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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.
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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by a new rigour, brought about the publishing of scholarly works incorporating documentary research, and of previously unpublished or newly-edited source material; art reference works, of several kinds, also multiplied.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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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.
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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.
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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.
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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.
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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.
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Shaw, Margaret. "AARTI: Australian Art Index." Art Libraries Journal 11, no. 1 (1986): 17–20. http://dx.doi.org/10.1017/s0307472200004454.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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Australian art history includes a peculiar short period during which the European avant-garde values were brought to Australia by a group of Slav artists who gathered in Adelaide in 1950. They were brothers Voitre (1919–1999) and Dušan Marek (1926–1993) from Bohemia, Władysław (1918–1999) and Ludwik Dutkiewicz (1921–2008) from Poland, and Stanislaus (Stanislav, Stan) Rapotec (1911–1997) from Yugoslavia, later joined by Joseph Stanislaus Ostoja-Kotkowski (1922–1994) from Poland. Each of these artists went on to leave their individual mark on the overall Australian art practice. This brief moment of the artists’ working and exhibiting together also enriched their later individual work with the very idea of a common Slav cultural memory.
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Holman, Valerie. "Art books in World War Two: a view from the archive." Art Libraries Journal 24, no. 2 (1999): 12–15. http://dx.doi.org/10.1017/s0307472200019428.
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Art books in the UK during the Second World War were highly visible and in great demand. Despite paper rationing, stocks destroyed by enemy bombing, and military demands on authors and artists, new types of art book were launched to great acclaim. The archives of Penguin and Phaidon reveal both the constraints under which publishers were forced to operate, and the ideas behind initiatives such as the Penguin Modern Painters series, or Phaidon’s early monographs. Both publishing houses sought to extend the market for art books by producing large quantities at low prices, and maintaining a reputation for high quality texts, design and reproductions.
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Fraiberger, Samuel P., Roberta Sinatra, Magnus Resch, Christoph Riedl, and Albert-László Barabási. "Quantifying reputation and success in art." Science 362, no. 6416 (November 8, 2018): 825–29. http://dx.doi.org/10.1126/science.aau7224.
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In areas of human activity where performance is difficult to quantify in an objective fashion, reputation and networks of influence play a key role in determining access to resources and rewards. To understand the role of these factors, we reconstructed the exhibition history of half a million artists, mapping out the coexhibition network that captures the movement of art between institutions. Centrality within this network captured institutional prestige, allowing us to explore the career trajectory of individual artists in terms of access to coveted institutions. Early access to prestigious central institutions offered life-long access to high-prestige venues and reduced dropout rate. By contrast, starting at the network periphery resulted in a high dropout rate, limiting access to central institutions. A Markov model predicts the career trajectory of individual artists and documents the strong path and history dependence of valuation in art.
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Lee, Eunji J. "Art as Pedagogy: A Multiple Case Study of Participatory Socially Engaged Art." Visual Arts Research 49, no. 1 (June 1, 2023): 88–106. http://dx.doi.org/10.5406/21518009.49.1.08.
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Abstract In recent decades, contemporary art practices have expanded into social processes as art, and even to educational experiments. Artists create participatory projects combining art with educational activities and goals. Despite the prevalence of these art works, contemporary art literature continues to focus primarily on the artist, thereby displacing the experiences of participants. Hence, from the stance of an art educator, I carried out qualitative multiple case studies to examine the learning experiences of the participants as well as the pedagogical frameworks of the artists. On-site observations and individual interviews were carried out with the artists, core group members who directly collaborated with the artists, and public audience members of three participatory, socially engaged art works. Through a cross-case thematic analysis, the findings demonstrate the value of intrinsically motivated learning enabled by a learning approach grounded in (art)making. In these works, a critical social consciousness was promoted among the participants by means of an enhanced social imagination provoked by the interplay between political content and artistic means. Essentially, the art works examined in this study serve as models of transdisciplinary art for learning and teaching social justice issues and civic engagement. Moreover, the results of this study encourage collaboration between artists and educators, as artists’ approaches diversify pedagogy and, conversely, educators play a critical role in enhancing the learning experience of participants.
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Modreanu, Roxana. "Romanian Art History During the 1950s as a Form of Social History of Art." Art History & Criticism 19, no. 1 (November 30, 2023): 81–94. http://dx.doi.org/10.2478/mik-2023-0007.
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Summary The Romanian Workers’ Party – the political party that led Romania from 1947 until 1965 – need for legitimisation led to the rewriting of history in a way that the history of Romania was presented as a linear progression finally leading to communism. In art history, art also became a linear phenomenon, progressively advancing towards Socialist Realism. The tactics of constructing the new narrative in art history during the 1950s and the beginning of the 1960s can be read as a form of the social history of art. Although the methodology could have led to remarkable results, ethical boundaries were violated: only some historical episodes and moments from artists’ biographies were selected. Within this context, this study investigates whether papers and monographs about Romanian painters active in the second half of the 19th century and the beginning of the 20th century can be read as a form of social history of art.
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Sklyarenko, Galyna. "Who’s Afraid of Red, Yellow and Blue: On the Ukrainian Abstract Art of the 1960s." ARTISTIC CULTURE. TOPICAL ISSUES, no. 20(1) (April 22, 2024): 22–36. http://dx.doi.org/10.31500/1992-5514.20(1).2024.306895.
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The paper focuses on the creative experiments of Ukrainian artists during the 1960s in the field of abstract art, analyzing them against the background of social and cultural events of the time, which were reflected in the features of artistic life. In this regard, Western fine art revealed to Ukrainian artists during the years of the Thaw after decades of strict separation from foreign art during the Stalinist era, was a profound influence on them. However, the perception of the Western experience was rather specific due to the lack of information and theoretical understanding of the latest trends, as most works of world art became known in Ukraine through the exhibitions in Moscow and printed reproductions. The ambiguity of the cultural policy in the USSR played a significant role here, where the official declaration of the renewal of art and the right of artists to individual self-expression were combined with a new ideological attack on creativity. State control over art gained new dimensions, due to which the authors’ experiments in the realm of abstract painting were doomed to exist in the circle of unofficial art. The article examines the “campaign against abstractionism and Western influences” launched by the authorities in the early 1960s, which had a dramatic impact on individual creative destinies. Using the example of artists from Lviv, Kyiv, Kharkiv, Odesa, and Uzhgorod, the article analyzes creative directions in the realm of painterly abstraction, the features of its versions in Ukraine. It is significant that in most cases the appeal to non-figurative art remained only an episode in the work of artists, or coexisted with other ways of figurative expression. Abstract art in Ukraine generally was experimental, the presence of similar works in the art of the late Soviet era testified to a deep crisis of the socialist realist doctrine, the affirmation of individual creative thinking. Abstract works of Ukrainian artists of the 1960s are an important page in the history of Ukrainian art.
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Zaynutdinova, Zukhra. "ACTIVITY OF THE GROUP OF ARTISTS "5 + 1" IN CONCEPTUAL ART." CURRENT RESEARCH JOURNAL OF HISTORY 02, no. 12 (December 1, 2021): 6–12. http://dx.doi.org/10.37547/history-crjh-02-12-02.
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The article examines the role and significance of the "5 + 1" group in the development of contemporary art in Uzbekistan in the context of the creativity of the group's artists. The ideas and aesthetics of paintings, installations, video art in the work of individual artists are revealed in detail.
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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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Nina. "Artists as truth-seekers." Approaching Religion 11, no. 1 (March 20, 2021): 4–27. http://dx.doi.org/10.30664/ar.98310.
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This article focuses on the concept of the seeker and considers how the analytical tool of seekership, defined and developed in the sociology of religion, could be applied to the study of art and esotericism. The theoretical argument is made more tangible with the example of the Finnish artist Akseli Gallen-Kallela (1865–1931), whose life story, art and writings resonate with the concept of seekership. The ways in which Gallen-Kallela writes about his interest in esotericism and the dawn of the new age appear in a new light; as part of the processes of a spiritualisation of modern art and religiosity. In addition, the article points out that the concept of seekership can offer new possibilities more generally for the study of art and esotericism. Utilising the analytical tool of seekership may be especially helpful regarding those artists who did not subscribe to any esoteric movement or doctrine, but stressed a more individual relationship with the occulture of their time. It will also provide an opportunity to outline how the connections between art and esotericism have changed over different times and places.
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Sharma, Alisha, and Arjun Kumar Singh. "The Expansion of New Media Art in Indian Visual Art Practices: An Analysis." ECS Transactions 107, no. 1 (April 24, 2022): 10529–41. http://dx.doi.org/10.1149/10701.10529ecst.
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Artistic creativity thrives in line with cultural contours and individual artist intent. The Digital age is a postmodern reality. The postmodern era is either on the verge of its conclusion or it has almost concluded. Galleries and museums are far from exempt from the effects of these technological transformations. By the mid’90s a number of young artists had begun to make installations and site-specific art objects even as others continued to work in the conventional mediums of painting, sculpture, and print-making. Notion of pluralism and multiculturalism infect the artists of the 90’s, as there is a confident borrowing from all cultures and frequent crossovers. Artists like Ranbir Kaleka, Shilpa Gupta, Sheba Chhachhi, Thukral and Tagra, Jitish Kallat and many more are blurring the gap between the art and cutting edge technology with their inter/multidisciplinary approaches in their art practices.
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Syed Ahmed Jalaluddin, Syed Zamzur Akasah, Hafizzudin A.Jaidin, and Yulriawan Dafri M.Hum. "Artistic Community's Transposition of Space into Installation Art." Asian Journal of Environment-Behaviour Studies 7, no. 22 (August 30, 2022): 15–27. http://dx.doi.org/10.21834/aje-bs.v7i22.409.
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This project intended to highlight the art community's environment installation the SULAPAN URUNG TAKA that showcases the creativity of young artists. The collective artists are linked common ideologies, aesthetics, and beliefs. It is a way to celebrate artists' individual creativity, and the installation is also a creative celebration and an introduction to the audience, where they can experience the structure firsthand. The rooftop of the NafaSyahdu Art Studio was chosen for a permanent installation that is conceived as a collaborative work of art and can be used as a meeting place by the community and the general public.
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Arias, Ricardo. "Rakes, Live Deaths and Modified Cassette Players: Three Contemporary Sound Artists from Colombia." Leonardo Music Journal 23 (December 2013): 41–46. http://dx.doi.org/10.1162/lmj_a_00153.
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Sound art activity in Colombia has proliferated in the last decade, as evidenced by the considerable number of shows focusing on sound works by Colombian artists in recent years. The author presents three artists—Rodrigo Restrepo, Leonel Vásquez and Ícaro Zorbar—each of whom represents a distinct point in the continuum between music and sound art. The artists' individual and distinct approaches to the use of technology and their very personal conceptions of space and time are discussed.
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Syed Ahmed Jalaluddin, Syed Zamzur Akasah. "Sulapan Urung Taka: Installation art changes the perception of space by instilling artistic community." Environment-Behaviour Proceedings Journal 7, SI9 (October 30, 2022): 291–96. http://dx.doi.org/10.21834/ebpj.v7isi9.4277.
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Collective artists are bound together by shared ideologies, aesthetics, and/or beliefs. SULAPAN URUNG TAKA aims to highlight the art community's environment by showcasing young artists’ creativity. It is a way to celebrate the creativity of artists through their individual pieces, and the installation is also a creative celebration and an introduction to the audience, where they can experience the structure firsthand. The rooftop of the NafaSyahdu Art Studio was chosen for a permanent installation that is thought of as a collaborative piece of art and can be used by the community and the general public as a place to meet.
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Williamson, Mary. "To know ourselves; A Canadian perspective on national art bibliography." Art Libraries Journal 11, no. 1 (1986): 5–7. http://dx.doi.org/10.1017/s0307472200004429.
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In smaller countries where the art literature has tended to be overlooked by international indexing services, there is a pressing need for national art bibliographies. A retrospective bibliography can serve a vital role in awakening citizens to unfamiliar artists and artistic activity, and to the richness of the cultural heritage. Beyond that, national art bibliographies make possible the investigation of artistic influences and international cultural connections, and of individual artists on the move.
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Griswold, Wendy. "Formal capacities and relational understandings: Greed in literature, art and sociology." Sociologias 20, no. 48 (August 2018): 86–104. http://dx.doi.org/10.1590/15174522-020004804.
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Abstract In considering the uses of literature for the sociologist, we recognize that literature, art, and sociology all depict relationships. Producers (authors, artists, sociologists) craft relationships into cultural objects (novels, paintings, monographs); thereupon, receivers (readers, viewers) draw or infer relationships from these objects; producers, objects, receivers mutually construct and reconstruct one another over time. Literature, art, and sociology have different formal properties, however, and these different capacities shape how the receivers infer relationships from them. This article takes the example of greed to analyze sociological, artistic, and literary objectifications and to illuminate how the three genres’ distinctive formal properties influence their specific capacities to engender relational understanding. This analysis indicates why sociologists should view none of these genres as a subset of another.
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Braden, L. E. A. "Networks Created Within Exhibition: The Curators’ Effect on Historical Recognition." American Behavioral Scientist 65, no. 1 (October 15, 2018): 25–43. http://dx.doi.org/10.1177/0002764218800145.
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This research examines artist networks created by shared museum exhibition. While previous research on artistic careers assesses self-cultivated networks, historical recognition may be further influenced by connections created by important others, such as museum curators and art historians. I argue when museum exhibitions show artists together, curators are creating symbolic associations between artists that signal the artist’s import and contextualization within his or her peer group. These exhibition-created associations, in turn, influence historians who must choose a small selection of artists to exemplify a historical cohort. The research tests this idea through a cohort of 125 artists’ exhibition networks in the Museum of Modern Art, New York, from 1929 to 1968 (996 exhibitions). Individual network variables, such as number and quality of connections, are examined for impact on an artist’s recognition in current art history textbooks (2012-2014). Results indicate certain connections created by exhibition have a positive effect on historical recognition, even when controlling for individual accomplishments of the artist (such as solo exhibitions). Artists connected with prestigious artists through “strong symbolic ties” (i.e., repeated exhibition) tend to garner the most historical recognition, suggesting robust associations with historical peers may signify an artist’s exemplary status within his or her cohort, and consequent “good fit” into the historical narrative.
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Zhang, Suixin. "Chinese Artists Living Abroad: Art, Cultural Identity and Hybridity." Advances in Social Science and Culture 4, no. 1 (February 27, 2022): p39. http://dx.doi.org/10.22158/assc.v4n1p39.
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This article will reveal the discussion of identity conflict between past and present Chinese art practice abroad through reflection on the Art works- Trace, and through Homi Bhabha’s theory of identity hybridization. It seeks to explore the significance of the individual and its connection to the globalized art theme.
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Miller, Steven. "The Papunya Tula Archive at the Art Gallery of New South Wales: providing archival services for indigenous art." Art Libraries Journal 33, no. 2 (2008): 29–33. http://dx.doi.org/10.1017/s0307472200015327.
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Papunya Tula Artists is a company owned and directed by Aboriginal people from the Western Desert, predominantly from the Luritja and Pintupi language groups. It currently has 49 shareholders and represents around 120 artists. The broad aims of the company are to promote individual artists, and to provide economic development for the communities to which they belong, thereby preserving and extending their traditional culture. Towards the end of 1993 the Art Gallery of New South Wales entered into a formal partnership with the company to assist it in preserving, copying and providing access to their immensely important archival records. The project, which at first seemed straightforward and easily manageable, raised a number of important issues about the provision of archival services for Indigenous art and provides a useful case study for reflecting on these.
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Gralińska-Toborek, Agnieszka. "Wspólnotowy potencjał sztuki street artu: efemeryczne wspólnoty wokół efemerycznej sztuki." Nauki o Wychowaniu. Studia Interdyscyplinarne 18, no. 1 (June 30, 2024): 80–92. http://dx.doi.org/10.18778/2450-4491.18.07.
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The article analyzes the phenomenon of street art in the context of its impact on the creation of local or global communities of both creators and audiences. It takes into consideration various forms of expression such as graffiti, community murals, or interventions by individual artists. It examines to what extent the communities formed around artistic activities are lasting and cohesive. Graffiti, as a form of art typical of the hip-hop subculture, represents expressions by groups that are closed and anonymous for the majority of society. Despite strong connections, these groups are usually temporary and may disband after the completion of specific projects. Other forms of street art are typically created by individual artists seeking to develop a unique style. Open, global networks of enthusiasts, activists, and organizations form around them, with the internet and social media serving as platforms used to maintain the connection between artists and their audience. Some street artists (e.g. JR or Swoon) are particularly sensitive to social issues and contribute to forming and sustaining local communities through their creations, even if they do not necessarily belong to them. A specific form of street art are community murals commissioned by a community to enhance its identity and cohesion. Street art and graffiti, therefore, have the ability to create communities on various levels, even despite their informal and ephemeral nature.
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Krasnoslobodtsev, Constantine V. "EXHIBITION OF MODERN FRENCH ART IN MOSCOW (1928) ON THE MATERIALS OF RGALI AND THE ARCHIVE OF THE PUSHKIN STATE MUSEUM OF FINE ARTS." History and Archives, no. 3 (2022): 52–62. http://dx.doi.org/10.28995/2658-6541-2022-3-52-62.
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The cooperation of the new Soviet art and the artists of Russian emigration is a subject of particular interest. The period of the 1920s became a unique in the history of art when the new Soviet avant-garde artists, as well as artists who remained at home and those who decided to leave and not return, got along at international exhibitions within the Russian section. Russian art was still perceived as a single whole, geographical boundaries did not play a role, and the abyss of “non-return” had not yet opened between the creators themselves. The last chords in that still general composition were some art exhibitions that have become iconic. One of them was the exhibition of modern French art in Moscow (September – November 1928), which is the focus of the article. The organization of the exhibition brought together efforts of highranking officials of the USSR and France (A.V. Lunacharsky, E. Herriot), major cultural institutions (State Museum of New Western Art, Tretyakov Gallery, State Academy of Art Sciences), private French galleries and art dealers, as well as individual artists. On the basis of archival documents from the funds of the RGALI and the Archive of the Pushkin State Museum of Fine Arts, the author restores the events associated with the preparation, organization, negotiations and participation in the exhibition of emigrant artists.
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Sigurjónsdóttir, Æsa. "Óræð inngrip og pólitísk orðræða í borginni." Ritið 18, no. 2 (September 4, 2018): 75–103. http://dx.doi.org/10.33112/ritid.18.2.4.
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In this article I discuss how various collective art projects involving artists and curators using the city as an exhibition site have transformed artistic discourse in Iceland. Chantal Mouffe´s conception of public space as a battleground and art practices as agnostic interventions into this space raise questions about the branding and commodification of art and cultural institutions. Mouffe believes that despite the unrestrained commercial control of the urban landscape, artists still have the possibility of intervening in the political and economic status quo. Employing Mouffe´s analyses as a guiding principle, the study confirms that the permanent value of art in public spaces need not be limited to individual artists’ form, style or content, but may be capable of mobilizing political, critical and artistic discussions within the urban community.
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Isaeva, O. A. "Digital painting as important direction of Russian art." Vestnik of Saint Petersburg State University of Culture, no. 1 (30) (March 2017): 173–76. http://dx.doi.org/10.30725/2619-0303-2020-3-173-176.
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Such important phenomenas as digital painting and digital art are revealed. The characteristics of the Russian digital painting and creativity of individual artists are examined. Peculiarities of Russian digital art practices are explored.
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Sooudi, Olga Kanzaki. "Alternative Spaces & Artist Agency in the Art Market." Arts 9, no. 4 (November 10, 2020): 116. http://dx.doi.org/10.3390/arts9040116.
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This article explores what alternative, or artist-led, spaces are in Mumbai today and their role within the city’s artworld. Drawing on ethnographic fieldwork in two alternative spaces, it argues that these are artist attempts to exercise agency in their work for an uncertain market context. In other words, these spaces are a strategy for artists to exercise control over their work in an uncertain art market, and a means to counterbalance their dependence on galleries in their careers. Furthermore, artists do so through collectivist practices. These spaces, I argue, challenge models of artistic and neoliberal work that privilege autonomy, independence, and isolation, as if artists were self-contained silos of productive creative activity and will. Artists instead, in these spaces, insist on the importance of social bonds and connection as a challenge to the instrumentalization and divisive nature of market-led demands on art practice and the model of the solo genius artist-producer. At the same time, their collective activities are oriented towards supporting artists’ individual future market success, suggesting that artist-led spaces are not separate from the art market, and should be considered within the same analytical frame.
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Gustafson, Erik. "High highs, low lows: Artists and anti-environments in the twenty-first century." Explorations in Media Ecology 23, no. 1 (March 1, 2024): 13–24. http://dx.doi.org/10.1386/eme_00189_1.
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From antiquity to contemporary times, artists have served as society’s defence against unbridled technological adoption. As stressed by Marshall McLuhan, artists are those individuals who aid society in understanding the conditions of our time. In literate times the poet and the painter assumed such responsibilities, but in the digital era the artist becomes something altogether different. McLuhan defined the artists broadly as an individual in any field who was able to provide insightful information into the human actions and consciousness of their time. Similarly, Paglia argued analysts must combine ‘high with popular art, the noble with the sleazy’ (1991: 34). Thus, we are left with two pressing questions: who are the artists of the millennium? Can they still save us? The following article sought to trace who we should be considered artists in the twenty-first century and exactly what they have accomplished, or failed to accomplish, in making society aware of shifting sense ratios. Though might bemoan the obsolescence of authenticity and aura in art, Paglia astutely points out the ‘popular culture reclaims what high culture shuts out’ (1991: 34). Therefore, a survey of both high and popular art will probe the abilities and limits of artists and their art to make society aware of the effects of technological change.
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Büttner, Alexandra. "Art journals and monographs in Open Access – a collaborative effort." Art Libraries Journal 40, no. 4 (2015): 13–19. http://dx.doi.org/10.1017/s0307472200020472.
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Since 2006 Heidelberg University Library has been encouraging the idea of Open Access in the field of art history. Today, as part of the Specialized Information Service for Art it offers art historians from all over the world, through the platform arthistoricum.net, three different services for e-publishing in Open Access: (1) ARTDok – a digital repository for single publications and review articles, (2) ARTJournals – a publication management platform for e-journals and (3) ART-Books – a platform for monographs and edited volumes. Apart from providing scholars with software to help them publish professional peer-reviewed open access articles, the library also supports art historians in the transition from print to e-publications by offering them the technical infrastructure as well as organisational support. The service at Heidelberg University Library has shifted towards engaging more closely with academics and setting into practice their individual needs, leaving them to focus on research and contents. These newly developed processes based on a collaborative effort of art librarians and scholars place an important emphasis on the accessibility and provision of art historical research data in Open Access.
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Nirwana, Aditya, Imam Mukhlis, F. Danardana Murwani, and Didit Prasetyo Nugroho. "Instrumentalism, Utilitarianism, Arts Entrepreneurship, and Digital Cosmopolitanism as a Global Perspective of Indonesian Emerging Artists." Scholars Journal of Arts, Humanities and Social Sciences 12, no. 04 (April 13, 2024): 134–46. http://dx.doi.org/10.36347/sjahss.2024.v12i04.004.
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In particular, rare scientific-academic studies still attempt to investigate the problems artists face in Indonesia. However, that does not mean that art in Indonesia runs without problems; artists encounter many challenges in carrying out their careers, Starting from the issue of respect for the profession of artists, lack of art facilities, violations of freedom of work by the ruler, to economic problems that until now have become typical problems. Through literature study, this paper will explore what is happening in the mainstream modern art arena and initiate concepts or strategies for Indonesian emerging artists to be more independent, sustainable, and emancipatory. From the construct of arguments and ideas, we obtained a model of 4 layers of art practice: 1) Instrumentalism, 2) Utilitarianism, 3) Arts Entrepreneurship, and 4) Digital Cosmopolitanism. The first two values become the artist's or "internal attitudes." At the same time, the last two represent an "external attitude" towards the work already created and how the artist takes the work from the reality of individual artistic experience to social reality (the social world).
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Rowland, Susan. "Jung, art and psychotherapy re-conceptualized by the symbol that joins us to the wildness of the universe." International Journal of Jungian Studies 7, no. 2 (May 4, 2015): 81–93. http://dx.doi.org/10.1080/19409052.2014.905487.
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Despite the impact of the publication of Jung's own (literally) monumental work of rendering images in The Red Book (2009), the relation of art, artists, art psychotherapy and Jungian studies is puzzling and complex. As Tjeu van den Berk's excellent Jung on Art (2012) demonstrates, Jung by no means posited a comfortable continuum between his psychology and aesthetics. Even artists impressed by his notions of the inherently creative unconscious imagination do not share the priorities of Jungian-oriented art psychotherapists. In exploring this problem of Jungian psychology and the aesthetic domain, I take issue with some of van den Berk's conclusions, proposing instead that in his core concept of the ‘symbol’ Jung constructs a theory of the imagination that overcomes disciplinary, mythic and individual boundaries: rather, it is an idea of radical re-visioning of psyche as expressed in time and space. By dismantling the notion of psyche as bound to an individual person, I suggest the symbol transforms the dialogue of Jung, Jungians and art.
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Harris, Catherine T., Philip J. Perricone, and Margaret Supplee Smith. "The Artist and Androgyny: A Study of Gender Identity in Visual Artists." Empirical Studies of the Arts 6, no. 1 (January 1988): 67–78. http://dx.doi.org/10.2190/9p69-xcur-c3na-2dck.
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While art is an activity that is socially valued, the image of the artist as perceived by the public and expressed in the literature has rarely been studied empirically. The Adjective Check List is used to test one dimension of this issue—June Wayne's hypothesis that the artist is a stereotypical woman, focusing on the artist's view of himself/herself and artists in general. Data were gathered by means of a questionnaire mailed to 1753 artists who had been nominated for the national Awards in Visual Arts during the first five years of the program (1982–86). It was found that artists tend to have self-images which are androgynous in terms of sex stereotyping, while at the same time, they see artists in general as relatively masculine. It was also found that while artists tend to view their colleagues in favorable terms, they view themselves as individual artists significantly more favorably. The implications of these findings for the profession of art are discussed.
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Piątkowska, Renata. "Artystki i miłośniczki sztuki – kobiety w żydowskim życiu artystycznym międzywojennej Warszawy. W kręgu Żydowskiego Towarzystwa Krzewienia Sztuk Pięknych." Studia Judaica, no. 1 (47) (2021): 175–211. http://dx.doi.org/10.4467/24500100stj.21.007.14609.
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Artists and Art Lovers: Women in the Jewish Artistic Life of Interwar Warsaw. In the Circle of The Jewish Society for the Encouragement of Fine Arts Research on Jewish artistic life in interwar Warsaw, especially in the context of the activities of the Jewish Society for the Encouragement of Fine Arts (Żydowskie Towarzystwo Krzewienia Sztuk Pięknych), reveals active and numerousparticipation of women, both artists and art lovers (by and large a group of professionals, bourgeois, political and social activists, Jewish art collectors). In the article, special attention is paid to Tea Arciszewska and Diana Eigerowa, a collector and philanthropist, the founder of the Samuel Hirszenberg scholarship for students of the Academy of Fine Arts in Warsaw. The author, using selected examples, discusses the role of artists in the artistic community, their individual exhibitions in the Jewish Society for the Encouragement of Fine Arts (Stanisława Centnerszwerowa, Regina Mundlak), a group of young artists living in Paris (Alicja Hohermann, Zofia Bornstein, Pola Lindenfeld, Estera Karp), as well as a circle of art lovers and patrons, some of whom—such as Tea Arciszewska and Paulina Apenszlak—also dealt with art criticism.
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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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Zheng, Jihui. "Analyzing the Opportunities of Art Trends Based on Contemporary Spiritual Needs." Arts Studies and Criticism 4, no. 2 (December 22, 2023): 36. http://dx.doi.org/10.32629/asc.v4i2.1457.
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The art trend of thought should adapt to the contemporary art needs and promote the help and progress of art for the group. Modern art should help build the spiritual level of each person and heal the mental and spiritual health of the individual. By popularizing basic art education and providing entry points for art viewing, enhancing the personal empathy and tolerance of the general public is a new opportunity to adapt to the artistic trend of human development and needs. This paper provides an idea of one of the possibilities of artistic trend of thought. Artists leave traces of clues in artistic works to give viewers a breakable entrance, that is, the guiding function of artworks themselves is strengthened, so as to form a personalized private chemotherapy field among viewers, artists and artistic works.
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Solomon, Jon. "A Conversation with Hsieh Tehching, from The Black Cover Book." ARTMargins 4, no. 2 (June 2015): 108–18. http://dx.doi.org/10.1162/artm_a_00115.
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This is a translation of a 1993 conversation involving three artists from the Chinese diaspora Hsieh Teh-Ching, Ai Weiwei and Xu Bing. Through candid dialog they tease out the motivations behind their conceptually driven artistic practices, their individual perceptions of social systems and politics, a “Western” art system from which they are marginalized, the concept “Modern art,” the Duchampian imagination, contingency, and postmodernism, etc. Their dialogue helps to situate the frame of mind of émigré artists working and living in New York in the early 1990s, with particular attention to the spiritual and social motivations behind art-making, while elaborating the moral and ethical dimensions behind their work. While the three men do not always agree, a clear sense of the early-career motivations behind each of these artists' work can be garnered from their discussion.
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Slepukhin, Victor V. "FORMATION OF THE NEW HERO IMAGE IN RUSSIAN ART OF THE 1920’S AND 1930’S." Scientific and analytical journal Burganov House. The space of culture 17, no. 5 (December 10, 2021): 88–103. http://dx.doi.org/10.36340/2071-6818-2021-17-5-88-103.
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The art of the Soviet era attracts more and more attention of researchers and the public year by year. The exhibitions held over the past decades in Russia and abroad, the published monographs dedicated to works of art of the era and particular artists, the international creative contacts in cultural field — all of that has introduced previously unknown works into art history studies, which has allowed to re-evaluate the objectives and tasks of the art of the period and the development of the artistic process in general. That is why it is of great interest to study the ways the plastic arts formed and developed in the 1920’s and 1930’s. The 1917 revolution in its foundations had not just a change in social and political reality, but also a change in the very essence of man. The new era demanded a new hero, shaped his appearance in its works. The soviet man, thought of as a new man, became a fundamentally new object of art. If the 1920’s became the time of the search in proletarian art and the flourishing of avant-gardism, then in the 1930’s the objective of art in building the lifeworld of a new man began to be understood much narrower and stricter, and this Man who perceives art began to be described as a “normal” (that is, average, “ordinary”) consumer of cultural tradition. The “New Man” in the plastic arts of the 1920’s and 1930’s was formed as the new hero of society; avant-garde artists sought his originality in the images of generalized and abstract aviators, peasants, women; artists of socialist realism began to form the images of “typical” heroes of the time (military men, athletes, rural workers, scientists) as new “Renaissance people”, equally ready for work and defense. At the same time, two main tendencies, two directions that correspond to the two tasks of socialist realism, clearly lie in the image of the “new” Soviet man: the depiction of reality (that is, the new Soviet man that really exists) and the depiction of the ideal (that is, the ideal man).
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Ünal, Mevlüt, and Ahmet Dalkıran. "Grotesque Approaches in Contemporary Turkish Painting." Bilim, Eğitim, Sanat ve Teknoloji Dergisi (BEST Dergi) 8, no. 1 (February 21, 2024): 66–80. http://dx.doi.org/10.46328/bestdergi.105.
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The Republican period witnessed significant changes in Turkish art and the art of painting was reshaped in this process. By addressing the grotesque elements in paintings depicting mythological themes, the study aims to understand the reasons why artists use these images and the social, cultural, and political contexts of these images. The study analyzes the depiction of figures in Turkish painting in a grotesque context during the Republican period and how artists integrated the influences of Western culture as well as traditional Turkish culture. Additionally, it is examined whether the use of grotesque images emerged as a reaction of the artists to the political and social atmosphere of the period or as a different narrative strategy. In this context, it offers an understanding of how grotesque images in Turkish painting reflect the artists' individual expressions, social criticism and cultural identities.
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Petrova, Lyudmila Evgenievna, and Evgeny Alekseevich Fitmov. "The development of artistic and creative abilities of students on the basis of the academic system of artistic training." Samara Journal of Science 11, no. 2 (June 1, 2022): 310–14. http://dx.doi.org/10.55355/snv2022112308.
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In this scientific paper the authors express some critical thoughts about the situation that has developed in recent years in the field of training teachers majoring in art education. The authors raise the question of the need to return to the basics of academic art education of artists and teachers in connection with the problems associated with the adoption of the Bologna education system. Having studied the publications of famous Soviet and Russian artists-teachers and considering personal observations, the authors of the paper substantiate the need to develop artistic and creative abilities of students using the best traditions of Russian academic art education, which is based on the decisive importance of working from nature. The peculiarity of the courses is the unification of educational-cognitive and artistic-creative tasks in the educational process. The concept of artistic and creative abilities as a complex of individual personality traits, the concept of individual manner in artistic creativity is clarified. Special attention in the paper is paid to the pedagogical interaction of the subjects of the educational process, to the disclosure of the individuality of the individual. The development of artistic and creative abilities of students at the lessons of academic art courses must be solved by the purposeful guidance of a teacher-mentor. The authors analyze possible ways to solve the problem of the development of artistic and creative abilities of prospective artists-teachers.
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Chegusova, Z. ""Art of Fire" of Ukraine in the Context of European Artistic Process (Exemplified by National and International Competitive Exhibitions of Ceramic Art and Glass Art)." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2020, no. 3 (December 2020): 73–81. http://dx.doi.org/10.33625/visnik2020.03.073.
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The article presents a detailed analysis of achievements of Ukrainian artists working in the field of "art of fire", in particular professional ceramics and glassworks, while attracting close attention in the general artistic process of the 1980s to 2010s. Losses of the art industry in Ukraine in the 1990s did not stop the artists from searching the ways to streamline decorative imagery, as well as non‑standard approaches to materials in the individual work of artists in this field. European and global biennials and triennials of decorative art considerably contributed to finding new ways of the “art of fire” development. During such events masters of various artistic trends and schools exchanged their experience. And that proved to be the most powerful stimulus for both intensification of creativity and strengthening experimental activities in exposition works of Ukrainian artists at the turn of the 20th and 21st centuries. Since then, Ukrainian masters of ceramics and glassworks have begun mastering the heritage of artists from other countries, which contributed to the diversification of formal techniques of Ukrainian artists of decorative art. This, in its turn, has led to the emergence of various conceptual works, installations, and complicated spatial compositions. The author also carefully considers national competitive exhibitions, all‑Ukrainian presentations and symposia, which helped to introduce the latest artistic ideas and technologies of the “art of fire” masters. This study is actualized by globalization processes taking place in civilization. Stating specific challenges posed by the globalization to national culture, the author, at the same time, finds arguments in favor of its positive effects on art. A rapid entry of Ukrainian ceramic and glass artists into the global context at the turn of the 20th – 21st centuries, does not bring about a danger of dissolving in it, given the nature of professional decorative art of Ukraine. The “art of fire” is perceived as a powerful branch in the field of national culture with its inherent features of authentic spiritual genetics, as a dynamic balance of centuries‑old traditions and modern fine arts. It is paradoxical, the author believes, that globalization generates the opposite process as well: it directs Ukrainian artists to search for archetypes of their own culture, returns to their national historical heritage, and stimulates the preservation of national identity, as a result of which the “art of fire” becomes an important factor of national and cultural identification. In the context of professional decorative art problems and from the viewpoint of national and cultural identification in the conditions of globalization processes in Ukraine, such an aspect of studying the “art of fire” within the field of art history science is considered for the first time.
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Kornilova, Irina, Albert Nigamaev, and Azat Rafikov. "Fate of Kazan art of the Soviet era." OOO "Zhurnal "Voprosy Istorii" 2022, no. 4-1 (April 1, 2022): 124–32. http://dx.doi.org/10.31166/voprosyistorii202204statyi27.
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The article is devoted to the analysis of the series of works, published by Professor N.M. Valeev, Doctor of Philology and dedicated to the milestones of life and creative paths of the outstanding Soviet artists, graduates of the Kazan Art School K.K. Chebotarev and A.G. Platunova. The author of the research pays a great attention both to the unique flavor of the Soviet art of the 1910s-1970s and to some small events of Kazan life, history of the Tatar Republic, local history. While working on his articles and monographs N.M. Valeev used material from different sources: the archive of the Russian Museum, the State Archive of the Republic of Tatarstan, the Scientific Archive of the Institute of Language, Literature and Arts, named after G. Ibragimov, of the Academy of Sciences of the Republic of Tatarstan, the archive of the State Museum of Fine Arts of the Republic of Tatarstan, regional and All-Russian periodicals, catalogs of art exhibitions, theater posters. Autobiographical material is of great use in the research, it helps to reveal K.K. Chebotarev’s and A. G. Platunova’s vision of the artist’s mission in society.
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HORBACHOVA, Valeriia. "CHOLAMANDAL ARTISTS’ VILLAGE: AN INTERACTION BETWEEN THE TRADITION AND MODERNITY (INDIA, THE MADRAS SCHOOL)." HUDPROM: The Ukrainian Art and Design Journal 2023, no. 2 (October 15, 2023): 32–43. http://dx.doi.org/10.33625/hudprom2023.02.032.
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Based on the analysis of scientific literature, a successful example of an independent and self-organized community of Cholamandal artists was studied as a continuation of the artistic searches and experiments of the Madras school during the second half of the 20th – early 21st centuries. The prerequisites for the emergence and development of the Cholamandal commune headed by K. Paniker are analyzed. The activities of individual artists of the art association – painters (K. Paniker, R. Pooviah, T. Tarani), graphic artists (K. Haridasan, K. Ramanujam), sculptors (C. Patnaik, S. Nandagopal) and others are considered. The plot and thematic features of their achievements are clarified – the search for original interaction with folk, religious and tantric art is characteristic for these artists. The special position of folk art becomes one of the distinguishing features of the association’s activities. Traditions and their inheritance are seen as an important communicative part and as a source of experiments for modern practices, which, in turn, supported the cross-platform nature of Cholamandal. The settlement included not only workshops and an exhibition gallery, but also an open-air theater for dancing and theatrical performances, a textile workshop, a library and all the necessary infrastructure for everyday life. Cholamandal artists are known for their experiments with traditional Indian techniques and materials such as terracotta, bronze casting, a combination of fresco and oil painting. They combined these techniques with contemporary styles and themes to create unique works of art, reflecting the richness and complexity of India’s artistic tradition. The Cholamandal commune also played an important role in popularizing of modern Indian art among a wide audience. Art exhibitions and events held at Cholamandal attracted art enthusiasts and collectors from all over India and abroad and have helped bring Indian contemporary art to the attention of the global art scene.
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Sjöholm, Jenny, and Cecilia Pasquinelli. "Artist brand building: towards a spatial perspective." Arts Marketing: An International Journal 4, no. 1/2 (September 30, 2014): 10–24. http://dx.doi.org/10.1108/am-10-2013-0018.
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Purpose – The purpose of this paper is to analyse how contemporary artists construct and position their “person brands” and reflects on the extent to which artist brand building results from strategic brand management. Design/methodology/approach – A conceptual framework proposes a spatial perspective on artist brand building to reach an analytical insight into the case of visual artists in London. The empirical analysis is qualitative, based on serial and in-depth interviews, complemented by participant observations. Findings – Artist brand building relies on the creation and continuous redefinition of “in-between spaces” that exist at the blurred boundaries separating an individual and isolated art studio, and the social and visible art scene. Artist brand building is a bundle of mechanisms that, mainly occurring without strategic thinking, are “nested” within the art production process throughout which learning, producing and performing are heavily intertwined. Research limitations/implications – This study was undertaken with a focus on visual artists and specific operations and spatialities of their individual art projects. Further empirical research is required in order to fully explore the manifold of practices and spatialities that constitute contemporary artistic practice. Practical implications – This study fosters artists’ awareness of branding effects that spillover from artistic production, and thus potentially opens the way to a more strategic capitalization on these. Originality/value – The adopted spatial perspective on the process of artist brand building helps to uncover “relatively visible” and “relatively invisible” spatialities that, usually overlooked in branding debate, play a significant role in artist brand building.
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Callus, Ron, and Mark Cole. "Live for Art — Just Don't Expect to Make a Living from it: The Worklife of Australian Visual Artists." Media International Australia 102, no. 1 (February 2002): 77–87. http://dx.doi.org/10.1177/1329878x0210200109.
Full textAbstract:
Visual artists make up one of the few occupational groups in Australia where the majority of those working in the field are not regulated by awards or agreements that set minimum rates of pay and conditions. This is because most artists are self-employed and therefore lie outside the industrial relations regulatory framework. This article builds on the results of a survey of members of the National Association of Visual Artists (NA VA). The survey was designed to provide a picture of the income sources and activities of persons who work in the arts industry. For the majority of artists, the paid work undertaken as an artist was not their main source of income. These artists supplemented their art-producing income with other art and non-related income-producing work. A significant proportion of NAVA members work for a living in the visual arts industry as teachers, arts administrators, curators or in other art-related work; many of these also produce art in their spare time. The data collected were then used to develop a typology based on the combination of artists' time-use and income-generating activities. The typology was generated through the use of a cluster analysis that revealed three major groups of artists and a number of subgroups within these three major groupings. Given the complexities of the artist's labour market experiences, a number of options are canvassed as to how the precarious nature of artists' work could better be managed. One approach to regulation is to accept the realities of the artists' labour market and build around this through a system of accruing entitlements that come from working in the industry rather than for any one individual or organisation. It is suggested that governments could also take a different approach by recognising the special nature of artists' work, specifically the fact that artists move in and out of the labour market over their lifetimes. A whole-of-life approach to the problem is therefore necessary.
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Thurmann-Jajes, Anne. "Collecting collections: The Research Centre for Artists’ Publications." Art Libraries Journal 38, no. 3 (2013): 30–35. http://dx.doi.org/10.1017/s0307472200018654.
Full textAbstract:
Established in 1999 within the Weserburg Museum of Modern Art, in Bremen, the Studienzentrum für Künstlerpublikationen (Research Centre for Artists’ Publications) is today one of the most significant institutions worldwide in the field of artists’ publications, with holdings of more than 200,000 items, and important programmes of exhibitions and publications. The Research Centre traces its roots to the Archive for Small Press & Communication (ASPC), founded in 1974 by Anne Marsily and Guy Schraenen, and incorporates more than 40 individual archives and special collections, including the PLG Friesländer’s Mail Art Archive, the Klaus Groh Collection and the Kunstradio Archive.