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1
Bardi, Augustine Okola. "4. Kazeem Olojo: A Professional Painter and an Art Instructor Universal Studios of Art, Lagos, Nigeria." Review of Artistic Education 14, no. 1 (March 2, 2017): 262–70. http://dx.doi.org/10.1515/rae-2017-0032.
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Abstract The works of art are priceless going by the quality of works exhibited by an artist. The artist tends to describe a particular scene near to the natural object in question. In the 15th and 16th centuries , France relayed on the impressionists who graduated from workshops and schools of apprentice in the likes of Gauguin, Monet, Manet, Degas, Renoir Cezanne, Delacroix and others to capture scenes of the Parisian country side that existed long age. The artist and his works remain indispensible to the existing societies. This form of art venture is not new to Nigeria where schools and workshops of apprenticeship exist. In Nigeria, the existing heritage and traditions if not for the artists will not be translated into art by the artists particularly painters like Dale, Oshinowo, Oguntokun, Emokpae, El-Dragg and others. The existence of workshops and schools of learning art have trained more artists to keep the aesthetical values of art. The society would be no doubt an unpleasant community without a touch of the arts. The artists who on daily bases create by painting, sculpting to make the environment a pleasurable place remain an important factor in the society.
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Legret, Mathilde. "The Vocational Regime in Art: On Myths and Performativity." Journal of Extreme Anthropology 1, no. 2 (September 7, 2017): 41–47. http://dx.doi.org/10.5617/jea.4886.
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A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essay analyzes the development and mythology behind the notion of 'vocation' within the art world, while using the case of the Viennese artist Ursula Hübner. It argues that it is not only art institutions and the society, but also artists themselves who are complicit in the reproduction and valorization of the myth of vocation in art.
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Pehlivan, Hakan. "War Peace and Art." European Journal of Multidisciplinary Studies 5, no. 1 (May 19, 2017): 497. http://dx.doi.org/10.26417/ejms.v5i1.p497-497.
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The world is going to a darkness without end. War, nationalism, discrimination and various conflicts tearing people. They are forced to migrate. Chemical weapons are being used. The children are being killed. Environmental disasters are happening. Boundary walls are built. The wars of religion are at the door. Kin hate seeds are being planted and transferred to future generations. Nationalism is on the rise. We are losing our desire to live together. Despite this, peace and tranquility in our surroundings are our greatest desires and we are right. Civil society should do something to stop it. In this sense, artists are the strongest propagandists. To support peace, art practices have become more important than the past. The artist's initiative is used both to rehabilitate society and to eliminate prejudices. Many international plastic art form is exemplified in this study. Complementary arts workshops, public artworks are examples of these. In addition, the results obtained from the workshop of Turkish Greek artists are presented with preliminary results and related examples.
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Setai, Phokeng T., Jan K. Coetzee, Christoph Maeder, Magdalena Wojciechowska, and Leane Ackermann. "The Creative Process. A Case for Meaning-Making." Qualitative Sociology Review 14, no. 4 (January 8, 2019): 86–99. http://dx.doi.org/10.18778/1733-8077.14.4.06.
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Since the beginning of time art-making has been a tool to express, preserve, and challenge the extant knowledge in society. Artists do this by finding or creatively constructing new understandings in society. An artist is able to do this through the medium he/she uses to relay the message of the artwork. The medium that an artist uses to express his/her artistic concept has an impact on the character that the artwork will take. The medium of expression forms but one of the many considerations that go through an artist’s mind when creating art. In the process of art-making, an artist seeks to create new meanings or re-imagine old ones by organizing materials and concepts. In so doing, he/she discovers novel ways to get ideas across, and thereby creates new interpretations of social phenomena. In this article, attention is given to meaning-making as a conscious and iterative component of creating art. From a series of in-depth interviews, the authors analyze the inward processes that occur within six artists’ creative praxes and how these lead their construction of meaning. Attention is also paid to how the artists manipulate concepts and how they construct and deconstruct their understandings of these concepts in the course of their creative endeavors.
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Gupta, Sunita. "ART, ARTISTS AND CONDOLENCES." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 277–80. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3753.
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English: Beauty, love, sensation, feeling and consciousness are social rites. With the continuous development of the developing living beings, they also evolved, rising above the category of human, monkey and forest man and became great human beings. His mind, mind, aesthetic consciousness and love continued to develop on the strength of his intellect and is still happening today. Man has always been a necessity of society and due to the desire for sociality, he has an attitude of love and love. Charles Darwin has accepted aesthetic consciousness even among non-human beings, but aesthetic consciousness is limited to sexual sensation only. Man has given aesthetic consciousness control from senses due to cultural and sociality. In terms of ray sensation, there are two types of organisms - one that attracts sunlight such as kitesurf, etc. and those who find the sunlight repellent like owl, chali etc. This difference is due to the anatomy of the animal and different types of senses. On the basis of this variation, other dimensions and aspects of the aesthetic consciousness of beings depend. Due to the characteristic of eye-brain relationship in humans, there is a difference in thinking towards beauty. The more aware, active and capable the mind is, its beauty-consciousness is sharp and sharp. Mahakavi Bihari has considered it a distinction-
Hindi: सौन्दर्य, प्रेम, संवेदना, अनुभूति और चेतना आदि सामाजिक संस्कार है। विकासशील चैतन्य प्राणी के निरन्तर विकसित हाने से इनका भी विकास हुआ मानव,वानर और वनमनुष्य की श्रेणी से ऊपर उठकर महामानव बन गया। उसका मन, मस्तिष्क, सौन्दर्य चेतना और प्रेम निरन्तर उसकी बुद्धि के बल पर विकसित हुए और आज भी हो रहे हैं। मनुष्य को समाज की सदैव आवश्यकता रही और सामाजिकता की आकांक्षा के कारण ही उसमें सौन्दर्य प्रिय और प्रेम की वृत्ति होती है। चार्ल्स डार्विन ने मानवेतर प्राणियों में भी सौन्दर्य चेतना को स्वीकार किया है लेकिन उनमें सौन्दर्य चेतना केवल यौन-संवेदना तक सीमित है। मनुष्य ने सांस्कृतिकता एवं सामाजिकता के कारण सौन्दर्य चेतना को इन्द्रियों से नियन्त्रित धरातल दिया है। किरण संवेदना की दृष्टि से जीव दो प्रकार के होते हैं-एक वे जिन्हें सूर्य का प्रकाश आकर्षित करता है जैसे पतंगा चातक आदि दूसरे वे जिन्हें सूर्य का प्रकाश विकर्षक लगता है जैसे उल्लू, चाली आदि। यह भिन्नता प्राणी की शरीर रचना और इन्द्रियों के भिन्न प्रकार से निर्मित के कारण होती है। इसी भिन्नता के आधार पर प्राणियों की सौन्दर्य चेतना के अन्य आयाम और पक्ष निर्भर करते हैं। मनुष्य में नेत्र-मस्तिष्क सम्बन्ध की विशेषता के कारण सौन्दर्य के प्रति सोच में अन्तर आ जाता है। मस्तिष्क सौन्दर्य के प्रति जितना अधिक सजग, सक्रिय एवं समर्थ होगा, उसकी सौन्दर्य-चेतना उतनी ही तेज एवं प्रखर होती है। महाकवि बिहारी ने इसे भेद माना है-
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ΜΑΥΡΟΜΙΧΑΛΗ, ΕΥΘΥΜΙΑ Ε. "ΟΙ ΚΑΛΛΙΤΕΧΝΙΚΟΙ ΣΥΛΛΟΓΟΙ ΚΑΙ ΟΙ ΣΤΟΧΟΙ ΤΟΥΣ (1880-1910)." Μνήμων 23 (January 1, 2001): 221. http://dx.doi.org/10.12681/mnimon.712.
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<p>Efthimia Mavromichali, Artists associations in Greece 1880-1910 and their goals</p><p>During the last twenty years of the 19th century and the first decadeof the 20th the first artists associations appear in Athens. Such societiesare founded mostly through the initiative of art-lovers and are indicativeof the new sociability of the rising middle classes of Athens. Artistsattempt to establish their own societies, to demarcate and safeguardtheir professional rights, but without success. Being, however, dependenton art-lovers for financial support and social power, artists are compelledto include them in their associations. The role of the artist in suchassociations is advisory and consultative. Thus artists associations inGreece differ from contemporary associations founded in the rest ofEurope, in that the principles governing their formation are not primarilybased on matters of style and artistic principles.In this study I examine the function and activity of three suchsocieties, namely, The Art-lovers' Society, The Artists' Union, and TheArtists' Society. The artistic activity during the period in question ismarked by the private initiatives of art-lovers and artists. This, however,stands in a wider social context that attributes a national andmoral mission to art and expects art to contribute to national renewal,especially after the devastating war of 1897.Artists' associations attempt to fulfil their mission in society bypromoting the fine arts, by cultivating the development of aestheticcriteria among a wide range of people and by supporting artists. Inpursuit of these goals, they organise exhibitions which, although notalways under strict artistic rules, give a significant impulse to art marketing,and pave the way for state initiatives in support of art and artists.</p>
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Gupta, Pooja. "REFLECTION OF SOCIETY IN THE REFERENCE OF PAINTINGS." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 114–45. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3723.
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The relation of visual art, artists and society is the focal point around which this paper rotates. There exists a reciprocal connection between the three, which has to be comprehended concurrently. Society needs art, and artists not only for enriching its culture, but also for the very development of humankind. This mutual relationship is consequently set beneath the sociological microscope and an effort has been made to comprehend the diverse nuances of the lives of the respondent artists. An artist is dependent in one way or another on other people around him and is enmeshed in a whole series of social relationships. Social issues are one of the major themes of the artwork of number of the artists. Anything that moves the artists or appeals to their artistic sense becomes their motivation for creation. The other thing that inspired them was that, for the artists, painting is a desire, a need, an urge, or a drive to communicate and express. For some it is like meditation or doing practice. It is more of a psychological satisfaction that they gain by giving this passion an expression. The need to earn a living also at times motivated them to create. The artist’s personal experiences in life, their frustrations, joys and happiness inspire them to paint.
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BridA, Tom Kerševan, Sendi Mango, and Jurij Pavlica. "Somewhere between art and science." Journal of Science Communication 08, no. 02 (June 19, 2009): C05. http://dx.doi.org/10.22323/2.08020305.
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There is a fundamental difference between artists, who use science as an object of social examination, and artists, who believe that science represents a component of their expressive style. The idea that different ideological manipulations of the Art&Science concept can cause a distorted view on this fascinating and at the same time controversial relation is becoming clear. In our projects we use different technological and scientific applications; to us technology is an integral part of our artistic expression. The scientific and analytical approach that we use when we investigate and solve various operations within our projects, indicates that our system is based on collective and systematic work and it allows us to understand better the different problems and relations of contemporary society. Art has always played an important role in the system of the communication of ideas and feelings in a tight connection with contemporary society. No wonder that the artist today uses the methods and technologies of modern and sophisticated devices. We are all users of new technologies, developed with the help of scientific discoveries in order to satisfy our needs. Anyway the belief that society borrowed research in the field of science and technology in order to survive is incorrect.
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Casale Taylor Basker, J. "An Artist-Scholar Finds Beauty from Ashes: Brazilian Artist Duda Penteado." Religion and the Arts 18, no. 1-2 (2014): 222–38. http://dx.doi.org/10.1163/15685292-01801011.
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Duda Penteado’s Beauty for Ashes Project addresses the dilemma of contemporary artists finding their own voice after the art movements of the twentieth century. His background as a Brazilian and a believing Christian gives him a unique response. He appropriates and transforms the work of great modern artists without a need for elaborate theoretical justification. Much influenced by Paulo Friere and his belief in the significance of art for social change, Duda is involved in art projects with students and the public around the world. In these projects, ideas are developed, and creative art installations are built that he hopes will inspire people to search deeper for meaning in life. He believes that faith is not a process of convincing but an encounter. Curiosity must be sparked to begin the process for each individual to make the journey. Duda is convinced that art holds a significant role in society and that the artistic image expresses the essence of society. His work represents a genre of artwork derived from ethnic tradition and religious experience. Duda believes that great art comes from within and is the true language of the soul. To create art is an act of faith in itself.
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Yilmaz, Ayşe Nahide. "The Image of Politics in Art: Projecting the Oppression in Turkish Art Scene." European Journal of Multidisciplinary Studies 6, no. 2 (June 10, 2017): 339. http://dx.doi.org/10.26417/ejms.v6i2.p339-339.
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In the 1970s, Turkey's artistic milieu was mostly influenced by socialist realistic painters who demonstrated political criticism with a figurative understanding. The oppression that came with the coup d'état of September 12, 1980 aimed at a depoliticized society, and artists were then politically diverted to implicit and indirect ways. While direct intervention from the military or the civil government under its control rarely came, the artists and art institutions have even ended some kind of auto censorship. In a demoralized and depoliticized cultural environment, the works that embodied the 'social ghost' have both raised emotional and reactive objections and ironically created a sense of guilt in the audience. Being a spectator meant to be a victim, a judge, a witness, or maybe -in fact- all of these at once. The artist imagination reproducing the notions of authority and power in silenced societies has made conspicuous human rights violations, tortures, and executions through works of art. Artists, who counted art as a vehicle to change the world, have provided a deep dimension in art environment with a wide variety of knowledge and skills right along with new techniques and materials. In this work, there shall be many examples of artists and works of art that combine 'art politics' and 'political art' as a single thing, which goes beyond traditional approaches to art and politics in the intense and subversive political atmosphere of the 1980s in Turkey.
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Esanu, Octavian. "What was Contemporary Art?" ARTMargins 1, no. 1 (February 2012): 5–28. http://dx.doi.org/10.1162/artm_a_00003.
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This article contributes to a recent debate around the question “What Is Contemporary Art?” It brings into discussion certain key aspects of the activities of the Soros Centers for Contemporary Art (SCCA)—a network of contemporary art centers established by the Open Society Institute in Eastern Europe during the 1990s. The author draws upon distinctions between this new type of art institution and the Union of Artists (the organizations which represented the interests of artists under socialism), highlighting distinct artistic, aesthetic and economic characteristics of each institutional model.
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Johnson, Diana. "From Field to Frame: The Fine Art of Crop Art." Gastronomica 2, no. 2 (2002): 11–13. http://dx.doi.org/10.1525/gfc.2002.2.2.11.
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The annual seed art competition at the Minnesota State Fair evokes the heritage of an agriculture-based economy. But portraits of middle-American icons rendered in the seeds of Minnesota crops, exemplified by the work of old-timer Lilian Colton, rub shoulders with a more contemporary view of Minnesota's place in society presented by urban crop artists like Cathy Camper.
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Drobnick, Jim. "Bottles of Art, Works of Alcohol." Gastronomica 18, no. 4 (2018): 54–70. http://dx.doi.org/10.1525/gfc.2018.18.4.54.
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Alcohol has gained a notable prominence in contemporary art, particularly in artists’ bars and other convivial situations at biennials and art fairs. What happens, though, when an artwork features alcohol that cannot or is not meant to be drunk? If the point of drink in contemporary art involves engaging spectators in sensorial, embodied encounters, what remains of the specialness of alcohol when it stays in the bottle? This article examines artists’ multiples and distillation projects where drinking is teasingly possible but downplayed. In these works, partaking is less important than the inebriating affect, in which drunkenness is experienced at a remove, and so infuses the imagination to instigate thought beyond the act of drinking. Even when contained, the intoxicating potential of alcohol has the ability to disrupt norms and aesthetic conventions, as well as to make compelling comments on art and society.
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Bray, Anne. "The Community Is Watching, and Replying: Art in Public Places and Spaces." Leonardo 35, no. 1 (February 2002): 15–21. http://dx.doi.org/10.1162/002409402753689263.
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The author describes her public-art projects and installa-tions, in which she has em-ployed various combinations of video, photography, audio, sculpture and performance, often in collaboration with artist Molly Cleator. The pieces spectacularize unresolved conflicts between the artists regarding what is personally truthful as compared to what society dictates, especially concerning the “three deviants”: women, art and nature. The artists question who defines these related realities and how. The author has also offered hundreds of artists a forum called L.A. Freewaves, a media arts organization and festival working in traditional and nontraditional venues throughout Los Angeles, in an effort to disseminate community-empowering public art widely.
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Zhang, Yue. "Governing Art Districts: State Control and Cultural Production in Contemporary China." China Quarterly 219 (July 24, 2014): 827–48. http://dx.doi.org/10.1017/s0305741014000708.
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AbstractContemporary Chinese artists have long been marginalized in China as their ideas conflict with the mainstream political ideology. In Beijing, artists often live on the fringe of society in “artist villages,” where they almost always face the threat of being displaced owing to political decisions or urban renewal. However, in the past decade, the Chinese government began to foster the growth of contemporary Chinese arts and designated underground artist villages as art districts. This article explores the profound change in the political decisions about the art community. It argues that, despite the pluralization of Chinese society and the inroads of globalization, the government maintains control over the art community through a series of innovative mechanisms. These mechanisms create a globalization firewall, which facilitates the Chinese state in global image-building and simultaneously mitigates the impact of global forces on domestic governance. The article illuminates how the authoritarian state has adopted more sophisticated methods of governance in response to the challenges of a more sophisticated society.
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Meeks, Amanda. "Art as the practice of freedom: Critical alliances and professional identities within art librarianship." Art Libraries Journal 44, no. 2 (April 2019): 61–66. http://dx.doi.org/10.1017/alj.2019.5.
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This article explores issues of developing individual and collective professional identities within art librarianship, with an emphasis on art librarians’ relationship to art and art-making. By having more honest conversations around what art does, what artists do and how they function in society, we can challenge deeply held assumptions about art librarianship; in particular, that our work is somehow removed from the political and social contexts in which we perform it. Through critical interventions within our profession we can develop a better understanding and definition of our relationship to art and artists in order to situate ourselves within current art practices. We can then build impactful relationships and social justice-oriented solidarity with creative practitioners and artists who are actively challenging structural oppression and promoting social justice through their work.
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Wexler, Alice. "Autism and outsiderism: The art of George Widener." International Journal of Education Through Art 16, no. 1 (March 1, 2020): 83–99. http://dx.doi.org/10.1386/eta_00018_1.
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Abstract Until recently, Outsider Art has escaped the examination that has been given other colonialist labels, such as Orientalism and Primitivism. Contemporary artists, such as George Widener, who slip in between mainstream and Outsider artworlds, pose lingering questions about this category. As an autistic artist, Widener also upends the misrepresentations about the spectrum in both the artworld and art education. I suggest that although Widener does not serve as a representative of the autistic or Outsider Art communities, he does serve as an example of entrenched notions of art and disability in these worlds. In this article, I ask how labels might be discarded so that we can enjoy artists who tell us about the neuro-diverse interior of individuals. Removed from outwardly imposed categories, we might re-imagine art in society and art in schools.
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Dubey, Kumud. "PLANT SYMBOLISM IN PAINTING." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 92–94. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3707.
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The great flower artists have been those who have found beauty in truth, who have understood plants scientifically and who have yet seen and described them with eye and hand of the artist. Plants, flowers and other foliage symbolize emotions, ideas and actions. Each plant has its own meaning. Painting art and plant illustration is beneficial for modern society because nature inspiring art and art preserving nature.
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Fawcett, Trevor. "The nineteenth-century art book: Content, Style and Context." Art Libraries Journal 17, no. 3 (1992): 12–17. http://dx.doi.org/10.1017/s0307472200007902.
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Although ‘art books’ of various kinds existed before 1800, art publishing grew significantly and with increasing speed through the 19th century. Two key factors, each encouraging the other, were the growth of interest in art among a heterogeneous public, and developments in printing technology, especially in methods of reproducing illustrations. Increasing numbers of illustrated art books contributed to the dissemination of awareness of an ever-broader spectrum of works of art, and of the decorative arts, throughout society, and nourished the historicism and eclecticism practised by contemporary artists and designers. The Romantic Movement’s cult of the individual artist prepared the way for the emergence of the artist’s monograph as a significant category of art book, made possible by the capacity to reproduce an artist’s works. The growth of art historical scholarship, informed by a new rigour, brought about the publishing of scholarly works incorporating documentary research, and of previously unpublished or newly-edited source material; art reference works, of several kinds, also multiplied. By 1900 art publishing had set all the precedents it would need until well into the second half of the 20th century.
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Zarytska, Olena. "FEMINIST ART GRIZELDY POLLOK AS A CHALLENGE TO THE ART OF THE PAST." Sophia. Human and Religious Studies Bulletin 17, no. 1 (2021): 40–44. http://dx.doi.org/10.17721/sophia.2021.17.8.
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The theoretical work of one of the founders and leading figures of modern feminist art Griselda Pollock is considered. Representing researchers whose ideas were shaped by the radical cultural and social revolution of the 1960s and 1970s, she belongs to the second generation of feminist art criticism. The author points to the eclectic methodological position of G. Pollock, which combines a number of areas associated with its "radicalism" in relation to the classical areas of art history and social thought. In particular, it is Marxism, poststructuralism of R. Bart and M. Foucault, Freudian psychoanalysis etc. Methodological eclecticism G. Pollock suggests that the leading in her work is her ideological attitude, rather than research position. Although G. Pollock's theoretical constructions are formally based on specific biographical and art studies of artists of the past, methodological eclecticism does not allow to characterize them as scientific or at least consistently logical in their construction. The author concludes that substantively, the concept of G. Pollock is based on the interpretation of female (and male) principles in the artist's work as a gender category, defined by the prevailing social roles and stereotypes in society. G. Pollock uses the concept of "bourgeoisie" in relation to the culture of the masculine society of the past; attempts to develop the concept of "death of the author" by R. Bart in the interpretation of the socially determined figure of the artist (on the example of W. Van Gogh); quite arbitrarily uses the apparatus of Freudian psychoanalysis to read ("deconstruct") works of art, in particular, paintings by W. Van Gogh and A. de Toulouse-Lautrec. Thus, G. Pollock turns feminist art criticism into an ideological platform for the development of a range of ideological and theoretical currents, united by their radicalism and opposition to classical art and the ideological foundations of modern civilization as a whole.
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Гальчінська, О. С., К. О. Гамалія, and К. Л. Пашкевич. "АНАЛІЗ ТВОРЧОСТІ ПРОВІДНИХ МИТЦІВ ЛЕНД-АРТУ ХХ СТОЛІТТЯ." Art and Design, no. 3 (December 5, 2019): 48–57. http://dx.doi.org/10.30857/2617-0272.2019.3.5.
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Purpose of the article is to research the distinctive features of the works of leading artists of land-art of XXth century, the analysis of their place and contribution to the overall development of culture, as well as the impact of work on the creative artists today. Methodology. The methodological basis of the study is a systematic approach, methods of comparative-historical and art analysis. Results. Works of the leading artists of land-art of the XXth century were considered as part of the the goal. It is confirmed that the source of inspiration from artists of land art is nature, its phenomena, as well as human, his inner world and interaction with the environment. Defined the special significance of the information component in the land-art, as natural space and Earth's horizon is perceived by the artist as a coherent concrete semantic field. It was analysed that the concept of land-art combines a huge range of artistic projects created by the authors using different approaches, techniques and Ways of execution, but all of them are combined with common origin – to transform an element of a natural landscape into an art object. Methods of creation and presentation of viewer work in order to form a certain public opinion are researched. Scientific novelty consists in defining the peculiarities of the approaches and means for the creation of art objects of land-art as manifests by artists who turn to society in order to form public opinion and to attract attention to social and environmental problems of mankind. Practical significance is that the materials presented, their analysis and generalization can be used in scientific researches devoted to development of art of land art and also in definition of the creative influence of leading artists of land art of XX century on the activity of contemporary artists for further implementation in author's creative projects.
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Terpesheva, Dobromira. "Where are the Women on the whole Scene of Art?" Sledva : Journal for University Culture, no. 39 (August 20, 2019): 26–35. http://dx.doi.org/10.33919/sledva.19.39.5.
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The text offers an analysis of the role of women in art and society today and poses fundamental questions regarding the visibility of female artists in Bulgaria. This study was created in connection with the Women's Artistic Projects Fund, a project of the Bulgarian Women's Fund. The fund aims to act against the under-representation of women in the professional arts and the cultural sector, to give visibility to the creativity of female artists and to increase their access to financial resources.
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Huang, Yaqi. "Analysis on artist neuropsychology and art creation." Translational Neuroscience 10, no. 1 (April 23, 2019): 64–69. http://dx.doi.org/10.1515/tnsci-2019-0011.
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Abstract Based on Carl Gustav Jung’s persona philosophy, this paper conducts theoretical analysis on the introvert and extravert personalities, distinguishes the introvert personality from the psychopathy defined from a medical perspective, and elaborates on the dominance of introvert personality in art creations, as well as the “mental conditions” among artists that the contemporary society is concerned with. This paper uses modern artists as subjects to support the conclusion through analysis of their childhood, career and life stories.
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Imam, Parvez. "Art of Healing, Medicine and Humanity." International Journal of User-Driven Healthcare 3, no. 4 (October 2013): 56–60. http://dx.doi.org/10.4018/ijudh.2013100108.
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Medicine is the art of relieving others of their suffering. It requires technology and methodologies that science has helped us develop. However the understanding of pain and its impact in peoples' lives and on the society as a whole is often missed out in the skewed focus on the search for happiness (“Definition of happiness - state (British & World English),” n.d.). Pain is an important symptom that serves as a warning as well as a pointer for an illness. Here the authors re-examine the reasons that connect pain and suffering to artists and healers as well as the connection between an artist and a healer. It also dwells on the age old science versus arts argument and its validity.
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Sawicki. "Rediscovering Monasticism through Art." Religions 10, no. 7 (July 10, 2019): 423. http://dx.doi.org/10.3390/rel10070423.
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Looking at modern monasticism and its role in society one can see how traditional monastic concepts or values find their new forms. On the other hand, art and artists willingly, though not always consciously, use or refer to some monastic themes. In this paper, on the base of texts of some authors open to the dialogue between monasticism and art, a reading of monasticism in the key of art is proposed, exclusively in reference to the Christian monasticism. Given its present cultural and social context, the thesis of this paper is that through the rediscovering of monasticism through art, one can and should refresh and save it in a more and more secularized society, what may be also a perspective of a new role of monasticism in the modern world.
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Gavrilyuk, M. N. "GLAGOLEV IN THE IDEOLOGICAL FIELD OF THE FINE ARTS OF THE CRIMEAN ASSR (1928–1946)." Scientific Notes of V.I. Vernadsky Crimean Federal University. Historical science 7 (73), no. 2 (2021): 39–52. http://dx.doi.org/10.37279/2413-1741-2021-7-2-39-52.
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The article describes the activities of Alexander Nikolaevich Glagolev, a Crimean artist who was the most prominent figure in the ideological field of the fine arts of the Crimean ASSR. Working first as an artist, and then as head of the illustration department of the newspaper «Red Crimea», he made every possible effort to implement state policy in all spheres of artistic life in Crimea. Since 1929, he has been developing an unprecedented activity for Crimea, hoping to «wrest artists from the state of dead apoliticality and switch them to serving the interests of the revolutionary proletariat», while educating a generation of young, ideologically literate artists. As the main platform for the implementation of his plans, A. N. Glagolev uses the newspaper «Red Crimea», on the pages of which not only his illustrations and cartoons appear, but also fairly large articles urging artists and photographers to be closer to socialist construction. His merits include the organization of an art exhibition dedicated to the 10th anniversary of the Sovietization of Crimea, the First All-Crimean Exhibition of Amateur Art, as well as an exhibition of professional and amateur artists in the Moscow State Museum of Oriental Cultures «Art of the Soviet Crimea». A. N. Glagolev was the founder and chairman of the Crimean Society of Revolutionary Artists «Izofront». He tried to provide support to representatives of amateur and national art.
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Prihadi, Bambang, Tjetjep Rohendi Rohidi, and Tri Hartiti Retnowati. "The Existence and Practice of Art For Children (AFC) Yogyakarta as A Non-Formal Art Education." Harmonia: Journal of Arts Research and Education 18, no. 2 (January 3, 2019): 143–52. http://dx.doi.org/10.15294/harmonia.v18i2.17052.
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This article examines the existence, role, and practice of Art for Children (AFC) Yogyakarta as a community art center for children in Yogyakarta. Due to its cultural and educational setting, the children’s art center serves as an alternative for non-formal art education. The data were gathered by the passive participant observation, in-depth interview, and document review and analyzed by using the interactive model. The research results in four things. First, the establishment of the Art for Children (AFC) meets the needs of the self-actualization of both the artists and the parents in nurturing children’s art. Teaching art to children becomes the honorable way for the artists to reach his self-fulfillment as artists as well as members of a society and, on the other hand, engaging their children’s in the art center is the responsibility for the parents to fulfill their aesthetic needs and to support their children’s education. Second, the lesson emphasizes the process rather than the result; it is oriented to the development of art educational values rather than artistic skills. The training process involves collaboration between the artists and the parents. The artists engage the parents in active participation of guiding the children. Third, through this strategy the children have produced original and creative drawings and paintings worthwhile for children’s aesthetic education and cultural activity in the city.
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Haputhanthri, Hasini. "The past in our art: confronting the contemporary in an ancient society." Journal of the British Academy 9s3 (2021): 173–95. http://dx.doi.org/10.5871/jba/009s3.173.
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Sri Lanka is an ancient culture that has evolved into a complex post-colonial society with a multitude of identities, hybridities, synchronicities, and paradoxes. The �idea of the past� is explored by analyzing its iconographic and semiotic representations in contemporary art in work by three Sri Lankan artists. Contemporary artists respond to and re-mold their artistic traditions in depicting their day-to-day lived realities. Is the past a burden or a basis, is it inescapable or unwarranted, in projecting their contemporary truths? Does art become a practice of constant negotiation between the past and the present? How do these artists support or challenge the mainstream historic narratives intrinsic to social conflicts in the island? Ideas and representations of the past play a central role in social discourses. There are competing versions of the past: the �historic past� and the �practical past�, which is also the past of the �common man�. While some contemporary artists draw from mainstream historical narratives, one finds a critical and reflective art practice in contemporary visual culture in Sri Lanka. The work of Jagath Weerasinghe and Hanusha Somasundaram illustrates how artists respond to and investigate the past, and their approaches from History, Archaeology, and Art History, the professions most associated with �the past�, are delineated. These artists make valuable contributions to modern historiography through their art that can be read as intricate palimpsests of iconography, narrative, and memory; through visually challenging dichotomies, making their practices signifiers of the ways in which societies understand and express their past in relation to their present and themselves.
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Wood, Sharmila. "Making Space. Singapore, Artists & Art in the Public Realm." Journal of Public Space, Vol. 5 n. 4 (December 1, 2020): 137–54. http://dx.doi.org/10.32891/jps.v5i4.1408.
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In recent times Singaporean artists have undertaken audacious artistic performances, actions and interventions in public space, highlighting the role of artists as provocateurs of debates around public space and their engagement with issues related to ethical urbanism. Between 2010 – 2020 artists working in diverse fields of artistic practice including visual art, street art, performance art, community arts and new genre public art begun to locate their artwork in public spaces, reaching new audiences whilst forging new conversations about access, inclusion and foregrounding issues around spatial justice. In contesting public space, artists have centralized citizens in a collective discourse around building and shaping the nation. The essay documents key projects, artists and organisations undertaking artistic responses in everyday places and examines the possibility of public art in expanding concepts of ‘the public’ through actions in Singapore’s public space, and demonstrating the role of artists in civil society.
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Schleicher, Alexander. "Museum of Contemporary Art by Artists." Advanced Engineering Forum 12 (November 2014): 79–87. http://dx.doi.org/10.4028/www.scientific.net/aef.12.79.
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Museum is type of building which among architectural work occupies a special place by its distinct function of documenting existence and progress of humankind, society and their environment. This is reflected in the outstanding architecture of these buildings. 95% of museum buildings arose after World War II. This authorizes us to talk about the museum as a “20th century phenomenon“ especially of the second half of it. The unprecedented growth of museums after World War II – most of them are museums of art, especially contemporary art – entitles a question which is often discussed: What is an ideal museum like as an object serving for exhibiting art and what does an ideal exhibition space for contemporary art look like? This question had only been discussed among architects and museologists for a long time. According to the nature of contemporary art and because of the fact that alongside these two determinants the exhibiting artists who actively influence exhibition space and form the final spirit of the exhibition became an important element in creation of the museum; the question what is the artists’ vision of the ideal museum is poignant. Answer to that question can be given by concepts of the ideal museum of contemporary art from the end of the 20th century created by artists. The “Bilderbude” concept by Georg Baselitz, two projects “Ideales Museum” by Gottfried Honegger, “A Place Apart” by Marcia Hafif and also concepts of museums or opinions on a museum of contemporary art by other artists provide an idea of how the artists deal with and look on this problematic. The issue of museum of contemporary art perceived by the optics of artists definitely represents an interesting example of connecting functionality demanded by the artists, significant author’s approach and philosophical ideas concerning the ideal museum of contemporary art. Museum Concepts – Thinking about Museum Museum concepts from the beginning of existence of museum buildings (in some cases even before considering a museum an individual specialized object or an institution) provide us the notice about the main themes which the actors of this problematic were dealing with at that time. While at the beginning in the museum concepts we can trace the effort to define an individual type of a museum building, an ideal museum; then we can see searching for a form which would be adequate to the building expression. Later especially in the 20th century until nowadays there have been solved more specific problems concerning the growth of the museum collections, expanding the functional structure of the museum, shape and form of the exhibition space etc. The museum topic such important personalities as for example Étienne-Louis Boullée, Le Corbusier or Ludwig Mies van der Rohe brought their contribution. The 20th century especially the 2nd half of it, if we do not only consider the narrow present scope, brought an unseen growth of museum architecture. 95% of museums arose after the World War II. [1] A great part of museums which were built in this period are museums of art, often presenting modern or contemporary art. This fact - emerging of such an amount of museums of contemporary art together with the changed form of visual art in the 20th century – the importance of depicting and documenting function of art, which until then visual art besides the aesthetical function was satisfying started to decrease, the artist were engaged in new themes, they experimented with new methods etc. – brings increasing effort of the artists to influence the final form of the exhibition spaces in the means of their specific demands and also to influence the form of the general form of the museum building. The artists more and more actively participate at creating the museum, they influence the form of the exhibition space and the exhibition itself – unlike in the past, when the museologist, curator was creating the exhibition by choosing from the collection, which he had at disposal and the exhibition was formed by them relatively independently from the artists – authors of the exhibits. The first artistic experiments, which balance on the edge of visual art and museum, have been occurring since the 20-ties of the 20th century – let’s mention for example El Lissitzky (Proun room, 1923), Kurt Schwitters (Merbau, 1923-37) or Marcel Duchamp (Boîte-en-valise, 1935-41), and they persist until nowadays. In the 70-ties Brian O`Doherty analyses from the point of view of an art theoretician but also an active artist the key exhibition space of the 2nd half of the 20th century, which he characteristically identifies as White Cube. Donald Judd – artist and at the same time a hostile critic of contemporary museum architecture (70-ties-80-ties) formulated his uncompromising point of view to the museum architecture as follows: “Forms’ for their own sake, despite function, are ridiculous. One reason art museums are so popular with architects and so bizarre, is that they must think there is no function, the clients too, since to them art is meaningless. Museums have become an exaggerated, distorted and idle expression for their architects, most of whom are incapable of expression.“ In another text he posed the question: “Why are artists and sculptors not asked how to construct this type of building?“ [2] As we can see the artists’ opinion who seem to stay unheard in the museum and their needs stay unnoticed has full legitimacy and is very interesting for the problematic of museum and exhibition space. Beginning in the 70-ties of the 20th century these opinions are given more and more precise contours. While O’Doherty only comes with a theoretical essay on exhibition space (1976), D. Judd already presents his own idea of a museum even realised through the Marfa complex in Texas (1979/1986). Let’s mention some other artists who form their ideas of an ideal museum in form of unrealised concepts. Some authors name their proposals after a bearing idea of their concept; others call them directly ideal, in the same way as it was in the beginning of the history of museum. Contemporary Art Museum Concepts by Artists Georg Baselitz: Bilderbude.
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Faulkner, Kristi. "Women, Protest, and Dance: An Activist Art?" Congress on Research in Dance Conference Proceedings 40, S1 (2008): 90–94. http://dx.doi.org/10.1017/s2049125500000558.
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As members of society, artists have historically served a dualistic purpose—to reflect the ideologies of the world in which they live, and to challenge those ideologies. By challenging ideologies, artists may enter into a world of social and political activism. However, can art be an effective form of protest? In this paper I explore the characteristics that allow dance to function as a form of social and political activism. Furthermore, I explore the potential implications of the female dancing body as it pertains to dance as an activist art form.
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Belova, Darya Nikolaevna. "Female artists in the context of Viennese Art Nouveau." Культура и искусство, no. 8 (August 2021): 54–70. http://dx.doi.org/10.7256/2454-0625.2021.8.36071.
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This article analyzes the activity of female artists and the problems of their relationships in the society during the period of Viennese Art Nouveau of the late XIX – early XX centuries. The subject of this research is the works of female artists of the Vienna Secession and the materials of the Belvedere art exhibitions. It is noted that the problem of gender relationship during the period of Viennese Art Nouveau was given considerable attention; the cultural and artistic creativity were viewed from the perspective of the impact of this problem upon the mentality and minds of the society. The relevance of the selected topic is substantiated by the heightened interest in studying the specificity of the phenomenon of Viennese Art Nouveau and the role of woman in its formation. The novelty of this research lies in the attempt to determine the specificity of the impact of female beginning upon the culture of Viennese Art Nouveau, both as an artistic image that is the centerpiece, and in the image of female artists who supported its development. The conclusion is made that despite the shift in worldview orientations and artistic paradigms fin-de-siècle, the problem of gender relationship and apparent competition between female and artists for their position remained strongly pronounced. The author determines the considerable impact of female artists (many of whom were of Jewish descent immigrated or deceased during the World War II) upon comprehension of the phenomenon of Viennese Art Nouveau.
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Bystriakova, Valentyna, Alla Osadcha, and Olesia Pilhuk. "The Use of Decorative Art Elements in the Works of Ukrainian Designers." Culturology Ideas, no. 15 (1'2019) (2019): 177–84. http://dx.doi.org/10.37627/2311-9489-15-2019-1.177-184.
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The article assesses the role of elements of decorative art in domestic design. It allocates sources and interrelation of decorative art and design, considers separate definitions of a concept of design. It is established that basic characteristic which helps to separate design from decorative creativity is manual artwork inherent in decorative art. The article argues that generally the design and decorative art are interdependent, while being rather autonomous, providing particular examples from creative practice of the Ukrainian artists and designers. It also considers functioning of creative platforms of the National Museum of the Ukrainian folk decorative art and the Museum of Modern Art of Ukraine. It is unconditional that the role of design steadily increases in the modern world, and a similar trend will only gain strength. Designers of our country managed not only to accumulate the Ukrainian traditional, original art in modern art objects, but also to solve a problem of innovations in decorative art, to keep it as a valuable reference point of modern culture according to the level of social and technological development of society. The role of the National Museum of the Ukrainian folk decorative art and the Museum of Modern Art of Ukraine which act de facto as art spaces for creative exhibitions of designers and other artists of our country is considerable.
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Netzer, Dorit, and Judy Schavrien. "Transpersonal Art: A Conversation with Artist Judy Schavrien." Art/Research International: A Transdisciplinary Journal 1, no. 1 (July 16, 2016): 29. http://dx.doi.org/10.18432/r2kw2z.
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This article presents an excerpt from an interview with Judy Schavrien, a transpersonal psychology scholar, poet, and artist. In the course of this dialogue, Schavrien uncovers the philosophical and psychosocial underpinnings for the artworks included in her books Alice at the Rabbithole Café and Everything Voluptuous: The Love Songs 1970-2014. The collegial conversation, unstructured in advance yet guided by the art it explores, inquires into the following: the role of the transpersonal artist-scholar; the meaning Schavrien attributes to her subject matter; the environments and people that act as catalysts; the relevance of her choice of media and process; and, finally, whether the aims in her art and research converge. It becomes clear that, for Schavrien, it is not enough for artists to be mere custodians of their culture. Their role, in her view, is to challenge conventions, cry out, provoke thought, engage multiple ways of knowing, and offer alternatives that push society forward. Her research intends the same. Both Schavrien and the interviewer perceive a participatory element in her art, her research, and the approach taken in this article that explores them.
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Villagomez-Oviedo, Cynthia P. "Communication and Messages in Mexican Electronic Art." Glimpse 22, no. 1 (2021): 124–27. http://dx.doi.org/10.5840/glimpse202122119.
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Artists try to communicate precise ideas or concepts about certain social or political problems in order to change their context and surroundings. In this research the focus is on examples of Mexican Electronic artworks which specifically generate stages of communication. The methods applied to study these artifacts were observation, interview and analysis of certain art works and then selectively comparing different artists and their artistic works to understand, with the help of an adequate qualitative research approach, as to how the art communicated with human viewers. We concluded that communication of an abstract image could lead to different meanings. Interpretation depends on the cultural context of the viewer, age and nationality, among other important factors. Nonetheless all Mexican electronic artists studied in this research have a positive message for society, including justice and the preservation of environment and several related inspiring ideas.
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Ong, Emelia Ian Li. "Resistance and Representation: The Making of Chinese Identity in the Art of The Yiyanhui and the Equator Art Society in 1950s Singapore." Wacana Seni Journal of Arts Discourse 19 (December 31, 2020): 13–27. http://dx.doi.org/10.21315/ws2020.19.2.
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This paper examines the social realist paintings of the art groups Yiyanhui and the Equator Art Society which emerged during the 1950s in Malaya and Singapore. Their works centred on the social functions of art and its subject matters featured the working class, the Japanese occupation and anti-British colonial sentiment. Their artworks are viewed here as cultural productions shaped by the negotiation between dominant-subordinate relationships within a postcolonial framework. It is argued that the artistic productions examined here may be viewed not only for its overarching “social realist” endeavours but, also as a struggle to rewrite the narrative of the Chinese in Malaya against of the prevailing static representations forwarded by the colonial campaign. The first part of the paper illustrates how colonial discourse in the local press propagated an image of the Chinese as inherently susceptible to communism, untrustworthy, and opportunistic. The second part of the paper shows how the artists resisted this essentialist image of Chinese identity and offered a more complex picture of a Chinese-Malayan identity. Through a combination of interviews, written artist’s statements, formal and contextual considerations of the artworks, as well as a cultural studies framework, I demonstrate how a different narrative is being offered by these artists through two related processes in identity construction: qualifications for authenticity and belonging, the articulation of ambivalence. Resistance thus, is explored as encompassing a network of strategies employed by these artists as a way to reject colonialist representations of otherness and gain authorial agency against the intellectual and ideological dominance of colonial discourse.
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Tellidis, Ioannis, and Anna Glomm. "Street art as everyday counterterrorism? The Norwegian art community’s reaction to the 22 July 2011 attacks." Cooperation and Conflict 54, no. 2 (October 31, 2018): 191–210. http://dx.doi.org/10.1177/0010836718807502.
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This article looks at a project involving nine internationally acclaimed street artists who agreed to make murals in Oslo, following the 22 July 2011 attacks. Resting on the art project’s aims (‘to promote universal human rights and to counter the intolerance and xenophobia that can give rise to violence and justify terrorism’) and the art community’s reaction, the article argues that street art’s visibility and agency offer alternative ways of thinking about, and approaching, international relations (IR). The article examines the streets as the space where artists express and engage the ‘everyday’; and as the medium that allows artists to bring art to the public (as opposed to galleries or exhibitions the public chooses to visit). We argue that the incorporation of street art’s spatiality and aesthetics into ‘everyday IR’ supports more critical frameworks that (a) expose the exceptional logic(s) of illiberal governance; (b) enable the visibility of marginalised and/or dissenting voices in society; and (c) explore experimental, eclectic and creative approaches of doing/thinking everyday security, community and peace.
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Klāsone, Inta, and Solvita Spirģe-Sēne. "Dialogs ar vizuālo mākslu: mākslinieks un mākslas darbs." Sabiedrība un kultūra: rakstu krājums = Society and Culture: conference proceedings, no. XXII (January 6, 2021): 183–91. http://dx.doi.org/10.37384/sk.2020.22.183.
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Nowadays, various forms of visual art have brought closer people’s daily lives to the processes that occur in the society. At the same time, the visually fulfilled environment has created favourable conditions for misunderstanding the contexts and meanings of artworks. This article draws attention to the fact that dialogue with visual art can be an important tool for developing personal values and promoting the spiritual understanding of a cultural environment. The topicality of the issue is supported by the educational trends of the 21st century – to educate comprehensive people who are capable of doing a wide range of tasks, constantly continuing their learning and development. Art plays an initiator’s role in social life and it encompasses all spiritual realms of humanity, which cannot be accomplished by other forms of public consciousness. A work of art can be viewed as a multi-layered expression of thoughts in an artistic form of images and symbols. The artist's work means producing a coded text or message. This article includes insights of scholars and artists developing an understanding of the artist’s work and artworks in a cultural and historical context to enrich the individual's competence base, and examples of the work and beliefs of particular artists of the 21st century.
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Mahobe, Yatindra. "A TECHNIQUE OF PAINTING. MY COLLAGE ART." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 131–34. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3721.
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Kala is not just a necessity for attaining pleasure, but the inclusion of public welfare as well as inspiration and inspirational life is also unacceptable. Forty percent of the artists in India are those whose artworks are engaged in art and life, where there is nothing like a horizontal ring here. There is nothing other than a ring. Today, there are some artists who consider art to be a means of attaining only a partial enjoyment. They are able to create an art form that is self-sufficiently happy, by referencing the basic features of painting. Therefore, this type of art is organized without disturbing the public and society. I think that there must be something like this in the artist that the expression of the artist should reach the public.
कला चसर्फ आनिंद प्राप्ति का जररया नहीिं है एबप्ति उसमें जनकल्याण यथाथफता एििं प्रेरणादायक भािना का समािेश भी अचनिायफ है। भारत में पिास प्रचतशत कलाकार ऐसे हैं चजनकी कलाकृचतयॉिं कला दीर्ाफओिं में लगी रहती हैं चजनमें आड़ी.चतरछी रेखायें यहॉिं.िहााँ र्ैले रिंग के अलािा कुछ भी नहीिं होता। आज कुछ कलाकार ऐसे भी है जो कला को चसर्फ आप्तिक आिंनद की प्राप्ति का साधन मानते हैं।ये चित्रकला के आधारभूत चनयमो का उल्लिंर्न कर ऐसी कलाकृचत तैयार करते है जो चसर्फ स्वान्तः सुखाय है। अतः इस प्रकार की कला जनसामान्म एििं समाज की परिाह चकये बगैर चनचमफत होती है।मुझे लगता है चक कलाकार में ऐसा या इतना कुछ जरूर होना िाचहए चक कलाकार की अचभव्यप्ति जनसामान्म तक पहाँि जाये।
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Kartseva, Ekaterina A. "Transformation of Art Communications and the Art Market in the Context of Digital Culture." Observatory of Culture 16, no. 1 (March 26, 2019): 16–28. http://dx.doi.org/10.25281/2072-3156-2019-16-1-16-28.
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Digital culture has moved people to a fundamentally new environment, which has its own characteristics, patterns and practices. Studies show that the digitalization of society occurs exponentially from year to year. Society is increasingly interacting with digital, and its influence affects various aspects of modern culture. New cultural patterns of behavior are being formed, traditional communication practices are being modified. As any complex phenomenon, digital culture not only opens up new opportunities for society, but also poses new challenges. The search for an effective, ethical, comfortable interaction in the information environment has become one of the urgent tasks. The development of the art market has always largely depended on the quality and level of social and cultural communications. Today, when the mass media in the traditional sense have lost their monopoly on the production and distribution of information, giving way to “mass self-communication”, the art communications, relationships between the artist and the public, and construction of artistic careers are also undergoing certain transformations, influenced by social media. In recent years, the development of network structures, the increasing capabilities of digital storage systems, cryptocurrencies and blockchain registries have significantly changed the established system of the art market. This article is devoted to changes in the characteristics of the art market and its main subjects — artists, collectors, galleries — in the context of digital culture. These processes and paradigmatic shifts are considered both from the point of view of their technological features, and from the point of view of their influence on artistic culture and art communication in general. The article analyzes in detail what negative and positive aspects the digital culture brings to the participants of the art market.
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Gielen, Pascal. "The road to sustainable creativity: mobile autonomy beyond auto-mobility." Galáxia (São Paulo), no. 30 (December 2015): 6–19. http://dx.doi.org/10.1590/1982-25542015224380.
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AbstractHow can artists stay autonomous, and keep their creativity alive in the contemporary society? In this paper is stated that the individual bourgeois model of the artist is not sufficient any more to make autonomous art and to stay creative on the long run. If artists want to stay mobile and autonomous they need to build collective organizational structures, which are called 'traveling caravan'. In the parallel historical shifts between 1970 and 2000 from liberalism to neo-liberalism, from Fordism to post-Fordism and from modern to contemporary art, artists need to build up their own artistic biotope if they need to make their work without governmental interference (subsidizes) and free market solutions. The cooperative can be seen as an interesting model to develop such a 'mobile autonomy'.
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Lambert, Nick. "BCS AI Award for Artists." ITNOW 62, no. 1 (February 17, 2020): 22. http://dx.doi.org/10.1093/itnow/bwaa009.
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Abstract The eighth annual Lumen Prize, celebrating the very best in international digital art, took place at the Barbican Centre for Performing Arts in London on 24 October. Presenting the BCS AI Award to winners, Dave Murray-Rust and Rocio von Jungenfeld — for Lichtsuchende — was Computer Arts Society Chair, Dr Nick Lambert.
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Blazheva, Sandra. "Tilt Brush. The New Perspective of Art." Cultural and Historical Heritage: Preservation, Representation, Digitalization 7, no. 1 (2021): 209–23. http://dx.doi.org/10.26615/issn.2367-8038.2021_1_016.
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Interpenetration of ideas, culture, economics, raw materials and etc. are causing globalization in our society. This trend is also assisted by the growing technological innovations. Society is increasingly turning to digital tools to provide fast communications, access to information and goods through the global network, especially needed during the pandemic. In terms of art, these factors contribute to shifting the range from classical means of expression to contemporary art forms focused on digital media. Historically, the discovery of photography in the 19th century radically changed art. Painting frees itself from the function of reflecting objective reality and seeks new means of expression and meaning. In the early 20th century, new trends in the avant-garde art seek to depict intangible things away from visible reality such as the inner world of the artist, emotions, symbols, music, time and more. One of the brightest trends - Cubism is a typical example. It seeks a way to show objects rationally from several sides simultaneously - three-dimensional, but unfortunately it is limited by the means of expression - the two-dimensional surface of the canvas. Digital technologies today have a solution to this problem. They provide digital tools that completely change painting. The canvas no longer exists in the familiar way in which the artist works. It is becoming history. With the invention of VR glasses, the boundaries of visible reality and imagination in art have been removed to enter a new virtual world. Tilt Brush technology goes one step further, giving the opportunity to the artist to create 3D images with a brush in hand while moving in the virtual world he creates. Canvas doesn’t exist, it is a virtual digital world three-dimensional arising from the imagination of the artist and existing only through the eyes of the pink VR glasses. Here comes the question, will technology displace the artist's hand? Keywords: Digital Art, Art, Virtual Reality (VR), Tilt Brush, Technological Innovations, Net Art, Non-Fungible Tokens (NFT), Artificial Intelligence
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Tian, Yi, Meng Meng, Lyu Mei, and Shifei Dong. "Research on Development Mechanism and Strategy of Folk Art Industry in Northeast of China." E3S Web of Conferences 253 (2021): 02064. http://dx.doi.org/10.1051/e3sconf/202125302064.
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The folk art forms of northeast of China are rich and varied. They fully presents the cultural of northeast of China. However, with the transformation of China from a traditional agricultural society to a modern industrial society, people's production mode and life style have changed greatly, and The environment on which folk art depends has huge changed. Some folk art categories are on the verge of extinction, aging and some folk art are lost due to the death of the older generation of artists. The paper presents a study on how to effectively protect and inherit the folk art in northeast China from two follow aspects-- optimization of folk art form and platform construction. Through literature review, research framework, deductive content analysis, combination of quantitative analysis and qualitative analysis, research methods were proposed as guidelines for improved to protect and inherit the folk art:1) Research on contemporary cultural ecology of folk art. 2) Rational creative development of folk art industry in northeast of China. 3) Brand cultivation of folk art industry in northeast of China 4) Establishing and improving the standard trading platform and value evaluation system for folk art works 5) Relying on "Internet +" to establish the operation and communication platform for collectors, investors, folk artists and operators.
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Barak, Noa Avron. "The National, the Diasporic, and the Canonical: The Place of Diasporic Imagery in the Canon of Israeli National Art." Arts 9, no. 2 (March 26, 2020): 42. http://dx.doi.org/10.3390/arts9020042.
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This article explores Jerusalem-based art practice from the 1930s to the 1960s, focusing particularly on the German immigrant artists that dominated this field in that period. I describe the distinct aesthetics of this art and explain its role in the Zionist nation-building project. Although Jerusalem’s art scene participated significantly in creating a Jewish–Israeli national identity, it has been accorded little or no place in the canon of national art. Adopting a historiographic approach, I focus on the artist Mordecai Ardon and the activities of the New Bezalel School and the Jerusalem Artists Society. Examining texts and artworks associated with these institutions through the prism of migratory aesthetics, I claim that the art made by Jerusalem’s artists was rooted in their diasporic identities as East or Central European Jews, some German-born, others having settled in Germany as children or young adults. These diasporic identities were formed through their everyday lives as members of a Jewish diaspora in a host country—whether that be the Russian Empire, Poland, or Germany. Under their arrival in Palestine, however, the diasporic Jewish identities of these immigrants (many of whom were not initially Zionists) clashed with the Zionist–Jewish identity that was hegemonic in the nascent field of Israeli art. Ultimately, this friction would exclude the immigrants’ art from being inducted into the national art canon. This is misrepresentative, for, in reality, these artists greatly influenced the Zionist nation-building project. Despite participating in a number of key Zionist endeavours—whether that of establishing practical professions or cementing the young nation’s collective consciousness through graphic propaganda—they were marginalized in the artistic field. This exclusion, I claim, is rooted in the dynamics of canon formation in modern Western art, the canon of Israeli national art being one instance of these wider trends. Diasporic imagery could not be admitted into the Israeli canon because that canon was intrinsically connected with modern nationalism.
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Khandekar, Nisha. "GLOBALIZATION AND WARLI TRIBAL ART." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 116–21. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3718.
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The globalization has negatively impacted upon the tribal economies, culture and identities. The expansion of the art world under this version of globalization means that freedom of expression among artists is compromised under the pressure to conform to the market in order to succeed financially. The present scenario may change the true reflection of old culture and tradition of the Warli tribe. Because of the commercialization the transformation occurred, and they are venturing into mainstream society for the sake of their art. It has now become the commercial activity of Warli men. Because of the Industrial Revolution and modernization tribal art is a dying activity, now survives only in isolated areas whose inhabitants have a proud tradition of art and making things for themselves. Significance of the art has changed, earlier it used to be a social and religious tradition and ritual for women and everyday life, now it is a source of livelihood and exploration of individual creativity and a symbol of cultural and artistic pride. Introduction of the new modern motif of airplane, car, school building, factory are not necessarily a conscious effort to make art more commercial but rather a reflection of the changing world of the artists and to make painting more consumer- related.
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Sonia, Ashutosh Kumar. "ART AND SOCIETY RELATIONSHIP." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 59–62. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.988.
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English : The painting is produced for the purpose of society. Arts have always been responsible for social facts and they express the wishes of society. The sense of painting (art) is hidden in the arts. It is free from rules even after being bound in social bond. Art is a part of the culture of the society, which the society keeps on progressing as tradition and art always lives.
The artist creates a relationship only with the appearance, activities and feelings of society in the external world. In his creation, social emotions are directly related to human instincts. The expression of these feelings is expressed in artistic creation, as a result the form of art is also universal. The talent of the artist, his self-power and his artistic elements, in the form of art, harmonize with the nature and emotions of the society, giving it a wider look. Most of the subjects of art are the problems of the society then, in this purpose, the personality takes a secondary form in creation and the reflection of the needs of the society is reflected in its creation. In such a situation, the artist wants to achieve self-peace through expressive purpose. In this situation one chooses his own path to achieve the objective, but can never remain separate from society. But in front of technical principles, the goal of the viewer's joy and self-power remains. On the basis of the principle, the form of art created in the first position is pure and original and in the second position, the form of art is practical and originality away from it for the goal. As a result, many techniques have to be adopted and presented as crafts.
Hindi : चित्रकला समाज के उद्देश्य पूर्ति के लिए निर्मित की जाती है। कलाएँ सामाजिक तथ्यों के प्रति सदैव उत्तरदायी रही हैं तथा इनमें समाज की इच्छाओं की अभिव्यक्ति होती है। कलाओं में चित्रकला (कला) का भाव छिपा रहता है। यह सामाजिक बन्धन में बंधे होने के पश्चात् भी नियमों से स्वतन्त्र होती है। समाज की संस्कृति का एक अंग कला है, जिसको समाज परम्परा के रूप में क्रमशः आगे बढ़ाता रहता है और कला सदैव जीवित रहती है।
कलाकार वाह्य जगत के रूप-स्वरूप, गतिविधियों एवं समाज की भावनाओं से सम्बन्ध बनाकर ही सृजन किया करता है वह अपने सृजन में सामाजिक भावनाओं का मानव-वृत्तियों से सीधा सम्बन्ध रखता है। कलात्मक सृजन में इन्ही भावनाओं की अभिव्यक्ति होती है, परिणाम स्वरूप कला का रूप भी विश्वव्यापी होता है। कलाकार की प्रतिभा, उसकी आत्मशक्ति एवं उसके कलात्मक तत्व, कला के रूप में समाज के स्वरूप और भावनाओं के साथ सामंजस्य जोड़कर, उसको व्यापक रूप प्रदान करते हैं। कला के अधिकांश विषय तत्कालीन समाज की समस्यायें ही होती है, इस उद्देश्य से किये गये सृजन में व्यक्तित्व गौण रूप ले लेता है ओर समाज की आवश्यकताओं का प्रतिबिम्ब उसके सृजन मे स्पष्ट झलकता रहता है। कलाकार ऐसी स्थिति में उद्देश्य अभिव्यक्ति के माध्यम से आत्मशान्ति प्राप्त करना चाहता है। इस स्थिति में उद्देश्य के प्राप्ति के लिए स्वयं अपना मार्ग चुनता है, लेकिन समाज से कभी अलग नहीं रह सकता है। किन्तु तकनीकी सिद्धान्तों के समक्ष दर्शक के आनन्द और आत्मशक्ति का लक्ष्य रहता है। सिद्धान्त के आधार पर पहली स्थिति में सृजित कला का रूप शुद्ध और मौलिक होता है तथा दूसरी स्थिति में लक्ष्यपूर्ति के लिए कला का रूप व्यावहारिक एवं मौलिकता उससे दूर हो जाती है। फलस्वरूप अनेकानेक तकनीकों को ग्रहण करना तथा उन्हें शिल्प के रूप में प्रस्तुत करना होता है।
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NELSON, CYNTHIA. "MURSI SAAD EL-DIN, ED., Gazbia Sirry: Lust for Color (Cairo: American University in Cairo Press, 1998). Pp. 246." International Journal of Middle East Studies 33, no. 2 (May 2001): 324–26. http://dx.doi.org/10.1017/s0020743801382065.
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The attempt to put into words what is fundamentally a visual experience confronts this reviewer with an enormous challenge. Being neither artist nor art critic, I must approach the task through my lens as friend and long-time admirer of Gazbia Hassan Sirry, one of Egypt's leading modern artists, whose varied and innovative artistic career spans more than fifty years. Perhaps in this way I can create a context within which this book can be read, appreciated, and, I hope, used by those scholars who are interested in the dialectic between art and society, artist and social transformation.
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Nesterenko, Petro. "PUBLISHING SIGN OF UKRAINE OF THE SECOND HALF OF XX – BEGINNING OF XXI CENTURY: TRANSFORMATION IN TIME." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 28 (December 15, 2019): 116–23. http://dx.doi.org/10.33838/naoma.28.2019.116-123.
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Annotation. The article analyzes the little-studied art of the Ukrainian publishing sign, which has a history of almost fifty years and is well known for its highly artistic works. An excursion into the past of the Ukrainian publishing label has been made, collecting documents scattered across various sources of reports on samples of the publishing labels, both known and in the vast majority of unknown authors, and we pay tribute to this important cultural heritage that has developed in the course of the European process. The publishing signs of the second half of XX – beginning of XXI centuries are described and their artistic features are analyzed. The art of the Ukrainian emblem, especially in the last century, has not been practically studied. Probably, the topic is considered too small to draw enough attention. Turning pages of the book, few people pay atten- tion to the publishing house, thanks to which we have the happy opportunity to hold it. The artistic decision of modern publishing signs, which often quite often has a small font character, is not striking. They are created mainly by artists, editorial staff, without paying much attention to this process. However, there are times when they turn out to be the work of talented young artists who, over time, become famous. For example, the well-known art publishing signs for the leading Kiev publishing houses "Art" (artist V. E. Perevalsky) and "Rainbow" (artist O. I. Gubarev), created at that time by young graphic artists, who are now well-known folk artists of Ukraine. However, the art of the sign is an important component of book graphics, it does not lose its relevance at a new stage of society and deserves in-depth study.
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Brighenti, Andrea Mubi. "Artveillance: At the Crossroads of Art and Surveillance." Surveillance & Society 7, no. 2 (June 5, 2009): 175–86. http://dx.doi.org/10.24908/ss.v7i2.4142.
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In this article I review a series of artworks, artistic performances and installations that deal with the topic of surveillance. My aim is twofold. On the one hand, I want to look comparatively at how different artists interrogate, question, quote, or critise surveillance society. On the other hand, I take these artistic actions as themselves symptomatic of the ways in which surveillance interrogates contemporary society. In other words, my claim is that surveillance does not simply produce substantive social control and social triage, it also contributes to the formation of an ideoscape and a collective imagery about what security, insecurity, and control are ultimately about, as well as the landscape of moods a surveillance society like ours expresses.