Academic literature on the topic 'ART / Individual Artists / Monographs'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'ART / Individual Artists / Monographs.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "ART / Individual Artists / Monographs"
1
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.
Full textAbstract:
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by a new rigour, brought about the publishing of scholarly works incorporating documentary research, and of previously unpublished or newly-edited source material; art reference works, of several kinds, also multiplied.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.
2
Abramovych, Igor. "«New Ukrainian sculpture» and the direction of contemporary Ukrainian art." CONTEMPORARY ART, no. 18 (November 29, 2022): 131–40. http://dx.doi.org/10.31500/2309-8813.18.2022.269721.
Full textAbstract:
Galina Sklyarenko’s monograph “New Ukrainian Sculpture” (Kyiv: Abramovych.Art; ArtHuss, 2021. 304 p.: il.), characterized in the article, presents the modern consumer of artistic forms of plastic with a conceptual justification, the effectiveness of the conceptual ideas laid down in the basis of the publication, their relevance for current visual practice and scientific importance for elucidating ways of further movement of forms of Modern Ukrainian Sculpture. The article examines the nature and degree of applicability of the concept of “full-value” in relation to the art analysis of modern sculpture, and also highlights two lines of visualization of concepts in the works of artists represented in the book by H. Sklyarenko: Narrative and Provocative. It is shown that the creative style of N. Bilyk, Dm. Grek, P. Gronsky, V. Protosenya, D. Shumikhin can be attributed to the first line; to the second line — the creative manner of Ye. Zigura, O. Zolotaryov and I. Novgorodov. It is claimed that the effectiveness of the conceptual idea, which is the basis of the publication, its relevance and scientific importance for clarifying the ways of the further movement of the forms of Modern Ukrainian Sculpture, correlates with the conceptual ideas of individual authors whose work is represented by this publication. The merits of the publication, its necessity, the urgency to advance into the public consciousness the phenomena related to the understanding of the narratives of the modern era and their visualization in the voluminous material of the sculpture, cannot be doubted, and the interest in the book that has manifested itself since its release, even in difficult conditions wartime, testifies to its great cultural and scientific importance.
3
Biryulov, Yury. "Lviv school of design of the environment 1872-1918: Theoretical principles and their implementation." Bulletin of Lviv National Academy of Arts 48, no. 48 (September 3, 2022): 99–114. http://dx.doi.org/10.37131/2524-0943-2022-48-2.
Full textAbstract:
Formulation of the problem. Teaching the design of the environment, as well as practical achievements in this field of artistic creativity of teachers, students and graduates of Lviv National akademy of arts, have a thorough basis. Lviv school design of interiors has a long history, and the chair of design of the environment of Lviv National akademy of arts is the heir to the traditions and achievements of several generations of Lviv artists. It is important to reveal the process of formation in Lviv artistic design education, the theoretical foundations of the artistic organization of the subject environment surrounding a person, to identify and compare historical levels in the development of works, their technological and stylistic changes in time, investigate the relationship between different artistic techniques and options design at different stages. Analysis of recent research and publications. Important is the study of Alexander Noha on the theme of the Lviv design school. In his book 2001 «Ukrainian art-industrial ceramics in Galicia (1840-1940)» is considered a period of birth and development of industrial design in Lviv [10]. The activities of the architect Ivan Levynskyi and his school, especially in the art of ceramics important for the design of the environment, were covered in collective monographs: 2019 «Ivan Levynskyi. Impulse» [6] and 2020 «Ceramic code of Ivan Levynskyi» [7]. Architecture and design of public spaces in the structure of historical residential building of Lviv on the verge of the XIX-XX centuries became the object of scientific research in articles and in the candidate’s thesis Olga Lysenko [8]. Similar issues (secession design of the entrance spaces of Lviv buildings) are partially solved Yulia Bogdanova and Zhanna Komar in their 2014 book-album «Secession in Lviv» [24]. The analysis of the source base revealed that to date no comprehensive study of the development of the Lviv school of subject-spatial environment design has been carried out. This problem requires a multifaceted and synthetic approach. The purpose of the article: to consider the forming factors, the theoretical principles of the Lviv design of the environment and their practical implementation in 1872-1918, introduce new facts to scientific space, surnames of artists and their works. Study Results. For the first time there is a comprehensive scientific study of the stylistic evolution of the Lviv design of the subject-spatial environment – from the neo-styles of historicism to secession (art nouveau), modernized empire and early art déco. The universal essence of the secession provided it gradually, but continuously growing coverage of various types of creativity and became one of the main formative factors of a subject-spatial design in the capital of Galicia at the beginning of the twentieth century. The article reveals the formative factors of the design of the environment, illuminates the regularities of the emergence and establishment of artistic and design education and practical activities in this area of the creativity. The emergence of theoretical principles of artistic design in Lviv is shown, starting with articles and public speeches of Julian Zachariewicz. The history of Lviv design of the environment is systematized, in many aspects the works of individual artists of different nationalities are analyzed, their previously unknown works, which are introduced into scientific circulation for the first time, are revealed. In particular, the creative work in the field of design of W. Sadłowski, A. Zachariewicz, I. Levynskyi and his followers, T. Obmiński, M. Olszewski is studied. Getting to know the achievements of leading European art centers, Lviv design school has maintained its independence and originality. The peculiarity of its representatives was the complexity of the polyethnic structure, the multilayer of the topics and motives (the sources of which were diverse aspects of national life and the tradition of everyday life) and in the use of the treasury of regional cultural achievements. Conclusions. The analysis of creativity of artists of the Lviv school design of the environment showed its artistic integrity, revealed a large socio-cultural and artistic significance of objects of subject-spatial design of the period of 1872-1918.The historical change of styles in the design of public and residential interiors of Lviv, the formative factors of design, the achievements of teachers and graduates of the Artistic and industrial school are considered. Until recently, the existing idea of the Lviv art of design was significantly supplemented, and new facts and works were introduced into scientific circulation.
4
Sullivan, Michael. "Art in China since 1949." China Quarterly 159 (September 1999): 712–22. http://dx.doi.org/10.1017/s0305741000003453.
Full textAbstract:
Since the Communists came to power in 1949 Chinese art has seen extraordinary changes. For 30 years, the Party apparatus and its Marxist-Maoist ideology exerted so tight a control over cultural life that it is natural for the art of that period to be viewed primarily as a reflection or expression of political forces. To some degree that is unavoidable, and it is the approach taken by the authors of two important books on post-1949 Chinese art, while Jerome Silbergeld's monograph on the Sichuan eccentric painter Li Huasheng is a fascinating study of the way in which these forces affected the life and work of an individual artist.
5
Shaw, Margaret. "AARTI: Australian Art Index." Art Libraries Journal 11, no. 1 (1986): 17–20. http://dx.doi.org/10.1017/s0307472200004454.
Full textAbstract:
The Australian Art Index, AARTI, is one of a group of data bases within the Ausinet network which will, between them, cover contemporary Australian art and architecture on a national basis. National coverage is possible because of the small size of the Australian population, the existence of people prepared to take on the task with managements to back them and the availability of a network with the flexibility to take data in a wide range of formats. AARTI contains records of four types: monographs, journal articles, exhibitions and artists’ profiles. By April 1985 it contained some 9,500 records available online with a microfiche alternative for non-Ausinet members.
6
Fănaru, Alice Georgia. "„Fii bun și tare” Recenzie la monografia autorilor Beatrice Bednarik și Alexandru Davidian cu titlul „Familia Bednarik în arta românească”." Revista Muzeelor 1 (2023): 224–30. http://dx.doi.org/10.61789/rm.2023.14.
Full textAbstract:
Documentation and specialized articles are among the main means of improving stylistic classifications of the works belonging to an art museum’s heritage. A museum’s heritage is also dynamic, although most museums have a well-developed collection of works dating from before the 1990s. As the heritage is enriched, it must also be documented, and volumes of monographs on lesser-known artists are very useful in this process. This is also the case of the volume entitled „The Bednarik Family in Romanian Art” which is the subject of this review. Following the personal and professional career of the members of this family of artists, the Bednarik family monograph is a valuable document for the history of art in our country and a useful tool for specialists in art museums.
7
Stahl, Joan. "ART BOOKS: A BASIC BIBLIOGRAPHY OF MONOGRAPHS ON ARTISTS. Wolfgang M. Freitag." Art Documentation: Journal of the Art Libraries Society of North America 5, no. 2 (July 1986): 92. http://dx.doi.org/10.1086/adx.5.2.27947592.
Full text
8
Lee, Jisoo, and Jong Woo Jun. "Personal Branding in Art: A Focus on In Depth-Interview with Art Workers." Korean Society of Culture and Convergence 45, no. 5 (May 31, 2023): 305–17. http://dx.doi.org/10.33645/cnc.2023.05.45.05.305.
Full textAbstract:
This study viewed art as an industry and discussed strategies for artists to establish themselves as important members of the art market. The brand strategy of viewing and managing individual artists as an independent personal brand was explored. We explored the potential of individual brands for Kim Whanki, Kim Tscang-yeul, and Lee Kang-so to find out about the brand identity of Korean artists. In-depth interviews were conducted with people in the art industry. They answered that building an artist's identity, continuity of activity, and active use of SNS are important factors for artists to grow as a brand. This means that it is important for the artist himself to engage in work activities with a clear direction based on his firm artistic philosophy and to continue such work activities. Communication works that actively promote and inform this are absolutely necessary. These results provide academic implications for the artist's personal brand strategy and practical implications in the contemporary art market.
9
Montero, Gustavo Grandal, and Erica Foden-Lenahan. "Occasional Papers: archival troves, affordability and accessories." Art Libraries Journal 40, no. 1 (2015): 20–29. http://dx.doi.org/10.1017/s0307472200000079.
Full textAbstract:
The world of art publishing is often characterized by hefty exhibition catalogues and glossy artist monographs that aim to be comprehensive documentation of a theme or an artist’s output, but also cost more than pocket money to purchase. As art librarians we purchase, move, and sometimes read them every day. Occasionally a publication will catch your attention, maybe because it appears ephemeral, or perhaps because it more closely resembles books that you might accession into an artists’ books or artists’ publications collection. Occasional Papers publications have that look and yet their content points to a wider audience. Their philosophy of the cheap paperback makes them unusual in mainstream art publishing. How does a small publisher survive? Clearly by disregarding just about everything the publishing textbooks say. Occasional Papers has found its niche and sat down to tell us about it.
10
Bojić, Zoja. "The Slav Avant-garde in Australian Art." Poznańskie Studia Slawistyczne, no. 18 (April 28, 2020): 37–48. http://dx.doi.org/10.14746/pss.2020.18.2.
Full textAbstract:
Australian art history includes a peculiar short period during which the European avant-garde values were brought to Australia by a group of Slav artists who gathered in Adelaide in 1950. They were brothers Voitre (1919–1999) and Dušan Marek (1926–1993) from Bohemia, Władysław (1918–1999) and Ludwik Dutkiewicz (1921–2008) from Poland, and Stanislaus (Stanislav, Stan) Rapotec (1911–1997) from Yugoslavia, later joined by Joseph Stanislaus Ostoja-Kotkowski (1922–1994) from Poland. Each of these artists went on to leave their individual mark on the overall Australian art practice. This brief moment of the artists’ working and exhibiting together also enriched their later individual work with the very idea of a common Slav cultural memory.
Dissertations / Theses on the topic "ART / Individual Artists / Monographs"
1
Kent, Ellen. "Entanglement: Individual and Participatory Art Practice in Indonesia." Phd thesis, Canberra, ACT : The Australian National University, 2016. http://hdl.handle.net/1885/117054.
Full textAbstract:
This PhD addresses approaches to art practice that are
simultaneously individual and participatory. It comprises a
research-based dissertation that sets out to understand why
combined practices are so prevalent among contemporary Indonesian
artists (66.66 ̇%), and a practice-led body of work that
investigates the nexus between individual and participatory modes
in my own art practice, accompanied by an exegesis (33.33 ̇%) .
The arguments set out in the dissertation are the result of
research into primary and secondary written resources,
translations, field observations, interviews with artists and
with other experts in Indonesia. This is the first body of
research to address combined individual and participatory art in
Indonesia. Sanento Yuliman described the “artistic ideology”
of Indonesian modernism as simultaneously autonomous and
independent, and heteronomously tied to tradition and society’s
needs. This formed the foundations from which modern art
discourse in Indonesia involved artists in the lives of the
people (rakyat) while also defending artists’ individual
expression: a binding knot of the kind that Jacques Rancière
describes as the “aesthetic regime”. I draw attention to the
way participation consistently features alongside individuality
in discourses from those early artists; during art’s
instrumentalisation in development discourses; and when
contemporary artists begin involving the rakyat in participatory
art. Case studies addressing the work of five contemporary
artists (Arahmaiani Feisal, Made “Bayak” Muliana, I Wayan
“Suklu” Sujana, Tisna Sanjaya, and Elia Nurvista) show how
contemporary artists have extended this continuum to involve
people in the making of art, while still maintaining significant
individual practices. I demonstrate how particular contexts and
networks of production have continued to engage with the early
modernist concepts of autonomy and heteronomy, as well as
exogenous and originary endogenous discourses, to create
conditions which mandate the practice of both participatory and
individual art for many artists. In responding to these
conditions, the work by contemporary artists presented in this
research consciously engages with and reconstructs discourses
from Indonesian and global art histories.
The body of work experiments with variations on participatory and
individual art within community, institutional, educational and
public spaces. I became interested in these spaces in between the
one and the many while observing art and cultural practices in
Indonesia, and working in museum education in Australia.
Consequently, both fields – contemporary art in Indonesia and
my own art practice – are inextricably linked. The mediums used
are responsive to the contexts of those sites and diverse
conversations I seek to generate through the works. They include
fabric remnants, diverse printmaking techniques, wax resist on
paper and a two-channel video installation. The exegesis
addresses the conceptual background, intentions, research
methodologies and results of this practice-led research into the
nexus between individual and participatory modes of practice. In
responding to the different sites (referred to above) and
artistic modes, I examine both links and points of difference,
and demonstrate the continuing role of art as a liminal space of
expression and criticality.
2
Oshima, Hiroko. "Artists' groups in Japan and the UK and their impact on the creative individual." Thesis, Northumbria University, 2010. http://nrl.northumbria.ac.uk/3340/.
Full textAbstract:
The aim of this thesis is to give an alternative insight to the existing concept of individuality in visual art through an examination of the meaning of being individual for visual art practitioners, particularly for those who operate in an artists’ group setting. This research project is a critique of the seemingly unchallenged emphasis on the individuality and its strong association with creativity in the current British art schools. Cultivating individuality is one of the most important aims in both British and Japanese institutions where I have trained as an artist. Nevertheless, my group-oriented cultural background and my membership of an artists’ group studying in an individually-oriented environment raise questions challenging the meaning of being an individual itself. This thesis has no methodology set up at the beginning, which would usually be the case in a conventional academic thesis. Instead, the thesis develops thought experiments to examine what ‘individual’ means in order to arrive at methodology towards the end. Moreover, this piece of practiceled research is not about the contents of my practice but about the group feeling underlying my practice as an individual fine art practitioner. The investigation into the relational idea of the self of Zen, followed by Charles Sanders Peirce’s semiotics of the Universe of Three Categories, provide the research with a useful visual thinking tool: the triadic diagram. The investigation into the meaning of the individual develops further through an exploration of the concept of ‘groupness’. Definitions of the term are carefully unfolded until the terminology allows us to contemplate different senses of the individual: singularity- and groupness- oriented individual. As a result of the thought experiments examining different ideas of one’s individuality, there emerge several action research practice-led methodologies for the fine art practitioner working in a group situation. One methodology brings groupness into my individual practice, and another introduces groupness situations to other practitioners. The contribution of this thesis is to provide a basis for fine art practitioners like myself to revalue their individuality in harmony with their group membership.
3
Sulmona, Elena <1996>. "Art as collective action: the collective work of feminist artists and the critique to the individual (male) genius: the case of Claire Fontaine." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21180.
Full textAbstract:
The purpose of this thesis is to investigate the phenomenon of feminist artistic collectives. It explores the reasons that led to feminist art as a collective activity, especially from the second wave of feminism. The thesis confronts the typical modalities of male presence in the art world, the myth of the exceptional individual and the solitary approach to the artistic work . My perspective focuses on critical reviews that thematize artistic work as a collective activity, case study’s analysis and interview. The first chapter analyzes the figure of the “genius” artist and its conception in the Western tradition of Art History. It discusses how social systems disadvantage women artists, discussing the sociological theory of Howard S. Becker and the sociological perspective of Natalie Heinich. The second chapter investigates how Feminism theorized the arts, their idea of the professional artist and the collective as a way to escape the professional and cultural isolation where they have been relegated for decades. The third chapter analyzes Feminist Art History from its beginning in the late Sixties/early Seventies, referring to feminist artistic collective actions and artworks. It reviews some of the actions of the pioneering feminist artists who began to theorize and spread feminism in the art field. The fourth chapter eventually examines the case studies of the feminist artistic collective Claire Fontaine and its relation with Carla Lonzi, one of the pioneering Italian feminist theorists and art critics.
4
Keeley, Melissa Ann. "The Benefits And Limitations Of Artist-Run Organizations In Columbus, Ohio." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1230584829.
Full text
5
Cadge, Catie Anne. "Paradigms of collecting from ethnography to documenting the individual artists, Grace Nicholson and the art history of Native Northwestern California basketry during the Arts and Crafts period, 1880-1930." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ58561.pdf.
Full text
6
Cadge, Catie Anne. "Paradigms of collecting from ethnography to documenting the individual artists: Grace Nicholson and the art history of Native Nortwestern California basketry during the Arts and Crafts period, 1880-1930." Thesis, 2000. https://dspace.library.uvic.ca//handle/1828/9419.
Full textAbstract:
During the Arts and Crafts period, from about 1880 to 1930, popular perceptions of Native Americans and their basketry emphasized pristine cultures prior to the effects of contact with Europeans. Pasadena basketry collector and dealer Grace Nicholson used an ethnographic approach, along with mass-marketing, when selling Native Northwestern California baskets in order to cater to Arts and Crafts period collectors' expectations of traditional Indian baskets. In addition, Nicholson expanded her collecting methods to include documenting individual weavers in the field, though she rarely used this documentation as a sales strategy. Before Nicholson began traveling and collecting baskets directly from Native American weavers in Northwestern California, basketry from this region was almost always collected or sold as the work of an anonymous weaver. This approach—what I refer to as the ethnographic paradigm in the dissertation—featured the traditional, pre-contact context of the basketry, but not the documentation of individual innovation. Grace Nicholson started a new paradigm or model for collecting Native Northwestern California basketry through her select documentation of individual artists. Nicholson's documentation of Elizabeth Hickox, master weaver of Northwestern California baskets during the Arts and Crafts period, has been thoroughly addressed in Art Historical scholarship. I argue that Nicholson also recorded information about other Northwestern California weavers from Hickox's generation, such as Yurok weaver Nellie Cooper. In this dissertation, I demonstrate that the Nicholson archival collection, along with other important archival sources, can be used by researchers to help identify lesser-known Northwestern California weavers from the turn of the 20th century today.Graduate
Books on the topic "ART / Individual Artists / Monographs"
1
Zurkow, Marina. More&More: The Invisible Oceans. Brooklyn, NY: punctum books, 2016.
Find full text
2
Zurkow, Marina. More&More: A Guide to a Harmonized System. Brooklyn, NY: punctum books, 2016.
Find full text
3
Lacadée, Camille. MythomaniaS: Crime Scenes & Psycho Case Studies. Brooklyn, NY: punctum books, 2015.
Find full text
7
Terry, Winters, Pinakothek der Moderne (Munich, Germany), Staatliche Graphische Sammlung München, and Colby College. Museum of Art, eds. Terry Winters: Prints 1999-2014. Munich: DelMonico Books/Prestel, 2014.
Find full text
8
1946-, Hobbs Robert Carleton, Downey Anthony, and Shonibare Yinka 1962-, eds. Yinka Shonibare MBE. London: Prestel, 2014.
Find full text
9
Durham, Stokes Adrian. Michelangelo: A study in the nature of art. London: Routledge, 2002.
Find full text
10
Christopher, Williams. Christopher Williams: Couleur europeenne, couleur sovietique, couleur chinoise : [on the occasion of the exhibition "Christopher Williams-Couleur Europeenne Couleur Sovietique Couleur Chinoise", Haus Lange-Haus Esters, Krefeld, October 22, 2000-January 1, 2001]. Krefeld: Kunstmuseum, 2000.
Find full textBook chapters on the topic "ART / Individual Artists / Monographs"
1
Meyer, Torsten. "A New Sujet/Subject for Art Education." In Post-Digital, Post-Internet Art and Education, 131–45. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73770-2_8.
Full textAbstract:
AbstractFor some years now, fundamental ideas of newer theoretical trends in the context of Actor Network Theory have been leaking into the minds of that generation of (post-internet) artists who no longer regard the radical change in the socio-technical conditions of digital media cultures as something special or new. These trends are also leaking into the theories of the subject and thus also into the theory(s) of art education. This coincides with the assumption that the humanistic conception of the human individual as a subject, and the associated understanding of education in modernity, no longer matches neither with the artistic practices based on collaborative networked socio-technical processes that can be observed in the post-internet culture. Therefore, changing mediality leads to changing subjectivity.
2
Strukov, Vlad. "Digital Art: A Sourcebook of Ideas for Conceptualizing New Practices, Networks and Modes of Self-Expression." In The Palgrave Handbook of Digital Russia Studies, 241–54. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42855-6_14.
Full textAbstract:
AbstractThe chapter traces the evolution of digital art produced in the Russian Federation and in the Russian language by critically considering a number of case studies and re-conceptualizing historical periods. It takes into account technologies, institutions, individual artists and artistic networks, and modes of presentation, appreciation and re-contextualization. It contributes to the debates about the nature and focus of art in the digital era by assessing historical, economic and creative factors. It showcases how digital art might be understood as a particular medium, platform, network, aesthetic and function, and it also argues that digital art does not fit into those categories. Instead notions of transformation, scope and duration are used to account for new forms of artistic expression.
3
Pannewick, Friederike. "The Year 1979 as a Turning Point in Syrian Theatre: From Politicization to Critical Humanism." In Re-Configurations, 277–87. Wiesbaden: Springer Fachmedien Wiesbaden, 2020. http://dx.doi.org/10.1007/978-3-658-31160-5_18.
Full textAbstract:
Abstract This chapter investigates a crucial turning point in the writing of Syrian dramatist Saadallah Wannous (1941–1997) in the late 1970s. This internationally acclaimed author belonged to a generation of Arab intellectuals and artists whose political and artistic identities were strongly shaped by the question of Palestine. After the Camp David Accords of 1978 and the resulting Egypt-Israel peace treaty, signed in 1979, Wannous attempted suicide and stopped writing plays for more than ten years. This chapter shows how the plays he published after this self-imposed silence moved away from a didactic, political theater and towards psychological studies focusing on individuals as well as minority and gender issues. This chapter asks whether the significant aesthetic and conceptual turn in Wannous’s work from the early 1990s onwards might go beyond the concerns of a specific individual artist. To what extent does it mark a generational shift in regard to the meaning and connotations of political art?
4
McIvor, Charlotte, and Ian R. Walsh. "Body." In Contemporary Irish Theatre, 229–68. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-55012-6_9.
Full textAbstract:
AbstractThis chapter explores how bodies work and signify as individuals but also as stand-ins for a greater whole (both materially and representationally) within the contemporary Irish theatre and by extension, Irish society. The participation and presence of bodies in theatrical and extra-theatrical events connected to the contemporary Irish theatre as a network of individuals, practices and institutions indexes not only the aesthetic but the political and social status of the body within Irish society at any given time. Understanding the limits of theatrical representation and participation by individuals and/or communities as artists in the Irish theatre gives us deeper insight into the rights accorded to individual bodies and/or those grouped according to a shared identity such as gender, sexuality, religion, class, race/ethnicity and/or disability, as well as drawing attention to how theatre and performance as live and embodied art forms can sometimes push productively at the limits of what is legally or socially possible at the scale of the body. This chapter proposes the following frameworks for studying the body as a key vehicle towards utopian performatives in contemporary Irish theatre: Acting Bodies (Olwen Fouréré), Bodies as Tools (Panti Bliss/Rory O’Neill and the “Noble Call”), Intersectional Bodies (Christian O’Reilly’s Sanctuary with Blue Teapot Theatre and No Magic Pill).
5
Mallinson, Jonathan. "11. 1929–31: No Ordinary Potter." In William Moorcroft, Potter, 231–58. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0349.11.
Full textAbstract:
The Wall Street Crash of October 1929 caused havoc in the industry as a whole. Moorcroft’s trading figures declined progressively, and he was obliged, for the first time, to sell pieces at reduced prices. It is clear from his accounts, however, that losses were attributable not simply to reduced sales, but also to an increase in unpaid invoices, and Moorcroft’s continued reluctance to put his staff on part time. Significantly, even as he began to struggle commercially, his reputation as a designer continued to grow. He responded defiantly to the bleak economic climate with a series of new designs which celebrated the beauty and vitality of the natural world: Landscape, Leaf and Berry, and Fish. His exhibits at British Industries Fairs were reviewed as if they were artworks in a gallery rather than samples on a trade stand, and whose quality was never compromised by their affordability; as one critic noted, even the most modest object was, for its owner, a ‘collector’s piece’. This was the epitome of ‘everyday art’. Moorcroft’s art is examined, too, in the context of continued discussion about the improvement of industrial design. As leading manufacturers turned either to fine artists, or to Art School trained designers, Moorcroft’s commitment to his own designs became increasingly significant. Even more outspoken in his criticism of industrial production than Leach had been in 1928, he explicitly positioned himself as a craft potter, not least in an article written in 1930 on the occasion of the bicentenary of Josiah Wedgwood’s birth. He wrote as one who has the outreach of a manufacturer, but the creative principles of an artist. Letters written to his daughter during these years provide a unique insight into his aesthetic outlook and his ambition to combat the bleakness of the times with ceramic objects, both functional and decorative, characterised by their integrity of design and humanity of craft production. And this is how his work was received. One critic identified a quality of ‘soulfulness’ in his pottery, and private correspondence from individual owners attests to its inspirational effect.
6
Manninger, Sandra, and Matias del Campo. "Deep Mining Authorship." In Computational Design and Robotic Fabrication, 3–10. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-8405-3_1.
Full textAbstract:
AbstractConsidering the emerging field of architecture and artificial intelligence, it might be necessary to contemplate the remodeling of the concept of authorship entirely. The invention of authorship is a complex historical process that can be traced back to the emergence of print culture in Europe in the 15th century. Prior to this period, most literary and artistic works were created anonymously or attributed to collective or anonymous sources, such as folklore or religious traditions. However, with the rise of printing, texts became more easily reproducible and marketable, and there emerged a need for individual authors to take credit for their works. The notion of authorship was closely tied to the idea of originality and ownership, as authors sought to assert their exclusive rights to their works and to distinguish themselves from other writers. This was supported by the development of copyright law, which granted legal protection to authors and their works, and helped to establish a market for literary and artistic works. The idea of the author as a singular, autonomous figure gained further prominence in the 18th and 19th centuries, with the emergence of romanticism and the cult of the individual. This period saw the rise of the idea of the artist as a genius, whose works were the product of their own unique creativity and imagination. This idea was further reinforced by the rise of literary criticism, which focused on the interpretation and analysis of individual works and their authors. However, as Michel Foucault and other scholars have argued, the notion of authorship is not a universal or timeless concept, but rather a historically contingent and culturally specific one. Different societies ad cultures have different understandings of authorship, and these have shifted over time in response to changes in technology, culture, and social values. As it stands now, authorship in its traditional form can hardly be applied in a context where automated collaborations provide more than 50% of the generated material. This is true for multiple art fields. Visual Arts (Mario Klingemann, Sofia Crespo, Memo Atken, Ooouch, etc.), Music (Dadabots, YACHT, Holly Herndon), Literature, etc. Very soon this will also be true for Architecture. The consequence is also an entire rethinking of the concept of the sole genius. This notion, developed by German Romanticists in the early 19th century, is, in the current context of AI-assisted creativity, completely obsolete, as we are drawing from the genius of hundreds of thousands of artists and artworks in order to interrogate the latent space for unseen artistic opportunities. More akin to an archeological dig leading to the discovery of a next-generation jet fighter plane.
7
Kerr, David S. "Philipon and the Illustrated Press, 1830–1836." In Caricature And French Political Culture 1830–1848, 19–64. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198208037.003.0002.
Full textAbstract:
Abstract The vast majority of the political caricatures produced in the early 1830s were drawn for, and appeared in, the illustrated newspapers owned and directed by Charles Philipon. All newspapers develop a collective identity which imposes certain obligations upon their contributors; the ideological and stylistic constraints imposed upon the contributors to Philipon’s newspapers were especially strong. With La Caricature, Philipon invented a new type of satirical newspaper. His interventionist management transformed the illustrated newspaper from a fashionable review decorated with a disparate collection of lithographic imagery into a formidable machine de guerre. The artists and writers who worked for La Caricature and Le Charivari were keenly aware that they were participating in a common endeavour: they worked as a team, borrowing themes and motifs from one another constantly. Philipon’s newspapers posed a challenge to their readerships. To understand their humour fully, readers had to be able to follow the multiple cross-references between successive caricatures and between the caricatures and the newspaper articles. Scholarly monographs which artificially isolate the work of individual artists and treat their prints as if they were autonomous works of art have ignored the conditions under which caricature was produced. An adequate understanding of caricature in the 1830s can only be achieved by examining the mechanics of the illustrated press and by studying the newspapers as a whole rather than the contribution of single artists.
8
"Personal Statements: Exhibitions about Individual Artists." In Comic Art in Museums, edited by Kim A. Munson, 289–94. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0034.
Full textAbstract:
This is a brief interstitial introduction by art historian Kim A. Munson exploring a wide ranging of exhibitions focused on work by individual artists following the “lone genius” concept utilized in the influential 2005 show Masters of American Comics. This chapter discusses the history of blockbuster exhibits like the Mona Lisa’s US visit (1963) and King Tut (1977), retrospectives of elder statesmen (Kirby, Herriman, Goldberg, Eisner), increased valuation of comic art, and narrative in exhibitions with Gary Panter, Art Spiegelman, R. Crumb, and Carol Tyler. Images: exhibition Goldberg, Herriman, Eisner.
9
"Chapter 14 The Forgotten Individual (1996)." In On Art, Artists, Latin America, and Other Utopias, 117–19. University of Texas Press, 2009. http://dx.doi.org/10.7560/719767-016.
Full text
10
Tan, Chang. "Art on the March." In The Minjian Avant-garde, 75–94. Cornell University Press, 2024. http://dx.doi.org/10.7591/cornell/9781501773181.003.0004.
Full textAbstract:
This chapter discusses Qiu Zhijie's desire to resituate the individual within the multitude, which was carried forth in The Long March: A Walking Visual Display (2002). The Long March mobilized more than a hundred artists to travel to some of the most impoverished and remote regions of China, putting minjian on the map of contemporary art. The chapter looks at the images and objects the artists discovered, documented, created, and displayed en route that allowed them to craft a rich, radical, and authentic identity in the global art world. Like many others who walked the route of the Communist Party's historical Long March, the artists felt transformed by their experiences in the real minjian. The chapter explores how the artists' irreverent reimagining of the iconic sites exposed the fallacy of a memory industry centered on the monuments of revolution and questioned a nationalist myth the artists celebrated.
Conference papers on the topic "ART / Individual Artists / Monographs"
1
Pskhu, R. V., P. M. Barmina, E. Yu Lotova, and Z. V. Murga. "BEAUTY IN COLOR: BLUE ON RAFFAELLO�S CANVASES." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/fs03.04.
Full textAbstract:
Color has always been an important component of a person's perception of the overall picture � this applies to art, religion, and individual worldviews. In different epochs and cultures, different, but always important meanings were conveyed with color, certain colors were associated with what was most significant and valuable for a people or a representative of a religious tradition. The blue color is exceptional in this sense � for a long time it was not paid attention at all, but once appearing on the canvases of Renaissance artists, it spread its influence on the culture, art, and social life of Europe. In this study, we will determine the significance of the blue color in various world cultures that preceded the Renaissance, to make sure that it reaches its culmination point at this time. We pay special attention to the great Italian painter and architect Raffaello Santi, whose works have become synonymous with beauty, harmony, grace, and perfection in art. In the colors of Raffaello, stories, feelings, relationships of characters are hidden, they contain the secret of harmony, sublimity, and uniqueness of his canvases. This work offers a look at Raffaello�s work through these paints, their colors, and shades, which, combined with the unique style and innate talent of the artist, have become the embodiment of the image of beauty that all philosophers have been talking about for many thousands of years.
2
Yandim Aydin, Sercan. "„RENAISSANCE“ BEFORE THE RENAISSANCE: HUMANLY ASPECTS OF LATE BYZANTINE PAINTING. CASE: “THE ANASTASIS: AN IMAGE OF LIBERATION AND RESURRECTION”, STUDENICA MONASTERY." In Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.629ya.
Full textAbstract:
Present paper aims to readdress the idealized Renaissance con- ception of painting starting with the writings of Giorgio Vasari, which paved the way to a widely stereotyped and prejudiced evaluation of the Byzantine art within the general art historical framework. Consequently, placing the latter one inferior to the Renaissance. Further the paper attempts to revise the conventional assumptions about Byzantine painting. Visual interpre- tation of a dodecaorton subject, Anastasis Christi, is taken to provide evi- dence in understanding the humanly aspects in terms of iconography and reception of the scene. Material evidence is obtained from the monumental panting of the Studenica monastery, (ca. 1313-ca. 1320). General outline of its iconography, communal versus individual resurrec- tion, and specific depiction of one of the basic elements of iconography, Hades, reveal the fact that there is difference in the mind sets of Eastern and Western Christianity. Libri Carolini in the eighth century signifies the different visual understanding and reception. Also, the text-image relation is greatly influenced by the involvement of either theologians of a col- lective monasticism or individual aristocratic prayer. Thanks to the recent scholarly studies on cultural history and art history, a wider perspective is possible in order to comprehend the content of their cultural memories that comes into play in interpreting and reflecting religious subjects/imageries. As a result, artists and patrons of medieval Serbia were able to not just to inherit but also improve the inherited Byzantine artistic language in a com- plex positive way. Altogether referring to a renaissance in their rethinking and execution of the Byzantine models and beyond.
3
ROMAN, Diana. "The Actor, Between the Self from Theatre and the Other from Music." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0021.
Full textAbstract:
The worlds of music and theatre have been brought together under the sign of scenic creation since the origins of the appearance of the theatre, the interdisciplinary artistic dialogue between the two arts sharing common aesthetic, psychological, psycho-social landmarks. The interactions between these worlds gave birth, finally, going through different forms and long searches, to the most original and popular theatre genre, the Musical. At the same time with technology and the digital revolution, live music, the orchestra, the musicians present on the stage of the theatre, were replaced with recordings, original stage music faces increasingly rare performance in theaters. The amazing intersection of theatre and music must be seen as a matter of course. My research will focus on the analysis of the fragile relationship between identity and alterity in the case of a few artists at the congruence between theatre and music (Ada Milea – A lost letter in concert, The Explorer, Chirița in concert, Răzvan Mazilu – Cabaret, Maria de Buenos Aires, Bobo Burlăcianu – Cats, The City, Metamorphosis, Alexander Hausvater – The Machine. Musical, Ada Lupu-Hausvater – Hamlet, Tibor Càri – The little prince). If a few years ago shows like Rocky Horror Show by Alexander Hausvater were considered original or controversial precisely because they skilfully crossed the boundaries between theatre and music, today we realize that the hybrid genre is also on an upward trend in terms of public taste (proof is The Young Actor`s Gala 2022 theme) and dramaturgy (Eugen Rotaru – Musical Theatre Plays), and of actors with professional training in both fields, tempted by the border between the arts. The cocreation experiences between the actor and the musician also bring with them important pedagogical aspects, resulting in an improvement of the work of each individual artist. The requirement to constantly search for new ways of artistic expression remains important, wich inevitably brings together artists from different art forms.
4
NECHIFOR, Oana. "(At) Home and (On) the Road: Contemporary Photography Techniques of Documenting the Migration Phenomenon." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0025.
Full textAbstract:
The current presentation includes several queries regarding the interaction of migration and globalization – one of the most significant phenomena of social transformation in recent decades, as well as the meanings that this interaction presents for artistic research and practice. The major social and cultural transformations that have taken place in recent decades following more intense migratory movements have sparked an interest among artists for creating visual discourses, which, by using languages specific to different genres and environments, contribute to the dissemination of knowledge about migrants and migratory experiences different from the discourses generally offered and exploited by the media and public opinion. In cultural studies, the mobility turn also influences how contemporary art reflects on the direct and indirect implications of migration. The selection of works we analysed (which mainly use the medium of documentary photography) challenges the way we understand the notions of space and time, by exploring ideas regarding the concepts of (at)home and road, which are, moreover, two of the notions that undergo most changes during migratory experiences. The artistic projects selected reconsider defining the concept of (at)home as the place where the individual builds his sense of belonging, referring only to the physical house and not just to a single house set in an immovable place, but considering multiple connotations of the idea of home. Migrants' personal narratives reveal the ways in which individuals move between multiple homes, developing attachments and reinventing their identities along the way. Considering both the international context of migration and the particular case of Romanian economic migration as a recent phenomenon with important socio-cultural implications, I sought to investigate through my own artistic practice how documentary photography can become an environment for reflection on the topic, by combining autobiographical elements and a subjective discourse added to the objective dimension.
5
Rutsinskaya, Irina, and Galina Smirnova. "TEA PARTIES IN RUSSIAN PAINTING IN THE SECOND HALF OF THE NINETEENTH – BEGINNING OF THE TWENTIETH CENTURY: REFLECTIONS OF EVERYDAY LIFE AND SOCIAL HISTORY." In NORDSCI Conference Proceedings. Saima Consult Ltd, 2021. http://dx.doi.org/10.32008/nordsci2021/b1/v4/33.
Full textAbstract:
"Tea in Russia is not only the drink loved by millions of people but also a national symbol closely and inseparably connected with Russian culture. The dominance of realism in Russian fine art in the second half of the nineteenth – beginning of the twentieth century gave birth to the widespread popularity of genre painting which started playing a very special role in the country. It is not surprising that tea parties became common themes in these works. Over a cup of tea, the characters in the paintings perform everyday activities: chatting, contemplating, indulging in memories, while taking the opportunity to enjoy their favourite drink. Paintings are a unique and rarely used source for social history and culture studies as they allow us not only to reconstruct the everyday life of past eras, but also to study how contemporaries saw, perceived, and evaluated a variety of everyday practices. The research undertaken is descriptive and analytical with reference to the principles of historicism, academic reliability and objectivity that help to determine important trends and patterns and characterize the various social phenomena and developments that took place in Russia during the period under study. Unlike Western European painting, the representation of tea ceremonies on the canvases of Russian artists romanticizes both the philosophical aspect and the harmonizing function of the ceremony, but at the same time focuses attention on social issues, which obviously reflects the specifics of national consciousness. The present research is based on the analysis of eighty-two genre painting works by Russian artists (among them there are the well-known ones by: Ivan Bogdanov, Vasiiy Makovsky, Konstantin Makovsky, Vasily Perov, Konnstantin Korovin, etc.). They not only provide the audience with information about different aspects of everyday culture in Russia from the second half of the nineteenth to the beginning of the twentieth century but also trace the trends in the development of public consciousness and help to determine the main social problems that characterize the historical period and the attitude of society to them. The process of the democratization of society in the second half of the nineteenth century is reflected in the depiction of the ambiguous relationship between society and the church. The canvases draw attention to the place of tradition in the life of an individual and a family, the changing social role of the nobility which exemplifies the passing era, increasing interest in the way of life of the intelligentsia, and creating the image of the merchant as a new social class with a specific culture. At the beginning of the twentieth century, the nostalgic description of the tea party as a symbol of a bygone era of prosperity and a lost past prevails."
Reports on the topic "ART / Individual Artists / Monographs"
1
Sequeira, Dora María, Ileana Alvarado V., and Félix Angel. Young Costa Rican Artists: Nine Proposals. Inter-American Development Bank, August 2007. http://dx.doi.org/10.18235/0006438.
Full textAbstract:
Nine artists, all living in Costa Rica, were selected out of thirty-four who responded to an open call to present portfolios. The selection criteria is to be forty years of age or younger, have had at least one individual show, and have participated in a minimum of three group exhibitions. The exhibition has been organized by the IDB Cultural Center in collaboration with the Foundation of the Central Bank Museums of Costa Rica. Works include installations and interactive digital art, digital graphics, conventional photography, ceramics, painting, wire drawing and design objects manufactured with recycled materials. Artists include Víctor Agüero Gutiérrez, Jorge Albán Dobles, Tamara Ávalos León, Paco Cervilla Cartín, Carolina Guillermet Dejuk, José Alberto Hernández Campos, Sebastián Mello Salaberry, Francisco Munguía Villalta, and Guillermo Vargas Jiménez (a.k.a. Habacuc). The exhibit was part of the IDB Cultural Center¿s 15th anniversary celebration (1992-2007).