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Journal articles on the topic 'Contemporary art production'

Author: Grafiati

Published: 9 March 2023

Last updated: 31 July 2025

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1

Kolotaev, Vladimir A., and Alexander V. Markov. "TOPOLOGY OF CONTEMPORARY ART PRODUCTION: NEW APPROACHES." Articult, no. 1 (2021): 43–48. http://dx.doi.org/10.28995/2227-6165-2021-1-43-48.

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The article examines the applicability of new interdisciplinary methods to the artistic process in Russia using the example of three new books exploring the problems of contemporary art. These books prove the applicability of the achievements of intellectual magazine criticism (Kira Dolinina), institutional criticism (Stanislav Savitsky), and gender criticism (Olesya Avramenko) to the local artistic life of recent decades. What unites these books is criticism of criticism: an articulated metaposition to the critical strategies that have developed in the art community. Each of the three books i

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W. Mohd Apandi, Wan Nurhasyimah, and Ahmad Rashdi Yan Ibrahim. "Metaphors in Contemporary Art." Idealogy Journal 3, no. 2 (2018): 235–40. http://dx.doi.org/10.24191/idealogy.v3i2.69.

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The use of metaphors in producing contemporary works of art is often used by artists to convey current ideas and issues in the era of contemporary visual art. The metaphor used is as a symbol for the meaning of a work in conveying the ideas and narrative of the story more creatively. In addition, the use of metaphors should be in line with the selection of subjects and meanings to be used and conveyed more accurately and effectively in the production of works to be seen and studied by art critics.

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Matuscak, Melissa. "Redefining Production-Contemporary Art Museums in Post-Industrial Spaces: The Massachusetts Museum of Contemporary Art." International Journal of the Arts in Society: Annual Review 3, no. 3 (2008): 55–66. http://dx.doi.org/10.18848/1833-1866/cgp/v03i03/35479.

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A’Bear, Luke, James Curtis Hayward, and Meredith Root-Bernstein. "Conservation Science and Contemporary Art: Thinking about Tenerife." Leonardo 50, no. 1 (2017): 27–30. http://dx.doi.org/10.1162/leon_a_01153.

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Art has long been seen as a way to illustrate conservation science for public outreach, especially to children. However, art has a greater role to play as a partner in interdisciplinary practice. Here we explore four examples where early-career conservationists have used the production of artwork inspired by contemporary art movements to engage critically and emotionally through the formalisms of art with conservation issues on the island of Tenerife. The authors suggest that the production of art by conservationists and as conservation (and vice versa) is key to learning to translate between

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Esposito, Claudia. "Traces of Souffles: on cultural production in contemporary Morocco." Contemporary French Civilization 45, no. 3-4 (2020): 305–15. http://dx.doi.org/10.3828/cfc.2020.18.

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This article examines contemporary cultural production in Morocco and focuses in particular on how poet-artist Abdellatif Laâbi, founder of the journal Souffles, and writer-artist Mahi Binebine display ties of filiation. Bringing to light the artistic and social collaborations that these two cultural actors nurture in Morocco, the article traces a filial genealogy between Laâbi and Binebine and examines the post-independence years to reveal the spirit of combat that lies at the origin of the current artistic scene in Morocco. Questioning the link between art and the public, the article conclud

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Enxuto, João, and Erica Love. "The Institute for Southern Contemporary Art (ISCA)." Finance and Society 2, no. 2 (2016): 173–74. http://dx.doi.org/10.2218/finsoc.v2i2.1730.

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The Institute for Southern Contemporary Art (ISCA) was founded in 2016 to advance a meaningful alternative to the problem of contemporary art production and its political economy. While technology is intensifying the soft power of speculation, reputation, and the hype of networks, recent changes in technical infrastructure have done very little to shake the narrowly-defined and limited objectives of contemporary art. Technological change alone hasn’t curtailed an art field defined by individualism and competition, despite counter-claims made by progressive artists and collectives. Following a

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Belting, Hans. "Contemporary art and the museum in the global age." Disputatio. Philosophical Research Bulletin 1, no. 2 (2012): 16–30. https://doi.org/10.5281/zenodo.5064060.

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For a long time, art museums seemed to have been born with a secure identity safeguarded by their designation to exhibit art and even to provide art with the necessary ritual of visibility. Yet now, as .we embark upon the global age, they face a new challenge. It remains to be seen whether the art museum, as an institution with a history looking back at least two hundred years in the West, is prepared for the age of globalization. There is no common notion of art that necessarily applies to all societies around the world. Contemporary art, which is what I will concentrate on in what follows, r

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Đorđević, Marko. "Između proizvoda i dela: estetski fetišizam i finansijalizacija umetnosti." Život umjetnosti, no. 104 (July 2019): 86–99. http://dx.doi.org/10.31664/zu.2019.104.05.

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This paper focuses on the ideological transformation of modernistic aesthetic fetishism into what Professor Rastko Močnik has termed “aesthetic imperialism” in contemporary art. Our hypothesis is that this transformation is an effect of the overdetermination of artistic production to fictitious capital. In order to examine this hypothesis, we shall explore the transformation of the simple, modernist work of art into the twofold, contemporary work of art (which must first be a claim to aesthetic evaluation and only then a work of art). We do not suggest that modernism did not know the term “art

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Firstenberg, Lauri, and Sidney Littlefield Kasfir. "Negotiating the Taxonomy. Contemporary African Art: Production, Exhibition, Commodification." Art Journal 59, no. 3 (2000): 108. http://dx.doi.org/10.2307/778033.

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Hassan, Salah M. "Contemporary African Art as a Paradox." Nka Journal of Contemporary African Art 2020, no. 46 (2020): 8–26. http://dx.doi.org/10.1215/10757163-8308138.

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The field of contemporary African and African diaspora art and culture is currently riddled by two paradoxes. First, in Africa and its diaspora, we are witnessing a burgeoning of creative energy and an increasing visibility of artists in the international arts arena. Yet, this energy and visibility has not been matched by a parallel regime of art criticism that lives up to the levels of their work. Second, we find a rising interest in exhibiting and collecting works by contemporary African and diaspora artists among Western museums as well as private and public collections. This growing intere

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Popov, Denis Aleksandrovich. "Structuralism and contemporary mass art." Культура и искусство, no. 8 (August 2020): 48–55. http://dx.doi.org/10.7256/2454-0625.2020.8.32542.

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The subject of this research is the impact of structuralism as a scientific direction upon mass art. Stable invariant structures discovered by the structuralists in multiple artworks can be observed in mass art. Structuring, which initially was a method of research, turned into one of the practical recommendations on reating new works in mass art. The goal consists in the analysis of susceptibility factors of mass culture to the ideas of structuralism and results of using methodology of structuralism in mass artistic production. The initial methodological focus of this work lied in the concept

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Skiba, Stefan. "Some Thoughts on Contemporary Graphic Print." Journal of Arts and Humanities 5, no. 9 (2016): 84. http://dx.doi.org/10.18533/journal.v5i9.1010.

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<p align="center">The production requirements of original graphic works of art have changed since 1980. The development of digital printing using lightfast colors now rivals traditional techniques such as wood cut, screen print, lithography, etching etc. Today, with respect to artistic legitimacy, original graphics using traditional printing techniques compete with original graphics produced by digital printing techniques on the art market. What criteria distinguish traditional printing techniques from those of digital printing in the production and acquisition of original graphics? What

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Al-Amri, Mohammed. "Contemporary trends in art education." Journal of Arts and Social Sciences [JASS] 6, no. 2 (2016): 221. http://dx.doi.org/10.24200/jass.vol7iss1pp221-241.

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This research aims to present the most important contemporary trends in Art Education focusing on the analysis of the relationship between these trends and their related concepts. It also aims to revive some traditions of art education that are based on a scientific approach, with the aim of improving current practices to achieve quality in both art teaching and art production. The aim is also to offer recommendations for developing the teaching of art in accordance with the most recent approaches in the field. The researcher used the descriptive analytical approach to review and analyze these

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Al-Amri, Mohammed. "Contemporary trends in art education." Journal of Arts and Social Sciences [JASS] 7, no. 1 (2016): 221–41. http://dx.doi.org/10.53542/jass.v7i1.1116.

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This research aims to present the most important contemporary trends in Art Education focusing on the analysis of the relationship between these trends and their related concepts. It also aims to revive some traditions of art education that are based on a scientific approach, with the aim of improving current practices to achieve quality in both art teaching and art production. The aim is also to offer recommendations for developing the teaching of art in accordance with the most recent approaches in the field. The researcher used the descriptive analytical approach to review and analyze these

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Zhong, Wen Jing. "Network of Visual Arts and Contemporary Art Pattern Reorganization." Applied Mechanics and Materials 321-324 (June 2013): 1102–6. http://dx.doi.org/10.4028/www.scientific.net/amm.321-324.1102.

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This article, based on changes in the pattern of study of contemporary art network of visual arts, contemporary art in the space environment of the network visual arts, visual arts language of visual media, interactive cyberspace realm of art, information and digital communication art platform for contemporary art pattern the basic structure of the reorganization. Through integration of the modern network multi-media production technology and visual vision production method, the traditional art like Painting, Architecture art and Dace could form a new form of art performance and visual languag

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Ulfstjerne, Michael Alexander. "The Wasteland of Creative Production: A Case Study of Contemporary Chinese Art." Copenhagen Journal of Asian Studies 29, no. 1 (2013): 17–38. http://dx.doi.org/10.22439/cjas.v29i1.4019.

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With the new magnitude for the relatively unhindered production and circulation of artworks, galleries and contemporary art museums are burgeoning across the larger cities of China. This article provides an empirical example of how contemporary and avant-garde art is produced and valuated in the art communities that thrive on the recent international recognition of Chinese artworks. It addresses some of the effects that occur when art production becomes mediated by cultural entrepreneurs and propelled by resourceful investors. Challenging notions of autonomy and independence in the sphere of a

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Lopatkova, Alisa. "Evaluation of Contemporary Art in the Process of Production, Distribution and Consumption." Inter 16, no. 1 (2024): 16–30. http://dx.doi.org/10.19181/inter.2024.16.1.2.

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How does the art community evaluate contemporary art? This question is discussed based on 16 interviews with artists, gallery owners, curators, and collectors. The contemporary art market is conceptualized as a “creative industry that unites actors involved in the production, distribution, and consumption of art objects. The research methodology is based on the anthropological approach of Igor Kopytoff and the discursive psychology of Rom Harré, according to which the history of the movement of cultural objects through social space and the discourses accompanying them are sources of symbolic v

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Rusin, R. M. "POSTMODERNISM: AESTHETICS AND THE ART OF VIRTUALITY." UKRAINIAN CULTURAL STUDIES, no. 1 (4) (2019): 67–69. http://dx.doi.org/10.17721/ucs.2019.1(4).13.

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At the end of the 20 and the beginning of the 21 century as a result of the changes that took place in art, there was a need for a theoretical re- thinking of artistic practices. This task was assumed by artists, art critics, art critics and other agents of the artistic world, trying to clarify the pos- sibility of a new vision of art, give it an objective assessment. Obviously, understanding the specifics of contemporary art is not so much in the assessment itself, but in clarifying the fundamentals of a different understanding of such concepts as "classical art", "contemporary art," "virtual

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Roslan, Aimi Atikah, and Syed Alwi Syed Abu Bakar. "Contemporary Colors in Artworks." Idealogy Journal 4, no. 2 (2019): 20–27. http://dx.doi.org/10.24191/idealogy.v4i2.143.

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The purpose of this study is to discuss on contemporary colours in artwork. Contemporary colours have developed a bridge between theory and practice, particularly in the production of works of art. While other studies have been conducted on colours solely, this one focuses on the relationship between artwork and contemporary colours. This teaches the reader that contemporary colours are an integral component of the world of painting and design art. The study of contemporary colours employs artwork to address the subject about the significance of modern colours. As a result, the significance of

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Natasha, Marzliak. "Transmedia Art of Instauration and Art Discourse: Moving Images and New Technologies in Contemporary Art Spaces." Art Style, Art & Culture International Magazine 4, no. 4 (2019): 53–71. https://doi.org/10.5281/zenodo.4162405.

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Art Style | Art & Culture International Magazine Abstract From an increase that had its first hybrid experiments in the 1960s and 1970s, contemporary art crosses borders, opens passages and displaces spaces and temporalities by contaminating itself with resources from various media. In the audiovisual context, it is characterized the deepening of works that involve the mutual contamination of the fields of cinema, video, sound, literature, dance, performance and also new digital technologies in order to inhabit spaces of immersion; built environments that happ

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Haifa Ali Alhedaithy, Haifa Ali Alhedaithy. "Al-Qatt Al-Asiri Art as an Experimental approach to produce a contemporary sculpture works based on the light art: فن القَطْ العسيري كمدخل تجريبي لإنتاج أعمال نحتية معاصرة قائمة على فن الضوء". مجلة العلوم الإنسانية و الإجتماعية 6, № 4 (2022): 118–35. http://dx.doi.org/10.26389/ajsrp.s281121.

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The study aimed to identify the art of Al-Qatt Al-Asiri, identify the concept of contemporary sculpture, and clarify the art of light, in addition to employing the art of Al-Qatt Al-Asiri as an experimental approach to the production of contemporary sculptural works based on the art of light. To achieve this, the descriptive analytical method was used, by addressing the art of Al-Qatt Al-Asiri, contemporary sculpture, and the art of light. And also, the use of the experimental method in the study through the researcher’s implementation of a number of contemporary sculptural works inspired by t

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Jana, I. Made, I. Wayan Sujana, and I. Ketut Muka. "Drawing Pattern On Novels In Contemporary Art." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 2, no. 1 (2019): 40–47. http://dx.doi.org/10.31091/lekesan.v2i1.751.

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This study is prompted by the concern over stagnant rates of creation in producing contemporary statues in Bali, both in the northern and southern regions, by using stone, wood, and metal mediums. The technology of using gips (plaster of Paris) is easier in statue production, however dismisses innovation in the process. The researcher took interest in I Wayan Sujana’s 10 years long research (2007-2017) on transferring of the unconscious onto art from novels (books). Based on that research I Wayan Sujana produced thousands of drawings with rich periodicity patterns. Those patterns are reviewed

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Hakim, Salima. "You Selfie, Therefore We Are: Indonesian Contemporary Art Consumption, Production and It's Dynamics." International Journal of Creative and Arts Studies 4, no. 2 (2018): 75–90. http://dx.doi.org/10.24821/ijcas.v4i2.1967.

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There has been a significant growth of enthusiasm and audience in the contemporary art events in Indonesia for the past ten years. Technology today plays a big role in creating complex yet dynamic relations between the audience, the artwork and the artist. It is widely recognized that nowadays, selfies are a common ritual also seen in art exhibitions and is often at the core of how the audience consumes and interacts with the artwork and the artist. This research will seek to examine how selfie as method of art consumption changes the function, relation as well as dynamics between the audience

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Dholakia, Ruby Roy, Jingyi Duan, and Nikhilesh Dholakia. "Production and marketing of art in China." Arts and the Market 5, no. 1 (2015): 25–44. http://dx.doi.org/10.1108/am-10-2013-0023.

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Purpose – The purpose of this paper is to explore how art production and marketing in China is attempting to move up the value chain as increasing number of Chinese replica-selling galleries seek to break free from the image of Chinese art towns as skilled but imitative centres of art production. Design/methodology/approach – In-depth interviews were conducted among seven gallery owners in Wushipu art village over three weeks to discover how art production in China has evolved and to chart its future growth. Findings – In the Chinese setting with its distinctive cultural patterns, tensions bet

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Chi, Jia. "The Evolutionary Impact of Artificial Intelligence on Contemporary Artistic Practices." Communications in Humanities Research 35, no. 1 (2024): 6–11. http://dx.doi.org/10.54254/2753-7064/35/20240006.

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This article explores the transformative influence of Artificial Intelligence (AI) on contemporary art, focusing on the integration of AI in creative processes, the reception of AI-generated art, and the ethical considerations it raises. As AI technologies become more sophisticated, they redefine artistic creation, collaboration, and interaction, expanding the traditional boundaries of art. By employing AI, artists access new tools for enhancing creativity, automating production, and engaging audiences through interactive installations. However, this integration also brings challenges, particu

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Abdrudan, Elena. "Relational Aesthetics and the Production of Meaning in Contemporary Art." Philobiblon. Transylvanian Journal of Multidisciplinary Research in the Humanities 28, no. 1 (2023): 119–30. http://dx.doi.org/10.26424/philobib.2023.28.1.09.

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Tam, Isabella. "Canton Express: Urbanization and contemporary Chinese art." Journal of Contemporary Chinese Art 7, no. 2-3 (2020): 241–60. http://dx.doi.org/10.1386/jcca_00028_1.

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Canton Express was a project situated within the larger exhibition Zone of Urgency in the Venice Biennale in 2003. It was the first comprehensive exhibition focusing on the relationship of urbanization and cultural landscape in the Pearl River Delta and presented on an international platform. Since the open-door policy in 1979, the Pearl River Delta played a pioneering role in China’s economic reform and urbanization throughout the 1980s and 1990s. This was resulted with unprecedent transformation of the cityscape and inhabitants’ lifestyle. More importantly, it defined the artistic context an

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Beris, Yeter, and Ismail Erim Gulacti. "Effects of fine art print artworks on the art viewer in contemporary art presentation." Journal of graphic engineering and design 13, no. 2 (2022): 21–28. http://dx.doi.org/10.24867/jged-2022-2-021.

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The social and cultural changes brought about by industrialization and the Industrial Revolution highlighted the value of printmaking as a new means of expression in artistic presentation. The innovative mechanical production methods influenced their artistic production through the interest and experimentation of many artists, whose numbers should not be underestimated. On the other hand, the transfer of examples of traditional Japanese printmaking (Ukiyo-e) to Europe in 1700-1900 caused profound effects on Western art, beginning with Impressionism, one of the modern art movements. Especially

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Zhang, Yue. "Governing Art Districts: State Control and Cultural Production in Contemporary China." China Quarterly 219 (July 24, 2014): 827–48. http://dx.doi.org/10.1017/s0305741014000708.

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AbstractContemporary Chinese artists have long been marginalized in China as their ideas conflict with the mainstream political ideology. In Beijing, artists often live on the fringe of society in “artist villages,” where they almost always face the threat of being displaced owing to political decisions or urban renewal. However, in the past decade, the Chinese government began to foster the growth of contemporary Chinese arts and designated underground artist villages as art districts. This article explores the profound change in the political decisions about the art community. It argues that

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Scalissi, Nicole, Alison Langmead, Terry Smith, Dan Byers, and Cynthia Morton. "Curatorial Practice as Production of Visual & Spatial Knowledge: Panel Discussion, October 4, 2014." Contemporaneity: Historical Presence in Visual Culture 4 (August 3, 2015): 143–57. http://dx.doi.org/10.5195/contemp.2015.151.

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The following is a transcription of a conversation between curators of art, science, and digital data about how their practice creates knowledge in their respective fields. Drawn from Pittsburgh’s rich institutional resources, the panelists include Dan Byers, (then) Richard Armstrong Curator of Contemporary Art, Carnegie Museum of Art; Dr. Alison Langmead, Director, Visual Media Workshop, Department of History of Art and Architecture, and Assistant Professor, School of Information Scienes, University of Pittsburgh; Dr. Cynthia Morton, Associate Curator of Botany, Carnegie Museum of Natural His

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Mondloch, Katie. "A Symphony of Sensations in the Spectator: Le Corbusier's Poème électronique and the Historicization of New Media Arts." Leonardo 37, no. 1 (2004): 57–62. http://dx.doi.org/10.1162/002409404772828148.

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This essay seeks to historicize the technological production of artistic virtual space, which is often misconstrued as having originated with contemporary new media art production. The author critically investigates Le Corbusier's Poème électronique, a 1958 automated multimedia performance commissioned by the Philips Corporation for its pavilion at the World's Fair in Belgium, as a paradigmatic example of much earlier attempts to create a spatialized, virtual experience in the spectator. The author argues that the highly disciplined spectatorship conditions of the Poème électronique have many

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KARTSEVA, EKATERINA A. "SCREEN FORMS AT BIENNIALS OF CONTEMPORARY ART." Art and Science of Television 16, no. 3 (2020): 11–30. http://dx.doi.org/10.30628/1994-9529-2020-16.3-11-30.

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Video today is a popular tool for artists of postmodern, poststructuralist, post-conceptual orientations. These practices have not yet developed their economic model and have spread mainly through biennials and festivals of contemporary art, as the main form of their comprehension and display. At the same time, “video art”, “video installations”, “video sculptures”, “video performances”, “films” at the exhibitions are far from an exhaustive list of strategies, stating a cinematic turn in contemporary art, where videos are considered among the basic tools of a contemporary artist and curator. I

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Foxwell, Chelsea. "The Painting of Sadness? The Ends of Nihonga, Then and Now." ARTMargins 4, no. 1 (2015): 27–60. http://dx.doi.org/10.1162/artm_a_00104.

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Nihonga (literally “Japanese painting”) is a term that arose in 1880s Japan in order to distinguish existing forms of painting from newly popularized oil painting, and even today it is a category of artistic production apart from contemporary art at large. In this sense, nihonga is the oldest form of a broader worldwide category of “tradition-based contemporary art.” While nihonga was supposed to encompass any form of “traditional” painting, however, in practice it was held together by a recognizable style. When nihonga stopped fulfilling certain material or stylistic criteria, it ceased to be

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Macrae, Graeme. "Negotiating Architecture Worlds in Indonesia: The Work of Eko Prawoto." Copenhagen Journal of Asian Studies 29, no. 1 (2013): 92–119. http://dx.doi.org/10.22439/cjas.v29i1.4022.

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The notion of 'art worlds' is useful for thinking about meetings of meaning in art, and by implication architecture, across boundaries of nation, culture and identity. Because architecture is less easily separated than some other arts from the conditions of its material production, it inevitably sits, often uneasily, between these material conditions and its status as 'art'. The aim of this article, which began life as an exploration of the relationship between contemporary architecture and national identity in Indonesia, is to adapt the notion of 'art worlds' to architecture and to use it to

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Howard, Jay R., and John M. Streck. "The splintered art world of Contemporary Christian Music." Popular Music 15, no. 1 (1996): 37–53. http://dx.doi.org/10.1017/s0261143000007959.

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For many, art is a product: the painting to be observed and contemplated, the concert to be heard and enjoyed. There is, however, another conception of art – art as activity – and it is in this context that Howard Becker (1984) develops his concept of art worlds. Art worlds, Becker argues, include more than the artists who create the work which the public commonly defines as art. Any given art world will consist of the network of people whose co-operative activity produces that art world's certain type of artistic product (Becker 1984, p. x). Organised according to their knowledge of the art w

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Kosut, Mary, and Lisa Jean Moore. "Bees Making Art." Humanimalia 5, no. 2 (2014): 1–25. http://dx.doi.org/10.52537/humanimalia.9949.

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In many cultural fields honeybees reveal themselves as a highly generative species; one that humans have become dependent on. Within the backdrop of Colony Collapse Disorder, this essay examines how live bees are used in the production of art works. Historically, bees have been an absent presence in art as artists have relied upon bees for the raw material they create (wax, honeycomb) and for their metaphorical value. Most recently, bees themselves have become art by being transformed into sculptural objects or employed in collaborative insect/human performances that depend upon their embodied

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Jeon, Hye Sook. "The Relation of Contemporary Art and Knowledge Production in Ecological Era." Trans-Humanities 12, no. 2 (2019): 113–19. http://dx.doi.org/10.35651/th.2019.10.12.2.113.

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Al-Shimare, M. Shaimaa Ali Flaieh Mazban. "The Impact of Conceptual Art On Contemporary Saudi Arabian Islamic And American Ceramics In Light Of The Concept Of Globalization." Al-Irfan : Journal of Arabic Literature and Islamic Studies 7, no. 1 (2024): 107–26. https://doi.org/10.58223/al-irfan.v7i1.280.

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The current research dealt with the study (The impact of conceptual art on contemporary Saudi Arabian and American ceramics in light of the concept of globalization). The researcher relied on the descriptive (analytical) method by describing and analyzing samples from the research to achieve the research objective. This was done to search for indicators derived from the theoretical framework as benchmarks in analyzing the research sample. The result reached by the researcher is that globalization has generally dominated art, including contemporary ceramics, which has influenced the form and co

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Syed Abu Bakar, Syed Alwi, Azian Tahir, and Ishak Ramli. "The Ecological Model of Visual Artists in the Malaysian Contemporary Visual Arts Industry: A Framework Proposal." Idealogy Journal 3, no. 2 (2018): 69–74. http://dx.doi.org/10.24191/idealogy.v3i2.71.

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The increasingly challenging and competitive artwork production environment has prompted visual artists to have an arrangement of state-of-the-art art production practices. Currently, the system of production and marketing of works does not have a clear guideline in the industry that can help in the survival of professional visual artists in Malaysia. Therefore, this study is designed to get clear feedback from those who are already active in this industry related to the challenges faced and the marketability of the works of visual artists to continue to compete in the local and international

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Fadeeva, T. E. ""UNION" OF AN ARTIST WITH A NON-HUMAN AGENT: UTOPIA OR A WORKING MODEL OF ARTISTIC PRODUCTION?" Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 25, no. 88 (2023): 108–15. http://dx.doi.org/10.37313/2413-9645-2023-25-88-108-115.

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The subject of the article: works of contemporary art created by non-human agents, on the example of which one can analyze the ways of interaction of contemporary artists with non-trivial media (algorithms, robots, "half-life artists", etc.). The object of the article: the impact of technological innovations on contemporary art production, as well as the need, in connection with the artist's appeal to science and the latest technologies, to rethink the goals and objectives of communication through images and the very concept of art. The purpose of the project: to update the information for the

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Salbiah Kindoyop, Mohammad Puad Bebit, and Mfazmi Hisham. "BORNEO BATIK PATTERN PRODUCTION CONCEPT." Jurnal Gendang Alam (GA) 14, no. 2 (2024): 137–47. https://doi.org/10.51200/ga.v14i2.5781.

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ABSTRACT Batik art is famous with unique designs and patterns, which display the beauty of textile art and reflect the values and cultural identity of the community. In Malaysia, there are four main motifs recognized: floral, fauna, geometric, and abstract patterns. Among the popular motifs are plants such as bamboo shoots, ylang-ylang flowers, champaca, and others. The batik art in Sabah also possesses its own unique characteristics and identity based on its designs and patterns. This paper discusses the concept of producing contemporary batik patterns in Sabah, focusing on aspects of creat

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Chubarov, Igor M., and Elina V. Samokhvalova. "Art without an Artist: On the Question of the Criteria of Contemporary Art." Čelovek 34, no. 5 (2023): 130–48. http://dx.doi.org/10.31857/s023620070028506-3.

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The article raises the question of the authorship of works of contemporary art, the institutional nature and socio-economic conditions of its production, as well as the spatial and media-aesthetic mediations of its perception. The main research problem is formulated at the intersection of two questions: is everything that artists produce may be considered art? And: are artists the only authors of the works they signed? The problem is the appearance of a commodity form for works of contemporary art, which does not interfere with them, but, on the contrary, becomes a condition for their social a

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Adie, Anthonia Ugiebeme. "Art and Technology: Graphic art." International Journal of Arts and Social Science 5, no. 3 (2023): 252–67. https://doi.org/10.5281/zenodo.7751120.

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The emergence of technologies has led to advancement in art production. Over the years, the field of art has witnessed a great transformation as a result of technology. Technology has redefined the art field in terms of art materials, medium and means of production thereby giving art a different dimension. Contemporary art practices are far appreciated now than before as a result of the fusion of technology. Graphic art practices have changed rapidly from what it used to be before early 19th century. There are technologies that have been used by graphic artists in creating suitable designs for

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DEMIDOVA, OLGA, and VLADISLAV REZEN’KOV. "CONTEMPORARY POP CULTURE: PHENOMENOLOGY, AXIOLOGY, AESTHETICS." Studia Humanitatis 12, no. 1 (2019): 24–29. http://dx.doi.org/10.15393/j12.art.2019.3363.

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The article discusses pop culture as a modern phenomenon, the authors analyz-ing the notion of pop culture, its connection with «the mass», the axiological sys-tem of the young technological age generation as well as with the technical pro-gress as the basis of the epoch under discussion. Besides, comparing mass culture works (artefacts) with and juxtaposing them to those of classical culture, the au-thors explore pop culture structure and its connection with mass production conditioning the consumer society standards. Among of the foci of attention are the role of cinema in the formation, dev

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ÇOLAK, Erdem. "CONTEMPORARY ART AND THE CRITIQUE OF EVERYDAY NATIONALISM." Moment Journal 9, no. 2 (2022): 370–92. http://dx.doi.org/10.17572/mj2022.2.370-392.

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In discussions of everyday nationalism, bottom-up readings of nationalism that take into account human activities have brought a remarkable dynamism to the study of both nationalism and everyday life. However, since most of the studies on everyday nationalism focus on how ordinary people construct their national identities in everyday life, they do not sufficiently address the relations of production and distribution of critiques of nationalism produced in everyday life. This paper will discuss some artworks created by different artists from different countries around the world by intervening

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Knowles, Ric, and Robert Nunn. "The Theatre of Form and the Production of Meaning: Contemporary Canadian Dramaturgies." Canadian Theatre Review 106 (March 2001): 87–88. http://dx.doi.org/10.3138/ctr.106.017.

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The Theatre of Form is a welcome addition to the small library of books devoted to historical and critical analysis of contemporary English-Canadian theatre – books such as Diane Bessai’s Playwrights of Collective Creation, Alan Filewod’s Collective Encounters: Documentary Theatre in English Canada and Robert Wallace’s Producing Marginality: Theatre and Criticism in Canada. This book distills – potently – an argument about theatre that Knowles has been developing for a long time. This argument is about the relation of the arts to history and society, an argument that applies with special force

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Tagore-Erwin, Eimi. "Contemporary Japanese art: between globalization and localization." Arts and the Market 8, no. 2 (2018): 137–51. http://dx.doi.org/10.1108/aam-04-2017-0008.

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Purpose The purpose of this paper is to identify and analyze the influence that globalization has had on the development of the contemporary Japanese art production. The study also aims to expand the global narrative of Japanese art by introducing concepts behind festivals for revitalization that have been occurring in Japan in recent years. Design/methodology/approach Guided by Culture Theorist Nira Yuval-Davies’ approach to the politics of belonging, the paper is situated within cultural studies and considers the development of contemporary art in Japan in relation to the power structures pr

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Kraner, Kaja. "The Aesthetics of Relations: The Modernist, Contemporary and Post-Contemporary General Conceptualizations of Art." AM Journal of Art and Media Studies, no. 19 (September 15, 2019): 119. http://dx.doi.org/10.25038/am.v0i19.312.

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The article will juxtapose the modernist, contemporary and post-contemporary general conceptualization of art and aesthetic appearance of an artwork. Even though all three conceptualizations can be understood as intertwined because they are largely established in mutual relations, for our purpose they will be analyzed in terms of the basic epistemological terrain on which art enters the Western tradition of knowledge and power: the terrain of aesthetic education. The conceptualization of modernist art/artwork will mainly draw from its link with the autopoietic image of artwork/artistic creativ

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Dal Lago, Francesca. "The “Global” Contemporary Art Canon and the Case of China." ARTMargins 3, no. 3 (2014): 77–97. http://dx.doi.org/10.1162/artm_r_00095.

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This essay reviews the book Contemporary Chinese Art: Primary Documents edited by Wu Hung and published by the New York Museum of Modern Art in 2010, as part of an ongoing series aiming to introduce art critical texts produced in non-mainstream art locales to an English-speaking audience. Gathering a large number of translated critical essays, the book outlines the production of Chinese Contemporary Art since what is normally accepted as its onset in the late 1970s. This essay argues that this process of definition, legitimized by the prominent publisher of this book, amounts to a form of cano

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Negoiță, Ana. "Arta contemporană și granițele interdisciplinarității. Intersecționalitatea cu noile tehnologii și AI." Revista de filosofie 71, no. 6 (2024): 815–24. https://doi.org/10.59277/rf.2024.71.6.06.

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Contemporary art develops within an extremely rapidly evolving landscape, where paradigm and methodology changes are very dynamic. This is the context where technology plays an essential role, reshaping artistic practices, aesthetics and the relationship between the artist and the public, as well as the relationship with cultural institutions and museums, but also with the art market, in general. The study explores the interaction between contemporary art and new technologies, examining how new technological tools such as digital media, virtual reality, artificial intelligence and social media

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