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Journal articles on the topic 'Commissioned art'

Author: Grafiati

Published: 10 January 2023

Last updated: 31 July 2025

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1

Abarca, Javier. "Curating street art." Street Art & Urban Creativity 3, no. 2 (2017): 112–18. https://doi.org/10.25765/sauc.v3i2.87.

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After being largely ignored for decades, street art has in the last ten years been increasingly assimilated by society and the art system. Numerous artists who started their careers producing street work on their own initiative and without seeking permission are now being commissioned to create official public art – mostly murals – and pieces for galleries, museums and collections. This paper looks at the differences between producing art in public space without permission and producing art for the gallery, and at the possible approaches to the commission of gallery artworks related to the str

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Khonsari, Torange. "Contemporary Initiatives in Participatory Art and Architecture Practice." Open House International 33, no. 2 (2008): 85–92. http://dx.doi.org/10.1108/ohi-02-2008-b0011.

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Recently in the fluid space between Art and Architecture new innovative projects have emerged using informal and playful forms of social engagement to facilitate community led design. This paper shows the difference between a participatory project commissioned within the arts and a participatory project commissioned within architecture. Two projects carried out by the practice of public works will be explained to show how art and architecture working together can reach beyond temporary social events to support community led projects in the medium to long term. The first project ‘Lay-out’ commi

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&NA;. "INVACARE-COMMISSIONED FINE ART PORTRAITURE BOOK NOW AVAILABLE." Pediatric Physical Therapy 5, no. 1 (1993): 24. http://dx.doi.org/10.1097/00001577-199300510-00010.

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Younger, Jay. "The Coupling of Art and Government: Dilemmas in Government Commissioned Public Art." International Journal of the Humanities: Annual Review 9, no. 7 (2012): 95–116. http://dx.doi.org/10.18848/1447-9508/cgp/v09i07/43270.

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Whitsett, Gregory, and Amy Whitsett. "Thai Contextualized Art." Journal of Adventist Mission Studies 14, no. 2 (2018): 1–5. http://dx.doi.org/10.32597/jams/vol14/iss2/2/.

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"In the 1980s, a set of four murals depicting four specific and unique Adventist teachings and beliefs was commissioned by Pastor Clifton Maberly who was serving as a missionary in Thailand. His goal was to have these events depicted in a medium familiar to local Thai buddhists so they could wrestle with the new concepts without being distracted by Western art styles. His hope was that if Jesus, Satan and the angels could be depicted using characters similar to those already familiar to the Thai, the viewer would be better able to focus on and understand the truth portrayed in the paintings—th

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Romano, Dennis. "Aspects of Patronage in Fifteenth- and Sixteenth-Century Venice*." Renaissance Quarterly 46, no. 4 (1993): 712–33. http://dx.doi.org/10.2307/3039020.

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Michael Baxandall's Study Painting and Experience in Fifteenth-Century Italy opens with the useful reminder that a “painting is the deposit of a social relationship,” that is, a relationship between patron and client. When Baxandall and other historians of Renaissance art use the term patronage, they generally do so in a restricted sense to indicate the relationship that existed when an individual or an institution such as a guild, confraternity, or monastic establishment commissioned a specific work of art from an artist or artisan. Often formalized through a contract, the relationship betwee

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Ugry, Bálint, and Maja Žvorc. "The Čakovec Stone Bust Collection: New Identifications, Possible Dating and the Identity of its Commissioner." Radovi Instituta za povijest umjetnosti, no. 43 (December 31, 2019): 123–38. http://dx.doi.org/10.31664/ripu.2019.43.10.

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The Museum of Međimurje in Čakovec, situated within a former Zrinski residence, stores a stone bust collection containing portraits of 17th-century Croatian and Hungarian dignitaries. Most of the identified portraits have been modelled on Elias Widemann’s engravings from the series Icones Illustrium Heroum Hungariae. So far researchers have formed two opposing opinions concerning the collection’s interpretation: while some claim the collection was commissioned by the Zrinski family during the second half of the 17th century, others insist it was commissioned by the Festetics in the 1820s. This

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Tate, James, David Clarke, Helen Spencer, and Belén Cobo del Arco. "THE MUSEUM OF SCOTLAND AND CONSERVATION ISSUES OF COMMISSIONED ART." Studies in Conservation 49, sup2 (2004): 16–20. http://dx.doi.org/10.1179/sic.2004.49.s2.004.

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Salt, Susan. "When words are not enough – the use of commissioned art." BMJ Supportive & Palliative Care 2, Suppl 1 (2012): A119.1—A119. http://dx.doi.org/10.1136/bmjspcare-2012-000196.350.

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Brisman, Avi. "“Green Harms” as Art Crime, Art Criticism as Environmental Dissent." Journal of Contemporary Criminal Justice 27, no. 4 (2011): 465–99. http://dx.doi.org/10.1177/1043986211418888.

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This article argues that the focus of many criminologists and art crime scholars is too often rather narrow, and promotes a more expansive notion of “art crime” —one that centers not on crime, but on the relationship between art and crime. More specifically, this article argues for an approach to “art crime” that contemplates “socially injurious acts” or omissions involving art that are not defined as “crime” or proscribed by civil or criminal statutes. Employing this “harm-based” approach, this article examines the responses to Damian Hirst’s The Physical Impossibility of Death in the Mind of

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Wang, Michelle Chaotzu, and James Quo-Ping Lin. "The Future Museumshapes the museum future." Arts and the Market 8, no. 2 (2018): 168–81. http://dx.doi.org/10.1108/aam-12-2017-0030.

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PurposeThe purpose of this paper is to introduce a progressive strategy of the National Palace Museum (NPM) using new media art exhibitions as a creative marketing tool to interpret its collection, generate cultural value and navigate the greater global context.Design/methodology/approachA review of museum marketing literature and the challenges presented by Taiwan’s sociopolitical situation contextualize discussions on marketing activities and the emergence of museum-commissioned new media art at the NPM within the past two decades.FindingsDemocratic potency inherent in the digital medium has

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Glaser, Katja. "From ‘either/or’ to ‘both/and’:." Street Art & Urban Creativity 3, no. 1 (2017): 85–88. https://doi.org/10.25765/sauc.v3i1.67.

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The institutionalization of street art and graffiti has been discussed a thousand times. My article takes the next step and asks: Are we not simply in charge of reevaluating the ‘interventions’ happening outdoors, be they commissioned or not, and integrating them into (fine art) shows, exhibitions and museum collections – with no attempt to plexiglass? The long-term perspective might be an equal treatment of commissioned and uncommissioned artworks, as well as the appreciation and self-confident exposition of their direct and unambiguous linkage. This article includes interviews with Pietro Ri

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Prysiazhniuk, Oleksii. "„Royal Commission on Monuments and Landscapes” as a guarantor of the cultural heritage of Belgium." Bulletin of Luhansk Taras Shevchenko National University, no. 6 (337) (2020): 54–63. http://dx.doi.org/10.12958/2227-2844-2020-6(337)-54-63.

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The „Royal Commission on Monuments and Landscapes” of Belgium was one of the first European institutions to emerge in the 19th century and lay the foundations for the systematic protection of cultural heritage. In fact, it was created by decree of King Leopold I on January 7, 1835. The Royal Commission was set up a few years before the adoption of municipal and provincial laws, which became the backbone of the Belgian democratic and decentralized regime. In 1860, the structure of the Royal Commission changed – committees were established at the provincial level under the chairmanship of the go

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Petelin, George. "Visual Art Doctorates: Practice-Led Research or Research Per Se?" Media International Australia 118, no. 1 (2006): 25–33. http://dx.doi.org/10.1177/1329878x0611800105.

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As part of a benchmarking project commissioned in 2002 by ACUADS, the Australian Council of University Art and Design Schools, I conducted a series of focus groups with candidates for higher degrees in Visual Art in Australia in order to gain some insight into how the terminology of research was understood and used by visual art higher degree students. The present paper makes use of that data and examines to what extent practice-led research can engage in a general research debate.

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Kuttner, Theodore. "OSGEMEOS and the Institutionalization of Street Art:." Street Art & Urban Creativity 1, no. 2 (2015): 49–58. https://doi.org/10.25765/sauc.v1i2.29.

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When discussing the paradox of displacing the street art aesthetic, i.e. commissioning street artists to create work for art galleries, museums, or public murals, one inevitably has to address issues of co-opting, appropriation, and the institutionalization of a movement that began as a countercultural form of expression. Two commissioned pieces by OSGEMEOS are used as a case study. This paper parses through the discourse surrounding their production and removal. The goal therein is to break down these narratives and gain insight into the mechanisms at work and the inherent contradictions in t

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Riggs, Christina. "An autopsic art: drawings of ‘Dr Granville's mummy’ in the Royal Society archives." Notes and Records: the Royal Society Journal of the History of Science 70, no. 2 (2016): 107–33. http://dx.doi.org/10.1098/rsnr.2015.0050.

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In 1821 Augustus Bozzi Granville FRS unwrapped and dissected an ancient Egyptian mummy, presenting the results of his examination to the Royal Society in 1825. He commissioned artist Henry Perry to draw the process in stages; these drawings were subsequently engraved by James Basire for publication in Philosophical Transactions . This article presents the original drawings for the first time, allowing comparison with their engravings. Taken together with Granville's accounts of the unwrapping of the mummy, the drawings demonstrate the significant role of illustration and other visual practices

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Schmitter, Monika. "TheQuadro da Portegoin Sixteenth-Century Venetian Art*." Renaissance Quarterly 64, no. 3 (2011): 693–751. http://dx.doi.org/10.1086/662848.

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AbstractDuring the sixteenth century a symbiotic relationship developed between the form, use, and symbolic associations of the Venetian portego, the central reception and entertainment hall of Venetian palaces, and the paintings that were increasingly commissioned to ornament these spaces. The intended placement of the paintings affected their size, format, composition, subject matter, and contemporary interpretation. At the same time, the works of art themselves reflected upon and helped to define the social meanings of the space and the activities taking place there. Analyzing documentary s

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Jurković, Ivan. "Frankapanski Modruš s Tržan-gradom na slici Sveto Rodbinstvo Jana van Scorela u Obervellachu." Povijesni prilozi 43, no. 66 (2024): 205–37. http://dx.doi.org/10.22586/pp.v43i66.30351.

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According to his biographer, Karel van Mander, the Netherlandish painter Jan van Scorel spent a brief period studying with Albrecht Dürer before setting of for Carinthia, where he was warmly received by the local nobility. Historians have long been aware of the commissions from this period of van Scorel’s career – the Adoration of the Magi and the Frangipani-Altar. Originally a triptych, the latter work was “modernized” and, in 1692, encased in a Baroque altar housing in the church of St. Martin in the Carinthian village of Obervellach. The coats of arms on the reverse of the Holy Kinship indi

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Odlum, Nadia Rene, and Morwenna Collett. "The Right to Play: Snakes and Ladders." Journal of Public Space 7, no. 2 (2022): 243–58. http://dx.doi.org/10.32891/jps.v7i2.1501.

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This case-study will present learnings from the public art project ‘Snakes and Ladders’, a fifty metre, ground plane mural in Sydney Olympic Park, in Sydney’s western suburbs. This was a collaboration between Digby Webster, an artist with Down syndrome, and Nadia Odlum, an artist without disability who specialises in playful, large-scale public art. Snakes and Ladders was commissioned by the Sydney Olympic Parks Authority (SOPA) as a result of a community consultation and co-design process, and was supported by Accessible Arts, the peak body for advancing the rights of New South Wales artists

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d'Agostino, Peter, Deirdre Dowdakin, and David Tafler. "World-Wide-Walks / between earth & sky / Dun na nGall." Leonardo 45, no. 2 (2012): 184–85. http://dx.doi.org/10.1162/leon_a_00301.

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The World-Wide-Walks explore natural/cultural/virtual identities: mixed realities that encompass walking in physical environments and virtually surfing the Web. The first of these projects, The Walk Series, was initiated by Peter d'Agostino in 1973 as video documentation/performances. World-Wide-Walks / between earth & sky / Dun na nGall is a video/web sculptural installation informed by environmental arts and sciences and local knowledge. It is one of the five Lovely Weather: Art and Climate Change public art projects commissioned by Regional Cultural Centre/Donegal County Council Public

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Bykova, Iuliia Igorevna. "Jewelers who were commissioned by the tsar in Russia during the time of Peter the Great: biography, work organization, and stylistics." Культура и искусство, no. 12 (December 2020): 27–51. http://dx.doi.org/10.7256/2454-0625.2020.12.34368.

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The goal of this research consists in comprehensive examination of all groups of gold, silver and diamond jewelers who were commissioned by the tsar in Moscow and Saint Petersburg in the late XVII &ndash; early XVIII centuries (their biographies, work organization, and artworks), as well as in analysis of stylistic evolution in the artistic image of items made of precious metals of that period. The research is based on the combination of art and historical-cultural approaches. The object this work the jewelry art of the time of Peter the Great. For achieving the set goal, the author refers

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&NA;. "INVACARE-COMMISSIONED FINE ART PORTRAITURE PUTS PEOPLE WITH DISABILITIES IN NEW LIGHT." Pediatric Physical Therapy 4, no. 4 (1992): 201. http://dx.doi.org/10.1097/00001577-199200440-00017.

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Shabout, Nada. "Whose Space Is It?" International Journal of Middle East Studies 46, no. 1 (2014): 163–65. http://dx.doi.org/10.1017/s0020743813001347.

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Designers and architects argue that interaction in public spaces is the product of relations between physical, cultural, social, and aesthetic components. As an art historian, my interest in and understanding of the production of public space is necessarily linked to its visual construction and to public art in particular. Urban planners have always included art in public spaces as a means of forming relationships between the people and the space. Governments have similarly understood the political significance of public space and its power to make meaning and have commissioned art accordingly

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Gjesdal, Kristin. "Imagining Hedda Gabler: Munch and Ibsen on Art and Modern Life." Text Matters, no. 7 (October 16, 2017): 71–86. http://dx.doi.org/10.1515/texmat-2017-0004.

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Among Edvard Munch’s many portraits of Henrik Ibsen, the famous Norwegian dramatist and Munch’s senior by a generation, one stands out. Large in scope and with a characteristic pallet of roughly hewed gray blue, green and yellow, the sketch is given the title Geniuses. Munch’s sketch shows Ibsen, who had died a few years earlier, in the company of Socrates and Nietzsche. The picture was a working sketch for a painting commissioned by the University. While Munch, in the end, chose a different motif for his commission, it is nonetheless significant that he found it appropriate to portrait the No

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Kulka, Rahul. "Revisiting amber art from eighteenth-century Königsberg. New findings regarding a game box at the Rijksmuseum, Amsterdam." Porta Aurea, no. 23 (December 16, 2024): 185–203. https://doi.org/10.26881/porta.2024.23.09.

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This paper presents an hitherto unnoticed file at the Prussian Secret State Archives, Berlin, which sheds new light on an amber game box kept at the Rijksmuseum, Amsterdam: The precious object was commissioned by King Frederick William I of Prussia for Anne of Hanover, the wife of William IV of Orange, in the summer of 1738. It was produced by the Königsberg amber craftsmen Johann Bernhard Welpendorf, Jacob Suhr, Johann Georg Bull, Ertmann Hömcke, and a master named Zieloska. Departing from this discovery, the paper traces Welpendorf and Suhr’s participation in two additional royal Prussian co

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Mackle, Tony. "The enterprising John Baillie, artist, art dealer and entrepreneur." Tuhinga 28 (September 1, 2017): 49–61. https://doi.org/10.3897/tuhinga.28.e34232.

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John Baillie was a key figure in the establishment of New Zealand’s national art collection in the first decades of the twentieth century. He was a unique combination of gifted artist and astute businessman. As a young artist, he travelled from New Zealand to London, where he created a respected dealer gallery. On the basis of his work experience and knowledge of British painting, Baillie was commissioned to organise two substantial art exhibitions that toured New Zealand. From these, the Wellington public purchased paintings and prints as a foundation for a national collection of art. This pa

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Gayo, Elena García, and Elena García Gayo. "From post-graffiti to contemporary mural art:." Street Art & Urban Creativity 3, no. 1 (2017): 26–28. https://doi.org/10.25765/sauc.v3i1.60.

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Works of art in public spaces are part of a type of art adrift because, throughout their existence, they face different attempts of appropriation. From the first instance of sales of graffiti in international fairs like ARCO to their involuntary arrival at auction houses, all of these intermediate actions can be understood as attempts at conservation, since there is a system of assessment in which their ephemeral nature is more questionable than their need for survival. This change of approach also influences the different self-organized artistic approaches that have given way to commissioned

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Vanhulle, Dorian. "A Preliminary Survey of Rock Art and Early Powers in the Lower Nile Valley during the Late 4th Millennium bc." Old World: Journal of Ancient Africa and Eurasia 4 (November 6, 2024): 1–44. https://doi.org/10.1163/26670755-04020001.

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Abstract This paper is investigating the use of rock art by local/regional powers in the Lower Nile Valley in the late 4th millennium bc. It situates the rock art record in its historical and archaeological settings and proposes methodological options (which are, in some cases, still theoretical) to elucidate it further in its social context. Two research questions are addressed: the first one discusses the existence of rock art commissioned by authorities and the criteria that could help identify them. The second deals with the ways in which rock art may express political power. The iconograp

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Schalk, Meike, and Apolonija Sustersic. "Taking care of public space." Architectural Research Quarterly 13, no. 2 (2009): 141–50. http://dx.doi.org/10.1017/s1359135509990236.

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Through an examination of the public art project Garden Service, in this text we explore possibilities of and obstacles to practices of agency. The project was commissioned by the art institution The Common Guild in Edinburgh for the exhibition Jardins Publics, which took place in connection with the Edinburgh International Festival in summer 2007. It was based on the participation of a community and the communication between different actors, from institutions and associations to individual local residents, communication which included solving conflicts as well as building partnerships.

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Bruce, Caitlin. "Mobility, Ephemerality and Tourist Economies: Graffiti Running Tours in León Guanajuato." Debats. Revista de cultura, poder i societat 137, no. 1 (2023): 51–66. http://dx.doi.org/10.28939/iam.debats-137-1.3.

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In this paper, I examine the creation of a running tour showcasing commissioned Graffiti Art, or Urban Art, in León Guanajuato, Mexico. Set up in 2017, the tours are part of a larger economic and cultural shift away from the city's agricultural and industrial past. While seeking global city status since the 1990s, León is also trying to keep its traditional roots. Urban Art, as a form of creative expression, helps foster an appealing urban image. This paper argues that the tours highlight three critical issues that lie at the heart of the Creative City discourse and the institutionalization of

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Cesare, T. Nikki, and Jenn Joy. "Performa/(Re)Performa." TDR/The Drama Review 50, no. 1 (2006): 170–77. http://dx.doi.org/10.1162/dram.2006.50.1.170.

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Newly commissioned pieces from Performa05 raise questions about shifting modes of transmission and witness in the staging of performance and visual art, also key concerns considered in response to Seven Easy Pieces, 2005, Marina Abramovic's (re)performance of seminal works by Vito Acconci, Bruce Nauman, Joseph Beuys, VALIE EXPORT, and Gina Pane.

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Mascarenhas, Arun, and Suvidha P. . "Catholic Art: Mangaluru, a Case Study (1878-2023)." International Journal of Arts Architecture & Design 2, no. 2 (2024): 14–48. http://dx.doi.org/10.62030/2024julypaper2.

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‘Catholic Art’ is art produced for catholic patrons, which includes iconographic works in visual arts, sculptures, architecture, and decorative and applied arts. Jesus Christ, his disciples, followers, saints, and biblical narratives have been the subject matter of Catholic art. There is an ecumenical relationship between Christian theology and Catholic Art. However, not all Christians are Catholics, but all Catholics are Christians. The Mangaluru case study centers on the prominent Italian Artist Priest, Fra. Antonio Moscheni SJ (1854-1905). He was entrusted to embellish the newly built cathe

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Whiting, Cécile. "Philip Johnson." Journal of the Society of Architectural Historians 75, no. 3 (2016): 318–38. http://dx.doi.org/10.1525/jsah.2016.75.3.318.

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In the late 1950s and 1960s, before it became a norm to situate contemporary art in public spaces, Philip Johnson employed a model for relating contemporary architecture and art, proposing mutual enhancement based on juxtaposition and contrast over independence or integration. In Philip Johnson: The Whence and Whither of Art in Architecture, Cécile Whiting examines two examples of Johnson's use of contemporary art: the New York State Theater at Lincoln Center and the New York State Pavilion at the 1964–65 New York World's Fair. Whiting discusses the ways in which the commissioned art contraste

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Luque Rodrigo, Laura, Adris Díaz Fernández, and Carmen Moral Ruiz. "Comparative analysis of street art cataloguing projects in the cities of Monterrey (Mexico) and Jaen (Spain): Proposal for the inclusion of communities." Street Art & Urban Creativity 7, no. 1 (2021): 80–91. https://doi.org/10.25765/sauc.v7i1.467.

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In the last few months of 2020 and the first half of 2021, two street art cataloguing projects have been carried out in two cities in different countries that have made it possible to put methodological proposals into practice that until now have remained mainly at a theoretical level. This is the project &quot;Painted on the wall. Study of wall painting in the province of Jaen in the XX-XXI centuries; financed by the Institute of “Giennense” Studies (Provincial Government of Jaen) and the project;The commissioned street art murals creation of the cultural-artistic Festival of Urban Expres

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Fleming, Alison C. "Jesuit Visual Culture: Communication, Globalization, and Relationships." Journal of Jesuit Studies 6, no. 2 (2019): 187–95. http://dx.doi.org/10.1163/22141332-00602001.

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The visual arts are a powerful tool of communication, a fact recognized and utilized by the Jesuits from the foundation of the order. The Society of Jesus has long used imagery, works of art and architecture, and other aspects of visual and material culture for varied purposes, and the five articles in this issue of the Journal of Jesuit Studies explore how the art they commissioned exemplifies the ideals, goals, desires, and accomplishments of the Society. In particular, these five scholars examine a wide array of images and ideas to consider myriad relationships between the Society and works

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Das, Jareh. "On Curating Pain: The Sick Body in Martin O’Brien’s Taste of Flesh/Bite Me I’m Yours." Leonardo 49, no. 3 (2016): 266–67. http://dx.doi.org/10.1162/leon_a_01274.

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This article discusses the “sick body” in performance art and ethics, specifically in Taste of Flesh/Bite Me I’m Yours (2015) by London-based artist Martin O’Brien, which was commissioned by the Arts Catalyst as part of Trust Me, I’m an Artist, a Creative Europe-funded project exploring ethical issues in art that engages with biotechnology and medicine, such as medical self-experimentation, extreme body art and art practices using living materials and scientific process. It considers the bodily categorization “sick,” particularly in relation to when the markers for such categorization are rend

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McCormick, Maggie. "The Public Voice." Journal of Public Space 3, no. 2 (2018): 5–12. http://dx.doi.org/10.32891/jps.v3i2.1107.

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The Public Voice discusses art and activism in public space through the lens of how art practice is re-territoralising public space. The article begins with a consideration of both commissioned and uncommissioned works that challenge male dominance of public space while retaining a traditional relationship between the artist, art and the public. Through a discussion of ‘relational’ public practices from Relational Aesthetic to Community Art to Social Engagement, the article argues that the kind of ‘relational’ art and activism undertaken by the collectives, teams and individuals featured in th

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McCormick, Maggie. "The Public Voice." Journal of Public Space, Vol. 3 n. 2 | 2018 | FULL ISSUE (August 31, 2018): 5–12. http://dx.doi.org/10.32891/jps.v3i2.1107.

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The Public Voice discusses art and activism in public space through the lens of how art practice is re-territoralising public space. The article begins with a consideration of both commissioned and uncommissioned works that challenge male dominance of public space while retaining a traditional relationship between the artist, art and the public. Through a discussion of ‘relational’ public practices from Relational Aesthetic to Community Art to Social Engagement, the article argues that the kind of ‘relational’ art and activism undertaken by the collectives, teams and individuals featured in th

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Orr, Michael, Tom Webster, and Jon Leach. "2015 Serpentine Gallery Pavilion – challenges of form and fabric." Structural Engineer 94, no. 5 (2016): 22–31. http://dx.doi.org/10.56330/ssvv1200.

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The Serpentine Gallery Pavilion is an annual commission of a temporary installation in the lawns of Kensington Gardens, London, and aims to be a fusion of art and contemporary architecture. An internationally acclaimed architect, who is yet to complete a project within the UK, is commissioned by the Gallery to deliver an initial concept and work together with the Technical Advisers, AECOM with David Glover, and the Main Contractor, Stage One, to deliver the final product over a period of less than six months. In 2015, Spanish architects selgascano accepted the invitation of the Gallery to deli

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Lerm Hayes, Christa-Maria. "Art and Research: A Portrait of a Humanities Faculty as an Inclusive Workspace." Krisis | Journal for Contemporary Philosophy 40, no. 1 (2020): 180–202. http://dx.doi.org/10.21827/krisis.40.1.37009.

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At a time when monuments are falling, learning processes and discourses accelerating, it seems apposite to pay attention also to artworks commissioned by established institutions in order to give form to good intentions. This essay focuses on a commissioned portrait of female professors, on art (history) education, Dutch art policy / politics and the former colonial (VOC) site that the University of Amsterdam occupies, in order to aide this institution’s desired process to become more inclusive. It proposes Art(istic) Research as a realm that can contribute a differentiated and thoughtful posi

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Lloyd, Kirsten. "Art, Life and Capitalist Social Reproduction: Curating Social Practice." Journal of Curatorial Studies 10, no. 2 (2021): 150–76. http://dx.doi.org/10.1386/jcs_00041_1.

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Addressing the latest encounter between feminist politics and art, this article identifies a curatorially driven turn towards social reproduction processes and infrastructures across the contemporary art field. It analyses the curatorial mediation of social practice through two UK-based projects that foreground social and economic justice issues, specifically through the politics and economies of food: Effy Harle and Finbar Prior’s Wandering Womb (2018), commissioned by Manual Labours for Nottingham Contemporary, and WochenKlausur’s Women-led Workers’ Cooperative (2013), initiated through Glas

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Brezavšček, Pia, and Saška Rakef Perko. "‘You ought not to be obsessed with the idea that you have to intervene on every subject at every moment’: Interview with Jacques Rancière." Maska 32, no. 185 (2017): 98–104. http://dx.doi.org/10.1386/maska.32.185-186.98_7.

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For the conference The Aesthetic Regime of Art: Dimensions of Rancière’s Theory, organised by Maska, Radio Ars commissioned an interview with Jacques Rancière. The conversation focused on topics such as the relationship between politics and aesthetics, and the genesis of Rancière’s thinking, which has recently focused on aesthetics beyond the notion of beauty. We discussed the role of art in contemporary society and the accusations of its hermeticity. And we tackled the idea of communism for present times. In contrast with other star intellectuals, Rancière expresses reservations about the con

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Sermon, Paul. "The Teleporter Zone: Interactive Media Arts in the Healthcare Context." Leonardo 40, no. 5 (2007): 426–31. http://dx.doi.org/10.1162/leon.2007.40.5.426.

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The author discusses the recent development and implementation of The Teleporter Zone, a permanent interactive art installation commissioned by Guy's and St Thomas' Charity for the new Evelina Children's Hospital in London. The article places the production and conception of this installation in the context of the author's research in telematic and telepresent art over the past 15 years, alongside current research reports on the effects and influences of the arts on healthcare. The author also draws upon personal experiences in order to provide practical insights into the objectives and outcom

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Rokita, Jan Gustaw. "Medale Stefana Batorego. Uwagi ikonograficzne." Studia Europaea Gnesnensia, no. 26 (January 27, 2025): 45–83. https://doi.org/10.14746/seg.2024.26.3.

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The author of this paper discusses twenty-six works of art, including medals, coins, portrait engravings, emblems as well as specimens of woodcarving and sculpture. Apart from a detailed analysis of the medallic legacy of Stefan Batory, the aim of this study is to find and describe works of art that a medallic artist might have been exposed to when commissioned by the king or his immediate circle to fashion a medal. Having identified direct sources of inspiration for seventeenth-century artists, it has been possible to offer a better explanation of how Stefan Batory promoted his own indisputab

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Kuttner, Theodore. "Approaching the White Cube or Approximating the Streets." Street Art & Urban Creativity 4, no. 1 (2019): 7–17. https://doi.org/10.25765/sauc.v4i1.115.

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The work of OSGEMEOS is used to shed light on the issues arising from the intersection between the realms of street art and high art. The paradox of displacing street art into a gallery or museum setting is discussed, with a particular focus on the transitional period for OSGEMEOS from 2005 to 2010, during which they established their position as artists spanning the gap between the street art scene and the institutional art world. In the rst section, the critical discourse surrounding three of their exhibitions within gallery settings are analyzed in this context, alongside pertinent statemen

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Wang, Cheng-hua. "One Painting, Two Emperors, and Their Cultural Agendas." Archives of Asian Art 70, no. 1 (2020): 85–117. http://dx.doi.org/10.1215/00666637-8124988.

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Abstract This research focuses on one of the most famous paintings made at the court of the Qing dynasty (1644–1911)—Qingming shanghe (Up the River during Qingming). Commissioned by the Yongzheng emperor (r. 1723–1735) and completed in the second year of the Qianlong emperor's reign (1736–1795), the painting is a rare example of Qing court art that reveals how Qianlong furthered his father's artistic vision while formulating his own in the first fifteen years of his long tenure as ruler. This vision involved how to reinterpret and reinvent the Chinese painting tradition through time-honored th

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Knoz, Tomáš. "Zadání architektonického a uměleckého díla v raném novověku. Mezi hospodářskými dějinami a dějinami umění." Theatrum historiae, no. 32 (July 13, 2023): 71–89. http://dx.doi.org/10.46585/th.2023.32.04.

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Neither economic history nor art history can exist today without a consistent interdisciplinary and transdisciplinary approach. Historians of social and economic history must take into account in their research that the commissioning of an architectural or artistic work (not only) in the early modern period is not merely one type of economic investment, but that it represents a distinctive type of human action characterized by its artistic and spiritual value. Art historians, when studying the sources accompanying the commissioning of architectural works, must take note that, on the basis of t

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Haynes, Clare. "Between-ness: Art and piety in religious heritage space." Anthropological Notebooks 26, no. 3 (2020): 17–39. https://doi.org/10.5281/zenodo.4603742.

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<strong>Abstract</strong> This essay explores an exhibition series that was put on by HERILIGION UK in the redundant (closed) church of St Peter Hungate, Norwich as part of its research outputs. It describes the site and project-specific works of art that were commissioned by the UK team working with their heritage partners at Hungate. It suggests that each work intervened in the space, re-ordering it and offering visitors a new sense of place, that was, nevertheless, intimately bound up with its religious past. The essay concludes that contemporary art has the potential to mediate between rel

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Gálos, Miklós, and Mátyás Darvas. "Inscription on the Votive Painting of Vladislaus II." Ephemeris Hungarologica 3, no. 2 (2023): 36–47. http://dx.doi.org/10.53644/eh.2023.2.36.

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The votive picture of Vladislaus II in the collection of the Museum of Fine Arts, Buda- pest is an outstanding work of the Jagiellonian court art. The panel, attributed to the court painter of Emperor Maximilian I, Bernhard Strigel, shows Saint Ladislaus recom- mending Vladislaus II and his children under the protection of the Virgin. The histori- cal source value of the work is reduced by the fact that the facial features of its charac- ters have become victims of iconoclasm. Previous research considered the inscription of the scroll wrapped around the axe of St. Ladislaus to be illegible. Th

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Rokita, Jan Gustaw. "Medals of Henry III Valois. Iconographic Notes." Res Historica 57 (October 22, 2024): 643–79. https://doi.org/10.17951/rh.2024.57.643-679.

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The author presents twenty-nine works of art, including medals, coins, portrait engravings, painted miniatures, paintings and emblems, as well as examples of bas-relief. The aim of this work, apart from a detailed analysis of the medallic legacy left behind by Henry of Valois, was to find and describe works of art with which a medallic artist might have had contact when commissioned by the king or his immediate circle. Identifying the direct sources of inspiration for artists working in the 16th century made it possible to better answer the question of how Henry Valey promoted his own undisput

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