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Carter, Michelle, and Chris Carter. "The Creative Business Model Canvas." Social Enterprise Journal 16, no. 2 (March 11, 2020): 141–58. http://dx.doi.org/10.1108/sej-03-2019-0018.
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Purpose Creative and cultural producers, like social enterprises, operate in a complex business environment where the value proposition is difficult to define, and the organisational motivations are not always financially driven. In the case of Australian visual artists, low incomes and limited access to government funding magnify the importance of developing sustainable business models. This paper aims to present the Creative Business Model Canvas (CBMC), a reinterpretation of Osterwalder and Pigneur’s CBMC (2010), for the benefit of a visual artist’s business planning. Design/methodology/approach This qualitative study uses data from semi-structured interviews to analyse and evaluate the effectiveness of the Osterwalder and Pigneur’s BMC (2010) for use by creative artists to understand the value of their artwork beyond traditional profit-driven business models. A modified canvas is presented to capture a clearer snapshot of creative arts practice with a focus on value propositions that possess dimensions of symbolic value. Findings This study found that the symbolic value of an artist’s practice is difficult to capture using Osterwalder and Pigneur’s CBMC (2010). An artist value proposition is composed of the artifact, artistic services and the artist’s identity. The creative CBMC, as a modified CBMC, captures aspects of the artistic identity such as professional achievements, personal life and the artist’s authenticity. Originality/value This study builds on Osterwalder and Pigneur’s CBMC and reimagines it for use by visual artists and art-based social enterprise organisations where the notion of value can be challenging to articulate.
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Sooudi, Olga Kanzaki. "Alternative Spaces & Artist Agency in the Art Market." Arts 9, no. 4 (November 10, 2020): 116. http://dx.doi.org/10.3390/arts9040116.
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This article explores what alternative, or artist-led, spaces are in Mumbai today and their role within the city’s artworld. Drawing on ethnographic fieldwork in two alternative spaces, it argues that these are artist attempts to exercise agency in their work for an uncertain market context. In other words, these spaces are a strategy for artists to exercise control over their work in an uncertain art market, and a means to counterbalance their dependence on galleries in their careers. Furthermore, artists do so through collectivist practices. These spaces, I argue, challenge models of artistic and neoliberal work that privilege autonomy, independence, and isolation, as if artists were self-contained silos of productive creative activity and will. Artists instead, in these spaces, insist on the importance of social bonds and connection as a challenge to the instrumentalization and divisive nature of market-led demands on art practice and the model of the solo genius artist-producer. At the same time, their collective activities are oriented towards supporting artists’ individual future market success, suggesting that artist-led spaces are not separate from the art market, and should be considered within the same analytical frame.
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Braden, L. E. A., and Thomas Teekens. "Reputation, Status Networks, and the Art Market." Arts 8, no. 3 (July 3, 2019): 81. http://dx.doi.org/10.3390/arts8030081.
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The effect of an artist’s prestige on the price of artwork is a well-known, central tenant in art market research. In considering how an artist’s prestige proliferates, much research examines networks, where certain artistic groupings and associations promote individual member’s artistic standing (i.e., “associative status networks”). When considering the role of associative status networks, there are two models by which status may increase. First, the confirmation model suggests that actors of similar status are associated with each other. Second, the increase model suggests that a halo effect occurs, whereby an individual’s status increases by association with higher-status artists. In this research, we examine the association of artists through museum exhibition to test confirmation versus increase models, ascertaining whether prestige acquisition is a selection or influence process. This research capitalizes on the retrospective digitization of exhibition catalogues, allowing for large-scale longitudinal analysis heretofore unviable for researchers. We use the exhibition history of 1148 artists from the digitized archives of three major Dutch museums (Stedelijk, Boijmans-Van Beuningen, Van Abbe) from 1930 to 1989, as well as data on artists’ market performance from artprice.com and bibliographic data from the WorldCat database. We then employ network analysis to examine the 60-year interplay of associative status networks and determine how different networks predict subsequent auction performance. We find that status connections may have a point of diminishing returns by which comparison to high prestige peers increases one’s own prestige to a point, after which a high-status comparison network becomes a liability.
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Gas Barrachina, Silvia. "Revisión de la figura femenina en la España Moderna a través de su representación en la pintura = Review of the female figure in Modern Spain through her representation in painting." FEMERIS: Revista Multidisciplinar de Estudios de Género 3, no. 1 (February 5, 2018): 49. http://dx.doi.org/10.20318/femeris.2018.4073.
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Resumen. El arte, en este caso la pintura, constituye una fuente histórica que permite el estudio de la situación de las mujeres en determinados contextos históricos. Ninguna obra es creada de forma inocente, sino que está condicionada por la mirada de la persona que la produce. La pintura, en su dimensión vitalista, comprende una respuesta estética a una realidad en la que infieren de forma consciente o inconsciente la identidad del artista, así como el espacio político, social y económico en el que se desarrolla. De la misma forma ocurre con la repetición de temáticas y modelos de representación, no aluden a simples modas, ya que se generan en una sociedad determinada. Por tanto, a través del análisis de obras protagonizadas por mujeres se pretende mostrar los modelos femeninos que prevalecen en España en la década de 1920, época significativa respecto a la cuestión femenina. Así como la importancia de la mirada de el/la artista a la hora de representar figuras femeninas. Mientras que los artistas varones siguen situando a las mujeres como objetos de representación, las mujeres usan el arte como medio reivindicativo, situándose como sujetos creadores.Palabras clave: arte, mujeres, iconografía, España, años veinte.Abstract. Art, in this case paint, is a historical source that allows the study of the situation of women in certain historical contexts. No piece of art is created innocently; moreover, the perspective of the person who creates it conditions it. Painting, in its vitality dimension, comprises an aesthetic response to a reality in which consciously or unconsciously the identity of the artist, political, social and economic space infer. Something similar happens with the repetition of topics and models of representation, which do not refer to mere fashions, mostly because they are generated in a given society. Therefore, through the analysis of works that feature women, the objective is to show female models prevailing in Spain in the 1920s, as well as the importance of the perspective of the artist, both male and female, when representing female figures. While male artists continue using women as objects of representation, women use art as a means of protest, portraying themselves as creative subjects.Keywords: art, women, iconography, Spain, 1920s.
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Haffner, Dorothee. "Artists' estates: keep or get rid of them?" Art Libraries Journal 41, no. 1 (January 2016): 56–61. http://dx.doi.org/10.1017/alj.2015.9.
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The fate of the estates (Nachlässe) of visual artists are as varied as the fortunes of the artists themselves.2 It is only the well-known, high value artists with considerable resources who have the means to create their own museum or archive.3 Yet the storage and preservation of the vast remains of artists' estates is an increasingly urgent matter. Artist output has dramatically increased since the middle of the 20th century, as has the awareness of the importance of artists bequests. Artists have often taken matters into their own hands while they are still living. More often though, it is the heirs to an estate who are faced with the task after the artist's death. The immediate family (widow, widower, children) understand the importance of the work and feel a sense of obligation. But the second generation (grandchildren) questions what to do with “all this stuff”? Often the heirs do not have the expertise, understandably, and are overwhelmed by the financial and other costs of appropriate storage for the permanent preservation of the material.4 How to professionally accommodate, develop and make such collections accessible? In the following, several models for the handling and storage of artist estates are presented, with specific reference to the issues of sifting, recording and selection.
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Petrova, Olga. "The Phenomenon of “Distrust” as a Drive in the Development of Visual Art." NaUKMA Research Papers. History and Theory of Culture 4 (June 15, 2021): 113–18. http://dx.doi.org/10.18523/2617-8907.2021.4.113-118.
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The article researches the topic of “artistic distrust” as a possible rebel path of the rebellious artists from the mainstream to the underground existence. The artist’s existence of reality on the principle of doubt about any norms (the model of “anthropology of distrust”) has a long historical longevity. Through the analysis of both high-quality works of art and safe normative art in different periods we observe various examples that may show this point of view. In medieval art we notice the precedent of “disobedience” and non-compliance with the norms of the official church in decorations of the temples and overcoming of anonymity. Thus the artist Anton Pilgram resorted to self-affirmation, as long as the master signed his own work in the spotlight and made a self-portrait on it.From the Renaissance, the idea of individual search, experiment, that is, disobedience and doubt in traditions, has been working in the minds of Europeans. The latest philosophical thought of the beginning of the “anthropology of distrust” sees its origins in the worldview models of the Renaissance. Leonardo da Vinci, with his curiosity and the genius of exploration, has remained an iconic figure to this day and an obvious symbol of total doubt and distrust of all that is established. With the ideal of a beautiful, flawless man, philosophy and art parted with difficulty, in the dramatic realization that it was time to present the unattractive, the ugly, the unfinished, and the negative as artistic qualities in the works of the New Age. “Anthropology of distrust,” doubting the inviolability of existing (at different times) norms manifests itself dualistically. In the works of great masters the denial of norms thatexisted in the art of a particular era had a progressive, positive meaning, because it opened up new levels of worldview to culture. In global art practice, the vast majorities of artists were and are conformists. Conformism in art supports tradition, holds the level of skill, but has no pretensions to open new horizons in the artistic reflection of the world. The situation is quite different when the artist questions any stability in art, or totally denies them. This is not a riot for the sake of a riot, but a feeling of something missing that the artist himself is not yet able to explain. According to the promising thinking of the bright philosophers of the 17th–20th centuries, self-distrust, doubts about the perfection of one’s own achievements, and a look into the non-existent are productive for culture. These impulses of the psyche proved to be fundamental and indisputable in the mentality and culture of modern times. The most radical were the programs of Dadaism and Futurism. In a person of the pre-modern era, the deviation from the norm caused stupor. Now the procedural features of the “anthropology of distrust,” the feeling of one’s own deficiency activate the artist’s creative thought and encourage a reckless search, sometimes even complete self-denial. At all times, until today, the bravest in their own rebellion against existing norms (both artistic and social) often fall on the margins of life and the artistic process, or even underground. Such artists are not understood or supported by the general public, and even worse, they are treated with suspicion and sometimes hostility. In the early 1990s, when the young generation of Ukrainian artists opposed the remnants of the Soviet mentality in both art and social life, the “anthropology of distrust” had a life-giving meaning. The mobilizing philosophy of “distrust” regarding the normative nature of socialist realism led to the formation of Ukrainian “contemporary art” which later turned into neo-conformism.
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García-Oliveros, Elena, and Gloria G. Durán Durán. "Cambiar el arte para cambiar el mundo (Una perspectiva feminista) Diálogo abierto con Suzanne Lacy." CALLE14: revista de investigación en el campo del arte 10, no. 17 (March 4, 2016): 114. http://dx.doi.org/10.14483/udistrital.jour.c14.2015.3.a11.
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RESUMENEste artículo ahonda en la perspectiva activista y transformadora de las artistas feministas que surgieron en la década de los años 70, indagando en su particular visión acerca de la capacidad del arte para crear nuevos modelos sociales integradores. A partir del caso de la artista norteamericana Suzanne Lacy, con quien las autoras han mantenido diversos encuentros de carácter público en el Centro de Arte Contemporáneo Matadero de Madrid, se pormenorizan las estrategias que el feminismo ha trabado en torno al arte público y se busca una redefinición de los ejes principales que sustentan el medio artístico actual: la autoría, la obra y su difusión y el valor final de la pieza. La investigación continúa con los estudios de caso de la artista ciberfeminista Shu Lea Cheang, la artista de origen paraguayo Faith Wilding y el colectivo madrileño Toxic Lesbian.PALABRAS CLAVESArte activista, arte colaborativo, arte procesual, ciberfeminismo, feminismo.CHUKAI KAWAITA CHUKANGAPA KAUSAITA WARMI KAWASPA RIMAPARLAMI TUKUIKUNAWA SUZANNE LACY SUGLLAPIKai iskai iacha warmikuna kawachirrei karrariskakuna kanchis wata Worramana tapuchingapa i Kawangapa imasan musu ruraikuna Kaiarrengapa, kai warmimSuzanne Lacy suti kawachii kallariska Sugrigcha ruraikuna katichingapa kasama kai kilkai suti Matadero de Madrid, kunaurra Maskanakui ima ministirri kaikama Chaiangapa, pim ruraska kawachiska y pasrlaska tukurregta kai Parlu kai iskai warmikuna shua Lea Cheang paraguaipi wiñaska Chasata kai warmi Faith Wilding Chasallata aidanakume. Toxio Lespian Madridmanda.IMA SUTI RIMAI SIMI: Arte Activista, Arte colaborativo, arte procesual, ciberfeminismo, feminismo.CHANGING ART TO CHANGE THE WORLD (A FEMINIST APPROACH) OPEN DIALOGUES WITH SUZANNE LACY ABSTRACTThis article delves into the activist and transformative perspective of feminist artists who emerged in the 70s, looking into their personal view about the ability of art to create new socially integrating models. Based on the case study of American artist Suzanne Lacy, with whom the authors have held several meetings of public character at the Center for Contem- porary Art Matadero of Madrid, the authors reveal the strategies that feminism has interwo- ven around public art, while at the same time looking for a redefinition of the main pillars that support the current art world: the author, the work and its dissemination, and the final value of the piece. The article concludes with case studies of cyberfeminist artist Shu Lea Cheang, the Paraguayan born artist Faith Wilding and Toxic Lesbian collective Madrid. t Autoretrato. Fotografía análoga. Fotografía: Camila Camacho. 2012KEYWORDSActivist art, collaborative art, process art, cyberfeminism, feminism.CHANGEZ L’ART POUR CHANGER LE MONDE (UNE PERSPECTIVE FÉMINISTE) UN DIALOGUE OUVERT AVEC SUZANNE LACY RÉSUMÉCet article se penche sur la perspective militante et transformatrice des artistes féministes qui ont émergé dans les années 70, en regardant dans leur point de vue personnel sur la capacité de l’art de créer de nouveaux modèles sociaux intégrateurs. À partir du cas de l’artiste américaine Suzanne Lacy, avec lesquels les auteurs ont tenu plusieurs réunions à caractère public au Centre d’Art Contemporain Matadero de Madrid, on détaille les stratégies que le féminisme a empêtré autour de l’art public, et on recherche une redéfinition des principaux piliers qui soutiennent le monde de l’art actuel : l’auteur, l’œuvre et sa diffusion et la valeur finale de la pièce. Les recherches se poursuivent avec des études de l’artiste cyberféministe Shu Lea Cheang, de l’artiste d’origine paraguayenne Faith Wilding et du collectif Toxic Lesbian de Madrid. MOTS-CLEFS Art activiste, art collaboratif, process art, cyberféminisme, féminisme.MUDAR A ARTE PARA MUDAR O MUNDO (UMA PERSPECTIVA FEMINISTA) DIÁLOGO ABERTO COM SUZANNE LACY RESUMOEste artigo aprofunda na perspectiva ativista e transformadora das artistas feministas que surgiram na década dos anos 70, questionado em sua particular visão sobre a capacidade da arte para criar novos modelos sociais integrados. A partir do caso da artista americana Suzanne Lacy, com quem as autoras têm mantido diversos encontros de caráter público no centro de Arte Contemporâneo “Matadero de Madrid”, se pormenoriza as estratégias que o feminismo há travado em torno à arte pública e se busca uma redefinição e o valor final da peça. Este artigo trata na perspectiva ativista e transformadora das artistas feministas que sur- giram na década dos anos 70, indagando em sua particular visão. PALAVRAS CHAVES Arte ativista, arte colaborativo, arte processual, ciber-feminismo, feminismo.
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Sawant, Shukla. "The Trace Beneath: The Photographic Residue in the Early Twentieth-century Paintings of the “Bombay School”." BioScope: South Asian Screen Studies 8, no. 1 (June 2017): 1–29. http://dx.doi.org/10.1177/0974927617700768.
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This essay examines the interface between the indexical and the gestural, through the practice of early twentieth-century painters active in the Bombay Presidency and adjoining princely states such as Kolhapur and Aundh. It draws upon archival materials such as biographies, memoirs, and photographs documenting artists at work in the studio, as well as remains of posed photographs that were produced as aide-mémoire for paintings. It throws light on the fraught place of photography as aesthetic practice in the art academy, its association with colonial protocols of scientific accuracy, capture and control, and its use to construct suggestive representational hybrids of the anatomical and the painterly outside the academy. The article explores patterns of patronage and of the use of photography in the practices of art production, publication, and exhibition, looking, in particular, at the role of the photographic basis of the portrait painting, and how photography became a supplement to “life-study” or the practice of drawing from nude models. The gendered politics of this interface, between artist, technology, and female model is a recurrent thread of analysis, drawing on critical debates that were published in Marathi periodicals of the time. The article explores the braiding of technologies in artistic practice in different sites, from the academy and the artist’s studio through to publication and exhibition in galleries, and illustrated magazines. While the essay considers a number of artists, including Ravi Varma, Durandhar, and Thakur Singh, it focuses, in particular, on Baburao Painter for his engagement with photography and painting in a career which traversed theater, painting, photography, and film production.
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Blom, Ivo. "Of Artists and Models. Italian Silent Cinema between Narrative Convention and Artistic Practice." Acta Universitatis Sapientiae, Film and Media Studies 7, no. 1 (November 1, 2013): 97–110. http://dx.doi.org/10.2478/ausfm-2014-0017.
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Abstract The paper presents the author’s research on the representation of painters and sculptors, their models and their art works in Italian silent cinema of the 1910s and early 1920s. This research deals with both the combination of optical (painterly) vs. haptical (sculptural) cinema. It also problematizes art versus the real, as well as art conceived from cinema’s own perspective, that is within the conventions of European and American cinema. In addition to research in these filmic conventions the author compares how the theme manifests itself within different genres, such as comedy, crime and adventure films, diva films and strong men films. Examples are : Il trionfo della forza (The Triumph of Strength, 1913), La signora Fricot è gelosa (Madam Fricot is Jelous, 1913), Il fuoco (The Fire, Giovanni Pastrone, 1915), Il fauno (The Faun, Febo Mari, 1917), Il processo Clemenceau (The Clemenceau Affair, Alfredo De Antoni, 1917) and L’atleta fantasma (The Ghost Athlete, Raimondo Scotti, 1919). I will relate this pioneering study to recent studies on the representation of art and artists in Hollywood cinema, such as Katharina Sykora’s As You Desire me. Das Bildnis im Film (2003), Susan Felleman’s Art in the Cinematic Imagination (2006) and Steven Jacobs’s Framing Pictures. Film and the Visual Arts (2011), and older studies by Thomas Elsaesser, Angela Dalle Vacche, Felleman and the author.
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Mesías-Lema, José-María. "Artivism and social conscience: Transforming teacher training from a sensibility standpoint." Comunicar 26, no. 57 (October 1, 2018): 19–28. http://dx.doi.org/10.3916/c57-2018-02.
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This article incorporates research involving artivist and pedagogical curatorships (200717) that were developed by contemporary artists, university professors, students from the Faculty of Education, practising teachers and students from nursery, elementary and secondary school. It intends to showcase a series of artistic research projects financed by public institutions, facing the challenge of transforming teacher training. These contemporary artivismbased projects have been able to break academic barriers and obsolete routines in teacher training. One of the results of this experimentation has been materialised in exhibitions at renowned museums and contemporary art centres. They have managed to expand teaching models beyond the classroom space, as the emergence of the collective and the educational interest in the commons. A/r/tography was used as a research methodology that unveils the three interconnected identities of the 'artist, researcher and teacher' as the person who, in his or her teaching practice, is capable of developing a creative practice with students through experimental processes in artistic research. A/r/tography generates a learning space where educational meanings can be broken. It is in this intermediate zone of intellectual incitement that curators propose artivist projects capable of generating tactics of proximity between two apparently separate fields: art and education. Este artículo consiste en una investigación sobre comisariados de carácter artivista y pedagógico (200717) que ha sido desarrollada por artistas contemporáneos, profesores universitarios y estudiantes de la facultad de educación, docentes en activo y alumnado de infantil, primaria y secundaria. Pretende visibilizar una serie de proyectos de investigación artística financiados por instituciones públicas, con el reto de modificar la formación del profesorado. Uno de los resultados de esta experimentación se ha plasmado en exposiciones en museos y centros de arte contemporáneo de reconocido prestigio. Estos proyectos, basados en el artivismo contemporáneo, han conseguido romper las barreras académicas y las rutinas obsoletas en la formación del profesorado. Han conseguido expandir los modelos docentes más allá del espacio del aula, como emergencia de lo colectivo y del interés educativo en lo procomún. Se empleó la artografía como una metodología de investigación que desvela las tres identidades interconectadas del «artista, investigador y profesor», como aquella persona que, en su acción docente, es capaz de desarrollar una práctica creadora con su alumnado a través de procesos experimentales en la investigación artística. La artografía genera un espacio de aprendizaje para el quiebre de significados educativos. Es en esta zona intermedia de provocación intelectual, en donde los comisarios plantean proyectos artivistas capaces de generar tácticas de proximidad entre dos campos aparentemente separados, el del arte y la educación.
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Henderson, Linda Dalrymple. "Editor's Introduction: I. Writing Modern Art and Science – An Overview; II. Cubism, Futurism, and Ether Physics in the Early Twentieth Century." Science in Context 17, no. 4 (December 2004): 423–66. http://dx.doi.org/10.1017/s0269889704000225.
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This issue of Science in Context presents a sampling of current work by art historians examining modern artists' engagement with science as well as the relationship of photography to both science and art. The essays' topics span the mid-to-later nineteenth century to the 1960s and, thus, in a series of case studies provide an introduction to aspects of artistic modernism. Indeed, it is impossible to understand fully many of the radical innovations of modern art without some knowledge of an artist's cultural context, and developments in science have often played a critical role in defining that milieu. Collected together, these essays also represent methodological models of historical work on art and science that serve as useful examples in this developing field.
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Lotti, S., A. Altobelli, S. Bambi, and M. Poggesi. "Illustrations of the anatomical wax model collection in the “La Specola” Zoology Museum, Florence." Archives of Natural History 33, no. 2 (October 2006): 232–40. http://dx.doi.org/10.3366/anh.2006.33.2.232.
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Anatomical illustration has evolved through the centuries, first having artistic and educational purposes and later more strictly medical objectives. Between the eleventh and fifteenth centuries, the analytical model (representation of individual parts, organs and systems) gave way to the composite model (description of the human body as a whole). Between the seventeenth and eighteenth centuries, there was a reversal of tendency: initially the anatomist requested the help of artists, but later the artist asked anatomists to check the accuracy of his work. In this way, anatomical illustration reached a high level of precision. This period also saw the creation of the “La Specola” Zoology Museum's collection of anatomical wax models. Initiated in the eighteenth century, it also included a series of contemporary colour illustrations executed by various artists. Most of the illustrations concern human anatomy, while a small number deal with comparative anatomy. These illustrations, each accompanied by one or more explanatory sheets, were produced to help explain the corresponding wax models. The anatomical wax model collection has been well preserved through the centuries, maintaining its ancient splendour, and it is the object of continuing research and restoration interventions.
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Maslov, Viktor. "The Genius of the Artist through the Prism of His Models." Philosophical anthropology 7, no. 1 (2021): 80–115. http://dx.doi.org/10.21146/2414-3715-2021-7-1-80-115.
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The essay, which consists of two parts, analyzes the female images of two great artists Botticelli and Picasso. The essay has the character of an art history study with memoir interweaves. In the first part, the author makes an attempt to decipher the genius of Botticelli using the technique of analyzing the prototype of the artist's heroine and comparing it with the image of a real woman, similar to the Botticelli model. The artist's genius is revealed through the type created by him, in a sense — invariant, of a beautiful woman, the spiritual and material image of which is repeated in reality. The energy of Botticelli's paintings, which is their secret, allowed the author to see in life a real copy of the artist's heroine. Using the archive of preserved personal letters of a beautiful lady, as if she descended from Botticelli's paintings “Spring” and “The Birth of Venus”, the author draws an analogy the epistolary legacy with cinema, when events are described not in strict chronological order, but rather individual important moments and experiences are highlighted and are scaled. According to the letters, the author reconstructs the character of his heroine and hypothetically transfers these character traits to the Botticelli model, about whose character there is almost no evidence left. The second part of the essay is inspired by a photograph of Picasso's wife Olga Khokhlova, preserved in the personal archive of the author's friends. The author embeds his story about the muse and the great love of Picasso and about his other paradoxical models in the circumstances of his personal life, in the situation of his youth, comparing the revolutionary changes in art at the beginning of the XX century with the moods of the representatives of the artistic intelligentsia of the 70s of the past century. The heroines of Picasso and the strange interweaving of the fate of the participants in the author's narrative represent the content of this part of the essay.
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Pénasse, Julien, Luc Renneboog, and José A. Scheinkman. "When a Master Dies: Speculation and Asset Float." Review of Financial Studies 34, no. 8 (January 30, 2021): 3840–79. http://dx.doi.org/10.1093/rfs/hhab006.
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Abstract An artist’s death constitutes a negative shock to his future production; death permanently decreases the artist’s float. We use this shock to test predictions of speculative trading models with short-selling constraints. As predicted in our model, we find that an artist’s premature death leads to a permanent increase in prices and turnover; this effect being larger for more famous artists. We document that premature death increases prices (by 54.7%) and secondary market volume (by 63.2%).
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Yoon, Soyoung. "Christ, Santa Claus, Doctor Deliverer: For Carolee Schneemann." Camera Obscura: Feminism, Culture, and Media Studies 36, no. 2 (September 1, 2021): 175–83. http://dx.doi.org/10.1215/02705346-9052914.
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Abstract This essay attends to the force of aggression in Carolee Schneemann's work, emphasizing the conflicts in the artist's representation of enjoyment, knowledge, and truth in her own body, with a focus on Up To and Including Her Limits (1973–76) and the underexplored text “Anti-Demeter: The More I Give the More You Steal” (1994). Addressing how the latter presents an origin myth for the artist, the essay underscores Schneemann's struggle over questions of genealogy, alliance, influence, and debt. On the question of debt, particular attention is given to its quality of ambivalence on terms of sexual difference, especially for father figures perceived as models of artistic expressivity, and the mothering body as a body of prohibition, labor, illness, and death. Examining the negation of the body, the role of aggression and violence, and the critique of the bind of “male fantasies” in Schneemann's work, the essay proposes a shift in feminist art historiography and its projections on Schneemann the artist. The essay asserts Schneemann's tale as a cautionary and self-reflexive one for those who come after, the would-be-daughters, who would negate the body, the struggle, the art yet again for the myth, in a time ripe for myth, in the wake of the artist's passing.
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Sakhno, Irina. "Alexander Burganov’s Alternative Worlds and Visual Ideograms." Scientific and analytical journal Burganov House. The space of culture 16, no. 1 (March 10, 2020): 38–55. http://dx.doi.org/10.36340/2071-6818-2020-16-1-38-55.
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Summary: The creative work of famous Russian sculptor Alexander Nikolayevich Burganov in the context of a system of copyright signs and conventional symbols, the artist’s relationship with the world and himself from the standpoint of symbolic valency which combines two forms of sculptural expressiveness – figurative and abstract art, are analyzed in the article. Considering hidden comparisons in Burganov’s work, the author analyzes the mythological and metaphorical thinking of the artist who appeals to invariable ancient images and surreal poetics that ultimately form an organic constellation of images and their harmonious completeness. Alexander Burganov’s sculptures are a productive space for an ambivalent play of many meanings and visual tautologies. The artist’s original reflections involve visual patterns that the sculptor articulates in his works: tradition and antiquity, cultural memory and modern philosophical contexts, semiotics of drapery/folds, a cage as a special sign, a symbol. The sculptor’s image paradigm also develops at the intersection of visual and verbal contexts, although the word as such is absent; however, the narrative discourse is obvious. The use of diverse semantics of sculpture-gestures plays an important role. Alexander Burganov’s sculptures, establishing a movable border between tradition and the historical avant-garde, reduce and reproduce new cultural meanings. Overcoming the boundaries of artistic optics and recreating new polystylism, he models a special lightness of sculpture and mobility of images in his sculptural works. The author draws attention to the sculptor’s ability to combine the most diverse layers of culture thus translating the artist’s original semantics based on allusions and allegories giving the viewer the right to independently navigate through the mazes of visual memory. The author emphasizes that the dialogue between the artist and the audience through symbolically abstract signs begins to model new forms of artistic matter and affect the human ordering of the world. Burganov’s artistic practice recreates the space of another reality – the world behind the looking glass of everyday life. The sculptor’s alchemy is such that the viewer immerses into the space of spiritual worlds, comprehends the sculptural plasticity and its expressiveness using the language of allegories and symbols. The observer establishes the inner essence of things, hidden conceptual impulses, tries to discover the spiritual in the material.
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Bayu Pramana, I. Made. "Photography As A Bridge To Intercultural Interaction In Bali During The Netherland Indies Colonial Period Of The 1920-1930S." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 2, no. 2 (November 19, 2019): 54–58. http://dx.doi.org/10.31091/lekesan.v2i2.888.
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This article presents the process of commencing inter-cultural interactions and artistic collaboration between Balinese and western photographers through photography. In the beginning, the photography project only showed visual record of the Kings, the royal family along with the royal government apparatus in Bali. Beginning with Gregor Krause, a colonial doctor who practiced photography, the others photographers then began exploring nature, culture, art and Balinese society into recording their photographic works. The activity then continued to be an artistic collaboration between westerners as photographers and Balinese as photo models. Not only that, the collaboration also extends to the incorporation of many western cultural elements into photography properties. In addition, the models that appear in photographic works are not only from the royal community, but begin to spread to ordinary residents, artists and their environment. Through the bridge of photography, many western artists combine their ideas with Balinese artists to design and create works of art in the needs of photographic documentation. The collaborative work then attracted tourists to Bali to enjoy the exotica of Bali which was first collaborated by western photographers and writers.
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Ford, Colin. "Angelo Colarassi — Two artists' models." History of Photography 28, no. 4 (December 2004): 380–81. http://dx.doi.org/10.1080/03087298.2004.10441342.
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López, Luis, Germán Arroyo, and Domingo Martín. "Computer Tool for Automatically Generated 3D Illustration in Real Time from Archaeological Scanned Pieces." Virtual Archaeology Review 3, no. 6 (November 1, 2012): 73. http://dx.doi.org/10.4995/var.2012.4447.
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<p>The graphical documentation process of archaeological pieces requires the active involvement of a professional artist to recreate beautiful illustrations using a wide variety of expressive techniques. Frequently, the artist’s work is limited by the inconvenience of working only with the photographs of the pieces he is going to illustrate. This paper presents a software tool that allows the easy generation of illustrations in real time from 3D scanned models. The developed interface allows the user to simulate very elaborate artistic styles through the creation of diagrams by using the available virtual lights. The software processes the diagrams to render an illustration from any given angle or position. Among the available virtual lights, there are well known techniques as silhouettes enhancement, hatching or toon shading.</p>
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Grannemann, Hannah, and Amy Whitaker. "Artists’ Royalties and Performers’ Equity: A Ground-Up Approach to Social Impact Investment in Creative Fields." Cultural Management: Science and Education 3, no. 2 (December 16, 2019): 33–52. http://dx.doi.org/10.30819/cmse.3-2.02.
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In this paper we argue that new models of artists’ royalties and performers’ equity can form the basis of social impact funds in the arts. Following the principle that those who contribute value should own part of it, we model social impact funds using a “value creation” lens, starting with royalties, profit shares, and other rights granted to visual artists, performers, and playwrights (referred to collectively as “artists”). We draw on data from DACS, the United Kingdom manager of the Artist Resale Right (ARR) and copyright licensing, as well as Arts Council England. We build on case studies of the Artist Pension Trust and Olav Velthuis’ suggestion of applying football (soccer) transfer fees to the arts, in order to argue for an artist-centric view of sustainable investing in the culture sector. This proposal complements cultural impact investing funds started by LISC and Upstart Co-Lab while creating more diversifiable, flexible, and artist-centric systems to address problems of risk and diversification of early-stage investment in creative work.
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Voronina, Olga A. "WOMEN AND FINE ARTS: A GENDER ANALYSIS." Yaroslavl Pedagogical Bulletin 116, no. 5 (2020): 217–24. http://dx.doi.org/10.20323/1813-145x-2020-5-116-217-224.
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The article disputes traditional views on the status of women in the visual arts. Methodologically, the text is based on the theories of social constructivism, social and symbolic capital, modern history of fine art and gender approach. The author considers art as a social institution, and an artistic work as something with aesthetic and economic value. This allows us to deconstruct the myth of women's lack of artistic abilities convincingly. Institutionally, this mythology was supported by the refusal of women to receive professional education in fine arts, and ideologically justified by the role of the Muse, allegedly inspiring men to true creativity. This subject-object dichotomy set the structure of power relations between the Artist and his repressed «object of veneration», while ignoring the various relationships of women with fine arts or evaluating their creativity as marginal. This concept was formed in the era of mass production of artistic works, when the cost of work was determined not so much by its aesthetic qualities, but by many other factors. And one of them is the traditional hierarchy of men and women in culture, which leads to underestimation of women's artistic creativity in economic terms and alienation of women from the active creative process. Attempts of women to present a different view of yourself and your place in the world (a woman is existentially different in western culture) come across symbolic designation of the feminine as secondary and marginal. Even today, when women рфму professional education and participate in exhibitions, their positions and status remains more vulnerable than that of male-artists. This is due to existing gender stereotypes and institutional barriers. Professional recognition of woman is often achieved at the cost of a symbolic rejection of self-representation as a female artist and identification with masculine models of creativity. Overcoming this situation is impossible without the artistic community's acceptance of the principles of freedom of expression and gender equality.
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Bonfim, Carolina Felice. "Quando a escultura transborda – entrevista com Carlos Valverde." ouvirOUver 13, no. 1 (May 25, 2017): 306. http://dx.doi.org/10.14393/ouv20-v13n1a2017-23.
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Tempo, metodologia, técnica, referentes, pesquisa, reflexão, diário de bordo, tentativas, anotações, making of, entre outros, são elementos próprios da prática artística que, na maioria das vezes, não estão explicitados ao público. O que há por trás de uma obra de arte? Interessada pelos processos artísticos e no relato em primeira pessoa, convido o artista espanhol Carlos Valverde para compartilhar os procedimentos utilizados no seu trabalho, bem como as motivações/inquietações de uma obra que gira em torno de uma reflexão sobre corpo, objeto e espaço.
ABSTRACT
Time, methodology, skill, models, research, reflection, logbook, attempts, notes, making of, and so forth, are elements related to the art practice that are mostly unknown to the public. What is behind an artwork? Interested on artistic processes and first-person accounts, I am inviting the Spanish artist Carlos Valverde to share the procedures used in his work as well as the motivations/concerns of a work that moves around a reflection on body, object and space.
KEYWORDS
Contemporary art, Sculpture, empowerment of the spectator, artistic practice.
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Keizer, Joost. "Rembrandt’s nature." Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online 68, no. 1 (August 5, 2019): 322–47. http://dx.doi.org/10.1163/22145966-06801011.
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In seventeenth-century Holland, the role of the live model in the making of art and, importantly, as a vehicle for artistic training had become a topic of contention. No other aspect of artists’ education had received more criticism than the use of real-life models. Artists ran the risk of drawing too much attention to the live model, leaving the model’s features visible in their works. These works would look too much like life itself. This essay argues that seventeenth-century theorists devised an intricate concept of style in order to keep life in an artwork at bay. To train artists was to discipline them in style.
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Nielsen, Thomas Rosendal. "Spatial Poetics and the Politics of Imagination." TDR/The Drama Review 61, no. 1 (March 2017): 68–80. http://dx.doi.org/10.1162/dram_a_00623.
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In May 2012, INHEPI—an international network of performance artists—produced a series of experiments with participatory performance. By evoking a range of recurrent spatial-imaginary models, their artistic practice facilitated a bridge between the dream of a postpolitical community and the political interruption of the tacit social structures of modern urban life.
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Grossberg, Stephen, and Lauren Zajac. "How Humans Consciously See Paintings and Paintings Illuminate How Humans See." Art and Perception 5, no. 1 (March 8, 2017): 1–95. http://dx.doi.org/10.1163/22134913-00002059.
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This article illustrates how the paintings of visual artists activate multiple brain processes that contribute to their conscious perception. Paintings of different artists may activate different combinations of brain processes to achieve their artist’s aesthetic goals. Neural models of how advanced brains see have characterized various of these processes. These models are used to explain how paintings of Jo Baer, Banksy, Ross Bleckner, Gene Davis, Charles Hawthorne, Henry Hensche, Henri Matisse, Claude Monet, Jules Olitski, and Frank Stella may achieve their aesthetic effects. These ten painters were chosen to illustrate processes that range from discounting the illuminant and lightness anchoring, to boundary and texture grouping and classification, through filling-in of surface brightness and color, to spatial attention, conscious seeing, and eye movement control. The models hereby clarify how humans consciously see paintings, and paintings illuminate how humans see.
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WILLIAMS, HANNAH. "Artists and the city: mapping the art worlds of eighteenth-century Paris." Urban History 46, no. 1 (April 15, 2018): 106–31. http://dx.doi.org/10.1017/s0963926818000251.
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ABSTRACT:Paris is renowned for artistic neighbourhoods like Montmartre and Montparnasse in the nineteenth and twentieth centuries. But for earlier periods, the art-historical picture is much vaguer. Where did artists live and work in the eighteenth century? Which neighbourhoods formed the cultural geography of the early modern art world? Drawing on data from a large-scale digital mapping project locating the addresses of hundreds of eighteenth-century artists, this article answers these crucial questions of urban art history. Following an overview of the digital project, the article explores three different mappings of the city's art worlds: a century long survey of the neighbourhoods inhabited by the Academy's artists; a comparison of where the Guild's artists were living in a single year and a wider world view of Parisian artists abroad. Through its new cartographic models of Paris's art worlds, this article brings the city to the foreground of eighteenth-century French art.
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Praznik, Katja. "Artists as Workers." Social Text 38, no. 3 (September 1, 2020): 83–115. http://dx.doi.org/10.1215/01642472-8352259.
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This article offers a contribution to the political economy of creative labor in socialist Yugoslavia, tracing the emergence of a socialist entrepreneur from the shell of an art worker. It discusses shifts in economic policies that restructured the economic and material conditions of art workers from models based on welfare in the early socialist period to a freelance and self-employment labor model implemented during the last decade of Yugoslav socialism. Linking socialist political economy with the study of art, the article analyzes legal regulation and rare artists’ interventions concerning the material conditions for artistic labor to animate the political critique of relationship between art and labor. The study of Yugoslav art workers’ demise reveals the detrimental effects of the bourgeois ideology of autonomy and creativity. Informed by feminist critique of reproductive labor, the argument is based on an analogy between housework and artistic labor to uncover mutual mechanisms of naturalization and economic disavowal of these types of labor. The author demonstrates that, unlike the ways in which reproductive labor is devalued, the exceptionality of creative work and the unique status of artists, which socialism maintained and glorified, made their form of labor vulnerable to exploitation and disavowal. The dissolution of labor identity of artists pitched creativity and subsistence against each other and became significant for neoliberal exploitation of artistic labor after the violent destruction of socialist Yugoslavia in 1991. Separating art from subsistence in the interest of articulating the value of artistic autonomy reintroduced false dichotomies and situated art at the heart of twenty-first-century forms of capitalist exploitation.
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Tkachuk, Ilona. "Painting perception models of art groups «Zhyvopysnyi zapovidnyk» and «Paryzka komuna»." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 19–37. http://dx.doi.org/10.37131/2524-0943-2019-39-02.
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Background. A painting perception is a complex multilevel process of reception and transformation of information, which forms a subjective image of objects, serves as a communicative form of interaction between individuals, societies and cultures. A painting is a complicated system, which reflects the cultural situation in a society of a certain epoch, the worldview, conveys the complex of human feelings and beliefs, arises as a means of cognition. Everyone deliberately or involuntarily becomes a painting recipient, more or less engaging himself into the process of communication. Therefore, the approach to a painting is valid according to individual matrices of ideological notions complexes, concepts, principles, mentality, education and preparedness of a creator and a perceiver as a kind of non-verbal communication with a transfer of certain information during this process. Published scientific works refer to the narrow specifics of certain disciplines in the study of perception process of the painting, therefore, they do not constitute a holistic system of knowledge concerning this phenomenon. Among them we note the fundamental researches, which, in particular, set out aesthetic theories: perceptual (M. Beardsley), cognitive (R. Arnheim, D. Berlyne), informational (A. Moles); achievements in neuroaesthetics (V. Ramachandran), psychology of painting perception (V. Molyako, J. Gibson, S. Kosslyn). However, known presented painting perception algorithms do not take into account the entire range of components, parameters and the context of current communication process with art creation. It was revealed that the establishment of variants of components' interaction within the system «artist—painting—recipient», as different ways of cognition and coexistence in the information space, remains at the stage of formation and needs a fundamental development. Objectives. The objectives of the research are to identify concrete models of subjective-objective interaction within the system «artist—painting—recipient» as a result of perception the paintings of the groups «Zhyvopysnyi zapovidnyk» and «Paryzka komuna» in the artistic environment. As a material for conducting a practical investigation there were chosen the paintings of above-mentioned groups, because their art, both — as horizontal and vertical, formed a peculiar matrix of Ukrainian visuality. The art code of their works gives the opportunity to see the regularities of historical development of National visual experience. The range of painting form in all its aspects, from transavantgarde — to abstract, makes it possible to consider and analyze the difference between its specific characteristics and accordingly, different models of recipients' perception. Methods. Studying the disclosure of interactive features of interplay between painting and the recipient is related with certain difficulties, mainly of a methodical nature. Exceptionally an interdisciplinary research approach makes the most complete disclosure of the specifics of this process possible, determines its place in culture. During the research the system approach was used as well as such methods: experiment, modeling, structural-functional, statistical and comparative. In order to test the hypothesis, to reproduce the model of information system developed by author in real conditions, arose the need of organization of empirical study. An experiment was chosen as a method that assumes the allocation of significant factors which affect the results of the formation of a particular interaction model within the system «artist—painting—recipient». The investigation with recipients' poll aims to study cause-effect relationships in painting perception process, which assumes the practical modeling of the phenomenon and conditions of its course. Results. It is substantiated that the artistic strategy of two groups — narrative «Paryzka komuna» and non-narrative «Zhyvopysnyi zapovidnyk», has created a unique matrix of Ukrainian visuality, and the art code of paintings enables the revealing of patterns of historical development of National visual experience. Review and analysis of the specific features complex of modernist and postmodernist paintings allowed to identify the origins of four different perception models formation by recipients. Within the framework of the study there were critically comprehended known published painting perception algorithms. As a result of investigation, the informational painting perception system was formed and at the same time there was carried out its correlation with fundamental researches of Western scientists. In particular, they relate to perceptual, cognitive and informational aesthetic theories; achievements in neuroaesthetics and psychology of painting perception. Present model is an attempt to take into account the whole complex of components, parameters and context of communication process with the painting, as well as interpretive art models of corresponding period. Conclusions. Summarizing the results of the experiment, we can conclude that recipients from the range of artistic community clearly manifested the change of perception model — from nonclassical to post-nonclassical. It depended on presented painting — whether narrative artwork or «painting-opened-structure-object» was shown. The first one personifies the painters' works of «Paryzka komuna», and the second — artists' painting practice of «Zhyvopysnyi zapovidnyk». Also there were stated the individual manifestations of primordial and classical interaction painting models with their complexes of inherent specific features. Obtained results can form the support material for the evaluation of artworks — both within and outside the art institutions. Also the main theoretical positions can be relevant for artists in process of their work with the construction of further strategy, as well as for recipients interacting with painting
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Anghel, Ionica Ona. "4. Valorizations of Theoretical Models of Giftedness and Talent in Defining of Artistic Talent." Review of Artistic Education 12, no. 2 (March 1, 2016): 231–39. http://dx.doi.org/10.1515/rae-2016-0028.
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Abstract Artistic talent has been defined in various contexts and registers a variety of meanings, more or less operational. From the perspective of pedagogical intervention, it is imperative understanding artistic talent trough the theoretical models of giftedness and talent. So, the aim of the study is to realize a review of the most popular of the theoretical models of giftedness and talent, with identification of the place of artistic talent and the new meanings that artistic talent has in each one. Research methodology requires a meticulous documentation and access to primary bibliographic sources. The investigation allowed us to notice that most of the models and theories of giftedness explain the phenomenon through its multidimensionality, and in this context the concept of talent is considered or component of giftedness (Feldhusen), or the concepts of giftedness and talent are discussed as synonymous (Tanenbaum, Renzulli, Heller), or the concepts of giftedness and talent are considered as distinct (Gagne). There are authors who approach the concept of giftedness without any mentioning of talent (Gardner, Sternberg). From the contribution of theoretical models of giftedness and talent to understanding of artistic talent we mention: Feldhusen describes the creative-artistic talent in the classification of the talents by their relationship with curriculum areas; Tanenbaum also carries a classification of talent by their contribution to society and considers the artists, the musicians, the actors and the writers as talents that beautifies the world, calling them “surplus talents”; Gagne, who discuss the phenomenon from the perspective of human skills development and who places the giftedness at the potentiality pole and the talent at the performance pole, includes the artistic talent on the list of various types of talents and explain the factors involved in its development; Heller, Ziggler provides explanations of talent development in the light of a new research in the field of expertise, and we can particularly apply to the artistic talent. The results of the present research are the starting point of a personal trail of understanding of artistic talent, indispensable for theoretical and/or applicative approaches of any researcher interested in the psycho-pedagogy of excellence.
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WHARTON, ANNABEL. "Doll's House/Dollhouse: Models and Agency." Journal of American Studies 53, no. 1 (June 5, 2017): 28–56. http://dx.doi.org/10.1017/s0021875817000895.
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Models – economic, mathematical, toys, manikins – are ubiquitous. This article probes one model, the Stettheimer doll's house, in order to understand all models better. The Stettheimers, three wealthy unmarried sisters living in New York in the early the twentieth century, attracted a remarkable melange of Camp artists and writers, identified by Arthur Danto as “the American Bloomsbury.” The Stettheimers were involved in many of New York's happenings, including the Harlem Renaissance and the innovative stage productions of Gertrude Stein. Androgyny, excess, racial mixing and theatricality flourished in the Stettheimer milieu. Carrie Stettheimer's doll's house, now housed in the Museum of the City of New York, captured this life. I consider this model for two related purposes. First, and more narrowly, I document the various effects this eccentric doll's house had on the artistic production of those in its vicinity, most notably on the novels of her sister Ettie and on the paintings both of her sister Florine and Marcel Duchamp. Second, I use the evidence of the doll's house's affect to discuss the agency of models in general.
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Zdebik, Jakub. "Strata and Sediment under the Fog: Geological Landscapes in Smithson and Ewen." Brock Review 11, no. 2 (February 10, 2011): 5–18. http://dx.doi.org/10.26522/br.v11i2.316.
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Strata and Sediment under the Fog focuses on geological landscapes and how they are a stand-in for the mind’s landscape. This article looks at how American artist Robert Smithson describes the mind through geological landscapes in his writings and how Canadian artist Paterson Ewen diagrammatically represents the organization of rocks. The work of these two artists is considered according to the philosophies of Gilles Deleuze and Immanuel Kant—two philosophers who rely on geological and geographical models and metaphors to communicate the function of thought.
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Brandão, Angela. "Anotações sobre a centralidade do artista na história da arte." Revista PHILIA | Filosofia, Literatura & Arte 1, no. 2 (October 1, 2019): 68–88. http://dx.doi.org/10.22456/2596-0911.93030.
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Este artigo discute alguns aspectos historiográficos acerca da importância dos artistas, como foco para a construção da narrativa sobre arte no tempo. Nas origens da historiografia da arte, com Giorgio Vasari, as biografias de artistas constituíram o fio condutor do texto. Porém, já se considerava o artista como parte de um sistema do qual faziam parte o ateliê, os mecenas, personagens e contextos sociais que transcendiam à individualidade do artista criador. O texto vasariano foi um modelo a ser seguido e um esquema a ser superado durante os séculos XVII e XVIII, observando os escritos de Bellori ou de Luigi Lanzi. As biografias de artistas foram sendo, portanto, adaptadas aos conceitos de estilo, escola e gênero. A criação do gênero monográfico no final do século XIX, por Carl Justi, permitiu a biografia de um único artista, em lugar do conjunto de vidas. Se, contudo, no início do século XX, pareceu possível construir uma história da arte que ofuscasse o papel do artista, em nome da obra de arte entendida como um objeto em sua pura visibilidade, por autores como Wölfflin; iniciou-se, em contrapartida, uma reconstrução historiográfica na qual o artista voltava a ocupar um papel central na narrativa, porém agora como parte de uma categoria social, em obras como as de Wackernagel, Baxandall ou Warnke.Palavras-chave: Historiografia da arte. História social da arte. Artista. Biografia
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Mammadova, F. "Artistic features of portrait works of people’s artist Huseyngulu Aliev." Culture of Ukraine, no. 72 (June 23, 2021): 62–70. http://dx.doi.org/10.31516/2410-5325.072.09.
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Achieving a realistic view of the image on canvas or paper is a key requirement of the portrait genre. Since the establishment of the professional school of painting, the portrait has attracted the attention of Azerbaijani artists and has been widely used in their work. Thus, in our miniatures of the Middle Ages, as well as among the paintings created in the XIX–XXI centuries, you can find beautiful, eye-catching portraits with high artistic value. Thus, the portrait has always occupied one of the main places in Azerbaijani painting. Of course, the main object of the portrait genre is a person, so its spiritual world and position in society is the main theme of fine art. For many years, portraits in Azerbaijani painting have been mainly dedicated not only to creative intellectuals, but also to workers, collective farmers and labor pioneers. In portraits, on the one side, there is a generalization of images, and on the other side, there is a more democratic approach to the selection of models. The characters in the portraits are close people, friends, relatives of the artists, or strangers who are attracted only by their appearance. Elements of painting in the human image of Azerbaijani artists attract attention: color, texture experiment, spatial elements, format, etc. It is known that in order to create a realistic portrait, artists must master the perception of emotions in a person’s environment, as well as master the art of realist painting. Throughout the development of the portrait genre, artists are engaged in research, trying to convey the true image of a person in an objective way. In the portrait genre, the image of the century was clearly visible. In the portraits of Azerbaijani artists, generalized, energetic, strong images are often replaced by psychologically complex characters. There is a growing interest in the spiritual world of images, the tendency to reach the depths of thought and intellect, to create a portrait with a rich spiritual content. Portraits created by Azerbaijani artists in modern times differ in their main features, such as deep spirituality and strict intellect.
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De Vries, Lyckle. "Jan van Gool als geschiedschrijver." Oud Holland - Quarterly for Dutch Art History 99, no. 3 (1985): 165–90. http://dx.doi.org/10.1163/187501785x00080.
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AbstractJan van Gool's Nieuwe Schouburg, published in two volumes in 1750 and 1751 (Note 1), was meant as a sequel to Arnold Houbraken's Groote Schouburgh and it does, indeed, dovetail with that unfinished work. It brought its author much more renown than his work as an animal painter. Alongside the mainly factual information it contains there are also opinions, sometimes personal ones, which reveal him as a spokesman of his time. To extract the latter type of information it is necessary to read between the lines and be well aware of the purpose behind the book. The book and its objectives Volume 1, dedicated to Johan van der Marck, opens with a title-print by P. Tanjé after L. F. Dubourg and an explanation in verse by A. Kuipers, eulogies of the book by two of Van Grool's friends, J. Wandelaar and F. Greenwood, and a portrait of the author engraved by J. Houbraken after a drawing by Aert Schouman. Then follows an introduction setting out the intentions of the book and its relationship to Houbraken and Weyerman. Volume 11, dedicated to Gerrit Braamcamp with a eulogy of him by D. Smits, opens with a discussion of the choice of style and subject-matter to be made by artists on the basis of examples from the recent past. The main bulk of both volumes is taken up by biographies of artists, arranged, as in Houbraken, in chronological order of their date of birth, although, also like Houbraken, Van Gool puts members of the same family together and pupils sometimes come immediately after their masters. In these biographies the facts are presented as accurately as possible and much attention is paid to the success or failure of artists and their corresponding standing in society. Van Gool includes fewer anecdotes than Houbraken, using them only to bring out the artists' personalities better (Note 6) . He characterizes the oeuvre of each of them and often mentions or describes individual works, but he says little about iconography and what he does say is often inaccurate. Conversely, he has a great interest in prices, collections, buying and selling and he endeavours to survey the holdings of art in the Netherlands as far as possible. He makes the link with Houbraken very clear by giving additional information about four important painters who were still alive when Houbraken's book was published and by including artists he felt had been wrongly omitted by Houbraken, whom he often criticizes for his less systematic approach. Again on the model of Houbraken's book, the biographies are interspersed with discussions of a general nature and a number of poems, mostly by Van Gool himself, in which he draws conclusions about the life of the artist in question and moralizes on virtues, vices and the vicissitudes of fortune. There are also more than twenty eulogies and epitaphs (Note 4), while poems by other authors and quotations are often used to honour painters and their work (Note 5). There is a clear difference from Houbraken, however, in that only one of the poems, Ansloo's epithalemium for A. van den Tempel, is quoted for its factual information. Vol. 11 ends with an appendix containing biographies of twenty more artists and all the known facts about a number of others, based on information received too late for earlier inclusion, and short pieces about the engravers J. Houbraken and P. Tanjé as a mark of gratitude. Then come a refutation of the criticism levelled at Vol. 1 by an unnamed person, who must be Gerard Hoet II (Note 3), amplifications and corrections to Vol. 1, a historical account of the Hague confraternity of artists and academy and, finally, a catalogue of the Elector's collection at Dusseldorf. The portraits illustrating the Nieuwe Schouburg constitute part of the factual information and it is clear from Van Gool's comments that they are no unimportant part of it. He expresses great annoyance about the refusal to lend or the late arrival of portraits and gratitude to those who helped him to find them, notably Johan van der Marck. The prints were also sold separately for the benefit of collectors of portraits of artists. More important than the collecting of factual information in Van Gool's eyes was the honouring of artists worthy of it and the perpetuation of their renown, which would otherwise be lost. Thus the book is a monument, but it is also more than a mark of honour from a middling painter to his great colleagues, since the second objective was to provide stimulating examples for coming generations. To do this it had to furnish models that any potential artist could follow and the survey of the art of the recent past that opens Vol. 11 is meant to show that such a great variety really did exist. The 17th century must be taken as a model and equalled and to show that this was possible the first biography in Vol. 11 is that of Jan van Huysum, to whom, along with Rachel Ruysch, Van Gool gives fulsome praise. Since Van Gool saw the course of an artist's life, his artistic success and his social success as inextricably bound up together, the biographies seem to be meant mainly as exempla in the moral sense. Failure is invariably interpreted as the result of irresponsible behaviour and success as the fruit of virtue and the opening sentences of successive biographies often contrast two artists' lives in a moralizing manner. If the artists of Van Gool's own day follow the models given in the right way, this will be as good for them personally as for Dutch art in general. Art will flourish again and the present decline become a thing of the past. The significance of Van Gool's work in combatting that decline is actually better put by Wandelaar in his eulogy in Vol. 1, while Van Gool's thoughts on the role of patrons in the struggle against decline are also better expressed in D. Smils' poem in which Braamcamp is extolled as the rescuer of painting. The dedications to the two notable patrons, Van der Marck and Braamcamp, thus prove to be more than a token of friendship or esteem: they indicate a programme. Patrons too can be divided into moral categories, while the abuses in the Hague Academy are an expression as well as a cause of artistic decline. Thus Van Gool's conception of his task as an educator and fighter against artistic decline unites apparently disparate parts of his book. The catalogue of the Dusseldorf collection too must have been meant as a shining example to potential Dutch patrons.
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Yeager, Raymond. "Artist as teacher and model." Visual Inquiry 8, no. 3 (December 1, 2019): 197–202. http://dx.doi.org/10.1386/vi_00004_1.
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Abstract Being an artist is often an enigma to art students. They need a model who will demonstrate a way to navigate the world as an artist. We are that model. As art educators, we can help demystify the practice of being an artist and help our students understand it by offering ourselves as models and mentors. In this undertaking, we should be open with students about our own odysseys as artists. Especially the many failures and hardships we faced and overcame to succeed. This modelling of art practice is a form of ‘lending consciousness'. Developed by Russian psychologist Lev Vygotsky, this concept asserts the idea that development is a social or communal process as well as a pedagogical one. By creating a learning environment where we model, as well as instruct, we alter the traditional role we play in the classroom. When our teaching and art-making become intertwined, the students benefit greatly from a more engaged instructor, and it is more likely that they will see themselves as artists-in-training.
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Ristic, Maja. "Features of labour relations in institutional theatres in Serbia." Zbornik Matice srpske za drustvene nauke, no. 178 (2021): 245–59. http://dx.doi.org/10.2298/zmsdn2178245r.
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The main goal of the paper is to investigate the forms of labor relations in institutional, subsidized theatres in Serbia. Given the social and economic crises, and today significant changes in the lifestyles of citizens of the world caused by the Corona virus pandemic, theatre institutions had to adapt to new market demands. Reduced production, inability to play large ensemble performances, problems in paying copyright contracts are some of the features of the work of theatre organizations. Having these turbulent circumstances, the subject of the paper should determine the influence of social circumstances on the formation of working relations in institutional theatres in Serbia. The paper will look at labor relations in the context of transitional cultural policy and the impact of the environment on defining the most optimal form of employment that should meet the needs of the state, city, municipality, as founders and financiers of the theatre organization, the needs of artists who strive for permanent employment that will provide them with existential security while providing them with an opportunity for artistic growth. By re-examining and analyzing the existing models of labor relations, the basic hypothesis we want to prove in the paper is that permanent employment and achieving permanent employment is the best solution for hiring artists in institutional theatre. In order to fulfill the set goals and prove the hypothesis, the paper will use theoretical research in the field of human resources management (Rahimic, Torrington, Hall, Taylor), labor law, cultural policy (Djukic), cultural studies (Klajic, Ristic, Djordjevic) as well as the case studies of form of employment in national theatres in the region. The paper also presents an empirical research that dealt with the impact the different forms of employment have on artists. The research shows that the establishment of a permanent employment relationship is of greater benefit to artist.
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WATTS, CHRISTOPHER. "Mixing things up: collaboration, converging disciplines, and the music curriculum." Organised Sound 9, no. 3 (December 2004): 295–99. http://dx.doi.org/10.1017/s1355771804000494.
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The applications of digital technologies in the world of art continue to explode, and various artistic disciplines begin to converge as a result. More artists are working in a wide variety of media while, at the same time, increasing specialisation results in a greater number of collaborative, interdisciplinary activities. The ability to collaborate effectively with other artists is a skill set that must be addressed from a curricular standpoint, and music faculty must engage with colleagues in the other arts to provide students with the appropriate learning opportunities. While many institutions have developed successful models for doing this, information about those models has not been widely disseminated. Institutions that have found this change difficult may face a variety of obstacles, including highly compartmentalised departments, a crowded curriculum, and shortages in staffing and funds. One model for change is presented that focuses on building curriculum and shared facilities, using technology as a means to facilitate interdisciplinary collaboration.
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Mancke, Carol Jane. "Experiments in interfaces." Archnet-IJAR: International Journal of Architectural Research 13, no. 3 (November 11, 2019): 670–82. http://dx.doi.org/10.1108/arch-05-2019-0116.
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Purpose Exploring the need for “neutral” public space located between the private act of voting and formal deliberative democracy, the purpose of this paper is to examine two interfaces between everyday life and democratic politics and considers ways this territory can be a site for generative artistic practises. Design/methodology/approach Many artists and architects work in the space between the individual and formal collective political processes. Speculating outward from two artworks by the author and drawing on the thought of Hannah Arendt, Rosalyn Deutsche, Chantal Mouffe, Bruno Latour and others, this paper maps theory to the territory and proposes a new framework for reconsidering the work of such practitioners. Findings Three potentially fruitful avenues for exploration as artistic practice related to democratic interfaces are identified and discussed through examples. Originality/value This exploration is part of a broader practice-led research project into models of public collaborative thinking within the context of artistic practice. Many argue that the public realm has been co-opted by neo-liberal political and economic forces, resulting in a sense of hopelessness that limits the ability to imagine anything else. This research reflects on artistic tactics that counter this sense of hopelessness. These practices often suggest alternative social structures, foster ephemeral (local) public spheres or propose spatial configurations that support these. This paper offers a useful framework for reflecting on the work of politically engaged artists and architects as well as structuring new projects.
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Russo-Zimet, Gila. "Artist-Teachers' In-action Mental Models While Teaching Visual Arts." Journal of Education and Training Studies 5, no. 5 (April 23, 2017): 171. http://dx.doi.org/10.11114/jets.v5i5.2378.
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Studies have examined the assumption that teachers have previous perceptions, beliefs and knowledge about learning (Cochran-Smith & Villegas, 2015).This study presented the In-Action Mental Model of twenty leading artist-teachers while teaching Visual Arts in three Israeli art institutions of higher Education. Data was collected in two stages: videotaping of art lessons and stimulated recall interviews.Data was analyzed in three steps: Three artists-teachers' data was analyzed and based on the results, explicit (behavioral) and implicit (mental models) categories were built. In the second step, all the categories were analyzed in accordance to the three teachers' data. In the third step, data collected only from the artist-teacher that used different lesson patterns in the same lesson was analyzed.The teacher's mental model is influenced by the subject matter – visual arts. As evidence, the general mental model (Mevorach & Strauss, 2012) does not include all the components of the in-action mental model of teachers teaching visual arts. The characteristics of various types of subject matters may contribute to the understanding of the in-action mental model of teaching, and understand how these subject matters influence the in-action mental model, and the Teaching Model as a whole.
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Zin, Monika. "Traces of Reciprocal Exchange: From Roman Pictorial Models to the World’s Earliest Depictions of Some Narrative Motifs in Andhra Reliefs." Religions 11, no. 3 (February 26, 2020): 103. http://dx.doi.org/10.3390/rel11030103.
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Based on a selection of examples from the sculptural art of Andhra, the paper discusses what possibly motivated the inclusion of motifs and stylistic elements from the ancient Mediterranean into the Buddhist art of the region. While in some cases such adaptations may have been driven by the need to find suitable solutions for the depiction of critical events or by the fact that a foreign motif tied in perfectly with already existing concepts, and thus, reinforced the message to be conveyed, in other cases no such reasons can be detected. Artists seem to have used foreign image types and stylistic variations deliberately to show their supreme craftsmanship or to add aesthetic sophistication to the image programme. The artists of Andhra, therefore, can by no means be regarded as epigones slavishly adhering to the examples set by the Mediterranean; the region—which is the place where narratives later spreading over large parts of Asia and Europe were first depicted—rather has to be regarded as on par with the classical cultures of Greece and Rome in terms of artistic versatility and creativity.
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Iaţeşen, Mihai –. Cosmin. "10. Creativity and Innovation in Visual Arts through Form and Space Having Symbolic Value." Review of Artistic Education 14, no. 1 (March 2, 2017): 207–16. http://dx.doi.org/10.1515/rae-2017-0026.
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Abstract The numerous plastic approaches of form in the 20th century are characterized by creativity and innovation. Form, as expression of an artistic language, is the cause and effect for the cultural evolution of a particular spatial-temporal area. The invention of forms depending on the factors which will impose them in a particular socio-cultural context and location environment is not everything. The challenges of the act of creation are far more complex. For the art of the 20th century, the role of the type of expression in visual or gestural language proved much more convincing and meaningful as to the data or phenomena occurring in immediate reality. The personality of the artist, his cultural character, his media coverage and exterior influences of his inner world, his preceding experiences and receiver’s contacts in a specific area are the factors that influence the relation between the work of art and the audience against a particular spatial-temporal background. The psychological and sensory processes in works of plastic art are spatially configured in structures, which leads to self-confession. The artist filters the information and the elements of exterior reality through the vision of his imagination and power of expression specific to his inner self, and turns them into values through the involvement of his state of mind. Constantin Brâncuşi is the sculptor whose role was considered exponential as he revolutionized modern artistic vision by integrating and creating space-form relations through symbol. Throughout his complex work - the Group of Monumental Sculptures of Tg. Jiu, the artist renewed the language of the sculpture-specific means of expression, though archaic forms, by restoring traditional art. Archetypes often make reference to the initial and ideal form and they represent the primitive and native models composing it. Form attracts, polarizes and integrates the energy of the matter outside the human body, and art acquires a unifying function for the senses of our spirit. We identify the forms developed by the junction between fantastic forms, the figments of the imagination of artists who communicate deep human meanings. They invite us in a world of constructive forms and mysteries, truly innovative and elaborate creations, by underlying different directions in the compositional space with symbolic value.
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Daniel, Ryan. "EXPLORING CREATIVITY THROUGH ARTISTS’ REFLECTIONS." Creativity Studies 14, no. 1 (January 11, 2021): 1–17. http://dx.doi.org/10.3846/cs.2021.11207.
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The concept of creativity has been theorized and debated for millennia, dating back to the Greek philosopher Plato, who referred to “divine madness” in poets. Debates continue as to whether creativity is a gift or talent, a product of the genius gene, a side effect of mental health conditions, or if it is learned and nurtured through the environments and societies in which an individual grows and develops. While there is a wealth of research that sets out to define the concept of creativity, and numerous theoretical models have emerged since the early part of the 20th century, little of that involves artists reflecting on the concept. In order to explore this area, this study surveyed 314 artists from a range of countries, using an online survey, which invited them to reflect on creativity as a concept and how they understand it within their artistic practice. The findings reveal that creativity is a complex term and there is a range of understandings demonstrated by those who practice art-making. Questions for key stakeholders in education and policy are also raised, in terms of the role and place of artistic creativity in society.
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Daniel, Ryan. "EXPLORING CREATIVITY THROUGH ARTISTS’ REFLECTIONS." Creativity Studies 14, no. 1 (January 11, 2021): 1–17. http://dx.doi.org/10.3846/cs.2021.11207.
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The concept of creativity has been theorized and debated for millennia, dating back to the Greek philosopher Plato, who referred to “divine madness” in poets. Debates continue as to whether creativity is a gift or talent, a product of the genius gene, a side effect of mental health conditions, or if it is learned and nurtured through the environments and societies in which an individual grows and develops. While there is a wealth of research that sets out to define the concept of creativity, and numerous theoretical models have emerged since the early part of the 20th century, little of that involves artists reflecting on the concept. In order to explore this area, this study surveyed 314 artists from a range of countries, using an online survey, which invited them to reflect on creativity as a concept and how they understand it within their artistic practice. The findings reveal that creativity is a complex term and there is a range of understandings demonstrated by those who practice art-making. Questions for key stakeholders in education and policy are also raised, in terms of the role and place of artistic creativity in society.
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Nyatepeh Nyatuame, Promise, and Akosua Abdallah. "Youth Theatre and Community Empowerment in Ghana." Theatre and Community 9, no. 2021-1 (June 30, 2021): 122–49. http://dx.doi.org/10.51937/amfiteater-2021-1/122-149.
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As contemporary theatre and new production models are now being evaluated with more regard to community empowerment, the importance of proper tools for evaluation of the process has increased. The article explored the community youth theatre practices of the Community Youth Cultural Centre (CYCC) of the National Commission on Culture (NCC) in Ghana. We examined the role of the youth theatre at CYCC in the light of community empowerment. Using the qualitative case study design, six artists with a minimum of five years and a maximum of thirty years of work experience with the CYCC were interviewed. Performance activities and documents of the CYCC were also observed and analysed. The findings revealed four themes: Objectives of the centre; Youth theatre practices; Abibigoro/puppetry theatre models; and non-formal and cultural education. It was found that staff and artists at the CYCC employed diverse theatrical modes to facilitate community empowerment processes. The study recommends that cultural and creative centres in Ghana should harness the potentials of the community youth theatre, develop community-specific and context-driven performance models to support artistic- aesthetic-cultural and non-formal education processes to enhance our collective strive for community empowerment in Ghana.
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Marchuk, Liudmyla, Oleh Rarytskyi, and Mariia Lychuk. "Metaphorical biological models in artistic discourse." XLinguae 13, no. 2 (April 2020): 258–71. http://dx.doi.org/10.18355/xl.2020.13.02.22.
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Nesse, Caroline Wahlström, and Camilla Myhre. "FRASKYV – metode og verktøy i dansekunstneriske prosesser." Nordic Journal of Dance 1, no. 1 (December 1, 2010): 6–11. http://dx.doi.org/10.2478/njd-2010-0002.
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Abstract In our work as dance artists we have for many years worked at guiding creative and artistic processes based on body and movement. We have developed didactic models that can be put to use in encounters with both children and young people, as well as students and professional dancers. Our work is based on guiding or coaching starting from the individual’s viewpoint. In these processes it is the individual expression that is being cultivated, always in an artistic context. The work is founded in a phenomenological view of body and movement, with the lived, experienced body as a central concept. An important part of our work has been about developing models and tools where physical principles, understanding of shape, expression, space and composition, can be seen in relation to the individual’s creative and artistic process. Through this a need has arisen to find new words and terms that can explain artistic processes in a more overall way and where the development of bodily knowledge is not separated from the artistic processes. In this context we have found a new word, “fraskyv”, that could be understood as the opposite of gravitation, like a push-off, some kind of upward pull, a spring, momentum, or maybe as a shift of weight, transfer or a change in a wider sense. The point has been to find a word that can contain both technical and creative elements, and this word “fraskyv” is the starting point for this article.
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O'Neill, Cecily. "Artists and Models: Theatre Teachers for the Future." Design For Arts in Education 92, no. 4 (April 1991): 23–27. http://dx.doi.org/10.1080/07320973.1991.9934847.
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Brown, Richard D. "Virtual Unreality and Dynamic Form: An Exploration of Space, Time and Energy." Leonardo 33, no. 1 (February 2000): 21–25. http://dx.doi.org/10.1162/002409400552199.
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Early twentieth-century art, including the works of Duchamp and the Cubists, attempted to portray aspects of a reality that were beyond sensory perception, such as multiple perspectives, the fourth dimension and curved space. Virtual reality (VR) now offers artists a soft medium for creating artificial experiences of space, time and energy through mathematical models. In this article the author outlines his artistic explorations leading to the creation of Alembic, an alchemical VR installation that challenges the representational simulation of reality often associated with the medium of VR.
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Melgares, Miguel Ángel. "Entre la reiteración y la producción performática. Dos modelos de producción cultural para un nuevo giro performativo." Arte y Políticas de Identidad 23 (December 30, 2020): 80–97. http://dx.doi.org/10.6018/reapi.461011.
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En este artículo se analizan nuevos modelos de producción cultural relacionados con la adaptación de las artes vivas al museo. Centrándonos en el estudio de dos grandes exposiciones retrospectivas dedicadas al trabajo de Marina Abramović y de Tino Sehgal, tratamos de identificar el desarrollo de estrategias de reiteración performativa, mecanismos de exposición de archivos inmateriales, así como nuevos modelos productivos como son la producción de co-presencia y laproducción de intersubjetividad. Si en la segunda mitad del siglo XX el performance surgió como una herramienta subversiva con la que cuestionar el mercado y las instituciones culturales, la absorción y transformación de los performances en un nuevo producto de consumo cultural genera una serie de contradicciones, ya que la segunda oleada del performance —denominado como nuevo giro performativo— ha estado coordinada desde las mismas organizaciones museísticas que los artistas del performance trataron de cuestionar. Los contenedores expositivos se han convertido en puntos de encuentro entre obras vivientes y un público ávido de experiencias directas, donde creadores provenientes de otras disciplinas nutren y expanden los límites de las galerías, reemplazando con cuerpos vivos a los objetos artísticos. This article analyses new models of cultural production rooted in the adaptation of live arts within museum contexts. Focusing on the study of the great retrospective exhibitions of Marina Abramović and Tino Sehgal, we try to identify the development of performative reiteration strategies, exposure mechanisms of these immaterial archives, as well as new productive models such as the production of co-presence and the production of intersubjectivity. If in the second half of the 20th century, performance emerged as a subversive tool through which to question the market and cultural institutions, the absorption and transformation of performances into a new product of cultural consumption generates a series of contradictions affecting its essence, especially since this second performance wave —named as a new performative turn— is driven by the same museums and cultural institutions that performance artist once tried to question. The exhibition containers have become meeting points between artists and an audience eager for direct experiences, where creators from other disciplines nurture and expand the galleries boundaries, replacing artefacts for living bodies.
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Barceló, Juan A., and Oriol Vicente. "Qué hacer con un modelo arqueológico virtual. Aplicaciones de la inteligencia artificial en visualización científica." Virtual Archaeology Review 2, no. 4 (May 20, 2011): 53. http://dx.doi.org/10.4995/var.2011.4551.
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<p>For years, artists have collaborated with archaeologists in order to “reconstruct” all those ancient things not preserved in the archaeological record, and they have provided archaeologists with artistic depictions of the past. Regrettably, modern “computer visualizations” do not modify this attitude. There are thousands of “computer reconstructions” of ancient monuments and prehistoric objects available today, but most of them are absolutely useless. Alternatively, we propose a different approach where computer visualization is defined as the automatic logical deduction of visual properties of three-dimensional objects instrumentally acquired. A general framework inspired in modern artificial intelligence is here proponed.</p>