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1
Van Der Hoek, Klaas. "Antonis Rogiersz. uten Broec. Een verluchter uit Utrecht, werkzaam in de Zuidelijke en de Noordelijke Nederlanden." Oud Holland - Quarterly for Dutch Art History 117, no. 3-4 (2004): 119–36. http://dx.doi.org/10.1163/187501704x00340.
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AbstractActive in the Southern Netherlands in the mid-fifteenth century was a miniaturist who signed his work twice and who can be identified as Antonis Rogiersz. uten Broec. In addition to his contributions to the two manuscripts in which he included his name, he worked on three other Southern-Netherlandish manuscripts. Antonis' style as manifested in these five manuscripts reemerges in a group of illuminated manuscripts produced in Utrecht in the 1460s. They are attributed to the so-called Master of the Boston City of God. On the basis of stylistic arguments and circumstantial evidence of a codicological nature, I believe that this until now anonymous miniaturist is no one less than Antonis uten Broec. To substantiate this identification, research was conducted in the Utrecht archives on the Antonis uten Broec known from Southern-Netherlandish manuscripts. He appears to have been a member of a family that had been living and working in Utrecht for generations. It can hardly be doubted that Antonis' roots are in Utrecht and it is certain that he was buried there in 1468/'69. No matter how fragmentary, the mentions in Utrecht archival material afford biographical data on one of the generally anonymous miniaturists in the Northern Netherlands. At this point, of these artists, Antonis uten Broec is the best documented and, moreover, pursued his career in both the Northern and Southern Netherlands. This knowledge adds to our insight regarding the mobility and reciprocal influence of artists in both regions.
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Damery, Shannon, and Elsa Mescoli. "Harnessing Visibility and Invisibility through Arts Practices: Ethnographic Case Studies with Migrant Performers in Belgium." Arts 8, no. 2 (April 4, 2019): 49. http://dx.doi.org/10.3390/arts8020049.
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This paper endeavors to understand the role of arts in migration-related issues by offering insights into the different ways in which artistic practices can be used by migrants and investigating migrants’ differing objectives in participating in the arts. Through the exploration of the initiatives of undocumented and refugee migrants involved in artistic groups in Belgium, this paper compares the motivations of the performers and concludes that art can operate as an empowering tool for migrants as it constitutes a space for agency, notwithstanding the specific scope of which it is contextually charged. It allows migrants to render themselves visible or invisible, depending on their contrasting motivations. The creative productions of the first group, composed by members of “La Voix des sans papiers de Liège”, a collective of undocumented migrants, corresponds to an explicit effort of political engagement in the local context. The other examples are of undocumented and refugee artists joining musical groups with no specific aim of promoting the cause of undocumented and refugee persons. The choice to be involved in such groups highlights their desire to be, in some ways, invisible and anonymous while participating in this collective of artists. Through these examples, we see that art offers opportunities for migrants to actively participate in the socio-cultural and political environment in which they reside and to claim various forms of official and unofficial belonging whether it occurs through visibility or invisibility.
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Kite, Stephen. "Colin St John Wilson and the Independent Group: Art, Science and the Psychologising of Space." Journal of Visual Culture 12, no. 2 (August 2013): 245–61. http://dx.doi.org/10.1177/1470412913491069.
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As an architect with the London County Council (LCC), a newspaper columnist, friend of artists and an incipient collector, Colin St John Wilson is a fascinating figure in the interacting circles of 1950s London. It was Wilson’s sketch-plan that ordered the ‘market-stalls’ of the This is Tomorrow exhibition and – in the opinion of Theo Crosby – the display he created with architect Peter Carter, engineer Frank Newby and sculptor Robert Adams most closely achieved the exhibition’s original aim of an anonymous synthesis of the arts. In this article, the author interprets Wilson’s life, work and theory as both critique and commentary in an examination of three pertinent issues within the Independent Group: the possibilities of artistic collaboration in architecture; the creative tension in architecture between science/technology and art/humanism; and the potential for a deeper psychologising of space – linked to psychoanalytical debates of the time. Interrogating these concerns is of importance, the author proposes, as they were so central to the discourses and form-making of architecture both at the time and in the immediate futures of the 1960s, the 1970s and afterwards.
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György, Horváth. "Adalékok Kondor Béla sors-történetéhez." Művészettörténeti Értesítő 69, no. 2 (March 30, 2021): 171–256. http://dx.doi.org/10.1556/080.2020.00011.
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In the course of my research in archives – in search of documents about the history of the Art Foundation of the People’s Republic (from 1968 Art Fund) – while leafing through the sea of files in the National Archives of Hungary (MNL OL) year after year, I came across so-far unknown documents on the life and fate of Béla Kondor which had been overlooked by the special literature so far.Some reflected the character of the period from summer of 1956 to spring 1957, more precisely to the opening of the Spring Exhibition. In that spring, after relieving Rákosi of his office, the HWP (Hungarian Workers’ Party, Hun. MDP) cared less for “providing guidance for the arts”, as they were preoccupied with other, more troublesome problems. In the winter/spring after the revolution started on 23 October and crushed on 4 November the echelon of the HSWP (Hungarian Socialist Workers’ Party, Hun. MSzMP) had not decided yet whether to strike a league with extreme leftist artistic groups or to pay heed to Memos Makris (Hun. Makrisz Agamemnon), the ministerial commissioner designing the reform of the artists’ association and organizing the Spring Exhibition and to leave the artists – so-far forced into the strait-jacket of socialist realism – alone. I found some documents which shed bright light on the narrow-mindedness of the dogmatic artistic policy trying to bend the artists toward its goals now with the whip, now with milk cake.I start the series of recovered documents with a ministerial file dated summer 1956 on the decision to purchase Kondor’s diploma work (the Dózsa cycle). The next piece of good news is a record of the committee meeting in February 1957 awarding Kondor a Derkovits scholarship. This is followed by ministerial letters – mirrors of the new artistic policy – by a changed, truly partyist scholarship committee which apparently revel in lecturing talented Kondor who was not willing to give up his sovereignty, so his works were often refused to be bought on state funds for museums.In addition to whip-lashing documents, I also present a few which offered some milk cake: a letter inviting him to a book illustrating competition called by the Petőfi Literary Museum and one commissioning him to make the sheets on the Heves county part of a “liberation album”.Next, I put forth a group of illumining documents – long known but never published in details: the files revealing the story of the large panels designed for the walls of the “Uranium city” kindergarten in Pécs and those revealing the preparations for the exhibition in Fényes Adolf gallery in 1960 and the causes of the concurrent tensions – including texts on decisions to hinder the publication of Lajos Németh’s catalogue introduction.The last group includes futile efforts by architects to get Kondor commissions for murals. They give information on three possible works. Another for Pécs again (this time with Tibor Csernus), for works for a “men’s hostel” and on the failure of the possibility. The other is about works for Kecskemét’s Aranyhomok Hotel, another failure. The third is about a glass window competition for a new modern hotel to be built in Salgótarján, to which Kondor was also invited, but the jury did not find his work satisfactory in spite of the fact that the officials representing the city’s “party and council” organs, and the powerful head of the county and town, the president of the county committee of the HSWP all were in favour of commissioning him.Mind you, the architects’ efforts to provide the handful of modern artists with orders for “abstract” works caused headache for the masterminds of controlled art policy, too. On the one hand, they also tried to get rid of the rigidity of the ideologically dogmatic period in line with “who is not against us, is with us”, the motto spreading with political détente, and to give room to these genres qualified as “decoration”. On the other hand, they did not want to give up the figurative works of socialist contents, which the architects wanted to keep away from their modern buildings. A compromise was born: Cultural Affairs and the Art Fund remained supporters of figurative works, and the “decorative” modern murals, mosaics and sculptures were allowed inside the buildings at the cost of the builders.Apart from architects, naturally there were other spokesmen in favour of Kondor (and Csernus and the rest of the shelved artists). In an essay in Új Irás in summer 1961 Lajos Németh simply branded it a waste to deprive Kondor of all channels except book illustration, while anonymous colleagues of the National Gallery guided an American curator to him who organized an exhibition of Kondor’s graphic works he had packed into his suitcase in the Museum of Modern Art in Miami.From the early 1963 – as the rest of the explored documents reveal – better times began in Hungarian internal and cultural politics, hence in Béla Kondor’s life, too. The beginning is marked by a – still “exclusive” – exhibition he could hold in the Young Artists’ Studio in January, followed by a long propitiatory article urging for publicity for Kondor by a young journalist of Magyar Nemzet, Attila Kristóf. Then, in December Kondor became the Grand Prix winner of the second Graphic Biennial of Miskolc.From then on, the documents are no longer about incomprehensible prohibitions or at time self-satisfying wickedness, but about exhibitions (the first in King Stephen Museum, Székesfehérvár), prizes (including the Munkácsy Prize in April 1965), purchases, the marvellous panel for the Grand Hotel on Margaret Island, the preparations for the Venice Biennale of 1968, the exhibition in Art Hall/Műcsarnok in 1970 and its success, and Kondor’s second Munkácsy Prize.Finally, I chanced upon a group of startling and sofar wholly unknown notes which reveals that Béla Kondor was being among the nominees for the 1973 Kossuth Prize. News of his death on 12 December 1972, documents about the museum deposition of his posthumous works and the above group of files close the account of his life.I wrote a detailed study to accompany the documents. My intention was not to explain them – as they speak for themselves – but to insert them in the life-story of Kondor, trying to find out which and how, to what extent contributed to the veering of his life-course and to possibilities of publicity for his works. I obviously included several further facts, partly in the main body of the text, and partly in footnotes. Without presenting them here, let me just pick one or two.Events around the 1960 exhibition kindled the attention not only of the deputy minister of culture György Aczél, but also of the Ministry of the Interior: as Anikó B. Nagy dug out, they asked for an agent’s report on who Kondor was, what role he was playing among young writers, architects, artists, the circle around Vigilia and the intellectuals in general. Also: what role did human cowardice play in banning the panels for the Pécs kindergarten, and how wicked it was – with regulations cited – to ask back the advance money from an artist already hardly making a living with the termination of the Der ko vits scholarship. Again: what turn did modern Hungarian architecture undergo in the early sixties to dare and challenge the still prevalent culture political red tape? It was also a special experience to track down and describe the preparations for the Hungarian exhibition of the Venice Biennial of 1968 and to see how much caution and manoeuvring was needed even in those milder years to get permission for Béla Kondor (in the company of Tibor Vilt and Ignác Kokas) to feature in the pavilion. Finally, it was informative to follow the routes of Kondor’s estate as state acquisitions and museum deposits after his death which foiled his Kossuth Prize.
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Dolata, Dorota. "Na Śródce rewolucji nie było, czyli słabe więzi w procesie rewitalizacji." Człowiek i Społeczeństwo 33 (June 15, 2012): 117–31. http://dx.doi.org/10.14746/cis.2012.33.8.
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The term “weak ties” can be discussed in the context of both, interpersonal relationships in an anonymous metropolis and a mass society. Can the case of ródka in Pozna" be applied to certain questions relating to the phenomenon of weak ties? It is clearly visible, that revitalisation in this area of the city has lost its momentum now. Municipal program was a temporary way to avoid progressive degradation and increasing gentrification. However, in the most lively period of projects and events at ródka experts often referred to the traditional ties between inhabitants and invoked the urgency of their activities. Even the minimum effort and engagement was to trigger the renovation processes and contribute to the so-calledsustainable development of ródka. It is worth asking at this point, who emphasized the role of local relations and animated the sequence of revitalizing events? What were the goals of revitalization animators? Did we come across the true cooperation of local residents, or perhaps the social participation was limited to the show for "tourists" from other parts of the city? Were the city officials able to engage the community of ródka? And if not the officials – were the artists able to (re)build relationships and connections between inhabitants? Their projects – both individual and group ones – are an important material for research To understand the growing complexity of the case of ródka, it is essential to discover its historical background and consider the relative isolation of ródka in the previous times. In the first half of the twentieth century, the district was perceived as a local base of crafts and small trade. Its distinctive mark were strong neighborhood ties. Can these ties – partly mythologized – now become the driving force of the revitalization?
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Cole, Thomas B. "Group of Artists." JAMA 307, no. 7 (February 15, 2012): 642. http://dx.doi.org/10.1001/jama.2012.99.
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Green, Alison. "Citizen Artists: Group Material." Afterall: A Journal of Art, Context and Enquiry 26 (January 2011): 17–25. http://dx.doi.org/10.1086/659292.
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Anonymous. "Artist-Writers, Writer-Artists: An Anonymous Vox Pop." Circa, no. 122 (2007): 28. http://dx.doi.org/10.2307/25564856.
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Vogel, Susan Mullin. "Known Artists but Anonymous Works: Fieldwork and Art History." African Arts 32, no. 1 (1999): 40. http://dx.doi.org/10.2307/3337537.
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Fowler, Joan. "Women Artists Action Group Seminar." Circa, no. 41 (1988): 26. http://dx.doi.org/10.2307/25557339.
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Cummins, Pauline. "The women artists action group." Women's Studies International Forum 11, no. 4 (January 1988): 403–4. http://dx.doi.org/10.1016/0277-5395(88)90093-3.
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Hickerson, Benny. "Of Literature, Matisse, and Addictions: Is There an Artists Anonymous?" English Journal 74, no. 7 (November 1985): 49. http://dx.doi.org/10.2307/817598.
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Russell, Will G., and Michelle Hegmon. "Identifying Mimbres Artists." Advances in Archaeological Practice 3, no. 4 (November 2015): 358–77. http://dx.doi.org/10.7183/2326-3768.3.4.358.
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AbstractPast researchers have identified individual styles of painting in Mimbres Black-on-white bowls, leading Steven LeBlanc to recently call for the development of quantitative methods to enable and assess such identifications. We propose such a methodology here. Through a process of pair-wise, micro-stylistic comparisons, bowls painted by a single artist or group of closely cooperating artists are analytically linked in chain-like fashion. Two bowls are attributed to the “same hands” if their similarity measure is at or above 70 percent. Similarity measures are determined by comparing minute details that reflect artistic decisions. The method takes into account diachronic development of artistic skill, subject matter diversity, and the transfer of style across generations. Results can contribute to an understanding of stylistic development, craft specialization, and the role of artists in traditional societies.
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Winestein, Anna. "Artists at Play." Experiment 25, no. 1 (September 30, 2019): 328–45. http://dx.doi.org/10.1163/2211730x-12341346.
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Abstract The exhibition of Russian folk art at the Paris “Salon d’Automne” of 1913 has been generally overlooked in scholarship on folk art, overshadowed by the “All-Russian Kustar Exhibitions” and the Moscow avant-garde gallery shows of the same year. This article examines the contributions of its curator, Natalia Erenburg, and the project’s instigator, Iakov Tugendkhold, who wrote the catalogue essay and headed the committee—both of whom were artists who became critics, historians, and collectors. The article elucidates the show’s rationale and selection of exhibits, the critical response to it and its legacy. It also discusses the artistic circles of Russian Paris in which the project originated, particularly the Académie russe. Finally, it examines the project in the context of earlier efforts to present Russian folk art in Paris, and shows how it—and Russian folk art as a source and object of collecting and display—brought together artists, collectors, and scholars from the ranks of the Mir iskusstva [World of Art] group, as well as the younger avant-gardists, and allowed them to engage Parisian and European audiences with their own ideas and artworks.
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Hepburn, Peter, and Joan B. Fiscella. "Constructing Descriptive Records for an Art Image Database: What Do Use Statistics Tell Us?" College & Research Libraries 67, no. 4 (July 1, 2006): 334–53. http://dx.doi.org/10.5860/crl.67.4.334.
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The study compares three sample sets of records taken from the AMICO database to examine possible factors influencing retrieval of images: named artist and artist reputation, word count, and record richness. The authors found that images of works by renowned artists tended to show high numbers of retrievals. When works depicted were by relatively unknown or anonymous artists, more retrievals were likely if accompanying records included higher unique word counts. The frequency of first occurrences of name, geographic, and time terms in the records showed no major differences among the three sets. The authors suggest a strategy for constructing image records.
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Butler, Allison. "Earthworks: Visual Artists for the Earth Group." Leonardo 20, no. 2 (1987): 205. http://dx.doi.org/10.2307/1578353.
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Brasó, Emma. "Exhibiting Parafictional Artists: Curatorial Approaches to Fiction and Authorship." Journal of Curatorial Studies 10, no. 1 (April 1, 2021): 50–71. http://dx.doi.org/10.1386/jcs_00031_1.
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This article identifies and analyses parafictional strategies in artistic and curatorial practice. By examining exhibitions that have included artists working under fictitious identities from the mid-1990s to the present, I argue that they emerged in response to the conflictual demands of the art world. These case studies have been organized into three categories according to their main curatorial approach: projects in which artists remained anonymous or were asked to produce work under a purposely invented personality; exhibitions that turned the intersection of fiction and authorship into a theme to be researched; and curatorial initiatives that embraced the working logic of fiction in their own methodology. These strategies investigate how authorship, agency, style and self-promotion function in the contemporary art world.
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Duclos, Diane. "When ethnography does not rhyme with anonymity: Reflections on name disclosure, self-censorship, and storytelling." Ethnography 20, no. 2 (August 13, 2017): 175–83. http://dx.doi.org/10.1177/1466138117725337.
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Maintaining informants’ confidentiality is a cornerstone of ethical clearance in most academic institutions’ boards, and a pre-requisite to conduct ethnographic fieldwork. However, this prescriptive environment does not account for the diversity of contemporary ethnographic fieldwork, and little has been written on the challenges faced by anthropologists who may need to identify participants in their research by their name. What are the specific empirical and theoretical implications of non-anonymous ethnographies? Drawing on accounts from a research conducted between 2007 and 2013 among Iraqi artists in exile, this study presents a situation that did not allow for protecting the anonymity and confidentiality of informants. This paper reflects on some of the challenges associated with name disclosure in anthropological research, and questions implications for both the participants and the researcher. The paper finally explores avenues to tackle barriers to unveil the collective in non-anonymous ethnographies across and beyond artists’ tales of creative individualities.
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Ardelt, Monika, and Lucinda Orwoll. "DOES AGE AFFECT CREATIVE PROCESS AND STYLE? A COMPARISON OF OLDER AND YOUNGER VISUAL ARTISTS." Innovation in Aging 3, Supplement_1 (November 2019): S417—S418. http://dx.doi.org/10.1093/geroni/igz038.1558.
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Abstract This study investigated differences in the creative process and style between 85 older (age 60-89 years, M=72.39) and 63 younger (age 27-58 years, M=41.95) visual artists who were nominated as artistically creative exemplars. Answers to open-ended survey questions were coded and compared by age group. Results of t-tests showed that the described creative process and style were similar for older and younger artists, with many being inspired by their environment or ideas and engaging in an intuitive and visual style. However, younger artists were more likely than older artists to be inspired by ideas, words, life, and the work process and to use an intuitive, expressionistic, eclectic, spiritual, and textured style. Interestingly, younger artists were more likely to believe that older artists have greater artistic experience, maturity, willingness to take risks, and understanding of the art world, whereas older artists tended to think that young artists are more original.
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Hanrahan, Stephanie J. "Sport Psychology and Indigenous Performing Artists." Sport Psychologist 18, no. 1 (March 2004): 60–74. http://dx.doi.org/10.1123/tsp.18.1.60.
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A group of students from the Aboriginal Centre for the Performing Arts participated in a mental skills training program that focused on goal setting, self-confidence development, and team building. There were 13 two-hour sessions held over a 20-week period. The participants, cultural issues, and the basic structure of the program are described. The author’s observations regarding competition, displays of affection, collective values, and the importance of family and nature are provided. The participants qualitatively evaluated the program. Conclusions related to group process, program structure, and diversity are presented. These conclusions should be of value in terms of shaping future group mental skills training programs.
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Ittu, Gudrun-Liane. "Siebenbürgisch-deutsche Künstlerinnen vom Ende des 19. und Anfang des 20. Jahrhunderts." Studia Universitatis Babeș-Bolyai Historia Artium 65, no. 1 (December 31, 2020): 127–55. http://dx.doi.org/10.24193/subbhistart.2020.07.
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"Transylvanian German women artists from the end of the 19th and beginning of the 20th century. The paper is aiming at analyzing the life and art of a group of six German women artists from Transylvania, the first ones who studied abroad, real forerunners for the next generation of female plastic artists. Emancipated ladies, determined to become artists and earn their own money, the gifted women studied in Budapest, Vienna, Munich or Paris. Only Molly Marlin did not come back home, while the others had a prodigious artistic and pedagogical activity, being present at the annual exhibitions, together with well-known male colleagues. Keywords: art academies, women artists, painters, graphic artists, art teachers, exhibitions, Sibiu, Betty Schuller, Hermine Hufnagel, Molly Marlin Horn, Anna Dörschlag, Lotte Goldschmidt, Mathilde Berner Roth "
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Feser, Frauke. "The visiting artist researcher experiment." Journal of Science Communication 14, no. 01 (March 31, 2015): C02. http://dx.doi.org/10.22323/2.14010302.
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The visiting artist researcher experiment discussed here brought together visual artists and climate scientists, amongst them my research group which studies storms. The artists’ stay led to a dialogue between our diverging perspectives and an open exchange of ideas. The exchange in my research group was more interactive than I had expected. Many conversations provided insights into ideas and work flows of the artists and, eventually, a new view on our storm studies.
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Sandberg, Berit. "Art Hacking for Business Innovation: An Exploratory Case Study on Applied Artistic Strategies." Journal of Open Innovation: Technology, Market, and Complexity 5, no. 1 (March 14, 2019): 20. http://dx.doi.org/10.3390/joitmc5010020.
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Despite a growing interest in the effects of arts-based interventions on organizational change, concepts aiming at business innovation and product development other than residencies are rare. Furthermore, little is known about the role and impact of artists involved in idea-generating formats. How does the personal presence of artists in a heterogenous working group influence the procedure? To what extent do artists unfold their creative qualities while dealing with such a non-artistic challenge? The paper introduces a method named Art Hacking that applies professional labour attitudes typical for artists and artistic modes of thinking to business problems and enhances the approach by having artists attend the whole intervention. One of these events was taken as a case for exploring the role of four artists in the collective idea-generation process. The results of participatory observation along critical incident technique substantiate the thesis that in interdisciplinary “playgrounds” artists implicitly become process leaders. They are catalysts for awareness, sensemaking and change of perspective.
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Lake, Susan. "The Challenge of Preserving Modern Art: A Technical Investigation of Paints Used in Selected Works by Willem de Kooning and Jackson Pollock." MRS Bulletin 26, no. 1 (January 2001): 56–60. http://dx.doi.org/10.1557/mrs2001.20.
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Willem de Kooning (1904–1997) and Jackson Pollock (1912–1956) are perhaps the best-known members of the abstract expressionist movement, a group of diverse artists from disparate backgrounds who radically transformed American art during the 1940s and into the 1950s. While the development and legacy of abstract expressionism remains a subject of considerable debate, what this diverse group of artists had in common was the belief that the materials, and the ways the artists applied them, are crucial to the expression of their art.
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Vašíčková, Kateřina, Andrea Mikotová, and Lucie Šilerová. "Stress in Music Managers and Artists: Pilot study on Czech and Slovak Students." Zeitschrift für Kulturmanagement 4, no. 1 (May 1, 2018): 133–44. http://dx.doi.org/10.14361/zkmm-2018-0108.
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AbstractThe aim of the presented study was to do a pilot research on the comparison of the incidence of stress in a group of students of music management and art of music. We examined whether artists and music managers differ in the perception of the intensity of stress when playing (working) solo from the intensity when playing (working) in group. Furthermore, we focused on the most common stressors and main stress symptoms among music managers and artists. Total 63 students of music, cultural or art management (average age 28.6 years; 69.8 % were women) and 75 students of art of music (average age 26.7 years; 64 % were women) filled out an online questionnaire in the spring of 2016. The results show that while artists reported higher stress levels when playing solo, music managers reported higher stress levels when working in a group. A closer look showed that while only a few music managers (4,8 %) are intensely stressed when working in a team, a considerable group of artists (26 %) stated that they were most stressed out when playing solo. As their main work stressors artists mentioned blackouts, unpreparedness, and audience, music managers listed flaws in the human factor, time pressure and financial problems. Stress symptoms among artists are mainly physiological and short-term but at the same time intensive, while stress symptoms among music managers are rather long-term and related to psyche, and relationships with others.
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Reagan, Trudy Myrrh. "Ylem: Serving Artists Using Science and Technology, 1981–2009." Leonardo 51, no. 1 (February 2018): 48–52. http://dx.doi.org/10.1162/leon_a_01192.
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YLEM: Artists Using Science and Technology, a nonprofit group in the San Francisco Bay Area, was active from 1981 to 2009, publishing the YLEM Newsletter (later, the YLEM Journal). In the 1990s, it published the Directory of Artists Using Science and Technology, illustrated with members’ work, and established its website, < www.ylem.org >. YLEM’s public Forums introduced artists to science, scientists to art and the general public to new artistic and technological expression. It organized field trips to laboratories, industrial sites and artists’ studios and mounted exhibitions of members’ work. Members’ friendships mutually encouraged their work in this new arena.
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Mon, Nor Suliana Mak, Siti Zuraida Maaruf, and Akmal Ahamed Kamal. "The Development of Artique - Independent Artists and Online Art Criticism." European Journal of Social & Behavioural Sciences 30, no. 2 (April 30, 2021): 3358–68. http://dx.doi.org/10.15405/ejsbs.293.
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Learning art online breaks the geographical barriers and frontiers between art students, artists, galleries, and museums. Studio critique can now be performed beyond the brick walls of a physical room through the virtual platform. This research studies on the impact of art criticism in an online gallery for independent artists which was developed through the design and development method (DDR) while Visual Culture Model was employed for Phase One in the Needs Analysis. The positive feedback obtained from five independent artists who participated in the research revealed that it is common for artists to use social networking sites as avenues for art criticism. The use of social networking sites is common among artists and regarded as valuable in their field. The respondents are supportive in the development of an online group for art criticism that could fortify their creativity and ultimately their artworks. Hence, the findings of the interview suggest that a social networking site like ARTIQUE would be a progressive platform for artists’ professional development.
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Grube, Katherine. "Labouring bodies: Big Tail Elephants in 1990s Guangzhou." Journal of Contemporary Chinese Art 7, no. 2-3 (December 1, 2020): 201–19. http://dx.doi.org/10.1386/jcca_00026_1.
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Big Tail Elephant Working Group (daweixiang gongzuo zu, hereafter BTE) is synonymous with the city of Guangzhou and the surrounding Pearl River Delta. Formed in 1991, the group is most closely associated with the artists Chen Shaoxiong (1962–2016), Liang Juhui (1959–2006), Lin Yilin (1964–) and Xu Tan (1957–). This article re-examines BTE artists’ practice from 1991 to 1994 and argues that the artist’s performing body provides the critical lens through which to understand BTE artists’ work during this time. Acknowledging that the experience of BTE’s work was primarily physical, embodied and performative allows for an important reconsideration of not only their works but also the predominant ways in which the global capitalist ‘turn’ in the 1990’s China has been discussed in art historical writing. This article argues that BTE artists were primarily interested in urban forms for what they signified about commercialization as a form of a new political rationality after 1989 and suggests that BTE artists were ultimately concerned with commodification’s transformation of society and of ideas of cultural value.
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Borowska, Marta. "Wystawy Związku Plastyków Pomorskich i Grupy Plastyków Pomorskich w Muzeum Miejskim w Bydgoszczy w latach 1930–1936." Porta Aurea, no. 17 (November 27, 2018): 133–61. http://dx.doi.org/10.26881/porta.2018.17.06.
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The displays of particular artistic associations in the Municipal Museum in Bydgoszcz between 1930 and 1936 are being discussed. The history of Pomeranian artistic associations is not a well-known subject, and no dedicated monographs have been written to date. It appears commonly in the history of the regional chapter of the Polish Association of Visual Artists (Związek Polskich Artystów Plastyków) located in Bydgoszcz.
The basic sources include the Archive of the Leon Wyczółkowski District Museum in Bydgoszcz and information contained in Polish press of the period in question. There were two main goals to be achieved for the Pomeranian artists: while aspiring to equal the art represented by more important artistic centres of the country, to show a close connection with their own region and its Polish heritage.
During the interwar period, a number of artistic organisations appeared in Bydgoszcz. The most significant were the local branch of the Society for the Encouragement of the Fine Arts (Towarzystwo Zachęty Sztuk Pięknych), established in September 1921, and the Artistic and Cultural Council (Rada Artystyczno-Kulturalna), founded in December 1934.
The first exhibition of the Pomeranian Association of Visual Artists (Związek Plastyków Pomorskich) was opened in December 1930 as a summary of the Association’s achievements of that year. It comprised 92 works by 15 artists. Subsequent exhibitions in December 1931 and December 1932 served a similar purpose. The turning point in the history of Pomeranian artistic associations took place in 1933 when – as a result of an internal conflict – the Group of Pomeranian Visual Artists (Grupa Plastyków Pomorskich) was formed. The Group quickly became the leading artistic force of the region, with their first exhibition opening in December 1933.
The 4th annual exhibition of the Group of Pomeranian Visual Artists took place in December 1934, simultaneously with the founding of the Artistic and Cultural Council (Rada Artystyczno-Kulturalna) in Bydgoszcz. The Council coordinated, implemented, and documented artistic movements in specially dedicated sections for literature, music, visual arts and radio, quickly becoming an intermediary between artists and their audience. Tanks to their efforts, the first Salon Bydgoski exhibition was organised in 1936. That very year the Group of Pomeranian Visual Artists changed their name to the Group of Visual Artists of Bydgoszcz.
Both organizations lacked a well-defined artistic programme, whereas their members were mainly connected for non-artistic motivations, such as the possibility to exhibit their works in well-known institutions or prestige. All of the discussed displays were widely covered in the local press, especially by Henryk Kuminek and Marian Turwid, two leading art critics of the region.
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Snyder, Allan W., and Mandy Thomas. "Autistic Artists Give Clues to Cognition." Perception 26, no. 1 (January 1997): 93–96. http://dx.doi.org/10.1068/p260093.
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Certain autistic children whose linguistic ability is virtually nonexistent can draw natural scenes from memory with astonishing accuracy. In particular their drawings display convincing perspective. In contrast, normal children of the same preschool age group and even untrained adults draw primitive schematics or symbols of objects which they can verbally identify. These are usually conceptual outlines devoid of detail. It is argued that the difference between autistic child artists and normal individuals is that autistic artists make no assumptions about what is to be seen in their environment. They have not formed mental representations of what is significant and consequently perceive all details as equally important. Equivalently, they do not impose visual or linguistic schema—a process necessary for rapid conceptualisation in a dynamic existence, especially when the information presented to the eye is incomplete.
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Robinson, Susan. "Paintings of Fluorite from a Select Group of Artists." Rocks & Minerals 88, no. 1 (January 2013): 66–71. http://dx.doi.org/10.1080/00357529.2013.747918.
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Okeke, C. "The Sensitive Line: Seven artists of the nsukka group." Nka Journal of Contemporary African Art 1998, no. 8 (March 1, 1998): 54–57. http://dx.doi.org/10.1215/10757163-8-1-54.
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Jegede, Dele. "New Traditions from Nigeria: Seven Artists of the Nsukka Group:New Traditions from Nigeria: Seven Artists of the Nsukka Group." American Anthropologist 102, no. 2 (June 2000): 400–402. http://dx.doi.org/10.1525/aa.2000.102.2.400.
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Braden, L. E. A. "Networks Created Within Exhibition: The Curators’ Effect on Historical Recognition." American Behavioral Scientist 65, no. 1 (October 15, 2018): 25–43. http://dx.doi.org/10.1177/0002764218800145.
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This research examines artist networks created by shared museum exhibition. While previous research on artistic careers assesses self-cultivated networks, historical recognition may be further influenced by connections created by important others, such as museum curators and art historians. I argue when museum exhibitions show artists together, curators are creating symbolic associations between artists that signal the artist’s import and contextualization within his or her peer group. These exhibition-created associations, in turn, influence historians who must choose a small selection of artists to exemplify a historical cohort. The research tests this idea through a cohort of 125 artists’ exhibition networks in the Museum of Modern Art, New York, from 1929 to 1968 (996 exhibitions). Individual network variables, such as number and quality of connections, are examined for impact on an artist’s recognition in current art history textbooks (2012-2014). Results indicate certain connections created by exhibition have a positive effect on historical recognition, even when controlling for individual accomplishments of the artist (such as solo exhibitions). Artists connected with prestigious artists through “strong symbolic ties” (i.e., repeated exhibition) tend to garner the most historical recognition, suggesting robust associations with historical peers may signify an artist’s exemplary status within his or her cohort, and consequent “good fit” into the historical narrative.
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Lawson, Carl J. "Mortality in American Hip-Hop and Rap Recording Artists, 1987–2014." Medical Problems of Performing Artists 30, no. 4 (December 1, 2015): 211–16. http://dx.doi.org/10.21091/mppa.2015.4039.
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BACKGROUND: The deaths of American hip-hop and rap recording artists often receive considerable media attention. However, these artists’ deaths have not been examined as a distinct group like the deaths of rock, classical, jazz, and pop music artists. This is a seminal epidemiological analysis on the deaths of an understudied group, American hip-hop and rap music recording artists. METHODS: Media reports were analyzed of the deaths of American hip-hop and rap music recording artists that occurred from January 1, 1987 to December 31, 2014. The decedents’ age, sex, race, cause of death, stage names, and city and state of death were recorded for analysis. RESULTS: The most commonly reported cause of death was homicide. The 280 deaths were categorized as homicide (55%), unintentional injury (13%), cardiovascular (7%), undetermined/undisclosed (7%), cancer (6%), other (5%), suicide (4%), and infectious disease (3%). The mean reported age at death was 30 yrs (range 15–75) and the median was 29 yrs; 97% were male and 92% were black. All but one of the homicides were committed with firearms. CONCLUSIONS: Homicide was the most commonly reported cause of death. Public health focus and guidance for hip-hop and rap recording artists should mirror that for African-American men and adolescent males ages 15–54 yrs, for whom the leading causes of death are homicide, unintentional injury, and heart disease. Given the preponderance of homicide deaths in this analysis, premature mortality reduction efforts should focus on violence prevention and conflict mitigation.
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Springs, Stacey, and Jay Baruch. "Artists on the Research Team: An Interdisciplinary Approach to Team Science, Research Rigor, and Creative Dialogue." Health Promotion Practice 22, no. 1_suppl (May 2021): 83S—90S. http://dx.doi.org/10.1177/1524839921996301.
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In an arts in public health research team, artists may be undervalued as key research collaborators because of the difficulties in skillful integration of experts who possess not only different bodies of knowledge but also different ways of examining and valuing the world. Under the stewardship of two Rhode Island state agencies, an innovative research-driven enterprise, comprising researchers, clinicians, and community artists, was brought together to integrate arts-based interventions into statewide public health policy and practice. Here, we examine our work with the Rhode Island Arts and Health Advisory Group as a case study to illuminate our experiences in collaborating with artists on public health policy and practice research. Using existing frameworks from the literature, we define the attributes of, and challenges to, successful research collaborations and identify from our work how these apply to interdisciplinary collaborations between artists and public health practitioners. To support others working at the nexus of arts in public health, we include key experiences that were specific to the engagement of artists in research teams.
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Bramantijo, Bramantijo. "Menjelajah Kultur Majapahit, Mencari “Identitas†Seni Rupa Kontemporer Jawa Timur." Jurnal Budaya Nusantara 1, no. 1 (January 1, 2017): 31–43. http://dx.doi.org/10.36456/b.nusantara.vol1.no1.a989.
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The identity of Indonesian art is loaded with political contents in the interests of harmony. Indentity becomesthe differentiator and positioning in artwords. East Java gets the fortunes to be the locus of Majapahit and heritage ofthe Majapahit culture, but the atmosphere of contemporary art gives artists of freedom to explore the variety oftraditional cultures in various loci and make as identity. The sole recognition of a culture by a group community is nolonger relevant. The other way, it occurs the ability of artists to discover the characteristics of traditional cultures and topresent it typically as a differentiator with other artists.
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Golan, Romy. "Vitalità del negativo/Negativo della vitalità." October 150 (October 2014): 113–32. http://dx.doi.org/10.1162/octo_a_00203.
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Vitalità del negativo nell'arte italiana 1960/70, an exhibition that occupied the ground floor of the monumental Palazzo delle Esposizioni from November 30, 1970, to January 31, 1971, revived an ideologically loaded site in Rome under the mantle of contemporary art. Curated by Achille Bonito Oliva, it featured thirty-four Italian artists from a wide range of schools and mediums: painters from the Scuola di Piazza del Popolo (the Roman school of Pop); members of the ′60s Milanese group Azimut; kinetic environments by Padua's Gruppo N and Milan's Gruppo T; artists from Arte Povera; and other, more idiosyncratic installation artists.
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KEMPLEY, EILÍS. "Julian Trevelyan, Walter Maclay and Eric Guttmann: drawing the boundary between psychiatry and art at the Maudsley Hospital." British Journal for the History of Science 52, no. 4 (October 1, 2019): 617–43. http://dx.doi.org/10.1017/s0007087419000463.
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AbstractIn 1938, doctors Eric Guttmann and Walter Maclay, two psychiatrists based at the Maudsley Hospital in London, administered the hallucinogenic drug mescaline to a group of artists, asking the participants to record their experiences visually. These artists included the painter Julian Trevelyan, who was associated with the British surrealist movement at this time. Published as ‘Mescaline hallucinations in artists’, the research took place at a crucial time for psychiatry, as the discipline was beginning to edge its way into the scientific arena. Newly established, the Maudsley Hospital received Jewish émigrés from Germany to join its ranks. Sponsored by the Rockefeller Foundation, this group of psychiatrists brought with them an enthusiasm for psychoactive drugs and visual media in the scientific study of psychopathological states. In this case, Guttmann and Maclay enlisted the help of surrealist artists, who were harnessing hallucinogens for their own revolutionary aims. Looking behind the images, particularly how they were produced and their legacy today, tells a story of how these groups cooperated, and how their overlapping ecologies of knowledge and experience coincided in these remarkable inscriptions.
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scott, nina m. "Measuring Ingredients: Food and Domesticity in Mexican Casta Paintings." Gastronomica 5, no. 1 (2005): 70–79. http://dx.doi.org/10.1525/gfc.2005.5.1.70.
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Measuring Ingredients: Food and Domesticity in Mexican Casta Paintings Mexican casta paintings flourished as a popular art form in the eighteenth century. No one is sure of the exact origin of this type of painting, which depicted racial mixtures accompanied by local foods; most likely it was an export item for wealthy Spaniards who were returning home and wanted a souvenir of colorful and exotic Mexico. Casta paintings were generally created in sets of sixteen canvases, and depicted all manner of racial hybridization among Whites, Blacks and Amerindians. The common trope was to portray a father, a mother, and an offspring, beginning with the Spanish male with Indian and Black consorts, and ending with an Indian couple, groupings which reflected social hierarchies of the colonial world. Most were painted by anonymous artists, though the canvases analyzed in this study are by known painters. Because of the emphasis on domestic relations, couples were often portrayed in kitchens or markets, which gives us valuable information on this aspect of daily life. The foods associated with the different castes also reflected socio-economic hierarchies, as well as reinforced the idea of America as land of bounty. Colonial artists generally imitated European models, but with the casta paintings Mexican artists were instead urged to paint what distinguished their country from Spain, hereby contributing to a growing sense of independence from the metropolis.
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TUCKER, Arthur O., and Jules JANICK. "Identification of Plants in the 1584 Murals of the Casa del Deán, Puebla, México." Notulae Botanicae Horti Agrobotanici Cluj-Napoca 45, no. 1 (June 10, 2017): 1–8. http://dx.doi.org/10.15835/nbha45110692.
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The murals in the Casa del Dean in Puebla, Mexico completed in 1584 by anonymous indigenous artists contain many plant illustrations in friezes including plants indigenous to Mexico as well as European plants. Five species native to New Spain (Iris fulva, Mentzelia hispida, Prunus mexicana, Prunus serotina subsp. capuli, and Symphoria globulifera) and three species introduced from Europe (Punica granatum, Rosa damascena ‘Semperflorens’, and Vitis vinifera) were identified. A number of fantasy or nebulous plants are recognized.
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Frohnapfel, David. "Notes on How to Irritate a Group of Committed Artists: Politics of Emotions at the Ghetto Biennale in Port-au-Prince." Space and Culture 23, no. 1 (August 22, 2019): 61–76. http://dx.doi.org/10.1177/1206331219871435.
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The Ghetto Biennale was founded in 2009 by British photographer, filmmaker, and curator Leah Gordon in collaboration with members of the Haitian artist group Atis Rezistans. The biennale is rooted in considerations around contemporary art as a place of klas privilege and social exclusion. The organizers took on the complicated task of bringing together artists from different socioeconomic strata in a short-time residency project in an informal neighborhood. Many of the visiting artists produce art that can be described as a socially engaged artistic praxis. By analyzing the Ghetto Biennale as a curated social situation that produces artistic poverty tourism, I discuss the varied hierarchical inter- klas relationships between the participating visiting and local Haitian artists. These relationships are often informed, I argue, by the politics of pity and a competitive sentiment of touristic shame that produces in return critical suspicion and a spiral of moral accusation within the visiting artistic milieu: Who collaborates most sincerely and decently with inhabitants of a neighborhood living in abject poverty? The visiting artists try to escape this spiral by self-censoring all potential self-interests in their praxes through a renunciation of authority and authorship and by declaratively presenting their projects as altruistic spaces of community empowerment that give a voice to “subaltern” artists. The members of Atis Rezistans in this narrative are seen to be constantly at risk of further marginalization by powerful actors from higher socioeconomic strata. But they actively deploy their own agency by negotiating these politics of pity for their own socioeconomic benefits.
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Evans, Simon Chester, Claire Garabedian, Jennifer Bray, and Karen Gray. "Challenges and enablers for creative arts practice in care homes." Journal of Applied Arts & Health 10, no. 3 (December 1, 2019): 333–45. http://dx.doi.org/10.1386/jaah_00005_1.
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Abstract This article reports on the experiences of artists working in UK care homes across residencies that focused on poetry, dance and drama. Data were collected from reflective diaries and focus group discussions to explore the key challenges when working in settings that can be unfamiliar, complex and disruptive. We also describe a range of strategies that artists developed in response to these challenges (enablers) and how this supported successful delivery of their sessions. We conclude that artists need time and support to understand and adapt to the complexity of care homes, and conclude that ultimately the overarching culture of a care home is the key determinant of how successfully artists can facilitate the engagement of residents with meaningful creative activities. Experience of working with people living with dementia can be particularly valuable, as can knowing how to facilitate participation by residents with a range of sensory, physical and cognitive impairments.
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Rafiq qızı Əliyeva, Vüsalə. "Artistic solution of Absheron’s theme in Jalal Agayev’s work." SCIENTIFIC WORK 66, no. 05 (May 20, 2021): 164–67. http://dx.doi.org/10.36719/2663-4619/66/164-167.
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There is a group of artists in contemporary Azerbaijani fine arts, whose creative works focus on the theme of Absheron. For half a century, this theme has defined the style of most of our artists with its specificity, rich ethnography, national harmony and lyrics. Jalal Aghayev is one of such artists, and the theme of Absheron covers a large part of his creative work. The inexhaustible love for the land of Absheron has been rooted in the artist's heart since childhood. This love led the artist to create a series of beautiful works on this subject. Key words: landscape, Absheron, painting, tradition, plot, composition, decorative
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Robertson, Jack. "The exhibition catalog as source of artists’ primary documents." Art Libraries Journal 14, no. 2 (1989): 32–36. http://dx.doi.org/10.1017/s0307472200006210.
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Exhibition catalogs and related ‘ephemera’ frequently include statements by artists which can be regarded as primary documents. Artists’ statements which are included in catalogs of group exhibitions tend to be relatively difficult to access and so are easily overlooked, while statements included in ephemeral publications associated with group exhibitions are virtually irretrievable even when such material is retained by libraries. Some help is available from published bibliographies and online databases; more thorough cataloging procedures are also available.
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Peffer-Engels, John, and Simon Ottenberg. "New Traditions from Nigeria: Seven Artists of the Nsukka Group." African Arts 32, no. 2 (1999): 12. http://dx.doi.org/10.2307/3337596.
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Preti, Antonio, Francesca De Biasi, and Paola Miotto. "Musical Creativity and Suicide." Psychological Reports 89, no. 3 (December 2001): 719–27. http://dx.doi.org/10.2466/pr0.2001.89.3.719.
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The different abilities involved in artistic creativity may be mirrored by differences among mental disorders prevalent in each artistic profession, taking poets, painters, and composers as examples. Using suicide rates as a proxy for the prevalence of mental disorders in groups of artists, we investigated the percentage of deaths by suicide in a sample of 4,564 eminent artists who died in the 19th and 20th centuries. Of the sample, 2,259 were primarily involved in activities of a linguistic nature, e.g., poets and writers; 834 were primarily visual artists, such as painters and sculptors; and 1,471 were musicians (composers and instrumentalists). There were 63 suicides in the sample (1.3% of total deaths). Musicians as a group had lower suicide rates than literary and visual artists. Beyond socioeconomic reasons, which might favour interpretations based on effects of health selection, the lower rate of suicides among musicians may reflect some protective effect arising from music.
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Rafalska-Łasocha, Alicja, Katarzyna Podulka, and Wiesław Łasocha. "XRPD investigations of “Prussian blue” artists’ pigment." Powder Diffraction 26, no. 1 (March 2011): 39–47. http://dx.doi.org/10.1154/1.3554269.
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The compound NH4Fe[Fe(CN)6]·xH2O—a commercially available “Prussian blue” pigment—crystallizes in theFm3m space group,a=10.232(1) Å, based on X-ray powder diffraction (XRPD) data. XRPD investigations of other commercially available “Prussian blue” pigments and oil paints were undertaken. Results for the pigments showed that the XRPD techniques were able to differentiate several different Prussian blue phases that differed only slightly in chemical compositions. Results for the oil paints allowed for the determination of the major crystalline phases used as fillers. However, on the basis of XRPD investigations of oil paints prepared in our laboratory containing a mixture of true Prussian blue Fe4[Fe(CN)6]3·14H2O and BaSO4(a common filler), the pigment was detectable only in concentrations higher than 2%. This result suggests that XRPD may not be a preferred technique for the identification of Prussian blue in paintings and other works of art because the concentration of this pigment in such materials is commonly less than 2%.
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Bludov, Andriy. "Features of the conceptual approach of contemporary Ukrainian artists in the genre of urban landscape." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 29 (December 17, 2020): 22–29. http://dx.doi.org/10.33838/naoma.29.2020.22-29.
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The article examines the features of the perception of the urban environment as a specific phe- nomenon. The article considers the artistic works of a group of contemporary Ukrainian artists P. Makov, A. Sai, L. Dzhuraev, A. Priduvalov in the genre of urban landscape from the point of view of a conceptual approach, which allows us to understand the general direction of development of this type of genre. The works of contemporary Ukrainian artists reflect how a modern city creates an endless combination of connections between different aspects of life and the corresponding various forms and impressions. The article analyzes the works that the authors demonstrated as their reflections on changes in the urban environment in special creative projects. The urban environment causes a creative person to strive to convey his atmosphere, images, rhythms in his own language. For centuries, artists have depicted the urban space, but it was in the twentieth century that the transformation of the urban environment into an urban one contributed to the fact that the city became a source of special inspiration for subsequent times. The theme of urbanism is specific in the work of contemporary Ukrainian artists, where the very phenomenon of the city is the basis of creative inspiration. The aim of this work is to study the conceptual and programmatic works of contemporary Ukrainian artists to reveal the theme of urbanism in painting and the main trends in displaying the city as a concept in the work of artists.
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López-Piñeiro, Sergio. "Reconsidering the enabling architect." Architectural Research Quarterly 14, no. 3 (September 2010): 286–88. http://dx.doi.org/10.1017/s1359135510001119.
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A trade can be of two types depending on the observation skills of its workers: deception managers or truth revealers. The first group is composed of spies, con artists and negotiators: all of them try to show what is not while ambiguously hiding what really is. Artists mainly define the second group: for them, an artistic product only works when it opens up the reality it aims to describe. Art is or is not. There is no middle ground: period.