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1
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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Tes, Agnieszka. "Silence, Spirituality and Contemplative Experience in Contemporary Abstract Paintings. Analysis of Selected Examples." Perspektywy Kultury 31, no. 4 (December 31, 2020): 207–24. http://dx.doi.org/10.35765/pk.2020.3104.14.
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In recent decades, there has been increasing interest in including the spiritual dimension in artistic practice and in discourse on art. This phenomenon seems to be universal but is definitely not homogenic. I examine it by referring to meaningful examples of abstract paintings from different cultural and religious backgrounds. I analyze artworks by two contemporary bicultural painters: the American-Japanese artist, Makoto Fujimura, and American-Iranian artist, Yari Ostovany. The Polish non-figurative artist Tadeusz G. Wiktor is also considered. Their oeuvre can be set within the larger context of great religious and spiritual traditions. I stress the influence of Oriental legacy in contemporary examples of abstract art. I investigate how the selected artworks refer to an invisible reality, and I focus especially on the silence they evoke. My aim is to show how contemporary non-figurative art can influence the viewer by creating a contemplative experience. I also place the selected artworks in the theoretical contexts presented by the artists themselves and refer to classical and contemporary texts.
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Mirkovic, Luka. "Hegemonies in Art: Struggles of an Aspiring Artist." Journal of Extreme Anthropology 1, no. 2 (September 7, 2017): 35–40. http://dx.doi.org/10.5617/jea.4884.
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A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essay considers the pressures young artists face in the contemporary art world, illustrated on the case of a young Viennese artist Kathrin Zobl.
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Félix-Jäger, Steven. "Creational Aesthetics and the Challenge of Conceptual Art." Religion and the Arts 20, no. 5 (2016): 663–73. http://dx.doi.org/10.1163/15685292-02005005.
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A trend in theological aesthetics is to advocate for a “creational aesthetic” when discussing the ontology and calling of the artist. In its essential form, a creational aesthetic affirms that artists honor the Creator God by creating art. In some way artists are functioning as God’s image when they make art. While this view is popular in the Christian engagement of the arts, it is uncertain if such an observation is the preeminent way of understanding the role of the artist. Can one be considered an artist if s/he is removed from the tactile process of making? In the contemporary art world, the role of the artist in visual art has come into question with a stronger emphasis on conceptuality, over and against construction. In this article I argue for an alternate way of understanding creational aesthetics that makes room for conceptuality in art.
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Dietrich, Linnea S. "Huda Lutfi: A Contemporary Artist in Egypt." Woman's Art Journal 21, no. 2 (2000): 12. http://dx.doi.org/10.2307/1358745.
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Sunder, Sumithra. "When Modern meets Contemporary." Artha - Journal of Social Sciences 15, no. 3 (July 1, 2016): 67. http://dx.doi.org/10.12724/ajss.38.4.
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Public spaces and institutions have often been linked when it comes to art practice in Bangalore. Whether it was the large-scale earthworks or the appropriation of heritage spaces taken on by artists, the spaces occupied by the public and the public art institutions have had a strong impact on the ways art gets produced in the city. There is also an additional element of reclaiming public spaces that is the struggle of most cities today. Since February this year, the artist community of Bangalore has protested against the move made by the government to 'hand over' the Venkatappa Art Gallery to a private entity. This has spurred a lot of conversations about public spaces and public resources in the city, specifically, in relation to art. Art history and the 'teaching of art' have often been celebrated as an achievement of European scholarship. It is true that a number of institutions set up to teach art in India are a colonial legacy, but what emerged post-independence is a culture of rejecting European aesthetics and trying to form a national one if it were. And in our era of postmodern/postcolonial awareness, there is a fluidity in the conduct of the institutions and in the understanding of public spaces that have contributed to the aesthetic of the contemporary artist. In the light of the recent events, this paper will examine the ways in which the art gallery and later the freeform collectives serve as educational spaces for students and subsequently, explore the implications of the lack of such spaces in the practice of art in contemporary times.
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Dumitriu, Anna. "Trust Me, I’m an Artist: Building Opportunities for Art and Science Collaboration through an Understanding of Ethics." Leonardo 51, no. 1 (February 2018): 83–84. http://dx.doi.org/10.1162/leon_a_01481.
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Ethical issues frequently arise in the production and exhibition of bioart, both as subject matter and as an issue in itself. This article explores how learning from the author’s experiences as lead project artist in the Creative Europe—funded Trust Me, I’m an Artist project, along with her work as a freelance artist, which is deeply embedded in laboratory settings around the world, can help build capacity and opportunities for artists and scientists to work together in interdisciplinary and transdisciplinary collaborations to address the societal and cultural implications of emerging bioscientific and biomedical research areas, attitudes to patient care, and public engagement in contemporary scientific research.
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Foley, Sean. "“The Distant Early Warning System”: The Online Public Sphere and the Contemporary Artistic Movement in Saudi Arabia." Review of Middle East Studies 53, no. 2 (November 27, 2019): 221–40. http://dx.doi.org/10.1017/rms.2019.43.
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Abstract“Social media,” Saudi artist Abdullah al-Shehri (known as Shaweesh) observes, is the “best tool we have available to showcase and express our art,” because it allows millions of Saudis to share and comment on a given work of art simultaneously. Building on this insight, this essay argues that Saudi artists, who have among the largest followings on the country's social media, have used the online public sphere to build a new social movement. They have adopted a role akin to Antonio Gramsci's concept of organic intellectuals – namely, men and women who are not part of the traditional intellectual elite, but who, through the language of culture, articulate feelings and experiences the masses cannot easily express. To paraphrase Ezra Pound, Saudi artists are the “antennae” of the kingdom's society, whose work is not “mere self-expression,” but, in the words of Marshall McLuhan, the “distant early warning system that can always be relied upon to tell the old culture what is beginning to happen to it.” As a leading Saudi artist Abdulnasser Gharem observed in June 2019, “people need to listen to the artist.”
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Podlednov, Denis. "The Phenomenon of Metamodernism in Contemporary Russian Art (On the Example of Paintings by V. Pushnitsky)." Ideas and Ideals 13, no. 1-2 (March 19, 2021): 425–41. http://dx.doi.org/10.17212/2075-0862-2021-13.1.2-425-441.
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The article is devoted to the analysis of the functioning of metamodernism in the field of Russian contemporary art. Researchers of metamodernism talk about the revival of historicity, depth and affect that were lost with the era of postmodernism. Metamodernism is characterized by oscillation, metaxis, new sincerity, neo-romantic sensuality, reconstruction, etc. In this paper, the author attempts to analyze markers of metamodernism in the visual arts using the example of the artist Vitaly Pushnitsky (St. Petersburg). The material for the study was a research interview with the artist V. Pushnitsky, as well as a semiotic and formal-stylistic analysis of his works (2015-2020). The author comes to the conclusion that through such markers of metamodernism as oscillation, reconstruction and appeal to new sincerity, the artist V. Pushnitsky seeks to show the reality in which the artist is at the stage of searching for new artistic means of expression. Along with this, through certain compositional and color features, V. Pushnitsky pays tribute to such artists as Pierre-August Renoir, Claude Monet, Leonardo da Vinci, Francis Bacon, as well as the Japanese poet I. Kosugi.
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Demir, Rabia. "ÇAĞDAŞ SANATTA TRAVMAYLA YÜZLEŞME BAĞLAMINDA MEKTUP." e-Journal of New World Sciences Academy 16, no. 3 (July 30, 2021): 189–200. http://dx.doi.org/10.12739/nwsa.2021.16.3.d0282.
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Events such as illness, death, violence, and war deeply affect the life of the individual or the social structure and cause radical changes and traumas. In the historical process of art, it is seen that artists are not indifferent to traumas, on the contrary, traumas constitute the center of their work. This article examines how the letter is handled as a means of communication between the artist and the audience in contemporary artworks that want to face personal or social traumas. In this context, examples of contemporary art that want to be aware of the traumas experienced, to tell them, to come to terms with the past and to achieve improvement in the name of the future, and using the letter as a means of expression, are included. In these works, where the letter is used as a means of expression and communication, the writer, reader or listener changes; the letter is written/read/listened to by the artist or the audience. Thus, the audience plays an important role as well as the letter in the emergence and completion of the work. This, in turn, turns the works into an interactive space, allowing to face the past and to realize the trauma experienced.
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D'Amato, Mark. "Chant Avedissian: A Contemporary Artist of Egypt; Encounters with the Contemporary." African Arts 35, no. 2 (July 1, 2002): 78–81. http://dx.doi.org/10.1162/afar.2002.35.2.78.
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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 (March 9, 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 and the artwork as a mean of identity construction. Furthermore, this article will also try to investigate how selfie, as method of contemporary art consumption, to a certain extend influence or even determine the production aspect of the artwork done by contemporary artists, particularly in the Jakarta Art Scene.
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Rivero Moreno, Luis D. "Artista contemporáneo busca público al que enfrentarse. Sobre el arte como hecho comunicativo." Liño 23, no. 23 (June 30, 2017): 147. http://dx.doi.org/10.17811/li.23.2017.147-158.
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RESUMEN:Desde comienzos del siglo XX, el objetivo de la vanguardia fue la ruptura con los condicionantes que limitaban la comunicación en el hecho artístico. Las tentativas de hacer fluir la comunicación entre artista y público se han basado en diversas estrategias: de la socialización de la creación a la disolución material de la obra como elemento intermedio. Gran parte del arte contemporáneo ha tratado de convertir al público en partícipe, o bien conseguir involucrar al artista en la sociedad. Una tercera salida será la de la presencia física de artista y público en un mismo lugar y mismo tiempo.PALABRAS CLAVE:Arte contemporáneo; semiología; artista; público; participación en el arte.ABSTRACT:Since the early twentieth century, the goal of the avant-garde was the break with the constraints that limited the artistic communication. The attempts of flowing communication between artist and audience have relied on different strategies: from the socialization of creation to the material dissolution of the work as intermediate between both. Much of contemporary art is built on the attempt to turn the audience into a participant, or get involve the artist in society. A third output will be the physical presence of the artist and audience in the same place and the same time.KEY WORDS:Contemporary art; semiology; artist; public; participation in art.
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Pietras, Karolina. "Who is the contemporary artist? Social representation of the artist among visual art students." Polish Journal of Applied Psychology 15, no. 1 (March 1, 2017): 107–26. http://dx.doi.org/10.1515/pjap-2015-0075.
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Abstract The paper presents the application of semantic field analysis to the reconstruction of the social representation of the contemporary artist among visual arts students. 124 students from the Faculty of Art of the Pedagogical University of Cracow and the Academy of Fine Arts in Krakow answered an openended question: Who is the artist in our time? The narrative material was used to reconstruct the equivalents, opposites, attributes, associations, activities of the subject and activities on the subject which constitute the semantic field of the concept “contemporary artist”. The conclusions, practical implications and direction for future studies are presented.
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Mikkola, Piia, and Riikka Nissi. "Myyntityötä ja osallistumisen säätelyä." AFinLA-e: Soveltavan kielitieteen tutkimuksia, no. 12 (April 16, 2020): 163–91. http://dx.doi.org/10.30660/afinla.84538.
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In this paper, we investigate the professional practices of hybrid artist-developers in contemporary working life. More specifically, we focus on a case where an artist instructs a theatre-based exercise in workplace training and study what kinds of skills it requires from the artist to act in this role outside the conventional art institutions. By utilizing the concept of sales work and investigating both the verbal and embodied resources in the design of the artists’ turn, we show how the position of the artist is both multifaceted and challenging. While inviting the audience members to participate in the exercise and directing its proceeding, the artist needs to constantly present the exercise in a favorable light – to “sell” it – as well as to reshape her actions according to the demands and turn-by-turn unfolding of the situation. We also show how the trainees can, for their part, regulate their participation in the exercise.
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Teh, David. "Festivity and the contemporary: Worldly affinities in Southeast Asian art1." Art & the Public Sphere 8, no. 2 (December 1, 2019): 131–45. http://dx.doi.org/10.1386/aps_00012_7.
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What is the place of the festival in the global system of contemporary art, and in that system’s history? Can the large, recurring surveys that are its most prominent exhibitions today even be considered festivals? Such questions become more pressing as sites newly embraced by that system take their place on a global event calendar, and as the events increasingly resemble those held elsewhere or merge with the market in the form of art fairs. What becomes of community and locality, of spontaneity and participation, as that market ‐ and art history ‐ takes up the uncommodified fringes and untold stories of contemporary art’s ever widening geography? This article stems from my research for a recent volume entitled Artist-to-Artist: Independent Art Festivals in Chiang Mai 1992‐98, concerning a series of artist-initiated festivals held in northern Thailand in the 1990s known as the Chiang Mai Social Installation. These gatherings, and others like them, suggest that while national representation was the usual ticket to participation on a global circuit, the agencies and currency of national representation were not essential determinants of contemporaneity; and that it was localism, rather than any internationalism, that underpinned the worldly affinities discovered amongst artists in Southeast Asia at that time. The sites of this becoming contemporary were festive, sites of celebration and expenditure rather than work and accumulation. What does this mean for contemporary art’s history and theory, and how might it change our understanding of the region’s art and its international currency today?
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Kettlewell, Neil M., and Sara B. Lipscomb. "Relative Importance of Factors concerning a Contemporary Artist's Background." Perceptual and Motor Skills 68, no. 3_suppl (June 1989): 1207–10. http://dx.doi.org/10.2466/pms.1989.68.3c.1207.
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This study investigated the importance of different factors or variables used by relatively naive people in judging the merits of a graphic artist. Subjects were university students who responded to a questionnaire in which they ranked 12 factors on importance in deciding the merit of an hypothetical artist. The analysis indicated that the rankings were not random and that ‘work shown in a museum’ was clearly the most persuasive indicator of merit. The ability of an artist to exercise some control over the perception of his work is discussed.
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Baltaziuk, Iryna. "DEVELOPMENT OF CREATIVITY WITHIN THE CONDITIONS OF CONTEMPORARY ARTMARKET." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 28 (December 15, 2019): 83–89. http://dx.doi.org/10.33838/naoma.28.2019.83-89.
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Article is dedicated to the research of creativity within the conditions of contemporary Ukraine art market. Author have discovered factors, that improve development of current art practice in academic and non academic artistic education. The article explores contemporary education centers, that forms connection between emergency artists and established artmarket, topical Ukraine art, contemporary art galleries and education institutions. As important element of contemporary art, academic education forms process of it’s development in quality, innovative and actual aspects. Such factors as creativity, “unconventional thinking”, intuition, esthetic competence, self development, emotional intellect, idea thinking and project vision improve development of current art practice in academic and non academic artistic education.Contemporary art requires from artist to develop deep vision on period, time and actuality of current events. This means that artist should be active in artistic and social sphere. New art stands for culture as phenomenon.Development of project approach in contemporary art effect appearance of new communication — network communication, when occurs partners and sponsors support. In this context started to develop national and international grant programs, residencies, educational centers, art institutions forming path for emergency artists to contemporary art field.The most popular educational centers in Kyiv, Ukraine: Modern art research institute, Art Arsenal, Pinchuk Art Centre, Kyiv academy of media arts, Art Ukraine Gallery, Port creative hub, Shcherbenko art center etc. The main feature that combine well known educational centers with several years of practice, and those that just opened is openness to the public. No matter of education, social status, or belonging to art school, everyone can gain experience from professionals.
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Romano, Donna. "In the service of artists – symbiosis and creative engagement in collection development strategy at NIVAL: National Irish Visual Arts Library." Art Libraries Journal 43, no. 3 (June 18, 2018): 127–36. http://dx.doi.org/10.1017/alj.2018.17.
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This paper explores the essential and dynamic relationship between the artist and the institution in building the public record of arts activity. It examines the lifecycle of artist-generated documentation and the various methods of engagement with the library that result in material contributions to the collection.Taking the view that NIVAL is an essentially democratic project in both collection development and access strategies, the paper presents an introduction to the genesis of the library, and outlines some of the ways in which contemporary artists are supporting the role of NIVAL as ‘living archive’. The paper examines a number of recent collaborative projects with practising artists including Jennie Guy, artists’ collaborative Floating World and National College of Art & Design Communication Design students that attest to the regenerative effect of direct engagement by artists in the process of legacy building.
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Vytkalov, Serhiy, and Volodymyr Vytkalov. "Ukrainian Artist in the Space of Contemporary Culture." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 4(49) (October 27, 2020): 48–67. http://dx.doi.org/10.31318/2414-052x.4(49).2020.220841.
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Dal Lago, A., and S. Giordano. "Watts Towers. Sam Rodia as a contemporary artist." Epidemiology and Psychiatric Sciences 24, no. 4 (July 2, 2015): 296–97. http://dx.doi.org/10.1017/s2045796015000438.
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Miller, Jason. "Posthumanist art: interview with contemporary artist Mel Chin." Text and Performance Quarterly 36, no. 4 (October 2016): 212–28. http://dx.doi.org/10.1080/10462937.2016.1234064.
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McKay, Carolyn Louise. "Covert: the artist as voyeur." Surveillance & Society 11, no. 3 (November 30, 2013): 334–53. http://dx.doi.org/10.24908/ss.v11i3.4504.
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An engagement with the aesthetics, rhetorics and methodologies of surveillance presents a canvas on which visual artists can critique, subvert or just play with emergent technologies. This paper probes artistic methodologies that implicate surveillance and the ethical tensions of appropriating the surveilled lives of strangers for creative pursuits. The ethically challenging practices of several contemporary artists are discussed including Sophie Calle, and the author reflects upon her own body of work. The role of the artist, the nature of the gaze, privacy versus artistic expression, surveillance as an art platform and the eternal tensions between objectivity and subjectivity of using a mechanical device/prosthetic eye are explored.The photos accompanying the article can be seen on the Surveillance & Society photostream at: http://www.flickr.com/photos/surveillance_and_society/sets/72157638275795465/
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Pageot, Edith-Anne. "Figure de l’indiscipline. Domingo Cisneros, un parcours artistique atypique." RACAR : Revue d'art canadienne 42, no. 1 (August 15, 2017): 5–21. http://dx.doi.org/10.7202/1040836ar.
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Between 1974 et 1996, the Canadian artist of Mexican origin Domingo Cisneros was seen as a leading figure in contemporary art in Canada. He played a major role in the process of self-determination that First Nations artists undertook following the infamous 1969 White Paper, the Statement of the Government of Canada on Indian Policy. Cisneros was recognized both in the Native and Quebec francophone contemporary art worlds, and was internationally acclaimed within the conceptual and contextual art milieu gathered around the Polish artist Jan Swidzinski. His contribution has nevertheless been forgotten. Coinciding with his seventy-fifth birthday, this article aims to review, conceptually frame, and contextualize Cisneros’s role and impact on the Canadian art scene. It argues that his interdisciplinarity, or “indiscipline,” was instrumental in building connexions and bridges between heterogeneous values, cultural protocols, and epistemological principles.
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Tyquiengco, Marina. "Source to Subject: Fiona Foley’s Evolving Use of Archives." Genealogy 4, no. 3 (July 9, 2020): 76. http://dx.doi.org/10.3390/genealogy4030076.
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Since the 1980s, multidisciplinary artist Fiona Foley has created compelling art referencing her history, Aboriginal art, and her Badtjala heritage. In this brief essay, the author discusses an early series of Foley’s work in relation to ethnographic photography. This series connects to the wider trend of Indigenous artists creating art out of 19th century photographs intended for distribution to non-Indigenous audiences. By considering this earlier series of her work, this text considers Foley’s growth as a truly contemporary artist who uses the past as inspiration, invoking complicated moments of encounter between Europeans and Aboriginal Australians and their afterimages.
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Abdelbaky, Fayrouz Samir. "Cityscape as an Inspiration for Contemporary Painting." Academic Research Community publication 1, no. 1 (September 18, 2017): 10. http://dx.doi.org/10.21625/archive.v1i1.106.
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Cityscape painting or Urban Landscape Painting is an art that depends on city scenes and their elements such as streets, buildings, types, composition and other city elements. This kind of art considers cities as a source of inspiration, because it reflects all the different sides of the cities like its identity, ancientness, modernity, size, density, interstitial space built forms, and of course the architectural design. Moreover, this research is concerned with this form of art that reflects all the differences between the artists’ technical trends and the artistic visions of each one separately. This will be discussed given the interest to find the mutual effective relationship between the artist and the city through an analytical comparison between different examples of paintings that dealt with cities as a subject.
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Bao, Hongwei. "Metamorphosis of a butterfly: Neo-liberal subjectivation and queer autonomy in Xiyadie's papercutting art." Journal of Contemporary Chinese Art 6, no. 2 (September 1, 2019): 243–63. http://dx.doi.org/10.1386/jcca_00006_1.
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Abstract Celebrated as 'China's Tom of Finland', Xiyadie is probably one of the best-known queer artists living in China today. His identity as a gay man from rural China and his method of using the Chinese folk art of papercutting for queer artistic expression make him a unique figure in contemporary Chinese art. As the first academic article on the artist and his works, this article examines Xiyadie's transformation of identity in life and his representation of queer experiences through the art of papercutting. Using a critical biographical approach, in tandem with an analysis of his representative artworks, I examine the transformation of Xiyadie's identity from a folk artist to a queer artist. In doing so, I delineate the transformation and reification of human subjectivity and creativity under transnational capitalism. Meanwhile, I also seek possible means of desubjectivation and human agency under neo-liberal capitalism by considering the role of art in this picture. This article situates Xiyadie's life and artworks in a postsocialist context where class politics gave way to identity politics in cultural production. It calls for a reinvigoration of Marxist and socialist perspectives for a nuanced critical understanding of contemporary art production and social identities.
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Güner, Güngör. "Installation or Conceptual Art Project with the Ceramics Phenomenon, but How and when?" European Journal of Engineering and Formal Sciences 1, no. 1 (December 30, 2017): 38. http://dx.doi.org/10.26417/ejef.v1i1.p38-49.
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With its formation, going back to thousands of years ago, ceramic is a material fact that the human beings obtain from earth for their emergency needs at first and by time for their different rituals and artistic requirements. Whether it is primitive or developed, ceramic formation requires energy and technology. And once ceramic is obtained, it resists time for thousands of years. Therefore, we have to be very selective when making ceramics. As ceramic artists, we always feel the breath of the tradition of thousands of years on our necks even if we want or not. Contemporary art trends show up one after another and disappear after a while. Meanwhile, “Is ceramic an art or a craft?” discussions are brought to agenda. Ceramic artists with a contemporary art education background may tend to keep up with the contemporary art trends because of the pressure caused by these discussions and the dominance of tradition. Among these art movements, Concept Art and Installation under its context still maintain their currency as the most long-lasting one in recent years. Concept is a most important part of the Conceptual Art Project. All materials or finished products that are created or will be created can be an expression tool for the artists. There is no limit here. However, knowing ceramic fact well can provide the ceramic artist with a chance to differentiate. For this reason, I believe that the ceramic artist’s concern should be creating ideas that underline being different in the context of ceramic. Using ceramics will be more meaningful if the ceramic object used in the artwork can not be replaced by another object and if the concept changes when the ceramic object is replaced... Ceramic object should challenge as follows: “This concept can be expressed only if I am used here. ” ….. Forcing ceramic artist to be more creative will prevent the artist from imitation of an ordinary concept art or installation and will add variety to concept art by creating remarkable difference. Surely, this requires a more powerful mind exercise. However, this is the only way ceramic and ceramic artist can accomplish their mission and underline the difference.
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Porwal, Tina. "HARNESSING IN INDIAN CONTEMPORARY ART AND INDIAN MEDIA MARKET: THE FUTURE POSSIBILITIES." International Journal of Research -GRANTHAALAYAH 6, no. 12 (December 31, 2018): 209–12. http://dx.doi.org/10.29121/granthaalayah.v6.i12.2018.1109.
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In primitive times, humans first created sketches in caves with coal. The development of time introduced man's colours and gradually begun to wind up the shades of nature even in colours. Then gradually the chemical colours (substance colours) were used for painting. Alongside every one of these advancements, the artist has not abstained from illustration on the PC while changing himself after some time. The world of art and artist is extremely bizarre and stranger. There is also attraction and fear in this world and there is always a neglected place for this world. In contemporary times when the person has reached the moon, the development of technology has reduced the whole world Ground Flood has brought the whole world to a stage of art And consumerism and marketism have pulled out the art and made a big canvas, Then this is the right time, when a person evaluates how the thinking of the common man and the artist has changed over the art.
The commercialization of art is posing a threat. The artist is from middle-class society, which starts working from the beginning to improve its economic condition, influenced by the market. Some artists are destroyed in such a situation, some save themselves, who save themselves, they give something to art. The craft of craftsmanship isn't awful, it is awful to be impacted by the market.
The art of the market is growing fast in contemporary times and in the same way, the art market is fast becoming a thing. Naturally, now art has started declaring the object of market value and in this way the meaning of art is changing rapidly. And the meaning of his originality is also changing. At this time, it is very difficult to differentiate between genuine or real and fake in painting in the contemporary art market. And counterfeit paintings are also being sold in the market.
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Taylor, Stephanie, and Marie Paludan. "Transcending utility? The gendered conflicts of a contemporary creative identification." Feminism & Psychology 30, no. 1 (August 8, 2019): 63–79. http://dx.doi.org/10.1177/0959353519864390.
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The late 20th and early 21st centuries have been described as an age of creativity in affluent Western societies because of the increased popularity of the visual arts and the expansion of the global sector of the creative and cultural industries (CCI). The psychology of creativity has contributed new conceptualisations of creativity and creative processes, challenging associations that derive from the elite arts. This article investigates the implications of these changes for the gendering of creativity and creative practice. It asks if contemporary reconceptualisations of creativity open new possibilities for women to identify as creative practitioners. The article presents a critical discursive study of interviews with UK women maker-artists. The analysis shows how the women emphasise the practical applications or utility of their creative practice. A claim of utility can function to justify the practice. In addition, a claim of therapeutic utility, for others and for the artist herself, potentially addresses the neoliberal priority that people take responsibility for their personal well-being. However, the justification of utility contrasts with the creative vocation associated with the masculine elite artist who pursues “art for art’s sake”. The justification can therefore be seen to undermine the women’s creative identifications, reinstating the conventionally masculine status of creativity and the arts.
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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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Gerlieb, Anne. "TikTok as a New Player in the Contemporary Arts Market: A Study with Special Consideration of Feminist Artists and a New Generation of Art Collectors." Arts 10, no. 3 (July 30, 2021): 52. http://dx.doi.org/10.3390/arts10030052.
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How do social-media platforms such as TikTok function as a neutralising factor in the gatekeeping process in times of COVID-19 restrictions? How does TikTok change the experience culture in arts, and how does this impact how artists frame their working process alongside primary gatekeepers? During the COVID-19 pandemic, TikTok attracted many artists, who used the platform to take their practice, and thereby their self-marketing, into their own hands. At the same time, a new generation of collectors use TikTok to discover art under popular hashtag #feministartists. When artists label their work with #feministartists, they insert themselves into the gatekeeping process, and use opportunities and restrictions bounded to that specific hashtag. The study examines this process of professional self-positioning by using interviews with contemporary artists, curators, and observations on TikTok, artist talks, and secondary interviews with artists on online platforms. The findings suggest a variation in how one trades in or trades on “feminist artist”, accessing resources, and gaining exposure. A focus on “feminist artists” is restrictive for consolidating artists’ efforts to pursue specific professional, social, political, and economic agendas through art.
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LANE, JILL. "Hemispheric America in Deep Time." Theatre Research International 35, no. 2 (May 27, 2010): 111–25. http://dx.doi.org/10.1017/s0307883310000039.
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This article introduces hemispheric performance studies to suggest that performance in the Americas – and the very idea of the ‘hemispheric’ – may be usefully engaged as a set of connected practices in deep time rather than as a continental mass in uniform space. The argument is illustrated in relation to three contemporary artists: the Los Angeles-based photographer and multimedia artist Bruce Yonemoto, and the visual and performance artists Susana Torres from Lima, Peru, and Liliana Angulo from Bogotá, Colombia.
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Abazine, Lina. "Glocalization: An Analytical Path Towards More Inclusive Contemporary Art?" Journal of Extreme Anthropology 1, no. 2 (September 7, 2017): 5–12. http://dx.doi.org/10.5617/jea.4888.
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A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essay deals critically with the notion of the 'global art world', showing that there may instead be numerous self-centred and ethnocentric art worlds, while also critically engaging with inequalities that persist within and across these art worlds and markets. In this respect it also deals with the work of the Iranian artist Aria Vooria, based in Vienna, and his struggle to escape streotypizations across different art worlds.
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Lindsey, Kiera. "Indigenous approaches to the past: ‘Creative histories’ at the Hyde Park Barracks, Sydney." Australasian Journal of Popular Culture 9, no. 1 (March 1, 2020): 83–102. http://dx.doi.org/10.1386/ajpc_00017_1.
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This article discusses a recent art project created by the Wiradjuri and Kamilaroi artist Jonathon Jones, which was commissioned to commemorate the opening of the revitalized Hyde Park Barracks in Sydney in early 2020. Jones’ work involves a dramatic installation of red and white crushed stones laid throughout the grounds of the barracks, merging the image of the emu footprint with that of the English broad convict arrow to ‘consider Australia’s layered history and contemporary cultural relations’. This work was accompanied by a ‘specially-curated programme’ of performances, workshops, storytelling and Artist Talks. Together, these elements were designed to unpack how certain ‘stories determine the ways we came together as a nation’. As one of the speakers of the Artist Talk’s programme, I had a unique opportunity to experiment with what colleagues and I have been calling ‘Creative histories’ in reference to the way some artists and historians are choosing to communicate their research about the past in ways that experiment with form and function and push disciplinary or generic boundaries. This article reflects upon how these two distinct creative history projects – one visual art, the other performative – renegotiate the complex and contested pasts of the Hyde Park Barracks. I suggest that both examples speak to the role of memory and creativity in shaping cultural responses to Australia’s colonial past, while Jones' programme illustrates how Indigenous artists and academics are making a profound intervention into contemporary understandings of how history is ‘done’ in Australia.
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Largo, Marissa. "A Country That Does Not Exist." Asian Diasporic Visual Cultures and the Americas 1, no. 1-2 (February 24, 2015): 108–30. http://dx.doi.org/10.1163/23523085-00101006.
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This paper examines the 2013 exhibitionThrough the Looking Glass: Inside My Domestic Portraitof Filipino Canadian artist Julius Poncelet Manapul. I ask in this case study: What are the ways in which Filipino Canadian artists mobilize art in response to their invisibility in Canadian society? Adopting a contextual analysis, I interpret Manapul’s artwork, my interview with the artist, and his writings and place them in conversation with discourses of contemporary art, visual culture, and cultural studies.I argue Manapul’s hybrid art practice represents an emerging queer decolonial aesthetic that challenges Western heteronormative standards of family, home, identity, and citizenship consequently creating a utopic, third space of potentiality. Through physical, symbolic, and virtual interventions, Manapul provides an alternative vision of postcolonial subjectivity, which defies essentialist readings of ethnic identity prevalent in Canada’s neoliberal multicultural discourse. I discuss the implications of Manapul’s queer decolonial aesthetic in relation to multiculturalism in Canada and its generative possibilities for contemporary queer theory.
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Kato, Yukiko. "Between Life and Non-Life: Sachiko Kodama’s Black and Bridget Riley’s Pink." AM Journal of Art and Media Studies, no. 19 (September 15, 2019): 109. http://dx.doi.org/10.25038/am.v0i19.311.
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The contemporary world is so technological that humans are located on the verge of life and non-life. Computers, cyborgs, artificial intelligence, and androids permeate human society, and people are even fascinated by such menaces of the non-life. This paper clarifies why contemporary society loves the idea of the rise of artificial beings by analyzing the use of artificial colors – black and pink – by the cutting-edge female artists Sachiko Kodama and Bridget Riley.Media artist Kodama uses black liquid while the abstract artist Riley uses pink pigments as key materials. According to Asao Komachiya, black is the color of the blind; it appears on the verge of being and non-being. Meanwhile, Barbara Nemitz identifies pink as an artificial color that does not exist in the spectrum of sunlight. Both colors are highly evaluated in technological and consumer society and widely used on many goods. Kodama’s and Riley’s high reputation signifies that contemporary society likes the precarious artificial beings between life and non-life. Moreover, their original and unique works have realized the field of liberty as their extensive use of artificial colors black and pink indicates ultra-human.Kodama’s and Riley’s gender is also key. As Dora Haraway suggests in “Cyborg Manifesto” (1991), contemporary women, historically dealt with as peripheral existences, survive as ultra-human beings rather than the ancient goddesses. By considering significant female artists such as Kodama and Riley, we can understand not only the contemporary aesthetics of visual arts, but also the concurrent yearning of contemporary society for liberty, ultra-humanity, and non-life. Article received: April 17, 2019; Article accepted: June 23, 2019; Published online: September 15, 2019: Review articleHow to cite this article: Kato, Yukiko. "Between Life and Non-Life: Sachiko Kodama’s Black and Bridget Riley’s Pink." AM Journal of Art and Media Studies 19 (2019): 109-115. doi: 10.25038/am.v0i19.311
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Gielen, Pascal. "The road to sustainable creativity: mobile autonomy beyond auto-mobility." Galáxia (São Paulo), no. 30 (December 2015): 6–19. http://dx.doi.org/10.1590/1982-25542015224380.
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AbstractHow can artists stay autonomous, and keep their creativity alive in the contemporary society? In this paper is stated that the individual bourgeois model of the artist is not sufficient any more to make autonomous art and to stay creative on the long run. If artists want to stay mobile and autonomous they need to build collective organizational structures, which are called 'traveling caravan'. In the parallel historical shifts between 1970 and 2000 from liberalism to neo-liberalism, from Fordism to post-Fordism and from modern to contemporary art, artists need to build up their own artistic biotope if they need to make their work without governmental interference (subsidizes) and free market solutions. The cooperative can be seen as an interesting model to develop such a 'mobile autonomy'.
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Shkolna, Olga. "Integration of Fine Art Works into Design of Environment on the Example of Works by Eugenia Gapchinska." ART Space, no. 3 (2018): 97–100. http://dx.doi.org/10.28925/2519-4135.4.2018.3.18.
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The creativity of one of Ukraine’s leading contemporary artists, Eugenia Gapchinska, is now widely known not only in Ukraine but also abroad. Developing her own branding style, the artist, who positions herself as the “supplier of happiness number 1”, is actively working on marketing schemes for the integration of the fine arts in the field of graphic design, web design, clothing design and interior design.
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Tomizawa-Kay, Eriko. "Depictions of the Battle of Okinawa and its Social and Cultural Complexity using a transmedia approach: The Case of Gima Hiroshi (1923-2017)." Mutual Images Journal, no. 5 (December 20, 2018): 57–84. http://dx.doi.org/10.32926/2018.5.tom.depic.
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The battle of Okinawa of 1945 was one of the bloodiest battles of the Asia Pacific War, with nearly a quarter of the Okinawan population perishing. This paper examines paintings, woodblock prints and manga that depict this battle, and through analysis of these works I show how deeply they reflect significant issues relating to Okinawan history, culture, and society, notably the struggles of its citizens and Okinawa’s social and political complexities. This paper explores several artists’ visual descriptions of the brutal and catastrophic Battle of Okinawa, particularly in terms of how their works disseminated the artists’ views on the battle, as well as war in general, to an audience beyond Okinawa prefecture. Art that concentrates on the Battle of Okinawa, either as a focal point or a cultural influence, has been little studied so far, most probably because it has been treated as a sensitive and controversial issue, culturally and especially politically. Artists are grouped and discussed according to regional identities (Okinawa or non-Okinawa), generation (pre-war or post-war), and gender. I also analyse the complexities of the objectives and challenges of each artist who was trying to create works that exposed the social reality, though my main focus is on the woodblock print artist, Gima Hiroshi, who was an Okinawan diaspora artist with a more transmedia approach than 2 contemporary painters such as Maruki Toshi (1901-1995), Maruki Iri (1912- 2000), and war-theme (sensō) manga artist, Kyō Machiko (b. 1978).
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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.