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Journal articles on the topic 'Art magazine'
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1
Medovarov, Maksim V. "“Construction and Decorative Art” Magazine: A Forgotten Word in the Russian Artistic Criticism of the Early 20th Century." Observatory of Culture 19, no. 1 (March 3, 2022): 88–99. http://dx.doi.org/10.25281/2072-3156-2022-19-1-88-99.
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The article is devoted to the history of the Moscow magazine “Construction and Decorative Art”, which played a significant role in Russian art criticism in 1903, despite its short (within six months) existence. This topic needs to be addressed due to the small number of comprehensive studies in the field of Russian art criticism of the early 20th century. On the basis of archival materials of censorship, the article reconstructs the creation circumstances of two homogeneous magazines (“Architecture and Decorative Art”, renamed “Free Art”, and “Construction and Decorative Art”) and their actual transformation into one press organ. There is examined the rapprochement of the architects Vasily Borin and Leonid Betelev with the scandalous journalist Alexey Filippov, their struggle for the permission to publish a new Moscow magazine about art in 1900—1902, the patronizing attitude of the Main Directorate for Press Affairs and the Moscow Governor-General to the new initiative of Filippov. The author introduces into scientific circulation important recorded sources related to the transfer of the rights to publish the magazine to Vasily Borin, and his attempt to pass off the former magazine of Filippov and Betelev as his own (hitherto non-existent) magazine “Free Art”. The article analyzes three issues of the illustrated magazine “Construction and Decorative Art” published in 1903. Basing on the data on the magazine’s format and prices, the author concludes that the publication turned out to be expensive and, therefore, unprofitable. The article pays particular attention to the views of Borin and Filippov on the development of contemporary art, Art Nouveau, and the activities of the artists of the group “Mir Iskusstva” (“World of Art”). In the context of a meaningful analysis of the magazine’s articles, there is discussed the honoring of the architect Nikolai Nikitin in connection with his anniversary. The author poses the question of how the issues of “Free Art” at the end of 1903 should be assessed. There are analyzed the causes for the mysterious closure of both the magazines in 1904—1905, which was not formalized in accordance with the law.
2
Bickers, Patricia. "Art monthly 1976 - On the gentle art of staying the same while changing utterly." Art Libraries Journal 35, no. 1 (2010): 5–11. http://dx.doi.org/10.1017/s0307472200016217.
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Founded in 1976, Art monthly is Britain’s oldest contemporary art magazine. It is impossible, and perhaps even unwise, to try to account for the magazine’s longevity, but a contributing factor may be the high degree of continuity between the past and present that is reflected in the loyalty of Art monthly’s readership and of its writers and regular contributors. This does not mean that the magazine has not changed at all; on the contrary. That Art monthly has adapted and responded to shifts in the art world over the years is reflected, for instance, in the large number of student subscribers to the magazine. However, change has been introduced gradually and in a manner in keeping with the founding ethos of the magazine. This is what is meant by ‘the gentle art of staying the same while changing utterly’ – the subheading for this article, and of the talk on which it is based.
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Zavyalova, Anna E. "Early Works of Mstislav Dobuzhinsky and Jugendstil Graphic Art." Observatory of Culture 19, no. 3 (July 5, 2022): 293–300. http://dx.doi.org/10.25281/2072-3156-2022-19-3-293-300.
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The article examines a number of M.V. Dobuzhinsky’s graphic works published in “Jester”, “The World of Art” and “Apollo” magazines, in comparison with the works of artists in the Munich magazines “Jugend” and “Simplicissimus”. There are revealed the motifs that influenced Dobuzhinsky’s works: the image of pavement and brickwork, the image of a black cat. The author has found that Dobuzhinsky repeated the drawing of the devil by T.T. Heine in a vignette for the magazine “Golden Fleece”. The scientific novelty of the work lies in the fact that, for the first time, it analyzes M.V. Dobuzhinsky’s graphic works published in Russian magazines of the turn of the century, comparing each of them with drawings with similar motifs in the magazines “Jugend” and “Simplicissimus”. The chronological method of analyzing the works of M.V. Dobuzhnisky’s magazine graphics made it possible to reveal the genesis of the image of the city, as well as to clarify the beginning of his appeal to the theme of classicism architecture. In addition, the article introduces into scientific circulation Dobuzhnisky’s drawings for the Petersburg satirical magazine “Jester”. Their chronological analysis in comparison with similar works from the Munich satirical magazines reveals the genesis of the artist’s mastering of Jugendstil drawings in the first year of his autonomous activity. The results obtained demonstrate the influence of woodcuts by Albrecht Dürer on the formation of a unique line in Dobuzhinsky’s drawings. The author concludes that that due to the artist’s appeal to Dürer’s woodcuts, as well as to engravings by Japanese masters, M.V. Dobuzhinsky followed the same path as the masters of the Munich magazine graphics, having developed by the mid-1900s their achievements to a new level in his works.
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Danowitz, Erica Swenson. "Art Magazine Collection Archive." Charleston Advisor 23, no. 3 (January 1, 2022): 5–9. http://dx.doi.org/10.5260/chara.23.3.5.
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This resource provides full-text access to the digital archives of three significant art publications, ARTnews, Art in America, and The Magazine ANTIQUES. The 3,950 issues found in this database appear in digital format in their entirety as originally published. This database also includes the original advertisements found in these periodicals. These advertisements have been indexed and are searchable. This archive provides an extensive chronicle of art collecting, fine arts, art history, interior design, decorative arts, folk art, antiquing, and architecture in the twentieth and early twenty-first century. It also supports the study and research of the contemporary art movements of the twentieth century, the history of collecting, and the history of the art market.
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Lee, Louisa. "‘A sculpture that has never been seen before’: the Advanced Sculpture Course, group crit and Silâns magazine at St Martin’s College of Art1." Sculpture Journal 30, no. 1 (January 1, 2021): 71–85. http://dx.doi.org/10.3828/sj.2021.30.1.5.
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Focusing on the magazine Silâns, produced by students and tutors Barry Flanagan, Rudy Leenders and Alistair Jackson on the Advanced Sculpture Course at St Martin’s College of Art between 1964 and 1965, this article explores the magazine as a collaborative space for students and tutors alike. Arguing that while the ‘group crit’ or discussion forum at St Martin’s offered students a verbal platform to describe, defend or critique their work (which increasingly relied on concepts and ideas over formal properties), it was the format of the art school magazine that offered a space for discourse and collaboration. By questioning the purpose of art and the role of the artist more generally, Silâns offered a site for critique of a rapidly changing art education system. In doing so, it prefigured later conceptual magazines that encompassed similar territory and preoccupations. I argue that although the content and form of Silâns are now identified in relation to concrete poetry, it is better situated in the context of early text-based conceptual art practice. The emphasis on the magazine as a means to disseminate concrete poetry tacitly avoids any of its political implications, in favour of its formal aspects. In concluding that the importance of Silâns, as an alternative platform for student collaboration and a precursor to later text-based conceptual art practice, has so far been overlooked and confined instead to a footnote in the sculptor Barry Flanagan’s biography, I argue that, more than group crit, this magazine is a manifestation of the verbal impulse in art colleges.
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Sellar, Tom. "Discussion, Dream, Art, People." Theater 50, no. 1 (February 1, 2020): 1–11. http://dx.doi.org/10.1215/01610775-8123826.
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In this article, Tom Sellar, the editor of Theater for sixteen years, reflects on the five-decade legacy of the magazine. Sellar’s personal retrospective looks both backward and forward, from Theater’s polemical beginnings in the late 1960s and his own encounters with the magazine as a student in the 1980s to the political exigencies of the present day and the demands this moment makes on the future of theater and criticism. As Sellar writes, Theater’s early radical spirit has not left the magazine’s mission: “Part muse, part archive, part mirror, Theater has held tightly to … its permanent stance that the theater can provide a vessel for transformation, bringing altered consciousness and maybe a better society.” Tracing this history, Sellar illuminates how Theater, as a journal and a reflection of its object of inquiry, has responded to the evolving idea of a public — a sphere that has narrowed and expanded, fractured and recombined over the past half century.
7
Stokes, Sally Sims. "Patterns of the Fair: Demorest's monthly magazine, the Centennial Exhibition of 1876 and analysis of fashion advertising art." Art Libraries Journal 42, no. 1 (December 15, 2016): 26–34. http://dx.doi.org/10.1017/alj.2016.41.
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Fashion magazines contain hidden delights ripe for investigating. One can explore overt content and covert messages in fashion magazine advertising art by probing the periodical and its promotional images for historical or social clues and for the advertiser's manipulative methods. Art librarians can apply and encourage the use of analytical techniques in connection with fashion advertising art from any era or region of the world. The focus here is on a single firm, the Demorest Fashion and Sewing-Machine Company, best known for its paper sewing patterns, and how in a single volume of its monthly magazine it promoted the purchase of fashion goods in connection with a world's fair: the 1876 Centennial Exhibition in Philadelphia. Comparing a 19th-century fashion engraving with a related photograph; and viewing a magazine advertisement as a set of repeating patterns according to a 21st-century process, fractal-concept analysis, together yield a trove of information and prompt further ideas for alternate and peripheral lines of inquiry.
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SUVOROVA, Irina. "AESTHETIC PROBLEMS OF ANTIQUITY IN RUSSIAN JOURNALISM OF THE EARLY 19TH CENTURY (A CASE OF THE LYCEUM MAGAZINE)." Studia Humanitatis 25, no. 4 (December 2022): 28–32. http://dx.doi.org/10.15393/j12.art.2022.3904.
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The article explores the problem of the explicit reflection of the aesthetic thought in Russian journalism in the early 19th century using the example of the 1806 Lyceum magazine. The study revealed the eclectic nature of the writing style of this period’s authors and demonstrated the need to turn to ancient prototypes. The review of all the articles in the 12 issues of this magazine, identified texts containing direct reminiscences of ancient aesthetics or implicit references to ancient authors in solving aesthetic problems. The study revealed that the aesthetic issue most often discussed on the pages of the Lyceum magazine was the art classification issue. Examples of addressing this problem suggested by the magazine’s authors are compared with the positions of ancient philosophers. The article also discusses a variety of the magazine contributors’ approaches to solving the issue of the origin of art from aesthetic, ethical, and epistemological points of view. The article pays special attention to the direct reminiscences of ancient aesthetics in determining the categories of mimesis, beauty (in all its varieties), and kalokagathia. As a result, it is concluded that there was a significant reception of ancient samples in the texts of Russian authors dealing with aesthetic problems.
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Pelše, Stella. "REFLECTION OF THE PROLETARIAN ART IN THE LEFT-WING PERIODICALS OF THE INTERWAR PERIOD IN LATVIA." Culture Crossroads 8 (November 13, 2022): 169–78. http://dx.doi.org/10.55877/cc.vol8.175.
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In the left-wing magazines of the 1920s and 1930s, the visual art has been analysed from variously emphasised left-wing positions; even though, on the whole, literature seemed to be a more important weapon in the ideological battle. “Laikmets” (“Epoch”) (1923) was the least politicised periodical, advocating active, modern art opposed to stagnant bourgeois traditions, and promoting, for instance, the activism of author Andrejs Kurcijs, which was related to the ideas of the French purism. “Domas” (“Thoughts”) (1912–1915; 1924–1934) was a more long-lived periodical, aspiring to be a sophisticated culture magazine with more elaborate essays, such as Kurcijs’s draft for his publication “On Art” and the article “The Sociology of Creativity” by literary scholar Pēteris Birkerts. The highlights of the magazine “Trauksme” (“Alert”) (1928– 1929) included the statement by poet Pēteris Ķikuts about constructivism being more akin to the expressionists’ depth than to the impressionists’ superficial sliding over the surface of life. In “Signāls” (“Signal”) (1928–1930), a publication which was social- democratic in orientation, Voldemārs Branks wrote about art, inspired by the ideas of Leo Tolstoy and Hippolyte Taine, as well as emphasising the importance of the content and the accessibility of art. On the other hand, magazine “Kreisā Fronte” (“Left Front”) (1928–1930), edited by Linards Laicens, was related to the Russian constructivism by calling for the abandonment of the visual art in the name of producing useful things. The coexistence of modernistic, realistic and utilitarian versions echoed the Russian and European art processes of the time with the rehabilitation of mimetic traditions and ideologically motivated discrediting of the avant-garde. With the establishment of the Latvian authoritarian regime in 1934, the era of the leftist magazines in Latvia, which revealed the controversial attempts to display a more progressive outline of art, came to an end.
10
Thoburn, Nicholas. "Ceci n’est pas un magazine: The politics of hybrid media in Mute magazine." New Media & Society 14, no. 5 (December 5, 2011): 815–31. http://dx.doi.org/10.1177/1461444811427532.
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What are the possibilities for a political magazine in the new media environment? This article addresses that question through a study of the London-based art and politics magazine Mute, an experimental publishing venture that currently exists as a ‘hybrid’ of Web and print platforms. The politics in question resides not only in the magazine’s content, but throughout its media form. For Mute’s coverage of the evolving political and aesthetic capacities of new media has intersected with an insistent self-critique and remodelling of its magazine form, a reflexive orientation it set out in its ‘hybrid publishing’ manifesto, ‘Ceci n’est pas un magazine’. Drawing on an interview with the magazine’s editor and directors and employing concepts of ‘media ecology’ and ‘embodied text’, the article explores Mute’s hybrid media form through its publishing platforms, participatory mechanisms, aesthetic styles, commissioning practices, temporal modes, and commercial structures.
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Dlábková, Markéta. "Magazine Illustrations – Text Accompaniment as Well as Competition." Acta Musei Nationalis Pragae – Historia litterarum 63, no. 3-4 (December 1, 2018): 66–70. http://dx.doi.org/10.2478/amnpsc-2018-0009.
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Abstract The article deals with the role of illustrations in pictorial magazines in the second half of the 19th century (Světozor, Zlatá Praha, Květy etc.) and with changes in the image–text relationship. It focuses both on documentary and reportage drawings, which formed a significant part of magazine pictures, and on a magazine presentation of reproductions of works of art and the character of their accompanying commentaries. A closer inspection reveals that, despite the apparent dominance of the visual part, magazines still saw their crucial role in the textual part – which concerned not only the published articles but also the presentation of reproductions. The variation in the interaction between the image and the text is one of the most interesting methods of communication between illustrated magazines and their readers. On specific examples, the article illustrates how magazines worked with their pictorial part in connection with the reproduction techniques available and what meaning and content the reproductions could acquire in relation to the text.
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Hlushko, Mariia. "Representation of Emmanuil Mysko's works on the pages of art magazines." Bulletin of Lviv National Academy of Arts, no. 40 (July 26, 2019): 38–45. http://dx.doi.org/10.37131/2524-0943-2019-40-5.
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This paper analyzes art magazines and other periodicals in the context of the presentation of works by the famous sculptor Emmanuil Mysko, who holds a special place in the fine arts of Ukraine. The research material provides a brief overview of publications in art magazines and other periodicals that thoroughly acquaint the reader with the formation and evolution of Emmanuil Mysko's creative path. The focus is made on a holistic analysis of articles by art historians describing the artist's work, as well as publications containing only specific references to him. A number of well-known national art magazines, newspapers, newsletters, etc. covering the cultural and artistic events were selected for the study, namely, the magazine of the National Union of Artists of Ukraine "Fine Arts", "Art" magazine, "Free Ukraine" newspaper, Bulletin of the Lviv National Academy of Arts , "People's Notebooks", "Art Horizons" and others. The study outlines a number of trends regarding the presentation of material about Emmanuil Mysko, through which it can be argued that each of the authors tried to highlight as much as possible the key aspects of Emmanuil Mysko's activity in the field of monumental and decorative sculpture and to emphasize his contribution to the development of Ukrainian art. It is revealed that the talent, pedagogical and social activity, human qualities of Emmanuil Mysko and its impact on culture and art, have not been neglected by national scientists, art historians, researchers who in their works published on pages of art magazines and other periodicals describe various aspects of the life and work of a prominent Ukrainian sculptor, art critic, teacher, public figure Emmanuil Mysko. The need to create a structured bibliographic index has been identified, which will contain a complete list of articles on E. Mysko published since 1996, since the Bibliographic Index was published by that year. Also the main provisions and conclusions of the article can be used in the formation of the relevant sections of the new Bibliographic Index, which will become a basis for young researchers who will study the work of E. Mysko.
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Riabchenko-Shats, Valeriia Dmitrievna. "The specificity of art magazine in the context of culture of the Silver Age Culture." Культура и искусство, no. 11 (November 2021): 36–45. http://dx.doi.org/10.7256/2454-0625.2021.11.36838.
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The subject of this research is art magazines of the late XIX – early XX centuries and their role in cultural life of the turn-of-the-century era. Based on the comprehensive and systemic culturological approach, which encompasses historical-cultural method, textological analysis, scientific classification (analysis of primary sources, secondary data), structural-typological and other methods of scientific analysis, the author advances the general characteristic of the specificity of the new format of periodicals as an intrinsically valuable phenomenon of the Silver Age. Special attention is given to the prerequisites for creation of art magazine, as well as the cultural context of its emergence. The symbolist magazine did not only promote new trends in art and literature, but also formed the unique cultural phenomena. Being a platform for uncompromising and innovative findings, the symbolist periodicals have become a launching ground for such phenomena as symbolist journalism, symbolist criticism, new illustration, as well as advanced methods of arrangement of printed publications. The novelty of this research lies in determination, classification and detailed description of specific features that distinguish art magazines of the Silver Age, as well as revelation of a range of phenomena generated by this format of periodicals. It is demonstrated that besides the fact that art magazines of the turn of the century have become a unique diary of the era, which most clearly reflected its mentality, as well as evolution of art and thought of the late XIX – early XX centuries, they largely determined the cultural paradigm of the Silver Age. The presented materials and conclusions can be used in lectures and seminars on the history and theory of culture, the history of Russian journalism, development of the course “Art Magazines of the turn of the XIX – XX centuries”, as well as contribute to broadening of theoretical representations of the culture of the Silver Age.
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Imayo, A. "«Altyn art» magazine – a means to explore the culture, arts, and music education of Kazakhstan." Pedagogy and Psychology 46, no. 1 (March 31, 2021): 212–19. http://dx.doi.org/10.51889/2021-1.2077-6861.28.
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The article presents the conceptual basis of the ALTYN ART magazine, ways of the magazine development and implementation. Finally, it is proposed to consider the concept of further development of the publication to give information, possibly, useful for other publications of a similar thematic area. Art magazines are an effective way to conduct a dialogue between creative artists, i.e. painters, musicians, designers, etc. The author aims to improve the theoretical and practical understanding of the key elements and factors that contribute to the arrangement of the social and cultural creative environment in Kazakhstan and the development of its print media. The data collection and analysis was based on the experience of creation and publication of own cultural and informational periodical, the search for new ways to develop and promote the achievements of culture, art and professional music education. The materials of the journal give a clear idea of modern culture of Kazakhstan. The focus on articles written by experts of the field of Kazakhstan’s art may get interest students in further research in this area.
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Mansanti, Céline. "Mainstreaming the Avant-Garde: Modernism in Life Magazine (New York, 1883–1936)." Journal of European Periodical Studies 1, no. 2 (December 31, 2016): 113. http://dx.doi.org/10.21825/jeps.v1i2.2644.
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This paper explores the relationship between literary modernism and mainstream culture within a little-studied American magazine, Life (New York, 1884-1936). It does so by looking at three ways in which Life presented modernism to its readers: by quoting modernist writing, and, above all, by satirizing modernist art, and by offering didactic explanations of modernist art and literature. By reconsidering some of the long-established divisions between high and low culture, and between ‘little’ and ‘bigger’ magazines, this paper contributes to a better understanding of what modernism was and meant. It also suggests that the double agenda observed in Life – both satirical and didactic – might be a way of defining middlebrow magazines.
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Uglow, Luke. "The life and death of The Connoisseur." Art Libraries Journal 39, no. 1 (2014): 17–23. http://dx.doi.org/10.1017/s0307472200018137.
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In February 1992 a magazine called The Connoisseur died. Born in September 1901, it had lived a long life, and was the oldest of the once great triumvirate of British art periodicals, alongside The Burlington Magazine (1903) and Apollo (1925). While the latter two have survived into the 21st century, in 1982 The Connoisseur went into retirement and moved to America. This paper will tell the story of the last 15 years of the magazine’s life, from its happy 75th birthday through to an ignominious final eight months.
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Babii, Nadiia. "Cultural and Art Magazines in Western Ukraine from the Underground to Alternative Press." Culturology Ideas, no. 18 (2'2020) (2020): 120–31. http://dx.doi.org/10.37627/2311-9489-18-2020-2.120-131.
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The article analyzes the phenomenon of alternative cultural and art magazines of Western Ukraine of the 80-90s of the XX century; based on the analysis of factual data, interviews with stakeholders, scientific discussions, it clarifies the role of the object in the interdisciplinary connections of the XXI-century cultural discourse. The research determined that western cultural and art magazines of the late twentieth century played an important role for countercultural communities that were formed outside the official creative unions and also became a part of the common cultural myth under the same name. The closeness of the Chest union’s community to the aesthetics of the avant-garde was seen as opposition to the political regime, although they deliberately distanced themselves from politicization in their work as well as literary associations of the 1980s. The Сhetver (Thursday) magazine marked a new era of domestic journalism at the beginning of the 1990s, identified aesthetic criteria for alternative youth literature for a long period. The magazine became a symbol not only of a narrow get-together circle but also of an important part of the Stanislavsky phenomenon myth, in which all visual and verbal arts were a unified whole, thus blurring internal boundaries.
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Shevtsov, N. V. "Magazine «Otechestvennye Zapiski » in the History of Russian Culture of the 19th Century." Concept: philosophy, religion, culture, no. 3 (November 17, 2019): 132–42. http://dx.doi.org/10.24833/2541-8831-2019-3-11-132-142.
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The literary magazine «Otechestvennye Zapiski» legitimately belongs to the realm of the most known and reputable periodicals in the history of Russian journalism. Its publishers did everything possible to refine the journalistic style of its content and to turn each issue or, a book, as they used to call them, into high-quality classical thick literary magazines. The magazine published articles and stories of various genres. All of them stood out in terms of the high-quality writing. Both, up-and-coming and established authors dreamed of a publication there. At the same time, all of them realized that it was crucial to write something special for «Otechestvennye Zapiski», something not to be found in any other magazine. For many years, the magazine had a reputation of journalism training school. Yet, not only had it shaped outstanding journalists. Many up-and-coming writers became famous after the magazine featured their first works. Those, who we call today the classics of Russian literature, were among them. The magazine discovered Mikhail Lermontov to the world by being the first publisher of his short novels «Bela», «Fatalist», and «Taman» which later became parts of the novel «A Hero of Our Time». Many poems of Lermontov found the readers through «Otechestvennye Zapiski». Some of the early works of Nikolay Gogol and Fyodor Dostoyevsky were first featured there. It was this magazine, where young Turgenev gave his early poems as well. Plays of Alexander Ostrovsky went to the stages of the leading theaters shortly after being published in «Otechestvennye Zapiski». Taking advantage of the glory of a brilliant literary and artistic magazine, “Otechestvennye Zapiski” made a great contribution to the Russian culture. From the first years of its existence, articles on the newly opened private art galleries, numismatic collections, libraries, and various art exhibitions began to appear on its pages. From the very beginning of its publication and up to its closure, the journal carried out an important educational mission.
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Leu, Philipp. "From Pen to Feather: The Transformation of La Plume into a Limited Company." Journal of European Periodical Studies 1, no. 2 (December 31, 2016): 45. http://dx.doi.org/10.21825/jeps.v1i2.2651.
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The Parisian literature and art magazine La Plume (1889–1914) has been traditionally considered a ‘petite revue’. This article shows its transformation from a specialized magazine made by writers for writers into a key actor of late-nineteenth-century culture, particularly under the entrepreneurial leadership of Léon Deschamps (1863–99), its first editor. At its beginnings, La Plume made the most of a productive formula that used subscriptions to sustain publication, like other literary reviews of the time. But it also integrated isolated practices into a larger system, able to produce synergetic effects that would prove profitable. As the magazine turned its back to the literary underground, it became a limited company, introduced some of its collaborators into the dailies’ editorship, and promoted art and artists, exhibitions and social events, it addressed a broader, more fashionable bourgeois readership, particularly women. This step marks an interesting turn in periodical history and throws up unforeseen issues, examined on the basis of unpublished documents from the magazine’s archives. The study sheds light on the importance of financial factors in the creation of literature and art periodicals, and links changes in form and content with concrete commercial strategies. La Plume represents an interesting case study of business transformation. Not only did it succeed, it also guaranteed a sustainable and expandable economic model rooted in communication strategies.
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Krause-Wahl, Antje. "Ökonomien der sozialen Medien – Bildpolitik und Gemeinschaftsbildung in den digitalen Netzwerken der Gegenwartskunst." Zeitschrift für Kunstgeschichte 81, no. 4 (December 18, 2018): 575–87. http://dx.doi.org/10.1515/zkg-2018-0042.
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Abstract Following debates on participation and the relationship between art and politics as a central question of contemporary art, this essay discusses networked communities in the visual cultures of ‘Post-Internet Art’. For DIS and Juliana Huxtable digital communities are both the topic of their installations and pictures and part of their artistic activities within the internet: the blog DIS Magazine and the tumblr blog Blue Lip Black Witch-Cunt. In comparing their artistic practice with network-like communication in magazines of the 1970s, the essay argues that it is not a central concern of post-internet art how network images may subvert the economy of images in the net. Rather this kind of art demonstrates the effects of networks, in which participation causes singularity instead of community.
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Sadivnycha, Maryna. "From Erotic Content to War Realities: Problem-Thematic Range of «Playboy Ukraine» Magazine." Obraz 39, no. 2 (2022): 54–63. http://dx.doi.org/10.21272/obraz.2022.2(39)-54-63.
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Introduction. Franchising magazines for men are one of the least researched segments of the Ukrainian media market. However, men’s magazines are quite interesting for research, because, like any media, they reflect reality, social processes, values, moral guidelines, and attitudes. One of the most famous men’s magazines in the world is Playboy magazine. Although a significant part of its content is indeed erotic photos, the magazine also provides the reader with interesting and useful information – news, interviews, analytics, and author’s journalism. Relevance of the study. The basis of our research is the author’s texts of the magazine «Playboy Ukraine», as they are a product of creativity of representatives of Ukrainian society, and therefore a reflection of its worldview, mentality, and local social processes from the middle of the country. The purpose of our research is to determine the problem-thematic range of the author’s texts of the franchise magazine for men «Playboy Ukraine». Methodology. The main research methods are content analysis and discourse analysis, which involve the identification of the author’s publications from among the content of the magazine issues, as well as the establishment of their thematic and content direction, author’s features of information presentation and evaluations as part of the general communication strategy of the publication. Results. Investigating the problem-thematic range of the magazine «Playboy Ukraine», we analyzed the author’s texts of the printed version of the magazine in the period from 2017 to the end of 2021, as well as issues published after February 24, 2022. We divided the author’s texts highlighted in the magazine into thematic groups: healthy lifestyle, psychology, social stereotypes, modern culture, travel. We paid special attention to the topic of quarantine. It was also discovered that with the beginning of the full-scale invasion of Ukraine by the Russian army, «Playboy Ukraine» magazine completely reformatted its content. The first military issue is dedicated to the events in Ukraine. It does not contain erotic photos and author’s texts, the publication presents many photos by well-known and unknown photographers that show the consequences of enemy shelling, people hiding in bomb shelters, the military, evacuation and Ukrainian cities that have just been liberated from occupation. The editors dedicated the next issue of «Playboy Ukraine» to art during the war. Conclusions. The thematic direction of the materials of the «Playboy Ukraine» magazine confirms the publication’s general focus on quality content. Therefore, the general problem- thematic range of the magazine reflects social processes and the surrounding reality, historical events, and realities of today, as well as a response to the informational tastes and interests of the audience. The perspective of further research consists in studying the problematic and thematic range of the author’s texts of the magazine in the context of historical events, as well as in comparison with the content of other franchise publications.
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Gräf, Bettina, and Laura Hindelang. "The Transregional Illustrated Magazine Al-Arabi." Middle East Journal of Culture and Communication 15, no. 3 (September 6, 2022): 301–28. http://dx.doi.org/10.1163/18739865-01503002.
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Abstract This article investigates the transregional cultural magazine Al-Arabi (al-‘Arabi) during the late 1950s and 1960s under its first editor, the Egyptian scientist Ahmad Zaki. Founded in Kuwait, the magazine’s establishment and sociocultural-political agenda are reconstructed within the context of Kuwait’s cultural diplomacy and pan-Arabism during decolonization and early Cold War politics. Al-Arabi offered timely discussions on Arab cities, gender, literature, politics and science, and readily embraced color photography for illustrations as a way of stimulating transnational understanding during times of substantial change in the region. Consequently, an analysis of Al-Arabi provides insights into historical strategies for re-imagining the region from within. Overall, the magazine can be situated in a long-standing tradition of Arab printing and publishing, while also forming part of a global illustrated magazine culture. Using a transdisciplinary approach, the article combines archival research and interviews with the media-historical and art-historical analyses of text, image and graphic design.
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MacLeod, Kirsten. "“Art for America's Sake”: Decadence and the Making of American Literary Culture in the Little Magazines of the 1890s." Prospects 30 (October 2005): 309–38. http://dx.doi.org/10.1017/s0361233300002064.
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Decadence — the literary and artistic movement that insisted on the autonomy of art, reveled in the bizarre, artificial, perverse, and arcane, and pitted the artist against bourgeois society — is most strongly associated with fin de siècle British and French culture. Rarely is it associated with America. And yet, its popularity in America may well have surpassed its popularity in either Britain or France. That decadence was among Europe's most successful cultural exports to America in the 1890s is indicated by the rash of decadent Anglophile and Francophile little magazines that emerged in America in this period. Whereas Britain and France had a handful of decadent periodicals between them, America had over one hundred and fifty little magazines in the period from 1894 to 1898, many of them inspired by European decadent periodicals. What Gelett Burgess, founder of the decadent little magazine the Lark called a “little riot of Decadence” (Epilark) erupted all over America, from major centers such as New York City, Chicago, and San Francisco to smaller centers such as Lansing, Michigan, and Portland, Maine. Described at the time variously as fadazines, fadlets, fad magazines, bibelots, ephemerals, decadents, brownie magazines, freak magazines, magazettes, dinkeys, and so on, these magazines were founded by those one contemporary, Arthur Stanwood Pier, labeled the “brilliant cognoscenti and sophisticates,” the “American Oscar Wildes and Aubrey Beardsleys” of the period (quoted in Kraus, 6).Despite the pervasiveness of the little-magazine phenomenon of the 1890s, these magazines have been all but ignored in recent scholarship. Interest in American periodical history of the late 19th and early 20th centuries has focused largely on mass-market periodicals and the development of consumer culture as in recent studies by David Reed, Ellen Gruber Garvey, Richard Ohmann, and Helen Damon-Moore.
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Pezzini, Barbara. "An open resource for scholars and a primary source for research: the Burlington Magazine online index." Art Libraries Journal 36, no. 3 (2011): 46–51. http://dx.doi.org/10.1017/s0307472200017065.
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The Burlington Magazine, with its juxtaposition of art trade and academia, historicism and aestheticism, has occupied a unique role in the international art historical panorama since it was first published in 1903. From its very beginnings the magazine had produced a detailed printed index, which reflected the diversity of its contents. In 2005 the magazine received a grant from the Andrew W. Mellon foundation to produce a cumulative online index from 1903 to the present. The Burlington Index is now online, nearly complete and free for all to use. Why did the Burlington need an index when it was already included in JSTOR? How is the Burlington Index structured and what is it based on? What are its aims and limitations? The Burlington Index wants to be a vessel to navigate the ocean of free-text available on JSTOR; a tool for research to open up the contents of the Burlington to a new generation of readers and, ultimately, a magnifying glass to reveal the magazine as a primary source for research on the history of art history, the art market and the art press.
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Kaczorowski, Jan. "Gdy treść i forma idą w parze. O edytorskich i estetycznych walorach czasopisma „Oficyna Poetów” wydawanego w Londynie w latach 1966–1980." Studia o Książce i Informacji (dawniej: Bibliotekoznawstwo) 36 (July 5, 2018): 151–79. http://dx.doi.org/10.19195/2300-7729.36.9.
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When the content and form go hand in hand with one another. Aesthetic and editorial value of “Oficyna Poetów” — a magazine published in London between 1966 and 1980“Oficyna Poetów” was aliterary and cultural magazine published in London by Polish-born émigré couple, Krystyna and Czesław Bednarczyk. After World War II they settled in Great Britain, and almost immediately started private printing press. That periodical was one of their biggest projects. “Oficyna…” was one of few magazines published abroad devoted to Polish literature and art. During communism era it was aplace where Polish authors could publish not being afraid of repercussions or censorship. The magazine also integrated Polish intelligentsia around the world and was some kind of alternative for “Kultura” published in Paris. During the years the owners of “Oficyna Poetów iMalarzy” developed their skills and machine park of the press. Struggling from low budget and lack of support they still managed to maintain very high aesthetical level of their hand-made prints. The article is devoted to graphic and typographic form of the periodical. The Bednarczyks were editors, designers, typesetters and printers at the same time. They put great effort in selection of paper, print quality and acquired the most talented émigré illustrators to cooperate in “Oficyna…”. Aesthetic form of the magazine, as well as its cultural impact on Polish society in Great Britain can be sapid for researchers interested in emigration culture, literary magazines and niche printing movement in Great Britain.
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Vasic, Aleksandar. "An unintended dialogue between “materialists” and “idealists”. The essays on west European art music in the "Zvuk" magazine (1932-1936)." Muzikologija, no. 14 (2013): 77–92. http://dx.doi.org/10.2298/muz1314077v.
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The Zvuk magazine, one of the best Serbian and Yugoslav music reviews, was published in Belgrade from 1932 to 1936. It was founded and edited by a pianist, music historian and music critic Stana Ribnikar (1908-1986). Her closest collaborators in the magazine were leftist musicians. Nevertheless, the editorial board was open for collaboration with writers who had different ideas on the relationship between art and society. This article deals with numerous essays on the nineteenth-century West European art music in the Zvuk magazine. Their topics are very diverse: some of the essays deal with individual composers, historical issues, various problems of writing music, and related subjects. Others tend to provide information and present art music in a popular manner. A significant feature of the Zvuk magazine was the parallel presence of essays written by Marxist musicians and those written by other music writers, who did not believe in the social function of art, even though these two groups of authors did not engage in polemics. Pavao Markovac, a musicologist from Zagreb, was very critical towards Richard Wagner`s views on art and society. The Belgrade musicologist Vojislav Vuckovic shared his point of view. In his essays on the historical significance of baroque music, Vuckovic opposed the idea of absolute autonomy of art. Both Markovac and Vuckovic believed that art and society were inseparable and they evaluated music accordingly. Other prominent Serbian music writers, such as Miloje Milojevic, also voiced their opinions on the pages of the Zvuk magazine. Milojevic published essays on Johannes Brahms and Richard Strauss. He was also in favour of evaluating music within the given social context, but he advocated the ideas of Hyppolyte Taine. Zvuk remains the only Serbian music magazine that published articles on ancient Greek music. Milos Djuric, a classical philologist, philosopher and literary translator, wrote on music in ancient Boeotia and Lesbos. This subject has remained untackled in Serbian musicology to this very day. In order to address the wider audience, the Zvuk magazine also featured contributions concerning the boundary areas between music and other disciplines. As many as three articles on Friedrich Nietzsche's attitude towards music were published by Yuri Arbatsky and Matija Bravnicar. Notwithstanding its professional profi le, this magazine was also open for popular articles for wider intellectual audience. The essays on West European art music in the Zvuk magazine contributed to widening the scope of knowledge and public interest. The policy of the editorial board was to bring together writers of different ideological standpoints, by publishing their essays side by side. In this way, the public was presented with different ideas and beliefs, but also with professional information. It was clear that one-sidedness was not the policy of this magazine. On the contrary, the editors proved that it was possible for writers who thought differently to engage in a dialogue, even if they had no prior intention of doing so.
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Salas Klocker, Luis Alberto. "Salones darianos: fotografía, arte y literatura en la crónica modernista." (an)ecdótica 5, no. 1 (January 29, 2021): 84–100. http://dx.doi.org/10.19130/iifl.anec.2021.5.1.19785.
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Based on what it has been called the salones darianos, that is, the chronicles that Darío wrote about several art exhibitions that he visited, this work aims to reflect on the role that the image played in the cultural project of modernismo. At the turn of the century, the image’s technological reproducibility broke into both the press and art salons. This was perceived by Darío, who explored the relationship of the photographic image with the incipient cultural industries. Less known than Mundial and Elegancias magazines, the first of Darío’s projects that included a strong presence of images, that is, the “Suplemento Semanal Ilustrado” of La Nación, goes beyond the lettered bias of literary criticism and opens new horizons to modernismo studies. Although this magazine was not directly under his direction, it does coincide with one of the high points of his career in the Argentine newspaper. Darío was for a time the main animator of this magazine, so his performance can be read as a scale model of his operations in pursuit of an expanded artistic field.
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Somova, Svetlana Vladimirovna. "Artistic practices of Leo Bakst in the field of magazine graphics of the «World of Art»." Vestnik of Saint Petersburg State University of Culture, no. 4 (53) (December 2022): 157–62. http://dx.doi.org/10.30725/2619-0303-2022-4-157-162.
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The work of Leo Bakst-graphic artist relates to the aesthetic position of the magazine «World of Art»: the search and free expression of «pure beauty» in the individual style of the artist. The master’s magazine graphics in all its forms – screensavers, endings, stamp, cover, title pages and frontispiece, combining elements of ancient, Asian and Christian art, are mainly plot-based; illustrating the accompanying text, Bakst designs the magazine page as a strictly perfect work of «pure art». In a single plotless screensaver, the space of the sheet is formed decoratively by the play of a thin and expressive line, symmetry, rigor of composition and elegant inscription. In theatrical and decorative screensavers, as well as title pages and frontispieces, there is strict structural stylistics of conventional theatricality and «pure» architectural and sculptural forms. At the same time, the individual style of Bakst graphics is also characterized by sensuality, which is clearly manifested in the openness, expressive prostration of the nudity of models of a number of graphic works. In some graphic works, the plot takes on an emblematic character that requires solving – this is the frontispiece of 9th volume made in the form of a triangle and the same image is like the ending of 10th volume of the magazine: the location of a massive light spot from the center to the sharp corners represents three vectors of the path: the path of the magazine, new art, the path of the artist-creator. The structure and image of L. Bakst’s magazine graphics are strictly harmonious and sensual.
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Nesterenko, P. "Lviv magazine cover between two world wars – collective image of national artistic modernism." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 152–58. http://dx.doi.org/10.33838/naoma.27.2018.152-158.
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Now that we have the opportunity to view Ukrainian art in all its manifestations without ideological reservations and political boundaries, it is important to highlight magazine graphics. If the magazine graphic of the Ukrainian artists of the Russian and Soviet empires of the first half of the XX century is more or less investigated, then the Galician-Ukrainian cultural renaissance of the interwar twenty years in Lviv still requires its in-depth study. 1920s-30s of the XX century – time of productive ideas in the art of Ukrainian book and magazine graphics. A wave of emigration of creative intellectuals from eastern Ukraine comes to Lviv, which, combined with prominent local masters who received brilliant education in the West, raised the development of artistic culture, in particular book and magazine graphics, at an unprecedented level. Lviv was at the crossroads of diverse aesthetic ideas. All the contemporary art currents that reflected in the high artistic phenomenon – "Lviv's formalism" – were reflected here. An important factor in the history of the Galician artistic movement of the 1920s–1930s was the founding of the Association of Independent Ukrainian Artists. Its main purpose was popularization and development of Ukrainian art, education of creative youth, assistance to Ukrainian artists. The Lviv Magazine graph between the two world wars demonstrated the diversity of artistic currents and was of great importance for the holistic development of Ukrainian culture. She demonstrated the high professionalism of the artists and organically fit into the pan-European art. Given the dispersal of Ukrainians and the danger of assimilation, the publishing business with its book and magazine covers encouraged and supported the cultural life of the Ukrainian diaspora. The artists who worked on preserving the Ukrainian national culture adapted the diversity of artistic currents and influences to national characteristics.
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Zinov’eva, N. V. "DISCUSSION ON ART AND POLITICS ON THE PAGES OF THE “TCHISLA” (“NUMBERS”) MAGAZINE." Bulletin of Udmurt University. Series History and Philology 29, no. 3 (June 25, 2019): 485–91. http://dx.doi.org/10.35634/2412-9534-2019-29-3-485-491.
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This article is dedicated to the analysis of the discussion on art and politics that took place on the pages of one of the most popular literary and art magazines of the Russian diaspora. In the course of this discussion, members of diverse literary generations of the first wave of Russian emigration expressed their characteristic opinions. The literary-theoretical, religious and philosophical positions of both the older generation and the “young” authors became clearer after this discussion. The purpose of this article is to analyze the discussion about art and politics in the magazine “Tchisla” (“Numbers”) in the general context of the development of the ideological and aesthetic position of the Russian abroad. Theoretical principles and methods of research are based on historical-typological and system-functional approaches to understanding the literary process. The work used historical, comparative, typological, system-structural methods. The main sources were theoretical texts of the “Tchisla” (“Numbers”) magazine, and also the works of such researchers of the Russian abroad as A. Bem, L. Eremina, O. Korostelev, N. Letaeva, G. Struve and others. The statements and conclusions contained in this article may be of interest not only for students and teachers, but also for a wide range of people interested in the literature and spiritual life of the Russian abroad.
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Kochukova, Olga V. "Visual representation of Russia’s liberation war in the Balkans in the magazine graphics of the 1870s." Izvestiya of Saratov University. History. International Relations 22, no. 4 (December 15, 2022): 449–56. http://dx.doi.org/10.18500/1819-4907-2022-22-4-449-456.
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The article is devoted to the visual representation of the foreign policy goals and national interests of Russia on the eve and during the Russian-Turkish war of 1877–1878. The author analyzes the historical context of graphics works in Russian illustrated magazines of the 1870s. The article reveals the historical and cultural features of the formation of the concept of Russia’s liberation war in the Balkans by means of magazine graphics. The joint contribution of periodical and fine art (military correspondents, artists, editorial offices and magazines) in creating the concept of liberation war is emphasized.
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Senior, David. "Page as alternative space redux: artists’ magazines in the 21 st century." Art Libraries Journal 38, no. 3 (2013): 10–17. http://dx.doi.org/10.1017/s0307472200018630.
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In the past few years, several new publications and exhibitions have presented surveys of the genre of artists’ magazines. This recent research has explored the publication histories of individual titles and articulated the significance of this genre within contemporary art history. Millennium magazines was a 2012 exhibition at the Museum of Modern Art that traced the artists’ magazine into the 21st century. The organizers, Rachael Morrison and David Senior of MoMA Library, assembled a selection of 115 international tides published since 2000 for visitors to browse during the run of the exhibition and created a website as a continuing resource for information about the selected tides. The exhibition served as an introduction to the medium for new audiences and a summary of the active community of international artists, designers and publishers that still utilize the format in innovative ways. As these projects experiment with both print and digital media in their production and distribution of content, art libraries are faced with new challenges in digital preservation in order to continue to document experimental publishing practices in contemporary art and design.
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Kim, Ga Eun. "A Study on the Art Materials of North Korean General Art Magazine, Joseon Art." Journal of the Humanities for Unification 82 (June 30, 2020): 63–110. http://dx.doi.org/10.21185/jhu.2020.6.82.63.
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Walton, Neil. "The Journal Block and Its Art School Context." Arts 7, no. 4 (November 5, 2018): 74. http://dx.doi.org/10.3390/arts7040074.
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This paper examines an important moment in the recent history of UK art education by examining the magazine Block, a radical and interdisciplinary publication produced from within the art history department of an art school in the late 1970s and 1980s. Block was created and edited by a small group of lecturers at Middlesex Polytechnic, most of whom were art school educated; it was formed by, and in turn influenced, the milieu of studio-based art education in the UK. Despite the small scale of its operation, the magazine had a wide distribution in art colleges and was avidly read by lecturers looking for ways to incorporate new theoretical, often Marxist, feminist, poststructuralist, perspectives into their teaching.
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Choi, Jieun, and Hansol Cho. "Nail Art Expression Technique and Color Analysis of Korean Nail Magazine Cover Design: Focusing on Domestic Nailpia Magazine." Korean Society of Culture and Convergence 44, no. 10 (October 31, 2022): 919–35. http://dx.doi.org/10.33645/cnc.2022.10.44.10.919.
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This study aims to visualize nail design images through nail art expression techniques and color analysis of cover designs for domestic nail magazines, and to suggest the possibility of improving content production. Through the review of previous studies, nail art expression techniques were categorized into coloring, expression techniques, nail decorations, and finishing forms, and the nail art works that appeared in the cover design of the S/S season from 2018 to 2022 were analyzed. The color analysis of the cover design was frequently analyzed by color and color tone using the Korean standard color analysis program. Through this study, the relationship between the color of the cover design and nail art expression technique was identified, and by predicting the correlation between nail design and color, it is expected to be used as a useful basic data for the production of nail industry image contents and the development of nail design.
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Zvereva, Tatyana V. "KukArt Magazine as a Cultural Project." Humanitarian Vector 17, no. 4 (December 2022): 138–44. http://dx.doi.org/10.21209/1996-7853-2022-17-4-138-144.
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The present research raises a question on functioning of magazines in the digital era. The author of the paper addresses the KukArt magazine (1992–2006) which used to be a hallmark in the Russian intellectual life at the turn of the century and has not lost its relevance at present. The research proposes a discursive analysis to identify features of the KukArt magazine strategy. According to the author of the paper, the KukArt longevity phenomenon can be explained by the fact that the magazine became a testing ground to try some mutually exclusive ideas, and the place where different discourse practices coexisted. The article formulates the idea that the purpose of the magazine was to form a new cultural space which synthesizes various fi elds of art. The author gives a detailed description of all issues of the magazine in the synchronous and diachronic aspects. The main feature of KukArt is absence of a unifi ed framework (making features which were based on objectives set and problems solved: the puppet and the avant-garde, the puppet and literature, the puppet and folklore, the puppet and the masquerade mask, the puppet and home theatre, the puppet and the mannequin, etc.) Originally targeted at the puppet, the magazine shifted gradually towards an anthropological pole trying to answer the question: ‘What is a human?’ Due to such an editorial strategy KukArt drew a wide reading audience attention and went beyond theatre environment bounds. Limited edition and absence of a digital format led to the rise of the magazine ‘aura value’, for the unique and non-reproducible things only have had the greatest value in human culture system.
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Chuprikova-Krynskaya, Elizaveta R. "Nikolay Karazin’s Magazine Graphics for the Samara Expedition of 1879." Observatory of Culture 19, no. 5 (November 14, 2022): 502–13. http://dx.doi.org/10.25281/2072-3156-2022-19-5-502-513.
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The article analyzes the graphic series of the artist N.N. Karazin, prepared by him on the basis of the Samara scientific expedition to Central Asia in 1879, and published in the magazines “Niva” and “World Illustration” in 1879 and 1880, respectively. These series have not yet been considered by art historians, which makes relevant this study, as well as the artistic development of the topic of Central Asian ethnography in general. The author applies the method of comparative analysis; uses fragments of literary works by N.N. Karazin himself (ethnographic essays from the mentioned magazines), as well as by other writers and researchers of Central Asia; and offers new interpretations of some traditional types of Central Asian society (hajji, mullah, bacha).The article opens with an analysis of a series of art works from the magazine “World Illustration” in 1880, which shows all the main stages of the expedition (indicating geographical objects and settlements) and presents the most complete and detailed ethnographic material.The graphic series, published in the magazine “Niva” in 1879, includes four engravings depicting Turkmens from the Teke clan, which are already beyond the scope of ethnographic sketches and can be awarded the status of ethnographic paintings.The article shows that N.N. Karazin’s methods of work during this period, as well as during his participation in the Amu Darya scientific expedition in 1874, allow us to consider him as a representative of the voyage pittoresque (pictorial journey) genre in Russia in the second half of the 19th century.
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Vasic, Aleksandar. "The reception of west European music in Belgrade between world wars: On the examples of “Muzicki glasnik” and “Muzika” magazines." Muzikologija, no. 11 (2011): 203–18. http://dx.doi.org/10.2298/muz1111203v.
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The very first music magazines started in Belgrade between World Wars were ?Muzicki glasnik? (issued monthly from January to December 1922) and ?Muzika? (also issued monthly in the period January 1928 - March 1929). These magazines used to publish music essays, researches, debates, notes, news and other kind of articles. This paper brings an analysis of texts on West European music in these two journals. ?Muzicki glasnik? published only few articles on European music. Those were on bibliographical news concerning editions on musicology in England and on French music magazines. There was a report on the concert held in Leipzig in1922 in honour of late Arthur Nikisch. ?Glasnik? also published an obituary to Camille Saint-Sa?ns containing, by contemporary standards, excessively complimentary evaluation of his music. West European music was far more present on the pages of ?Muzika? magazine. The editorial board used to publish thematic issues dedicated to jubilees of great European composers (such as Franz Schubert, Ludwig van Beethoven). One issue was dedicated to English music and this magazine also wrote about Puccini. Essays on European music were translated from foreign languages and the authors of some were coming from Yugoslavia. ?Muzika? magazine was addressing wide, educated audience, not only musicians. Therefore the texts giving biographical and psychological portraits of composers used to prevail over musicological analyses of their works. Serbian music community was not highly developed thus ?Muzika? moderately used expert terminology. Essays, as dominant forms in Serbian musicography up to 1941, were often written in a literary manner. This is evident in ?Muzika? as well. ?Muzika? and ?Muzicki glasnik? adopted different aesthetics and ideology. The fact that the reception of West European music in ?Glasnik? was minimal was not only due to the insufficient number of associates. The editorial board of ?Glasnik? was more concerned with domestic music and problems of music institutions. Besides, the editors of this magazine were of opinion that the Serbian music should not solely look up to West European composers but even more to the Slav and domestic music exemplars. The editors of ?Muzika? were, however, strongly adhering to West European tradition. They thought that only high culture and knowledge could bring the Serbian music to a serious level, both technique and art wise. The editors of this magazine did not desire our composers to be epigones of Western musicians, but wanted to provide domestic musicians and readers with information on European art. In this regard, ?Muzika? used to have an enlightening mission in our country.
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Grilli, Elisa. "Funding and the Making of Culture: The Case of the Evergreen (1895–1897)." Journal of European Periodical Studies 1, no. 2 (December 31, 2016): 19. http://dx.doi.org/10.21825/jeps.v1i2.2638.
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Sourced mostly by documents from Patrick Geddes’s archive at Strathclyde University (SUA, Glasgow), including accounts and rough drafts, this article reveals the backstage organization of the Evergreen, a Northern Seasonal (Edinburg and London, 1895-97), as well as the financial and commercial concerns the amateur editors an aesthetic magazine had to face. The economics of publishing and the various stages through which the production of the Evergreen moved are explored. Three aspects, given the original editors’ project, inform the final product: the publishing venture (printing and financial aspects); the aesthetic medium (format, lay-out and artwork, as well as the magazine’s circulation); promoting culture (a Celtic Revival through international networks). Cultural activities related to the magazine served as platform for dialogue between literature, art, science, life, tradition, and modernity. A so-called ‘little magazine’ seen from the business perspective helps better understand the networks of periodicals’ diffusion and reception and the role they may play in a cultural marketplace. As methodology, this clarifies the compromises made under the hardbound cover of an aesthetically appealing magazine, and shows how the editors adapted their aesthetic and political ideals to material matters.
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Bobrikov, Alexey A. "Art Magazines of the Era of the Formation of Postmodernism (The Second Half of the 1970s): The Problem of Influence on the Processes in Art. “October”." Vestnik of Saint Petersburg University. Arts 12, no. 1 (2022): 90–122. http://dx.doi.org/10.21638/spbu15.2022.105.
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This article examines the influence of art magazines on processes in art of the twentieth century — and the possibility of constructing a typology of periodicals based on this principle. General characteristics of the “magazine of influence” are based on the material of the second half of the twentieth century. The model of this type of periodical is considered on the example of Artforum, the most authoritative magazine of the second half of the 1960s and the first half of the 1970s, whose experience (positive and negative) was used to form the editorial policy of October. From the history of October, the main periodical on contemporary art of the last four decades, the early stage (when its influence was maximum) was selected. The formation of the journal is examined from different points of view. The first point is the art and art history methodologies of the 1960s and the legacy of Artforum associated with the name Rosalind Krauss. The second point, presented by Annette Michelson, refers to the semiotics of French theory and the problem of the “political.” The third subject is built around Douglas Crimp and his curatorial project, the “Pictures” exhibition: this is the newest art (postmodernism of the second half of the 1970s, its specificity, its connection with the “photographic” and postmedial nature of this “photographic”) and the methodology of its analysis. The combination of new art with a journal of a new type (creating an apparatus for its methodological description) creates a situation that allows us to speak about the beginning of a new era, the era of postmodernism, a specific version of conceptual art, where the border between art itself and its critical and theoretical interpretation almost disappears.
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Williams, Patrice Jane. "Ebony Magazine Archive." Charleston Advisor 23, no. 4 (April 1, 2022): 20–23. http://dx.doi.org/10.5260/chara.23.4.20.
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The Ebony Magazine Archive is a very important African-American cultural resource of images, news, entertainment, and much more between the years 1945-2014. It is a primary resource database geared toward academic research in the humanities, but other disciplines may also benefit from the rich content of the archive. Most specifically researchers in art, cultural studies, history, literature, mass media, music, business, and marketing would benefit from the photographs, cartoon/comic strips, advertisements, film reviews, and news reports. In addition, it provides essential images of key African American figures, businesses, and artists. The searching and search results interface lets the user explore by content type, Boolean/phrases, and SmartText searching among other filters. All content is available through PDF for great accessibility and convenience.
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Vicet, Marie. "The French Telematic Magazine Art Accès (1984–1987)." Arts 11, no. 6 (October 31, 2022): 112. http://dx.doi.org/10.3390/arts11060112.
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Created in 1984 by the French artists ORLAN, Frédéric Develay and Frédéric Martin and shown for the first time at the Centre Pompidou during the exhibition Les Immatériaux (28 March to 15 July 1985), the telematic magazine Art Accès has marked the history of the art on Minitel, the French Videotex system in use between 1980 and 2012. For ORLAN and Frédéric Develay, Art Accès was a way both to propose an artistic and cultural alternative to a purely utilitarian and mercantile content, but also to explore the possibilities of a ‘poor’ medium. Working within the framework of the magazine, ORLAN and Frédéric Develay invited visual artists, but also poets and musicians to use videotex, to transgress it in all possible ways and thus to make an original work that is made by this medium and for this medium. Although the French Minitel network ended in 2012 and the magazine has long since disappeared, there are still traces, fragments or documents that allow us to reconstruct its history. This essay proposes an initial study of this telematic experience and of some of its most emblematic creations.
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Chandrakumar, S., S. Oshanithy, A. Sujendran, and T. Baskaran. "A Research on The Articles Published in The ‘Thenakam’ Tamil Magazine During The Period 1993 – 2017." Shanlax International Journal of Tamil Research 6, no. 1 (September 16, 2021): 37–54. http://dx.doi.org/10.34293/tamil.v6i1.4164.
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The “Thenakam” magazine is published from 1993 as an annual magazine by the Manmunai North Divisional Secretariat, which is among the 14 Divisional Secretariats in the Batticaloa District. The research study is carried out based on the contents, analysis perspective and description perspective on the articles published in the“Thenakam” magazine. All these articles are categorized as History, Art, performance, Literature, Folklore, Society, Individual Personality, Education and others.
History related articles are categorizedas History of Batticaloa, Ancient Society History of Batticaloa, Historical Icons of Batticaloa, Arts related articles are categorized asBatticaloa’s Unique Traditional Art of “Kooththu”, Drama, Dance, Art, and others are categorized as Arts Aspects Music, Astrology, “Kalikambu”, Building, “Silambu”, “Manthirikam” (Magic), Literature related articles are categorized as Books, Poems, Small Stories, Novels, Magazine, Folklorerelated articles are categorized as Vocal Songs, Stories, Traditional of Batticaloa, Society related articles are categorized as “Burgers”, “Muslims”, “Mukkukar”, “Parayar”, and individual personality related articles of “Master Sivalingam”, “SwamyVipulananthar”, “Rajaparathy”, “D.G.Somasundaram”, “Neelavaanan”, “M.Sivapalan”, “V.Ananthan”, “Supathiran”, “Anthonipillai”, “Thiraviam”, “Tambimuthu” “Pithan” are categorized.
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Melnik, N. D. "The Magazine “Zolotoe runo” (1906–1909) as a Reflection of the Artistic Life of Russia at the Beginning of the 20th Century." Vestnik NSU. Series: History and Philology 20, no. 6 (August 11, 2021): 62–73. http://dx.doi.org/10.25205/1818-7919-2021-20-6-62-73.
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Purpose. The article studies the history of the magazine “Zolotoe runo” (“Golden Fleece”) that has been publishing in Moscow from 1906 till 1909. It was a project of the young art lover, millionaire N. P. Ryabushinsky, who decided to continue the mission of “miriskusniki” (members of the “World of Art” movement) and promote the aesthetic principles of symbolism, which he saw as the most promising style of art at the beginning of the 20th century.Results. Based on the analysis of the memoirs written by contemporaries, correspondence between the representatives of the Russian cultural elite, publications in the periodical press, as well as outcomes of modern research, the author argues that the magazine “Zolotoe runo”, providing its pages to outstanding writers and publishing works of iconic artists and articles about their works, became one of the most influential periodicals about art in Russia.Conclusion. This research shows that, having said a new word in art and journalism, the magazine “Zolotoe runo” became a worthy reflection of the artistic life of Russia at the beginning of the 20th century.
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Robert Scholes. "Modernist Art in a “Quality” Magazine, 1908–1922." Journal of Modern Periodical Studies 2, no. 2 (2011): 135. http://dx.doi.org/10.5325/jmodeperistud.2.2.0135.
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Riabchenko-Shats, Valeriia Dmitrievna. "The "Apollo" Magazine as the Field of the Last Battle of Symbolist Manifestos." Культура и искусство, no. 1 (January 2023): 12–25. http://dx.doi.org/10.7256/2454-0625.2023.1.39585.
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The magazine "Apollo" completes a number of symbolist magazines of the Silver Age and in a sense sums up the intensive artistic life of the late XIX – early XX century. Its pages captured the rapid and multidirectional artistic discourse of the turn-of-the-century era, which was analyzed in the article with the help of discourse analysis. Aesthetic manifestos published on the pages of the art magazine "Apollo" were chosen as the subject of this research, the object of the work was the evolution of aesthetic and philosophical ideas in "Apollo". The content analysis of the journal's materials allowed us to study the development of the ideas of symbolism and acmeism within the framework of the editorial program of Apollo, which was the purpose of this work. The magazine "Apollo" is traditionally perceived as a magazine that promoted the ideas of Acmeism, however, the analysis of published materials shows that an acute symbolist controversy unfolded on the pages of "Apollo" in the early 1910s. In addition, the study demonstrates that the ideas of Acmeism were very heterogeneous and did not receive the support of many members of the editorial board, who believed that Acmeism had not formed into a full-blooded literary phenomenon. The results of the research can contribute to theoretical knowledge about the "Apollo" magazine and the history of Russian journalism, as well as the history of the development of the ideas of symbolism and acmeism.
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Lopes, Fernanda. "TUDO PODE SER ARTE, MAS ARTE NÃO PODE (SER) TUDO / Everything can be art but art cannot be everything." arte e ensaios 26, no. 39 (August 15, 2020): 267–85. http://dx.doi.org/10.37235/ae.n39.19.
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Poplavskyi, Mykhailo, and Valerii Lastovskyi. "THE KIEVSKAYA STARINA CHRONICLE (1882–1906) IN UKRAINIAN CULTURE: ARTISTIC VIEW OF PUBLICATIONS." CULTURE AND ARTS IN THE MODERN WORLD, no. 23 (June 30, 2022): 67–74. http://dx.doi.org/10.31866/2410-1915.23.2022.260964.
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The purpose of the article is to find out the role of the Kievskaya Starina magazine in the study of Ukrainian art and its popularisation, as well as to identify the main trends of the publication of art studies materials in the magazine. The research methodology is based on both general scientific (logical and dialectical) and special methods (systematic, historical, and comparative). Scientific novelty. For the first time, the Kievskaya Starina magazine is analysed through the prism of publications of an artistic nature, the main varieties and role of such publications in the formation of Ukrainian art studies are identified. Conclusions. The Kievskaya Starina magazine, published in 1882–1906 during the existence of the Russian Empire under censorship and pressure on the Ukrainian cultural movement, had a significant impact on the formation and development of Ukrainian art studies. There are publications and documentary materials related to the development and state of Ukrainian art, paintings and music (in particular, the work of bandurysts and kobzars), architectural monuments, etc. The iconographic content of an artistic nature contains publications of reproductions of portraits of figures of Ukrainian culture, science, and politics, artistic illustration drawings that reproduced scenes from Ukrainian life, nature, architecture, individual household items, etc., in particular, there are reproductions of drawings by T. Shevchenko. The article defines the peculiarity of the approach to the publication of illustrative material, which serves not so much as an appendix to information, but as a propaganda of Ukrainian culture. The focus is on the initiation of certain scientific areas, in particular the iconography of the Ukrainian Cossack elite, during the functioning of the magazine. It is proved that many Ukrainian cultural and artistic figures (D. Antonovych, I. Karpenko-Kary, M. Kropyvnytskyi, M. Lysenko, O. Slastion, D. Shcherbakivskyi, etc.) of the late 19th – early 20th centuries are directly connected with the publication of the magazine as authors or editorial members, which confirms the special significance of Kievskaya Starina in cultural and art studies discourse. Today, it still has scientific potential due to the concentration of a significant amount of relevant information.
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Weintraub, Laural. "Vaudeville in American Art: Two Case Studies." Prospects 24 (October 1999): 339–75. http://dx.doi.org/10.1017/s0361233300000417.
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In 1891, the influential literary realist William Dean Howells stated that “the arts must become democratic” in order to have “the expression of America in art.” This vision of a democratic culture, though modified, continued to inspire American writers and artists well after the turn of the century. The idea of democracy in American culture remained an important touchstone for conservative as well as progressive-minded writers on art and literature even as modernism took hold in the second decade of the century. For James Oppenheim, for example, editor of the eclectic little magazine The Seven Arts, which published some of the most significant cultural criticism of the day, the role of democracy in American art was an unresolved yet still vital issue. “Our moderns slap democracy on the back,” he wrote in 1916, “but what are they giving it in art?” “Yes,” he goes on to state, “we have magazines that circulate in the millions: we have cities sown thick with theaters: we have ragtime and the movies.” These manifestations are signs of cultural democracy, he implies, albeit devoid of art.
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Zhuravleva, Aleksandra G. "The Caricatures of Pavel. E. Shcherbov in the Satirical Magazine “The Jester”." Galactica Media: Journal of Media Studies 3, no. 3 (October 29, 2021): 151–73. http://dx.doi.org/10.46539/gmd.v3i3.183.
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Pavel. E. Shcherbov's caricatures were first brought to the public's attention in the satirical magazine “The Jester” in which he had published them for several years. The cartoons of this period led P.E. Shcherbov to serious success, while their chosen theme - the artistic environment of St. Petersburg at the turn of the century - brought him fame. The research is aimed at studying the artist's collaboration with this magazine through the cartoons themselves as well as his relationship with the magazine's editorial board. It records the assessments, memories and reactions of the contemporaries about Shcherbov's cartoons published in “The Jester”. The study found that the reactions were opposite at times, from sharply negative to rave reviews. A subsequent analysis of the influence of the cartoonist's works on the art world is carried out. Within this article Shcherbov's caricatures that were published in the magazine “The Jester” and other themes that the artist used are identified. As a result of the research, a close cooperation between Shcherbov and the magazine “The Jester” is revealed as well as the conclusion that the cartoonist contributed to the rise of the satirical publications, whilst his works generated great public interest, having influenced further decisions and actions of his contemporaries, is made.