Relevant bibliographies by topics / Contemporary Art - 20th century

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Contemporary Art - 20th century'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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Journal articles on the topic "Contemporary Art - 20th century"

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Schleicher, Alexander. "Museum of Contemporary Art by Artists." Advanced Engineering Forum 12 (November 2014): 79–87. http://dx.doi.org/10.4028/www.scientific.net/aef.12.79.

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Museum is type of building which among architectural work occupies a special place by its distinct function of documenting existence and progress of humankind, society and their environment. This is reflected in the outstanding architecture of these buildings. 95% of museum buildings arose after World War II. This authorizes us to talk about the museum as a “20th century phenomenon“ especially of the second half of it. The unprecedented growth of museums after World War II – most of them are museums of art, especially contemporary art – entitles a question which is often discussed: What is an ideal museum like as an object serving for exhibiting art and what does an ideal exhibition space for contemporary art look like? This question had only been discussed among architects and museologists for a long time. According to the nature of contemporary art and because of the fact that alongside these two determinants the exhibiting artists who actively influence exhibition space and form the final spirit of the exhibition became an important element in creation of the museum; the question what is the artists’ vision of the ideal museum is poignant. Answer to that question can be given by concepts of the ideal museum of contemporary art from the end of the 20th century created by artists. The “Bilderbude” concept by Georg Baselitz, two projects “Ideales Museum” by Gottfried Honegger, “A Place Apart” by Marcia Hafif and also concepts of museums or opinions on a museum of contemporary art by other artists provide an idea of how the artists deal with and look on this problematic. The issue of museum of contemporary art perceived by the optics of artists definitely represents an interesting example of connecting functionality demanded by the artists, significant author’s approach and philosophical ideas concerning the ideal museum of contemporary art. Museum Concepts – Thinking about Museum Museum concepts from the beginning of existence of museum buildings (in some cases even before considering a museum an individual specialized object or an institution) provide us the notice about the main themes which the actors of this problematic were dealing with at that time. While at the beginning in the museum concepts we can trace the effort to define an individual type of a museum building, an ideal museum; then we can see searching for a form which would be adequate to the building expression. Later especially in the 20th century until nowadays there have been solved more specific problems concerning the growth of the museum collections, expanding the functional structure of the museum, shape and form of the exhibition space etc. The museum topic such important personalities as for example Étienne-Louis Boullée, Le Corbusier or Ludwig Mies van der Rohe brought their contribution. The 20th century especially the 2nd half of it, if we do not only consider the narrow present scope, brought an unseen growth of museum architecture. 95% of museums arose after the World War II. [1] A great part of museums which were built in this period are museums of art, often presenting modern or contemporary art. This fact - emerging of such an amount of museums of contemporary art together with the changed form of visual art in the 20th century – the importance of depicting and documenting function of art, which until then visual art besides the aesthetical function was satisfying started to decrease, the artist were engaged in new themes, they experimented with new methods etc. – brings increasing effort of the artists to influence the final form of the exhibition spaces in the means of their specific demands and also to influence the form of the general form of the museum building. The artists more and more actively participate at creating the museum, they influence the form of the exhibition space and the exhibition itself – unlike in the past, when the museologist, curator was creating the exhibition by choosing from the collection, which he had at disposal and the exhibition was formed by them relatively independently from the artists – authors of the exhibits. The first artistic experiments, which balance on the edge of visual art and museum, have been occurring since the 20-ties of the 20th century – let’s mention for example El Lissitzky (Proun room, 1923), Kurt Schwitters (Merbau, 1923-37) or Marcel Duchamp (Boîte-en-valise, 1935-41), and they persist until nowadays. In the 70-ties Brian O`Doherty analyses from the point of view of an art theoretician but also an active artist the key exhibition space of the 2nd half of the 20th century, which he characteristically identifies as White Cube. Donald Judd – artist and at the same time a hostile critic of contemporary museum architecture (70-ties-80-ties) formulated his uncompromising point of view to the museum architecture as follows: “Forms’ for their own sake, despite function, are ridiculous. One reason art museums are so popular with architects and so bizarre, is that they must think there is no function, the clients too, since to them art is meaningless. Museums have become an exaggerated, distorted and idle expression for their architects, most of whom are incapable of expression.“ In another text he posed the question: “Why are artists and sculptors not asked how to construct this type of building?“ [2] As we can see the artists’ opinion who seem to stay unheard in the museum and their needs stay unnoticed has full legitimacy and is very interesting for the problematic of museum and exhibition space. Beginning in the 70-ties of the 20th century these opinions are given more and more precise contours. While O’Doherty only comes with a theoretical essay on exhibition space (1976), D. Judd already presents his own idea of a museum even realised through the Marfa complex in Texas (1979/1986). Let’s mention some other artists who form their ideas of an ideal museum in form of unrealised concepts. Some authors name their proposals after a bearing idea of their concept; others call them directly ideal, in the same way as it was in the beginning of the history of museum. Contemporary Art Museum Concepts by Artists Georg Baselitz: Bilderbude.
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Tzanev, Peter. "Ectoplastic Art Therapy as a Genre of Contemporary Art." Arts 8, no. 4 (October 15, 2019): 134. http://dx.doi.org/10.3390/arts8040134.

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Art therapy is the successor of “psychological Modernism”, which during the late 19th and early 20th centuries included medical psychology as well as theories and practices related to more speculative practices of hypnosis, somnambulism, interpretation of dreams, automatic writing and spiritualism. Art therapy emerged in the second half of the 20th century as a new psychological genre and, the author argues, a new kind of art that offered the opportunity for psychological “salvation” in a “psychological society”. This article explores an experimental project called “Ectoplastic Art Therapy” begun in 2002 by the author as a form of therapy and as a form of contemporary art. This therapy has been performed in various institutional settings, such as therapeutic centers, museums and galleries, as well as educational seminars and courses. Focusing on the usual marginalization that accompanies conventional art therapy within the established framework of the contemporary art system, this article examines the situations in which an art therapist could present his practice as a contemporary artist. The author prompts questions concerning the possible kinds of self-presentation that can be found in art therapy as a form of contemporary art.
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Ilić, Vlatko. "Art and Revolution. The Legacy of the 20th Century and Contemporary Understandings." Filozofska istraživanja 38, no. 4 (February 14, 2019): 815–26. http://dx.doi.org/10.21464/fi38410.

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Kim, Sunghye. "The Development of Art Auction since the 20th Century and Its Contemporary Role." Journal of the Association of Western Art History 53 (August 31, 2020): 229–53. http://dx.doi.org/10.16901/jawah.2020.08.53.229.

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Powell, Dave. "Chimera Contemporary: The Enduring Art of the Composite Beast." Leonardo 37, no. 4 (August 2004): 332–40. http://dx.doi.org/10.1162/0024094041724472.

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The author examines the history of artists' depictions of fanciful organisms that are formed by combining parts of various species. Broadly tracing the progression of this pursuit from prehistory through the Ancient, Renaissance and Romantic Periods and up to the 20th century and contemporary genetic art, the article analyzes the seemingly consistent effort to render these forms simultaneously nonthreatening or vulnerable in attitude and visually realistic. The author asks whether this practice, which seems to stem from aesthetic concerns, is sufficiently critical in regards to current trends in genetic engineering.
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DOŁHAN, Aleksandra. "CONTEMPORARY BATTLEGROUND AND INNOVATIVE TECHNOLOGICAL SOLUTIONS." Zeszyty Naukowe Akademii Sztuki Wojennej 110, no. 1 (January 15, 2018): 61–69. http://dx.doi.org/10.5604/01.3001.0012.1464.

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The intense development of informational technology in the second half of the 20th century had a considerable impact on the art of warfare, which visibly benefitted from the development of new technologies and the scale of their application. Discernible new trends that became popular included developing a conception of the future battlefield, departing from violent armed clashes, and introducing dynamic, concentrated actions together with a wide scope of possessed information about the enemy and an operating environment as well as innovative technologies. State-of-the-art technologies have a powerful influence on the development of the contemporary battlefield.
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Rovner, Anton А. "The Transformation of a Music Festival in St. Petersburg “The World of Art. Contrasts”." ICONI, no. 2 (2019): 159–71. http://dx.doi.org/10.33779/2658-4824.2019.2.159-171.

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The article presents the history of an extraordinary music festival organized in St. Petersburg by two composers Igor Rogalev and Igor Vorobyev. The festival was fi rst called “From the Avant-garde to the Present Day,” subsequently “From the Avant-garde to the Present Day. Continuation,” and during the last three years — “The World of Art. Contrasts.” This festival was founded in 1992, and its aim was to create a venue for performance of music by contemporary composers and representatives of the “forgotten generation” of the early 20th century Russian avant-garde movement, such as Nikolai Roslavetz, Alexander Mosolov, Arthur Lourie, etc. Many premieres of these and other composers were performed at this festival, as well as well-known works by such early 20th century established masters as Arnold Schoenberg, Alexander von Zemlinsky, Igor Stravinsky, Bela Bartok, etc. Some of the leading contemporary composers of the late 20th and early 21st century were invited to participate in the festival, as were numerous outstanding performances, ensembles and orchestras up to the St. Petersburg Mariinsky Theater, artists, poets and writers. At the present time the artistic goal of the festival is to connect the strata of music by contemporary composers with the masterpieces of the great classics of the previous centuries — from the Renaissance era to the 19th century. Each year the festival has a certain particularthemes, such as, for instance, Italian music or Japanese music, around which the program is built endowed with a broad stylistic and genre-related pallette.
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Freire, Mela Dávila, and Pamela Sepúlveda Arancibia. "Artwork or document? Latin American materials at the Study Centre of the Museum of Contemporary Art of Barcelona (MACBA)." Art Libraries Journal 37, no. 4 (2012): 15–20. http://dx.doi.org/10.1017/s0307472200017685.

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The Study Centre at the Museum of Contemporary Art of Barcelona has, since its inception in 2007, amassed a wealth of material relating to Latin American art. Its collecting policy addresses the relationship of contemporary works of art to their documentation and aims to compensate for the lack of a tradition of public collecting of documentary and bibliographic material relating to 20th-century contemporary art practices. The collection now includes influential artist publications such as concrete poetry, magazines, mail art, books of photography and even fiction written by artists, as well as special materials from letters to photographic negatives, alongside information from galleries, cultural spaces and artistic centres.
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Stalmaszczyk, Piotr. "Celtic Studies in Poland in the 20th century: a bibliography." ZCPH 54, no. 1 (April 30, 2004): 170–84. http://dx.doi.org/10.1515/zcph.2005.170.

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Introduction Celtic Studies are concerned with the languages, literature, culture, mythology, religion, art, history, and archaeology of historical and contemporary Celtic countries and traces of Celtic influences elsewhere. The historical Celtic countries include ancient Gaul, Galatia, Celtiberia, Italy, Britain and Ireland, whereas the modern Celtic territories are limited to Ireland, Scotland, Wales, Isle of Man, Cornwall and Brittany. It has to be stressed that Celtic Studies are not identical with Irish (or Scottish, Welsh, or Breton) Studies, though they are, for obvious reasons, closely connected.
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Lysen, Flora. "What to do with the “Most Modern” Artworks? Erwin Panofsky and the Art History of Contemporary Art." Contemporaneity: Historical Presence in Visual Culture 3 (June 5, 2014): 38–49. http://dx.doi.org/10.5195/contemp.2014.81.

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In the 1930s, when the world-renowned Medieval and Renaissance art scholar Erwin Panofsky became acquainted with the New York contemporary art scene, he was challenged with the most difficult dilemma for art historians. How could Panofsky, who was firmly entrenched in the kunstwissenschaftliche study of art, use his historical methods for the scholarly research of contemporary art? Can art historians deal with the art objects of their own time? This urgent and still current question of how to think about “contemporaneity” in relation to art history is the main topic of this paper, which departs from Panofsky’s 1934 review of a book on modern art. In his review of James Johnson Sweeny’s book Plastic Redirections in 20th Century Painting, Panofsky’s praise for Sweeney’s scholarly “distance” from contemporary art developments in Europe is backed by a claim for America’s cultural distance, rather than a (historical) removal in time. Taking a closer look at Panofsky’s conflation of historical/temporal distance with geographical/cultural distance, this paper demonstrates a politically situated discourse on contemporaneity, in which Panofsky proposes the act of writing about the contemporary as a redemptive act, albeit, as this paper will demonstrate, without being able to follow his own scientific method.
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Dissertations / Theses on the topic "Contemporary Art - 20th century"

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Ferguson, Bruce W. "From sight to site : some considerations regarding contemporary theory in relation to contemporary art." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61972.

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Boetzkes, Amanda. "Beyond perception : the ethics of contemporary earth art." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102788.

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This dissertation considers the aesthetic strategies and ethical implications of contemporary earth art. Drawing from feminist and ecological critiques of phenomenology, it posits that an ethical preoccupation with the earth is identifiable in works that stage the artist's inability to condense natural phenomena into an intelligible art object thereby evidencing the earth's excess beyond the field of perception. Contemporary earth art has the paradoxical goal of evoking the sensorial plenitude of the earth without representing it as such. The first chapter analyzes Robert Smithson's monumental sculpture, the Spiral Jetty (1970), and suggests that the artist deploys the emblem of the whirlpool to express the artwork's constitutive rupture from the earth, a loss that the artwork subsequently discloses in its textual modes, including an essay and a film that document the construction of the sculpture. Chapter two examines the recurrence of the whirlpool motif and other anagrammatic shapes such as black holes, tornadoes, shells and nests, in earth art from the last three decades. In contemporary practices the whirlpool allegorizes an ethical attentiveness to the earth's alterity; not only does it thematize the artwork's separation from perpetual natural regeneration, it signals the artist's withdrawal from the attempt to construct a totalizing perspective of the site. Chapter three addresses performance and installation works that feature the contact between the artist's body and the earth, and in particular, the body's role in delineating the point of friction between the earth's sensorial plenitude and its resistance to representation. Earth artists thereby assert the body as a surface that separates itself out from the earth and receives sensation of it as other. The conclusion summarizes the main arguments of the previous chapters through a discussion of a three-part installation by Chris Drury entitled Whorls (2005).
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Lai, Mei-lin, and 黎美蓮. "Words and images in contemporary Hong Kong art: 1984-1997." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31222808.

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Setti, Godfrey. "An analysis of the contribution of four painters to the development of contemporary Zambian painting from 1950-1997." Thesis, Rhodes University, 2001. http://hdl.handle.net/10962/d1002218.

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This study presents an analysis of the contribution of four painters to the development of contemporary Zambian painting, from 1950 to 1997. This is preceded by a brief history of Zambian painting, including Bushmen rock painting and early Bantu art, which is followed by an account of the way western influence, introduced by the white man, started changing the style of painting in the country as it began to affect indigenous artists. In the work of artists who began painting from about 1900 to 1950, both western and traditional stylistic influences can be seen. While the painters whose work is analysed in this thesis had some knowledge of Zambian art before 1950, they were mainly influenced by western ideas of painting. From a list of more than ten painters ofthis period from 1950 to 1997, I selected: Gabriel Ellison, Cynthia Zukas, Hemy Tayali and Stephen Kappata because I know them personally and therefore had access to them and their work, which facilitated my analysis of their work and its contribution to Zambian painting. This analysis takes the form of four chapters, one for each artist, in which relevant biographical and educational background is outlined, followed by an analysis of examples of\vork. Finally, ways in which each painter, through exposure to the Zambian public and artistic community, contributed to further development in Zambian painting, are emphasised.
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Economou, Inge. "Motopomo: the historical-theoretical background to contemporary graphic design practices." Thesis, Port Elizabeth Technikon, 2005. http://hdl.handle.net/10948/179.

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This study proposes to illustrate that the twentieth century passage from modernity to postmodernity, with its induction of socio-cultural development and attitudinal change, exists as a fundamental means of informing the character of contemporary graphic design practice1. Today, in contrast to the intentions of this study, many appraisals of graphic design work would seem to place too much emphasis on the analyses and evaluation of the stylistic character of creative practices and not enough on the theoretical, historical and attitudinal issues surrounding them. As such, this study attempts to reveal the meaning and moreover the relevance of philosophical, social, cultural and critical theory for contemporary, postmodern graphic design practices. This is done in order to provide graphic designers with a reflective awareness of the structure of the cultural context within which they work, and takes into account twentieth century cultural theory and twentieth century, western graphic design practice, within the framework of the passage from modernity to postmodernity.
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DeBevoise, Jane. "Seismic states the changing system of support for contemporary art in China, 1978-1993 /." Thesis, Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B41633726.

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Younge, James Gavin Forrest. "The mirror and the square : a study of ideology within contemporary art systems with special reference to the American avant-garde in the period 1933-1953." Master's thesis, University of Cape Town, 1987. http://hdl.handle.net/11427/16370.

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Bibliography: pages 232-240.
This dissertation argues that abstract art is not ideologically neutral. In spite of many artists' anti-fascist stance early in their careers, the mantle of neutrality was assumed as a reaction to the protracted struggle between the two major ideologies confronting artists living in Europe and the United States of America in the period 1933-1953, namely capitalism and communism. These ideologies were not peripheral to artists lives, but were actively debated by both artists and intellectuals and resulted in the establishment of powerful cultural organisations. The ensuing growth in prestige and influence of left-wing artist's organisations was countered by a campaign which included direct suppression of left-wing artists as well as a form of ideological control. This control was vested in what has been called the specifics of patronage and is reflected in the establishment of the Arts Council in Britain and the private art museums in the United States. Changes in the art market have meant that, together with dealers and critics, these institutions wielded almost complete economic control over artists. The prevailing ideology of liberal humanism, which glorified individualism and defined democracy as a middle ground between the left and the right, favoured the development of a seemingly apolitical abstract art style. Analysis of the demise of the Artists International Association and the American Artist's Congress supports the conclusion that the figurative tradition lost prestige as a result of the stigma attached to Socialist Realism and the idealised realism demanded by National Socialism in Germany. Account is also taken of the attempt by well-positioned and influential commentators to identify all forms of realism with totalitarianism. It is not surprising therefore, that it was commonly believed that to paint in an abstract modern style was to strike a blow against fascism. In the same way that realism was identified with the regimentation of Soviet society, the avant-gardes' abstract experiments came to symbolize democracy. Drawing on the texts of writers, critics, artists and theorists, this dissertation shows that the force of the identification of progressive realism with totalitarianism, prepared the way for acceptance of the idea that freedom of expression epitomised freedom in general. In this way, anti-Stalinism and the post-war liberal philosophy of individual freedom, coupled with a search for 'essences' and the 'universal', directed artists inward to the medium of art as relevant subject-matter. This dissertation argues that this identification was ideologically motivated in respect to the balance of social and political power in America.
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Boyle, Amy L. "Marcel Broodthaers and Fred Wilson : contemporary strategies for institutional criticism." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98914.

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This thesis compares two contemporary artists who practice institutional criticism, Marcel Broodthaers and Fred Wilson. Looking specifically at Broodthaers's fictional museum project the Musee d Art Moderne, Departement des Aigles from 1968-1972 and Wilson's 1992 installation Mining the Museum at the Maryland Historical Society, this thesis will critically analyze each artist's similar application of deconstruction as a method. Both artists employ allegory and history as aesthetic strategies of deconstruction; using allegorical structure, the artists mobilize objects that have been arrested in history, disrupting a historical continuum that would otherwise remain foreclosed. The focus of this study will be to explore the critical approaches of Broodthaers and Wilson individually as well as the similar theoretical tendencies of the artists jointly; this investigation will assess the effect of institutional criticism on the museum's present condition, unfolding both what has changed and what is still at play within this practice.
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Mauchan, Fiona. "The African Biennale : envisioning ‘authentic’ African contemporaneity." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2596.

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Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2009.
This thesis aims to assess the extent to which the African curated exhibition, Dak’Art: Biennale de l’art africain contemporain , succeeds in subverting hegemonic Western representations of African art as necessarily ‘exotic’ and ‘Other.’ My investigation of the Dak’Art biennale in this thesis is informed and preceded by a study of evolutionist assumptions towards African art and the continuing struggle for command over the African voice. I outline the trajectory of African art from primitive artifact to artwork, highlighting the prejudices that have kept Africans from being valued as equals and unique artists in their own right. I then look at exhibiting techniques employed to move beyond perceptions of the tribal, to subvert the exoticising tendency of the West and remedy the marginalised position of the larger African artistic community.
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Lecomte, Isabelle. "Joseph Cornell (1903-1972) et ses muses: étude monographique à partir des sources iconographiques et littéraires." Doctoral thesis, Universite Libre de Bruxelles, 2010. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210115.

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Joseph Cornell (1903-1972) est un artiste américain très connu dans son pays mais peu étudié en Europe. Le catalogue raisonné de son œuvre n'est toujours pas établi à ce jour.

Tout au long de sa vie, ses sources d'inspiration sont intimement liées à la femme. Cette thèse souhaite aller plus loin que les études existantes: d'une part en envisageant la femme dans tous ses rôles (danseuse, diva, écrivaine, amie, starlette,) et d'autre part, en étudiant la série qui lui est consacrée. Ce regard minutieux sur les variations au sein d'une série est l'un des points forts et totalement inédits de cette thèse. Il permet d’observer le renouvellement de l’obsession et le goût pour la collection, au sens où Baudrillard l’entend.

En première partie, l'angle d'approche consiste à observer, les stratégies de l'artiste qui tente de s'approprier la femme par la mise en boîte, en bouteille, en dossier,

En deuxième partie, nous observerons la manière dont il installe une distance qui permet à la muse de rester inaccessible – au sens romantique voire nervalien du terme. La distance peut-être d'ordre surnaturel: la femme prend alors les traits d'une fée ou d'une sylphide ;temporelle (la muse est imaginée enfant) ;spatiale (la muse prend vie sous forme de constellation). Autre stratégie d'évocation: "le portrait sans visage" où le corps de la muse est totalement absent, seul « un objet symbolique) fait référence à la femme désignée. Il peut s’agir d’une chambre ou d’une lampe de mineur pour évoquer Emily Dickinson ou une poupée pour évoquer La Belle au Bois dormant. Vers la fin des années cinquante, Cornell réalise des « boîtes-mémoriaux » en hommage à des jeunes trop tôt disparues.

La troisième partie tente d’étudier comment Cornell « transcende » l’idée de mort.

Enfin, en quatrième partie, nous dresserons un bref inventaire des collages des années soixante ayant comme thème central le nu féminin. Cornell quittant un matériel « nostalgique » afin de « charge d’innocence » des images qu’il considère comme érotiques.

Cette étude s'appuie, entre autres, sur une vingtaine d'œuvres analysées qui n'ont jamais été publiées, une trentaine d'autres qui n'ont jamais été commentées. Plus d'un tiers des œuvres choisies bénéficient d'une recherche de sources totalement inédites, se voyant ainsi placée sous un nouveau regard interprétatif. Et enfin, les œuvres sont mises en rapport avec les sources littéraires qui les ont nourries (Aurélia de Gérard de Nerval, Le Portrait de Jennie, la poésie d’Emily Dickinson, la biographie de Marilyn Monroe ou les écrits de Mary Eddy Baker, …).


Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished

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Books on the topic "Contemporary Art - 20th century"

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Contemporary art: Art since 1970. Upper Saddle River, N.J: Prentice Hall, 2005.

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Richard, Hertz. Theories of contemporary art. 2nd ed. Englewood Cliffs, N.J: Prentice Hall, 1993.

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Globalization and Contemporary Art. Malden, MA: Wiley-Blackwell, 2011.

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Contemporary art: World currents. Upper Saddle River [N.J.]: Prentice Hall, 2011.

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Contemporary embroidery: Exciting and innovative textile art. London: Studio Vista, 1994.

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Craig, McDaniel, ed. Themes of contemporary art: Visual art after 1980. 2nd ed. New York: Oxford University Press, 2010.

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Indonesian eye: Contemporary Indonesian art. Milano, Italy: Skira, 2011.

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Astrup Fearnley museet for moderne kunst, ed. Lights on: Norwegian contemporary art. Milano, Italy: Skira, 2008.

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Gallery, Saatchi, ed. Korean eye: Contemporary Korean art. Milano: Skira, 2010.

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André, Magnin, and Soulillou Jacques, eds. Contemporary art of Africa. New York: H.N. Abrams, 1996.

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Book chapters on the topic "Contemporary Art - 20th century"

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Hertel, Florian R. "Class and intergenerational mobility in contemporary societies." In Social Mobility in the 20th Century, 55–90. Wiesbaden: Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-14785-3_3.

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Webster, Peter. "New Visual Art for Chichester." In Church and Patronage in 20th Century Britain, 147–86. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-36910-9_6.

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Webster, Peter. "Music, Art and Poetry: 1944–1955." In Church and Patronage in 20th Century Britain, 85–118. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-36910-9_4.

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García, Julián, Fernando Magdalena, and Juan M. Medina. "Mid-20th Century Colombian Vaults. A Contemporary Tradition." In RILEM Bookseries, 125–34. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-99441-3_12.

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Poldi, Gianluca, Chiara Anselmi, Alessia Daveri, and Manuela Vagnini. "CHAPTER 4. Josef Albers' Use of 20th Century Pigments: A Non-invasive Analytical Approach." In Science and Art, 67–94. Cambridge: Royal Society of Chemistry, 2020. http://dx.doi.org/10.1039/9781788016384-00067.

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Lee, Su-san. "In Defense of Chinese Sensibility: Confucian Aesthetics in the 20th Century." In Dao Companion to Contemporary Confucian Philosophy, 513–40. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-56475-9_23.

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Hazir, Agah. "The historical trajectory of the left in 20th-century Iran." In The Routledge International Handbook of Contemporary Muslim Socio-Political Thought, 270–83. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003143826-25.

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Benedikter, Roland, and Judith Hilber. "Mukherjee’s 20th Century Source: Pop Art of the 1960s. A Similar Inspiration, 400 Years After the Moghuls?" In The Art of Multiculturalism, 45–87. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-89668-7_5.

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Waits, Mira Rai. "The Art of Memory: Tracing the Colonial in Contemporary India." In Cultures of Memory in the Nineteenth Century, 241–68. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-37647-5_13.

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Křupková, Lenka. "“Ideologically Progressive Art” Meets Western Avant-Garde." In The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century), 155–64. Belgrade ; Ljubljana: Institute of Musicology SASA ; University of Ljubljana, Faculty of Social Sciences, 2020. http://dx.doi.org/10.18485/music_diplomacy.2020.ch10.

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Conference papers on the topic "Contemporary Art - 20th century"

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Kryshtop, Ludmila, and Ruzana Pskhu. "The Reception of the Indian Thought by the Culture and Art of Europe of the 20th Century." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.2.

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Xiang, Yu. "Analysis on the Creative and Artistic Features of Ancient Poetry Art Songs in the First Half of 20th Century." In 2016 International Conference on Contemporary Education, Social Sciences and Humanities. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/iccessh-16.2016.69.

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Carnelli, Silvia. "“SPIRITUALIT(IES)” AND “CRIES” FOR “MOTHER GAIA” IN THE 20TH-CENTURY AND IN CONTEMPORARY EUROPE." In Arts & Humanities Conference, Venice. International Institute of Social and Economic Sciences, 2016. http://dx.doi.org/10.20472/ahc.2016.001.002.

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Malinina, Elena. "Contemporary Art Culture as a Creator of Publicity New Forms: Experience of Perm Theatrical Community." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-13.

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This article covers some new forms of publicness in the field of art culture of the Russian city of Perm, e.g. dramatics as a performance in a street environment, and synthetic museum-theatrical form under the conditions of a stage box. The study was accomplished mainly via culturological method. At one time theatre left the urban environment, but in the 21st century theatrical forms have begun to permeate urban space again, the statement primarily concerns site-specific theatre. This is equivalent to the birth of new theatrical-city publicity, a new modality of the interpenetration of the public and the private. One of the best-known theatrical projects in this field is ‘Remote X’ (‘Rimini Protokoll’ band). Here, the close co-existence habitual to city dwellers turns into a social substrate, and a way to implement interpersonal artistic communication, thereby largely changing the disposition of the former, and transforming itself. Another new form of relationship between collective and individual aspects in the public sphere is the synthetic museum-theatre form, on the example of immersion dramatics ‘Permian Pantheon’ (Perm Academic Theatre, stager Dmitry Volkostrelov). The natural ‘calendar-seasonal’ tempo-rhythm of the dramatics creates a triple semantic effect risen from artistic reality. It immerses the viewer into the process of traditional subsistence in whole (actualisation of the cultural collective unconscious), represents cultural phenomena (which corresponds to the culture-focused paradigm of artistic consciousness of the second half of the 20th century to the early 21st century), reaches the level of worldview values, the philosophical generalisation of cultural-existential reality. Thus, on the example of two Perm theatrical plays the author can speak about the origin of new forms of publicness in contemporary culture to entail new relationships between publicity and privacy in the current realities.
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Zaks, Lev. "Culture of the Second Half of the 20th Century through the Early 21st Century in Action: Creation of Contemporary Publicity." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2019. http://dx.doi.org/10.35853/ufh-public/private-2020-01.

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The article offers a culturological vision of publicity, and partly correlative privacy as universal aspects of the joint existence of people. The analysis methodology is based on the perception of culture as a universal specific way of existence of people and society; the perception of society as a sociocultural system; the perception of the evolution of society and all areas of its existence as a result of their holistic sociocultural determination. Publicity is considered in terms of its characterisation as a sociocultural phenomenon (space-time, socioanthropological, functional, communicative, discursive), and then the evolution of publicity as a function and the product of the cultural system is outlined. The main (and diverse) sociocultural influential factors having determined substantial changes in features of publicity (and its relationship with privacy) as from the second half of the 20th century to the present day are analysed: left-wing influence and democratisation of societies after World War Two; rising prosperity of citizens; origination of consumer society; release of public psychology from some conventional cultural taboos including as a result of secularisation and the sexual revolution; widespread and influential mass-media; informational revolution (information society). Critical effects of these factors in respect of publicity and its evolution have been shown. The information revolution of the second half of the 20th century to the early 21st Century is considered as the crucial factor of the radical qualitive transformation of social life, processes of its institutionalisation and with it, public and private spheres. Peculiarities of contemporary online publicness and its relationship with online privacy are addressed. Axiological problems of online publicness are highlighted.
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Shirshova, Lyubov. "Creative Life of Ye. I. Zverkov: Evolution of Landscape Painting in Russia in the Second Half of the 20th Century." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.19.

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Canbakal Ataoğlu, Nihan, Habibe Acar, and Aysel Yavuz. "Museum’s Open Space." In 3rd International Conference of Contemporary Affairs in Architecture and Urbanism – Full book proceedings of ICCAUA2020, 6-8 May 2020. Alanya Hamdullah Emin Paşa University, 2020. http://dx.doi.org/10.38027/n382020iccaua3163635.

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Museums are institutions that carry on the cultural and artistic treasures of societies to future generations. Economic social, cultural and philosophical thoughts in the world have changed the understanding of museology. At the beginning of the 20th century, modern architects brought new expansions to classical museum typology. In the 1970s, museums began to draw attention as the city's landmark and meeting points. Along with the museums, courtyards, squares and gardens, which are open spaces of museums, have also changed. By joining the city life, they became new social attraction centers. Museums and museum open space from Turkey and the world in the study areas, classified under the headings of traditional and contemporary, will be analyzed under the headings of form, style, material, elements of boundry, planting design, activities area, urban furniture, and function. In order to demonstrate the changing today’s museum’s open space; an analysis will be made using spatial experiences, observations, syntactic analysis technique. Study’s contribution to the literature will be determined by the design approaches of contemporary and traditional museum open spaces. As part of the museum identity and character, it will be pointed out that the open spaces of the museum are as important as the design of the museum buildings.
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Beris, Yeter, and İsmail Erim Gulacti. "Influences of Japanese prints on European printmaking (in the case of Degas-Manzi partnership)." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p69.

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Contemporary artists have included classical methods together with innovative digital printing technologies to their artistic manufactures and thus their technological production interactions have been reflected on current art as well. Today’s artists have also been in collaboration with each other by involving the digital printing technologies which kept advancing during the recent 20 years in their works of art just like Degas and Manzi did in their relationships of production partnerships in 19th Century. Besides, those opinions which originated from modernism ideas and movements consist of the core of this cooperation post Industrial Revolution era. Therefore, the concept of nationalism, the devastating consequences of the world wars and the latest industrial and technological advancements have all transformed human life irreversibly. Consequently, during this transformation era, various significant movements of art such as Impressionism and Expressionism emerged in the 20th century and representatives of those art movements substituted such a lot of printmaking practices in their works of art. None of those mentioned above took place in other previous movements of art. They reflected their points of view that they display social movements and none of the other artists who represent other senses of art have ever exhibited such a lot of printmaking practices. Thus, various printing technologies which present a new laboratory environment to the artists. As a result of this, printing technologies have been preferred as a sort of new artistic media value and it started to take its prominent place in collections of art as well as in museums during artistic presentations. Within this context, this article aims at studying the phenomenon of art by considering how it has changed during the historical process by examining those works of art which reveal these variations. Common production and working techniques in traditional printmaking, contributions of the technological advantages to the artistic manufacture. Besides, periodical innovations will be examined and presented by introducing an updated point of view to the topic within the content of this article that contain some citations from the second part of the thesis titled “Effects of fine art printmaking on the phenomenon of contemporary art”.
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Meškova, Sandra. "THE SENSE OF EXILE IN CONTEMPORARY EAST CENTRAL EUROPEAN WOMEN’S LIFE WRITING: DUBRAVKA UGREŠIČ AND MARGITA GŪTMANE." In NORDSCI International Conference. SAIMA Consult Ltd, 2020. http://dx.doi.org/10.32008/nordsci2020/b1/v3/22.

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Exile is one of the central motifs of the 20th century European culture and literature; it is closely related to the historical events throughout this century and especially those related to World War II. In the culture of East Central Europe, the phenomenon of exile has been greatly determined by the context of socialism and post-socialist transformations that caused several waves of emigration from this part of Europe to the West or other parts of the world. It is interesting to compare cultures of East Central Europe, the historical situations of which both during World War II and after the collapse of socialism were different, e.g. Latvian and ex-Yugoslavian ones. In Latvia, exile is basically related to the emigration of a great part of the population in the 1940s and the issue of their possible return to the renewed Republic of Latvia in the early 1990s, whereas the countries of the former Yugoslavia experienced a new wave of emigration as a result of the Balkan War in the 1990s. Exile has been regarded by a great number of the 20th century philosophers, theorists, and scholars of diverse branches of studies. An important aspect of this complex phenomenon has been studied by psychoanalytical theorists. According to the French poststructuralist feminist theorist Julia Kristeva, the state of exile as a socio-cultural phenomenon reflects the inner schisms of subjectivity, particularly those of a feminine subject. Hence, exile/stranger/foreigner is an essential model of the contemporary subject and exile turns from a particular geographical and political phenomenon into a major symbol of modern European culture. The present article regards the sense of exile as a part of the narrator’s subjective world experience in the works by the Yugoslav writer Dubravka Ugrešič (“The Museum of Unconditional Surrender”, in Croatian and English, 1996) and Latvian émigré author Margita Gūtmane (“Letters to Mother”, in Latvian, 1998). Both authors relate the sense of exile to identity problems, personal and culture memory as well as loss. The article focuses on the issues of loss and memory as essential elements of the narrative of exile revealed by the metaphors of photograph and museum. Notwithstanding the differences of their historical situations, exile as the subjective experience reveals similar features in both authors’ works. However, different artistic means are used in both authors’ texts to depict it. Hence, Dubravka Ugrešič uses irony, whereas Margita Gūtmane provides a melancholic narrative of confession; both authors use photographs to depict various aspects of memory dynamic, but Gūtmane primarily deals with private memory, while Ugrešič regards also issues of cultural memory. The sense of exile in both authors’ works appears to mark specific aspects of feminine subjectivity.
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Howell, John R. "The Development of Engineering Radiative Heat Transfer." In ASME 2002 International Mechanical Engineering Congress and Exposition. ASMEDC, 2002. http://dx.doi.org/10.1115/imece2002-33131.

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The history of the development of thermal radiation heat transfer is reviewed from the early studies of the characteristics of radiation through the recognition of the infrared portion of the spectrum, Maxwell’s equations, and on to Planck’s derivation of the blackbody energy spectrum and the impact of that analysis on the development of modern physics. More recent developments and applications in response to important applications in spacecraft, propulsion systems, high temperature systems, manufacturing, and contemporary microscale systems are reviewed, and the rapid development of the field during the last half of the 20th century is outlined. Present and emerging research areas are briefly reviewed.
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Reports on the topic "Contemporary Art - 20th century"

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Biria, Ensieh. Figurative Language in the Immigration Debate: Comparing Early 20th Century and Current U.S. Debate with the Contemporary European Debate. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.234.

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