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Journal articles on the topic 'ART / Individual Artists / Monographs'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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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 contempora

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2

Василь, Косів. "У тіні образотворчого мистецтва: історіографія графічного дизайну української діаспори 1945–1989 рр." ВІСНИК Львівської національної академії мистецтв, № 35 (16 липня 2018): 140–58. https://doi.org/10.5281/zenodo.1313132.

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Professional careers of the Ukrainian diaspora artists from 1945–1989 are reflected in foreign magazines and newspapers articles, exhibitions catalogs, illustrated monographs and albums. Over the past decades, their names have become known in Ukraine as well. Publications of a different genre, aimed at different audiences, were published at different times in different countries, but almost all of them show a common tendency. Painting and sculpture are considered to be the greatest achievements, etching and book illustration follow, sometimes bookplates and applied art are presented. Rar

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3

Reznikova, Ekaterina. "The Process of Formation of National Identity in the Painting of Kazakhstan." Bulletin of KNUKiM. Series in Arts, no. 45 (December 17, 2021): 34–45. https://doi.org/10.31866/2410-1176.45.2021.247341.

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The purpose of the article is to highlight the national idea as a defining constant in the painting of Kazakhstan through the analysis of the main stages of the formation and development of the Kazakh professional school of fine arts on the example of the collection of the A. Kasteyev State Museum of Arts of the Republic of Kazakhstan. Research Methodology. The art studies analysis aimed at exploring the original works of leading Kazakhstani artists became the basic method of research Comparative, analytical and historical methods made it possible to identify the characteristic tendencies of a

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Salnikova, A. A., and S. Yu Malysheva. "HOW CULTURAL HISTORY BOOKS ARE WRITTEN: FROM SPECIAL CASE TO GENERAL PATTERNS." Вестник Пермского университета. История, no. 1 (64) (2024): 188–93. http://dx.doi.org/10.17072/2219-3111-2024-1-188-193.

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The article analyzes the content, structure, and concepts of Igor V. Narskii's monograph on choreographic amateurism in the USSR, focusing on his use of “cultural history” as a research strategy. Narskii’s work presents amateur art as a successful state project that also became an important component of the leisure time of Soviet people of several generations, practices of their self-realization, building their “worlds of their own”. To support his argument, Narskii draws on a variety of sources, including official documents, specialized printed publica-tions, materials of initiative documenta

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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 sc

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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 (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 sub

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Bassin, Aleksander, and Lidia Głuchowska. "Cubist idioms hidden within the discourses on modernism and the Avant-Garde in Slovenia." Umění 72, no. 3 (2024): 269–82. https://doi.org/10.54759/art-2024-0306.

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The evaluation of the largely transitory character of Cubism and Post-Cubism in the art history of the former Kingdom of Serbs, Croats, and Slovenes, apart of monographic presentations of individual artists, doesn’t exist up to date. In Slovenia efforts towards a synthetic presentation of the Modernism and the Avant-Garde have been undertaken only since the 1980s. Generally the meaning, Cubism was ‘impossible’ within the mostly traditional, (neo)realistic profile of the local visual culture dominates. However, breaking the paradigm of the Slovenian art history it can be stated, that there were

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Dundiak, I. "THE SOURCES OF RESEARCH AND HISTORICAL AND CULTURAL FEATURES OF CHURCH PAINTING IN THE UKRAINE OF THE SECOND HALF OF THE XX CENTURY." Традиції та новації у вищій архітектурно-художній освіті, no. 4 (November 30, 2018): 55–59. https://doi.org/10.5281/zenodo.1757765.

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The Ukrainian church art of the second half of XX century is unexplored, but we have found numerous monuments of monumental painting and icon painting in 1950 – 1980’s, being special approaches to distribute Christian culture in times of prohibition by Communists (folk art, nonconformist artists, etc.), methods of preservation of monuments. The artists’ memories, witnesses of events, interviews with relatives of artists, art historians, who study religious culture of certain regions (they can delve in detail into the local art information), private and museum collections, arc

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9

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 li

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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

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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 reco

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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 (1986): 92. http://dx.doi.org/10.1086/adx.5.2.27947592.

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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 cont

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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 (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

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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 reput

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Bojić, Zoja. "The Slav Avant-garde in Australian Art." Poznańskie Studia Slawistyczne, no. 18 (April 28, 2020): 37–48. http://dx.doi.org/10.14746/pss.2020.18.2.

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Australian art history includes a peculiar short period during which the European avant-garde values were brought to Australia by a group of Slav artists who gathered in Adelaide in 1950. They were brothers Voitre (1919–1999) and Dušan Marek (1926–1993) from Bohemia, Władysław (1918–1999) and Ludwik Dutkiewicz (1921–2008) from Poland, and Stanislaus (Stanislav, Stan) Rapotec (1911–1997) from Yugoslavia, later joined by Joseph Stanislaus Ostoja-Kotkowski (1922–1994) from Poland. Each of these artists went on to leave their individual mark on the overall Australian art practice. This brief momen

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Pandey, Aarna Anil. "Art Market in Russia: An Analysis of the Art Market in Moscow." International Journal of Social Science Research and Review 7, no. 11 (2024): 188–96. http://dx.doi.org/10.47814/ijssrr.v7i11.2383.

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Art markets contain issues such as income inequality, dearth of transparency related to the work, challenges for budding artists to establish themselves, and others. Following the pivot in the geopolitical climate on 24th February 2022 with the Russian annexation of Ukraine, these problems have been accentuated. In addition to such issues, Russian artists have been facing problems related to selling their work, networking, and other activities that are increasingly making it difficult for artists to subsist. Using a qualitative approach involving in-depth 15 semi-structured interviews, this st

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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 (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

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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 (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 bound

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Lee, Eunji J. "Art as Pedagogy: A Multiple Case Study of Participatory Socially Engaged Art." Visual Arts Research 49, no. 1 (2023): 88–106. http://dx.doi.org/10.5406/21518009.49.1.08.

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Abstract In recent decades, contemporary art practices have expanded into social processes as art, and even to educational experiments. Artists create participatory projects combining art with educational activities and goals. Despite the prevalence of these art works, contemporary art literature continues to focus primarily on the artist, thereby displacing the experiences of participants. Hence, from the stance of an art educator, I carried out qualitative multiple case studies to examine the learning experiences of the participants as well as the pedagogical frameworks of the artists. On-si

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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 t

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Zaynutdinova, Zukhra. "ACTIVITY OF THE GROUP OF ARTISTS "5 + 1" IN CONCEPTUAL ART." CURRENT RESEARCH JOURNAL OF HISTORY 02, no. 12 (2021): 6–12. http://dx.doi.org/10.37547/history-crjh-02-12-02.

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The article examines the role and significance of the "5 + 1" group in the development of contemporary art in Uzbekistan in the context of the creativity of the group's artists. The ideas and aesthetics of paintings, installations, video art in the work of individual artists are revealed in detail.

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Meeks, Amanda. "Art as the practice of freedom: Critical alliances and professional identities within art librarianship." Art Libraries Journal 44, no. 2 (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 relationshi

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Nina. "Artists as truth-seekers." Approaching Religion 11, no. 1 (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 reli

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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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Sharma, Alisha, and Arjun Kumar Singh. "The Expansion of New Media Art in Indian Visual Art Practices: An Analysis." ECS Transactions 107, no. 1 (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 t

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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 (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 co

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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 (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 gener

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Griswold, Wendy. "Formal capacities and relational understandings: Greed in literature, art and sociology." Sociologias 20, no. 48 (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. Thi

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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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Braden, L. E. A. "Networks Created Within Exhibition: The Curators’ Effect on Historical Recognition." American Behavioral Scientist 65, no. 1 (2018): 25–43. http://dx.doi.org/10.1177/0002764218800145.

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This research examines artist networks created by shared museum exhibition. While previous research on artistic careers assesses self-cultivated networks, historical recognition may be further influenced by connections created by important others, such as museum curators and art historians. I argue when museum exhibitions show artists together, curators are creating symbolic associations between artists that signal the artist’s import and contextualization within his or her peer group. These exhibition-created associations, in turn, influence historians who must choose a small selection of art

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Zhang, Suixin. "Chinese Artists Living Abroad: Art, Cultural Identity and Hybridity." Advances in Social Science and Culture 4, no. 1 (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

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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 (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

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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 we

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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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Sigurjónsdóttir, Æsa. "Óræð inngrip og pólitísk orðræða í borginni." Ritið 18, no. 2 (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

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Rajbhandari, Jasmine. "Recycling of Myths in Contemporary Nepali Art." Journal of Fine Arts Campus 6, no. 1 (2024): 25–40. https://doi.org/10.3126/jfac.v6i1.76085.

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This article presents the ‘recycling of myth’ in Nepali art. Nepali artists distorted such stories, characters, and emotions in their art to create unity in communication by transforming these stories from past generations to upcoming generations. This writing explores the relationship between myth and the art of Nepali artists, using their works as examples. The artworks are analyzed using qualitative research methods. They sometimes painted those stories precisely according to what was written in the text in their style. In some paintings, they distort the myth to explain their perspective a

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Mazinder, Dr. Raj Kumar. "A Tribute to Renowned Printmaker and Art Activist Maneswar Brahma and Contemporary Art in Assam." Majuli : A Multi-Lingual Multi-Disciplinary e-Magazine 02, no. 01 (2025): 1–12. https://doi.org/10.5281/zenodo.15288334.

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<em>The 20th century in India and other parts of the world, the circumstances of contemporary, relatively recent genre artists' works have been far more complex, encompassing personal, collective, and frequently political elements. In contrast, individual and social suffering emerged during the creation process, as did emotional longing for the distant birthplace of Assam. My goals are to research modern Assamese artists, with a focus on the gap left by the tragic death of celebrated printmaker and art activist Maneswar Brahma in the middle of his career. I also hope to write about his outstan

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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 publis

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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 (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

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Sooudi, Olga Kanzaki. "Alternative Spaces & Artist Agency in the Art Market." Arts 9, no. 4 (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 artisti

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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 (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 doma

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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 (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 In

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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 (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 ha

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Piątkowska, Renata. "Artystki i miłośniczki sztuki – kobiety w żydowskim życiu artystycznym międzywojennej Warszawy. W kręgu Żydowskiego Towarzystwa Krzewienia Sztuk Pięknych." Studia Judaica, no. 1 (47) (2021): 175–211. http://dx.doi.org/10.4467/24500100stj.21.007.14609.

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Artists and Art Lovers: Women in the Jewish Artistic Life of Interwar Warsaw. In the Circle of The Jewish Society for the Encouragement of Fine Arts Research on Jewish artistic life in interwar Warsaw, especially in the context of the activities of the Jewish Society for the Encouragement of Fine Arts (Żydowskie Towarzystwo Krzewienia Sztuk Pięknych), reveals active and numerousparticipation of women, both artists and art lovers (by and large a group of professionals, bourgeois, political and social activists, Jewish art collectors). In the article, special attention is paid to Tea Arciszewska

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Zheng, Jihui. "Analyzing the Opportunities of Art Trends Based on Contemporary Spiritual Needs." Arts Studies and Criticism 4, no. 2 (2023): 36. http://dx.doi.org/10.32629/asc.v4i2.1457.

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The art trend of thought should adapt to the contemporary art needs and promote the help and progress of art for the group. Modern art should help build the spiritual level of each person and heal the mental and spiritual health of the individual. By popularizing basic art education and providing entry points for art viewing, enhancing the personal empathy and tolerance of the general public is a new opportunity to adapt to the artistic trend of human development and needs. This paper provides an idea of one of the possibilities of artistic trend of thought. Artists leave traces of clues in ar

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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 (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 fo

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Solomon, Jon. "A Conversation with Hsieh Tehching, from The Black Cover Book." ARTMargins 4, no. 2 (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 th

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LYSENKO, Dana. "ASPECTS OF MUSICAL ART INFLUENCE ON THE CREATIVITY OF ARTISTS IN THE LATE 19TH–20TH CENTURIES." Bulletin of the Lviv University. Series of Arts Studies 218, no. 24 (2023): 66–74. http://dx.doi.org/10.30970/vas.24.2023.66-74.

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The article is dedicated to studying the influence of musical art on the creative process and aesthetic perceptions of artists in painting from the late 19th to the 20th centuries, with a focus on synesthetic artists. The research aims to reveal the interconnection between musical impressions and visual art. Various aspects of using music as a source of inspiration and the influence of musical composition elements on the creation of images in the works of synesthetic artists are analyzed within the study. This research explores how synesthetic artists utilize music as a source of inspiration a

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