, no. 3 (July 3, 2015): 470–71. http://dx.doi.org/10.1080/17547075.2015.1105509.

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Gerber, Haim. "Suraiya Faroqhi. Towns and Townsmen of Ottoman Anatolia: Trade, Crafts and Food Production in an Urban Setting, 1520-1650. (Cambridge Studies in Islamic Civilization.) Cambridge-New York: Cambridge University Press, 1984. xiv + 426pp. $59.50." Renaissance Quarterly 41, no. 1 (1988): 132–35. http://dx.doi.org/10.2307/2862255.

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