Relevant bibliographies by topics / Contemporary Artist

Contents

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

Academic literature on the topic 'Contemporary Artist'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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Journal articles on the topic "Contemporary Artist"

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Stoleriu, Irina-Andreea. "A Contemporary Approach of Las Meninas." Anastasis. Research in Medieval Culture and Art 7, no. 1 (May 29, 2020): 137–49. http://dx.doi.org/10.35218/armca.2020.1.08.

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The present study is meant to underline the importance of a famous work from the baroque period, Las Meninas, made by the painter Diego de Silva y Velásquez who has become a source of inspiration for future generations of artists. Numerous modern and contemporary artists have integrally or partially ”paraphrased” Velásquez’s composition by intercepting the portrait of revolutionary group for the time when it was created, extremely innovative regarding its compositional qualities and its hidden meanings which underlined the role and status of the artist in the context of a conservative society. Thus, the painting becomes the living proof of the way in which the artist manages to overcome the limitations of the social status of ordinary human beings, by portraying himself as a close friend of the royal family and by opening, through this type of representation, an important chapter in the history of portraiture.
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Lai, Linda Chiu-han. "Contemporary “Women’s Art in Hong Kong” Reframed." positions: asia critique 28, no. 1 (February 1, 2020): 237–74. http://dx.doi.org/10.1215/10679847-7913132.

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This article is a report of an ongoing performative research project conducted by the author in the capacity of an experimental historian–cum–fellow artist to the research subjects. Performative research is meant to be deconstructive: enacting the “what-if-we-talk” point of departure, the researcher and her subjects reopen established conclusions and definitions and examine (rules of) inclusions and exclusions in the local art paradigm. The main tasks and methods that form the performative research are (re) naming, inscription, dialogues, and thick description. The author engaged female artists in conversations to solicit their self-portrayal as artists, or not; the importance of womanhood to their life and art making; and their use of feminism. The exchanges with six artists discussed here reveals the complex positions Hong Kong women occupy in sustaining artistic creation and innovation in Hong Kong, which reopens such questions as what is an artist and what is art making. This research supports a picture of art as being more about the process and the here-and-now moment than the final art object. Women’s art as a research framework productively points to a pervading mode of artistic practice that highlights collaboration, networking, and the making of relations, events, and situations. This performative approach also invokes all artists to become theory makers of their own practice.
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Anan, Nobuko. "Two-Dimensional Imagination in Contemporary Japanese Women's Performance." TDR/The Drama Review 55, no. 4 (December 2011): 96–112. http://dx.doi.org/10.1162/dram_a_00125.

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Contemporary Japanese visual artist Murakami Takashi's theory of “superflat” Japanese arts and culture is nationalist and masculinist. However, women artists—including Yanagi Miwa and the performers of the Takarazuka Revue and Kegawa-zoku—use two-dimensional aesthetics to challenge the nationalist and masculinist construction of Japanese womanhood.
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Sjöholm, Jenny, and Cecilia Pasquinelli. "Artist brand building: towards a spatial perspective." Arts Marketing: An International Journal 4, no. 1/2 (September 30, 2014): 10–24. http://dx.doi.org/10.1108/am-10-2013-0018.

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Purpose – The purpose of this paper is to analyse how contemporary artists construct and position their “person brands” and reflects on the extent to which artist brand building results from strategic brand management. Design/methodology/approach – A conceptual framework proposes a spatial perspective on artist brand building to reach an analytical insight into the case of visual artists in London. The empirical analysis is qualitative, based on serial and in-depth interviews, complemented by participant observations. Findings – Artist brand building relies on the creation and continuous redefinition of “in-between spaces” that exist at the blurred boundaries separating an individual and isolated art studio, and the social and visible art scene. Artist brand building is a bundle of mechanisms that, mainly occurring without strategic thinking, are “nested” within the art production process throughout which learning, producing and performing are heavily intertwined. Research limitations/implications – This study was undertaken with a focus on visual artists and specific operations and spatialities of their individual art projects. Further empirical research is required in order to fully explore the manifold of practices and spatialities that constitute contemporary artistic practice. Practical implications – This study fosters artists’ awareness of branding effects that spillover from artistic production, and thus potentially opens the way to a more strategic capitalization on these. Originality/value – The adopted spatial perspective on the process of artist brand building helps to uncover “relatively visible” and “relatively invisible” spatialities that, usually overlooked in branding debate, play a significant role in artist brand building.
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Warren, Kate. "Double Trouble: Parafictional Personas and Contemporary Art." Persona Studies 2, no. 1 (May 17, 2016): 55–69. http://dx.doi.org/10.21153/ps2016vol2no1art536.

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Across the news and entertainment media there is an increasingly prevalent phenomenon: actors, performers and artists who play “versions of themselves”. This paper explores the entertaining and critical potentials of this strategy, which I term “parafictional personas”. I draw upon Carrie Lambert-Beatty’s theorisation of the parafictional as a critical mode that has developed out of (and in tension with) the “historiographic turn”. Parafictional personas are a specific iteration, characterised by two key components: they compulsively imbue every opportunity with layers of interconnections and self-reflexive moments; and they involve artists and performers appropriating their own “proper name”, constructing fictionalised doubles of themselves. While found widely across media, my central focus is contemporary visual art, analysing two key examples, Israeli–American artist Omer Fast and Lebanese artist Walid Raad.These artists are significant because their personas are not simply means of performing themselves as individuals; they are integrated into the ways the artists approach contentious, still unfolding events of contemporary history. Parafictional personas have the potential to thoroughly embed fictional constructs within reality, because of the difficulties in separating elements represented by the same proper name. Their critical potential lies in the ways that they make visible the difficulties of maintaining clear distinctions between historical and fictional, social and individual narratives. Parafictional personas confound cultural desires to order, categorise and “make sense” of historical narratives. They reveal how much we as viewers (and societies) search for ideas of truth and resolution, even if such truths are presented as incomplete, questionable, or irresolvable.
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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, despite the pluralization of Chinese society and the inroads of globalization, the government maintains control over the art community through a series of innovative mechanisms. These mechanisms create a globalization firewall, which facilitates the Chinese state in global image-building and simultaneously mitigates the impact of global forces on domestic governance. The article illuminates how the authoritarian state has adopted more sophisticated methods of governance in response to the challenges of a more sophisticated society.
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Gade, Solveig. "THE PROMISE OF THE INDEX IN CONTEMPORARY DOCUMENTARY PERFORMANCE." Nordic Journal of Aesthetics 27, no. 55-56 (November 7, 2018): 41–64. http://dx.doi.org/10.7146/nja.v27i55-56.110753.

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This essay investigates the troubled status of the concept of the index and its concomitant notion of evidence within the context of a global, visual culture. Specifically, the essay centres on the notion of the index in an era, where the use of digital images claiming to truthfully represent war and conflict has become an increasingly important part of warfare. Focusing on two documentary works by respectively performance artist Rabih Mroué and visual artist Abu Lawrence Hamdan (Forensic Architecture), the article shows that whilst both artists rely on material documents, which in each their way index back to conflictual events, the crucial point is not so much the status of the evidentiary material per se. Instead, enabled by fictitious strategies, the artists invite us to pay attention to the differing statuses and meanings assigned to documents depending on the particular knowledge systems and spaces of appearance within which they are perceived. In this way, the essay argues, the works of Mroué and Hamdan help us move beyond the discourses within documentary theory, which tend to conform to either a postmodernist relativist position or a realist epistemology.
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McMaster, Gerald. "Contemporary Art Practice and Indigenous Knowledge." Zeitschrift für Anglistik und Amerikanistik 68, no. 2 (June 25, 2020): 111–28. http://dx.doi.org/10.1515/zaa-2020-0014.

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AbstractIndigenous artists are introducing traditional knowledge practices to the contemporary art world. This article discusses the work of selected Indigenous artists and relays their contribution towards changing art discourses and understandings of Indigenous knowledge. Anishinaabe artist Norval Morrisseau led the way by introducing ancient mythos; the gifted Carl Beam enlarged his oeuvre with ancient building practices; Peter Clair connected traditional Mi'kmaq craft and colonial influence in contemporary basketry; and Edward Poitras brought to life the cultural hero Coyote. More recently, Beau Dick has surprised international art audiences with his masks; Christi Belcourt’s studies of medicinal plants take on new meaning in paintings; Bonnie Devine creates stories around canoes and baskets; Adrian Stimson performs the trickster/ruse myth in the guise of a two-spirited character; and Lisa Myers’s work with the communal sharing of food typifies a younger generation of artists re-engaging with traditional knowledge.
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Sharma, Yam Prasad. "Contemporary Nepali Arts: Blurring the Boundaries among Art Genres." Curriculum Development Journal, no. 42 (December 4, 2020): 48–56. http://dx.doi.org/10.3126/cdj.v0i42.33212.

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Some contemporary Nepali artworks have blurred the boundaries among different art genres like sculpture, painting, music, drama, photography and literature. In a single artwork, we can view the elements of two or more art forms. Three dimensional real objects are put on the two dimensional surface like canvas. Three dimensions are the special characteristics of sculpture whereas there are only two dimensions in painting. Three dimensions in the painting are illusions created by the use of light and shade, and gradation of colors. Artists use photographs and paintings simultaneously in the same work. They take references from photographs and present them in canvas. They also present their paintings, sculptures and photographs along with music, recitation of poems and performance. Some of their canvases present painting and poem side by side in the single space. Both visual art and verbal art coexist in the single canvas. The artists’ creative urge goes beyond all boundaries, codes and established rules of arts. They do not follow the conventional techniques of creating arts. They experiment with forms, techniques, contents and medium. A single artwork has its own way of creation which may not be applicable to other artworks created by the same artist. The artist does not follow these trends but his work may set the new trend for other artists.
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Jasper, David. "The Artist and Religion in the Contemporary World." Text Matters, no. 1 (November 23, 2011): 216–27. http://dx.doi.org/10.2478/v10231-011-0016-5.

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Although we begin with the words of the poet Henry Vaughan, it is the visual artists above all who know and see the mystery of the Creation of all things in light, suffering for their art in its blinding, sacrificial illumination. In modern painting this is particularly true of van Gogh and J.M.W. Turner. But God speaks the Creation into being through an unheard word, and so, too, the greatest of musicians, as most tragically in the case of Beethoven, hear their sublime music only in a profound silence. The Church then needs to see and listen in order, in the words of Heidegger, to learn to "dwell poetically on earth" before God. To dwell thus lies at the heart of its life, liturgically and in its pastoral ministry, as illustrated in the poetry of the English priest and poet, David Scott. This can also be seen as a "letting go" before God and an allowing of a space in which there might be a "letting the unsayable be unsaid" and order found even over the abyss. This is what Vladimir Nabokov has called "the marvel of consciousness" which is truly a seeing in the darkness. The poet, artist and musician can bring us close to the brink of the mystery, and thus the artist is always close to the heart of the church's worship and its ministry of care where words meet silence, and light meets darkness. Such, indeed, is the true marvel of consciousness in the ultimate risk which is the final vocation of the poet and artist, as it was of Christ himself, and all his saints. The church must be ever attentive to the deeply Christocentric ministry of art and the creative power of word and image in the letting the unsayable be unsaid. With the artist we may perhaps stand on Pisgah Height with Moses with a new imaginative perception of the divine Creation. The essay concludes on a personal note, drawing upon the author's own experience in retreat in the desert, with a reminder of the thought of Thomas Merton, a solitary in the community of the Church.
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Dissertations / Theses on the topic "Contemporary Artist"

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Chambers, Janet Denise. "Three contemporary Korean artists." Thesis, University of Canterbury. Humanities, 2012. http://hdl.handle.net/10092/7822.

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This thesis examines the work of three Korean contemporary art practitioners: Lee Ufan (b. 1936), Lee Bul (b.1964) and the collective flyingCity (formed 2001). Lee Ufan is a senior Korean sculptor, painter and writer, who, during a long and productive career, has been based in Tokyo and Paris, and is now recognised in Korea, as well as internationally. Both Lee Bul and flyingCity have participated in projects at the Govett-Brewster Gallery for Contemporary Art in New Plymouth, New Zealand. These three art practices demonstrate a trend during the last fifty years from the individual artist working in a studio (Lee Ufan), to the artist moving from city to city making and showing artworks (Lee Bul), to artist collectives, working with community groups in the mode of relational aesthetics (flyingCity).
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Serig, Daniel. "Visual metaphor and the contemporary artist ways of thinking and making." Saarbrücken VDM Verlag Dr. Müller, 2005. http://d-nb.info/989351890/04.

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Salter, Carson (Carson Charles). "Ambi_ : enterprise artworks, the artist-consultant, and contemporary attitudes of ambivalence." Thesis, Massachusetts Institute of Technology, 2013. http://hdl.handle.net/1721.1/82279.

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Thesis (S.M. in Art, Culture and Technology)--Massachusetts Institute of Technology, Dept. of Architecture, 2013.
Cataloged from PDF version of thesis.
Includes bibliographical references (p. 82-85).
This thesis will discuss selected cases in which artists have undertaken projects directly relating to a business practice, and the relevant terms for understanding those projects. In the absence of a physical product (as is often the case with conceptual artwork and knowledge-based production), we rely on other ways of understanding the producer's work: typically, we look to distinctions amongst familiar production categories and supposedly strict differences in the native behaviors of artists or businessmen. Where these hard categories may once have helped identify the source and intent of work, they seem to hinder apt description in contemporary practice. I will argue that comprehension of current artistic undertakings requires an ontology of a middle position-between art and business-and regard for sustained attitudinal ambivalence. This paper aims to aid the reading of the growing field of artistic undertakings that deal with business practices, especially focusing on those in which an artist avails knowledge to a non-art market. To this end, the thesis lays out the methods and poetics of such projects in sections titled CASES and TERMS. The first chapter provides a background for enterprise artworks, and overviews the development of the terms Enterprise Culture and the New Spirit. The second chapter focuses on the artist-consultant (two cases, Artists Placement Group & Ocean Earth) and unpacks the spatial and embodied nature of the corporate language that they use. The third chapter surveys contemporary cases of artists working in this field, and describes the ambiguity and ambivalence with which they operate. These three chapters will progressively bring the reader, chronologically and topically, to an understanding of current projects in this field, and (hopefully) pragmatic thinking about their potential. The thesis functions as an analysis of artistic undertakings as well as positioning statement for the author, as ambi_
by Carson Salter.
S.M.in Art, Culture and Technology
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Pringle, Emily. "The artist as educator : an examination of the relationship between artistic practice and pedagogy within contemporary gallery education." Thesis, University College London (University of London), 2008. http://discovery.ucl.ac.uk/10006682/.

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Pilca, Ana-Irina [Verfasser]. "Regimes of Visual Representation in Selected Contemporary Anglophone Female Artist Novels / Ana-Irina Pilca." München : Verlag Dr. Hut, 2020. http://d-nb.info/1219475777/34.

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Chubb, Shirley Jane. "Intervention, location and cultural positioning : working as a contemporary artist curator in British museums." Thesis, University of Brighton, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.479071.

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Stroud, Zelda. "Making matters : the hand of the artist in contemporary South African sculpture / Creative work: Vanities." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/62658.

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This research stems from the view that although the twenty-first century has witnessed a return to the skilfully crafted art object, many of these artworks are not made by the artists, but produced instead by fabricators and assistants according to the specifications of the artists. Some of these artists lack the relevant skills to produce any material portion of their artworks and, in addition, may have no interest in developing those particular skills, instead relying solely on the craftsmanship of others. I contend, in this study, that many valuable benefits, inherent in an artist's personal engagement with the material, are lost to the artist and the artwork, as well as to the viewer of the artwork, when the artwork is outsourced and produced by others. My research, via questionnaires and an interpretative analysis of critical theory, argues that the act of personally making one's own work provides a number of psychological rewards to the artist, in addition to other advantages such as the development of a laboriously achieved signature style, enhanced creativity and the opportunity to exploit serendipity. Supplementary to this, four South African sculptors, who conceive of and make their own work, have provided their individual insights into the experience and value of personal art-making. My individual experience, as a sculptor of both personal and commissioned works, forms a significant aspect of the study due to my familiarity with the 'hands-on' experience of making, the need to outsource larger work, and in addition, deadlines which require the type of digital assistance which, arguably, creates a further loss of connection between the artist and the artwork. An examination of the perceived value of skills in general, and skilled art-making in particular, contributes to my research's call for a return to the employment of both the artist's head and hand in the creation of art in general, and sculpture in particular. This research contributes to an existing body of knowledge that argues for a return to skill and a renewed appreciation of the value inherent in material contact with the artwork, in order to reduce the current tendency towards a disconnect between the artist and their work.
Dissertation (MA)--University of Pretoria, 2017.
Visual Arts
MA
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Gumbi, Bandile. "What do the videos of Thando Mama Communicate? - As a Black Contemporary Artist in South Africa." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23348.

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This paper aims to discuss the video art work of Thando Mama as an example of a black South African video artist. It takes in mind the reality that video art in South Africa has high entrance barriers due to the technological knowledge resources needed to practice thus becomes an elite art. The paper also contextualises video art within its historical practice as an avant garde art as well as its social development usage. Mama's videos are a tool to communicate identity issues as represented in contemporary art with a particular focus on the South African experience.
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Gainer, Katelyn Yvonne. "Self-Representation and the Contemporary Female Artist: Challenging the Narrative Through the Work of Renee Cox." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent155654142406468.

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Ottinger, Gustav. "Contemporary brand strategy creation and portrayal of a music artist on social media : A management perspective." Thesis, Luleå tekniska universitet, Institutionen för ekonomi, teknik och samhälle, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-67094.

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The technological advancements in the web 2.0 era have been argued to have had a great impact on creating brand strategy and conducting communication. The music industry is categorized as a high interactivity industry, thus the interaction between marketing practitioners and consumersis high in its nature. Though, as consumers are empowered to either engage with or ignore marketing campaigns, the importance is argued for developing a deeper relationship between the brand and the consumer. Thus, how to strategically create the brand to reach the target audience has become the challenge. Once managed to establish the brand with a congruity, leveraging the marketing communication can set the foundation for retaining and establish relationships with the consumers. Therefore, the purpose of this thesis is to provide a deeper understanding on how brand strategy is created in the beginning of an artist’s career and how the brand is communicated in the online environment. From this, one research question was proposed; How do managers create brand strategies as a foundation for the portrayal of an artist’s brand on social media? This thesis has both a descriptive and exploratory nature with aqualitative and deductive approach. The strategy chosen for this study was a casestudy conducted with managers in the context of actively handling brand strategy creation and communication on social media. The collection of data was through interviews with managers from respectable companies within the music industry. The respondents chosen was based on a judgmental sampling, thus selected on the basis of their experiences and insights in an artist’s brand. The data suggests in correlation with theory, that the aim with the strategy takes the direction towards creating a foundation for a bond between the brand and the consumer in a consumer-brand relationship. Expressed in the findings, two perspectives exist when creating strategy and how each further affects what managerial decisions of the brand are based on namely; brand as a person or brand as a product. These two perspectives are each described as separate aspects in the initial stage of the creation of brand strategy. Though, in a longterm it was expressed that both perspectives are equally important to consider regardless of the initial focus to managed the discussed relationship.
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Books on the topic "Contemporary Artist"

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Clive, Phillpot, and Weatherspoon Art Gallery, eds. Artist/author: Contemporary artists' books. New York: Distributed Art Publishers, 1998.

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(Project), Imago Mundi, ed. Zimbabwe--occupation, artist: Contemporary artists from Zimbabwe. Italy: Fabrica, 2014.

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John, Gruen. The artist observed: 28 interviews with contemporary artists. Chicago: A Cappella Books, 1991.

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Gennadiev, Andrei. Andrei Gennadiev: Contemporary Leningrad artist. Sewickley, Pa. (429 Broad St., Sewickley 15143): International Images, 1986.

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Bahar, Ann. Contemporary artist dolls from Germany. Grantsville, Md: Hobby House Press, 1995.

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The artist portrait series: Images of contemporary African American artists. Carbondale: Southern Illinois University Press, 2001.

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The artist observed: 28 interviews with contemporary artists, 1972-1978. Chicago, IL: A Cappella Books, 1991.

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Blloshmi, Lumturi. Lumturi Blloshmi, an Albanian contemporary artist. [Tirana?]: Çabej, 1996.

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Rössel, Waugh Carol-Lynn, ed. Contemporary artist dolls: A collector's guide. Cumberland, Md: Hobby House Press, 1986.

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Harries, Hywel. Cymru'r cynfas: Pymtheg artist cyfoes = Wales on canvas : fifteen contemporary artists. 2nd ed. Talybont, Ceredigion: Y Lolfa, 1988.

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Book chapters on the topic "Contemporary Artist"

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Khanna, Stuti. "Artist’s City, City’s Artist." In The Contemporary Novel and the City, 124–50. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137336255_6.

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Kutis, Barbara. "The Artist-Parent Identity." In Artist-Parents in Contemporary Art, 1–7. New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429467981-1.

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Kutis, Barbara. "Articulating the Artist-Father." In Artist-Parents in Contemporary Art, 66–114. New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429467981-4.

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Gordon, Mel. "Performance Artist/Art Performer: Laurie Anderson." In Contemporary American Theatre, 195–204. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21582-9_11.

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Bunting, Madeleine. "The Policing of the Artist." In Performance and the Contemporary City, 214–15. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-12006-9_20.

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Kutis, Barbara. "A Collective Artist-Parent Identity." In Artist-Parents in Contemporary Art, 115–53. New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429467981-5.

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Kutis, Barbara. "The Future of Artist-Parents in Contemporary Art." In Artist-Parents in Contemporary Art, 154–56. New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429467981-6.

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Price, Graham. "Brian Friel: The Liar as Artist." In Oscar Wilde and Contemporary Irish Drama, 37–71. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-93345-0_2.

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Winegar, Jessica. "A Hometown Artist of the World: Sabah Naim (Visual Artist in Egypt)." In Muslim Voices and Lives in the Contemporary World, 149–61. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230611924_12.

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Kavanagh, Úna. "The Figurative Artist & ÚNA’N’ANU." In The Palgrave Handbook of Contemporary Irish Theatre and Performance, 393–97. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-137-58588-2_27.

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Conference papers on the topic "Contemporary Artist"

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Yustiono, Dr. "Art, Artist and Culture in 21st Century Indonesian Contemporary Art." In International Conference on Aesthetics and the Sciences of Art. Bandung, Indonesia: Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338675.

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Kraal, Erin, and Amy Pfeiler-Wunder. "PARTNERS IN PROCESS: A CONTEMPORARY COLLABORATION BETWEEN A SCIENTIST AND ARTIST." In GSA Annual Meeting in Seattle, Washington, USA - 2017. Geological Society of America, 2017. http://dx.doi.org/10.1130/abs/2017am-301430.

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Chun Wai, Wilson Yeung, and Estefanía Salas Llopis. "THE SPACE BETWEEN US." In INNODOCT 2020. Valencia: Editorial Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/inn2020.2020.11901.

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This article explores how to integrate the collective creation of contemporary art exhibitions, and how to transform exhibition works into contemporary language and novel visual art materials, thereby generating cultural exchange between Australia and Spain. The Space Between Us (2017- ), co-curated by Australian artist-curator Wilson Yeung and Spanish artist Estefanía Salas Llopis, resolve these questions by examining the contemporary art exhibition. This paper also asks how to transform art exhibitions into laboratories, how artists and curators work together in a collective innovation environment, how collective creation generates new knowledge, and how to develop collective creation among creative participants from different cultures and backgrounds.
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Kuzina, Lisa. "Tantric Corporeality Concept and Indian Modern Artist Jagdish Swaminathan." In 3rd International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iccessh-18.2018.119.

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Xu, Rui. "Role Changes of the Artist and the Curator." In Proceedings of the 4th International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iccessh-19.2019.327.

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Undiana, Nala Nandana, Dedi Warsana, Arief Johari, and Iwan Pranoto. "Accompaniment for Contemporary Artist in the Making of Documentary Film About Cultural Values at Kasepuhan Ciptagelar Indigenous Community." In 3rd International Conference on Arts and Design Education (ICADE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210203.034.

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Li, Nan. "The Interaction Between Artist and Poster Design Taking the Lithograph Poster During Art Nouveauq Movement in France as an Exampleq." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.34.

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Nolan, Collette, and Bill O'Flynn. "From space to place; Non-hierarchical collaborative strategies of teaching and learning in the Crawford College of Art and Design." In Learning Connections 2019: Spaces, People, Practice. University College Cork||National Forum for the Enhancement of Teaching and Learning in Higher Education, 2019. http://dx.doi.org/10.33178/lc2019.38.

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What does Learning look like? What are the embodied roots of the thinking process? We have posed these questions in the process of developing our research, workshops and curricula. How do we understand, engage with and investigate the everyday teaching and learning environment? Art practice is a complex process, and successful induction into the forms of teaching and learning practiced in the studio is critical to a student’s progress through art college. For contemporary artist/researchers working at the interface of art and pedagogy, education continues to be a central concern in their research. Contemporary artists such as Annette Krauss and her long-term project Hidden Curriculum (2008), art theorists such as Claire Bishop, Artificial Hells (2012), Richard Hickman (ed.), Research in Art & Design Education: Issues and Exemplars (2008), Graeme Sullivan, in his book Art Practice as Research (2005), all use and discuss arts-based approaches in educational research, and are important references to the contextual framework of this project. In a series of action research projects, conducted over the last five years with student volunteers in the Crawford College of Art and Design, we have explored phenomenological, collaborative approaches to teaching and learning, space and place, that encourage students to be active agents in their education and co-creators of their own learning environment. Our overall project aims to create an artistic, collaborative, non- hierarchical framework that encourages students and teachers to actively question and investigate the teaching and learning situation and relationships.
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Smulevich, Gerard. "The Digital Bauhaus." In 1995 ACSA International Conference. ACSA Press, 1995. http://dx.doi.org/10.35483/acsa.intl.1995.63.

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This paper describes the use of electronic space in a fourth year undergraduate architectural design studio. It attempts to address the importance of developing a design process that is redefined by the use of computing, integrating concept and perception. This goal is set in the studio exercise, an international student design competition to design an addition to the school of architecture at the original Bauhaus/Weimar. The studio involved re-evaluating the Bauhaus principles of integrating the artist and the craftsman, but in contemporary or post-industrial terms. In 1989 the Wall came down. Seamless access of western telecommunications and media became greatly responsible for the crumbling of the rigid machine-age soviet technocracy; and with it, the former east German city of Weimar, home to the first Bauhaus, was once again a living part of architectural history. When the Association of Collegiate Schools of Architecture announced an international student competition to design a new addition to the school of architecture at the original Bauhaus/Weimar, we immediately decided that this should be an Electronic Bauhaus.
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Ma, Wanshi. "The Artistic Expression in Contemporary China." In 2017 2nd International Conference on Education, Sports, Arts and Management Engineering (ICESAME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icesame-17.2017.203.

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Reports on the topic "Contemporary Artist"

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Rogers, Amanda. Creative Expression and Contemporary Arts Making Among Young Cambodians. Swansea University, May 2021. http://dx.doi.org/10.23889/sureport.56822.

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This project analysed the creative practices and concerns of young adult artists (18-35 years old) in contemporary Cambodia. It examined the extent to which the arts are being used to open up new ways of enacting Cambodian identity that encompass, but also move beyond, a preoccupation with the Khmer Rouge (1975-1979). Existing research has focused on how the recuperation and revival of traditional performance is linked to the post-genocidal reconstruction of the nation. In contrast, this research examines if, and how, young artists are moving beyond the revival process to create works that speak to a young Cambodian population.The research used NGO Cambodian Living Arts’ 2020 Cultural Season of performances, workshops, and talks as a case study through which to examine key concerns of young Cambodian artists, trace how these affected their creative process, and analyse how the resulting works were received among audiences. It was funded through the AHRC GCRF Network Plus Grant ‘Changing the Story’ which uses arts and humanities approaches to ‘build inclusive societies with, and for, young people in post-conflict settings.
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Galenson, David. The Careers of Modern Artists: Evidence from Auctions of Contemporary Paintings. Cambridge, MA: National Bureau of Economic Research, December 1997. http://dx.doi.org/10.3386/w6331.

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Sweeney, Liam. Free for All: Contemporary Arts Museum Houston. Ithaka S+R, September 2018. http://dx.doi.org/10.18665/sr.308086.

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Sweeney, Liam. Free for All: Contemporary Arts Museum Houston. Ithaka S+R, September 2018. http://dx.doi.org/10.18665/sr.309177.

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