Journal articles: 'Identity - Contemporary Art'

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Mason, Rachel, and Raphael Vella. "Lessons about identity formation from contemporary art." International Journal of Education Through Art 9, no. 2 (July 1, 2013): 235–52. http://dx.doi.org/10.1386/eta.9.2.235_1.

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Adams, Tessa. "Contemporary art and the revisioning of identity." International Journal of Jungian Studies 1, no. 1 (March 1, 2009): 50–57. http://dx.doi.org/10.1080/19409050802681900.

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The aim of this article is to address the influence of contemporary art in terms of both its problematic and its seduction. Discussion will focus on works that challenge psychotherapists’ views of creative practice. The art object as agency will be set in contrast to its positioning in psychodynamic terms, raising the question as to why and what is the purpose of the visual artist whose relationship with image, and the imaginal is exemplar.

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Myzelev, Alla. "Fashionality: Dress and Identity in Contemporary Canadian Art." Fashion Theory 17, no. 4 (September 2013): 457–65. http://dx.doi.org/10.2752/175174113x13673474643246.

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Shoshanova, Saltanat. "Queer identity in the contemporary art of Kazakhstan." Central Asian Survey 40, no. 1 (January 2, 2021): 113–31. http://dx.doi.org/10.1080/02634937.2021.1882388.

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전희원. "Multicultural Art Education and Cultural Identity as Viewed through Identity Formation of Contemporary Asian Art." Journal of Research in Art Education 12, no. 2 (July 2011): 39–59. http://dx.doi.org/10.20977/kkosea.2011.12.2.39.

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Leitão, Inês. "THE CONTEMPORARY AZULEJO: AN IDENTITY ISSUE?" ARTis ON, no. 8 (December 30, 2018): 104–18. http://dx.doi.org/10.37935/aion.v0i8.221.

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One of the aspects that has supported the idea of the azulejo (tile) as a cultural heritage of the Portuguese identity is its continuous employment since the end of the fifteenth century until today, now having become a part of the projects of artists, architects and designers. This article seeks to ponder upon the relationship that contemporary authors have established, or not, with this appreciation of the azulejo as an art connected to identity, discerning the reasons that have led them to select it for their pieces.

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Cohn. "Feminine Identity in Ultra-Orthodox Jewish Women's Contemporary Art." Shofar 38, no. 2 (2020): 281. http://dx.doi.org/10.5703/shofar.38.2.0281.

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Cohn, Noa Lea. "Feminine Identity in Ultra-Orthodox Jewish Women's Contemporary Art." Shofar: An Interdisciplinary Journal of Jewish Studies 38, no. 2 (2020): 281–301. http://dx.doi.org/10.1353/sho.2020.0016.

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Magnatta, Sarah. "Common Ground: Place and Identity in Contemporary Tibetan Art." South Asian Studies 34, no. 2 (July 3, 2018): 186–96. http://dx.doi.org/10.1080/02666030.2018.1514955.

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Guenther, Mathias. "Contemporary Bushman Art, Identity Politics and the Primitivism Discourse." Anthropologica 45, no. 1 (2003): 95. http://dx.doi.org/10.2307/25606117.

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Barnard-Wills, Katherine, and David Barnard-Wills. "Invisible Surveillance in Visual Art." Surveillance & Society 10, no. 3/4 (December 14, 2012): 204–14. http://dx.doi.org/10.24908/ss.v10i3/4.4328.

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Contemporary art has recently started to engage with surveillance. Before this trend developed art theory had developed a rangeof approaches to understanding identity in art, sometimes borrowing from social, psychoanalytic and political theory. Art work atthe intersection of surveillance and identity tends to focus upon the representation of the human body as subject of surveillanceand bearer of identity. However, contemporary surveillance is data, categorisation and flows of information as much as it isCCTV and images of the person. There are notably fewer works of art that engage with ‘dataveillance’. This paper engages withsuch artwork as a case study for assessing the suitability of contemporary art historical theories of identity to make sense ofidentity in a surveillance society.

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Bunt, Brogan. "Media Art, Mediality and Art Generally." Leonardo 45, no. 1 (February 2012): 94–95. http://dx.doi.org/10.1162/leon_a_00348.

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The wide ranging, trans-disciplinary interest in technological media suggests the possibility of a new discipline concerned with the history, implications and practice of mediation. Within this context, the field of media art gains a new sense of coherence and identity. Given the lingering tension between media art and mainstream contemporary art, this may lead the latter to assert its disciplinary autonomy. This paper argues against such a move. Media art is better positioned as an integral strand within contemporary art and, more particularly, as a key space of creative enquiry and practice within a generally conceived contemporary art education.

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Emrali, Refa. "Today’s artist identity as multicultural and hybrid identity." Global Journal of Arts Education 6, no. 4 (June 12, 2017): 115–19. http://dx.doi.org/10.18844/gjae.v6i4.1826.

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AbstractAfter modernism, the definition of a work of art and the manner in which art is being created has changed. Artists today, no longer being nourished by their cultures alone, not identified as ‘genius’ or considered to be highly talented. They take part in the new world with their multiple identities. Art, via circulations that exceed the borders of nation states, is being moved away from indigenous values and authentic innocence towards a globalized and monopolized world. Notably, the cold war coming to an end in the 1980s, demolition of the Berlin Wall in 1989, the opening of national borders and globalism which feeds on electronic communication, have been shaping the contemporary world into a new form. All of these factors contribute to the creation of new type of artist, with legitimized hybridity within art. The issue is not the identity itself, but how it is being represented. This is due to the risk of ghettoization, brought along by claiming a culture and identity for oneself. The hybrid identities confronting us are political strategies out to tear down stereotypes such as race, gender, ethnic origin and conventional way of thinking. There is currently an increase in the numbers of artists, who manage to fit a variety of cultures into their lives, reside in a cosmopolitan manner within multiple geographical locations and create in several countries at once. The art world, having been de-centered, away from the West; upon discovering artists from Africa, South America and Asia, and conveying them towards the globalized world, is at the same time harboring a problem of standardization and similitude. The leisure of traveling the earth can be an advantage for an artist; however the lack of having roots and the insecurity caused by a nomadic lifestyle can turn into a disadvantage. Keywords:multicultural, hybrid identity, contemporary art.

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Martynova, D. O. "“Hysterical” Bodies in Contemporary Art of Estonia." Art & Culture Studies, no. 2 (June 2021): 322–43. http://dx.doi.org/10.51678/2226-0072-2021-2-322-343.

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After 1991, the proclaimed Second Republic of Estonia restores individual freedoms, which leads to the problems of individualism, personal borders, transgressive behavior, identity, equality and corporeality in Estonian art after the 1990s. In this article, the author will examine the works of key Estonian contemporary artists who address the problems of identity crisis and “split personality”, which are so characteristic of modern Estonia, where issues of cultural memory, national identity and disciplinary authority are acutely relevant. Marge Monko and Liina Siib analyze the construct of “femininity” and various female cliché images through the sociocultural phenomenon of hysteria. As a result, the author comes to the conclusion that in the context of the identity crisis that reigns in modern Estonian society due to historical and geographical circumstances, artistic representations of a split, “hysterical” personality, embodying established social and cultural patterns that affect individuals, become especially relevant. Through both self-analysis and analysis of the collective unconscious, the artists seek to reveal the reasons for the oppression of “deviant” behavior, as well as the influence of “foreign” culture on Estonia.

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Janeiro Obernyer, Jessica. "Identity Remix – A Simulacrum of the Self in Contemporary Art." Anales de Historia del Arte 28 (September 25, 2018): 177–99. http://dx.doi.org/10.5209/anha.61611.

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This article analyses the conceptions of identity in contemporary times by delving into art practices from the 1970s onwards that deal with topics such as the construction of the self, identity as simulacrum, gender as masquerade, cyberfeminism, the cyborg, the techno-medical body or online identity fluidity. In the information and digital era, new technological, medical and scientific developments like genetic engineering, biotechnology, surgical and hormonal procedures and the Internet permeate our lives, affecting the perception, representation and understanding of the self. Through the analysis of the work of Lynn Hershman Leeson, ORLAN and Francesca da Rimini, this article examines contemporary art practices that reflect on these current issues, mirroring contemporary changes, subverting homogenising and repressive articulations of identity, and considering the new malleability, reproducibility and plurality of the self. These art practices ultimately represent the merging of human and machine, of original and copy, of natural and artificial, of the corporeal and the virtual.

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Rice, Robin, Monica Bohm-Duchen, and Vera Grodzinski. "Rubies & Rebels: Jewish Female Identity in Contemporary British Art." Woman's Art Journal 20, no. 1 (1999): 66. http://dx.doi.org/10.2307/1358855.

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Loosley, Emma. "Art, Archaeology and Christian Identity in Contemporary Lebanon and Syria." Chronos 19 (April 11, 2019): 57–70. http://dx.doi.org/10.31377/chr.v19i0.456.

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In western society, as in the rest of the world, the vast majority of teenagers mould their identity by reacting to the world around them. However this sense of identity is unlikely in the early twenty-first century to be predicated by religion; music, sport, fashion and choice of friends are the elements by which schoolchildren and students define themselves and, with the notable exception of some members of minority religions, Faith is unlikely to play a major part in their formation of "self'. There is little understanding as to why immigrant Muslim, Sikh or Hindu communities place such a high value on their children remaining within the orbit of the local place of worship, as religion is seen by many of the white majority as a peripheral part of life.

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Holt, Amy-Ruth, and Karen Pechilis. "Contemporary Images of Hindu Bhakti: Identity and Visuality." Journal of Hindu Studies 12, no. 2 (August 1, 2019): 129–41. http://dx.doi.org/10.1093/jhs/hiz007.

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Abstract Historians writing on modernity often remark on the power of the visual, appealing to Walter Benjamin's influential observation that ‘modernity under late capitalism is dominated, and haunted, by dream-images and commodified visual fetishes’ (Benjamin 1968; Levin 1993, p.23; Ramaswamy 2003, p.xiii). Yet, studies of bhakti commonly focus on the literature and biographies of the bhakti saints instead of its visual dimensions in art, material culture, and performance. In this special issue, scholars of religion and art history writing on diverse visual cultures, communities, and geographical locations under the umbrella of the contemporary era reveal two distinguishing features of bhakti. The first is bhakti's impetus to establish the artist's, devotee's, or saint's individual and communal identity that resituates today's religion. The second is bhakti's formation of emotive imagery with visual agency animated by participatory desires that inspire the creation and re-creation of imagery and performances that speak directly to the everyday. Identity and visuality, found together in contemporary bhakti imagery, shape our distinctive analysis and redirect Benjamin's original statement from postcolonial nation-building towards the vitality of devotional participation.

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Mead, Sarah, and Cheryl R. Ellerbrock. "Know Thy Selfie: using contemporary art to teach adolescent identity exploration." Social Studies Research and Practice 13, no. 2 (September 10, 2018): 279–88. http://dx.doi.org/10.1108/ssrp-04-2018-0013.

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Purpose The purpose of this paper is to highlight how one high school psychology teacher helped students explore the concept of identity exploration and express their own personal identity through the use of contemporary art in a high school psychology course. Design/methodology/approach In this paper, techniques one high school teacher used for utilizing the visual arts to teach identity exploration in a high school psychology course are shared, including student discussion surrounding the visual analysis of contemporary artwork, thoughtful student application of developmental theories and the student production of original artwork to express one’s identity. Findings Students participating in the lesson engaged enthusiastically in the discussion of the use of selfies in contemporary art and demonstrated thoughtful reflection in the creation of their own selfies. Research limitations/implications Future research is needed to systematically investigate the effectiveness of incorporating contemporary art as a means of teaching identity exploration to adolescents as part of a high school psychology curriculum. Practical implications Adolescent exploration is a key feature of the adolescent experience and is part of the psychology curriculum at the high school level. Such courses afford students the unique opportunity to apply developmental theories and theories of identity exploration to recent occurrences in their lives. One possibility for teaching identity exploration is through the visual arts. Originality/value This lesson advances psychology instruction through the purposeful scaffolding of identity exploration as both content and process using contemporary art.

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Nezhad, Roudabeh Tankarami Bagheri, and Fatemeh Kateb. "Curator Searching for Urban Identity; From ''Yousef Abad'' to ''Vali Asr''." European Journal of Sustainable Development 9, no. 1 (February 1, 2020): 391. http://dx.doi.org/10.14207/ejsd.2020.v9n1p391.

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By changing the approach of modern art from the middle of the twentieth century to attention to conceptual art, art exhibitions became a spiritual movement that could provide different ways of shaping society. At the same time, the Curator becomes mediator between art and its audience. Victoria D Alexander considers the quality and impact of art on audiences in today's world dependent on distribution systems by presenting a "Better Culture Diamond" based on Wendy Griswold's Crystal Diamond Design. In this analytic-descriptive study, its data were collected through library studies, field research and interviews, while highlighting the importance of Curator as an important part in the art distribution system by examining two Curatorial projects names "Vali Asr-First Folder" and "Yousef Abad" have come to the conclusion that contemporary Curator in Iran represent the social role of art and seek to redefine social concepts such as "urban identity" through Curatorial projects. Keywords: Curator, Contemporary Iranian Art, Cultural Diamond, Urban Identity, Identity Crisis

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Stavraki, Georgia. "Understanding consumers’ relationships with contemporary artworks through identity narratives." Journal of Service Theory and Practice 26, no. 6 (November 14, 2016): 811–36. http://dx.doi.org/10.1108/jstp-02-2015-0024.

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Purpose This paper focuses on the relationships that consumers develop with experiential objects in the context of the Biennale of Contemporary Art Exhibition, viewed from a dialogical and intersubjective approach. The purpose of this paper is to elaborate on the interpersonal relationships that visitors of the Biennale establish with contemporary artworks and to understand the characteristics of these relationships as well as their role in shaping Biennale visitors’ identity narratives. Design/methodology/approach This research employs an instrumental case study that draws on multiple data sources and examines consumers’ relationships with contemporary artworks. Findings The case study evidence introduces the relationships that emerged from Biennale visitors’ interactions with contemporary artworks and the identity narratives evolving from these relationships. The findings suggest that Biennale visitors’ relationships with the contemporary artworks take the form of I-thou and I-it relationships. These two modes of interpersonal relationships by entailing different characteristics led investigated visitors to live different types of experiences of contemporary art consumption. Research limitations/implications The first limitation of this research is that it focuses on the establishment of interpersonal relationships at the microgenetic level. Further research can provide additional insights by conducting a longitudinal case study. The second limitation is that it provides limited insights into the relationships that are revealed by consumers’ experiences with possessive objects. Future research may examine interpersonal relationships in terms of consumers’ relationships with their brands. Practical implications The understanding of visitors’ interactions and relationships with contemporary artworks provides insights into curatorial and marketing practices for such art institutions. Originality/value The findings of the current research provide new theoretical insights into the interpersonal relationships that consumers develop with experiential objects and into the distinctive identity narratives that evolve from the establishment of different types of interpersonal relationships.

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권은영. "The Formation of Cultural Identity: In Chinese Contemporary Art Since 1978." Misulsahakbo(Reviews on the Art History) ll, no. 33 (December 2009): 325–58. http://dx.doi.org/10.15819/rah.2009..33.325.

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Gray, Lesley. "Contemporary Art and Global Identity in the Arabian Peninsula and Azerbaijan." Journal of Arabian Studies 7, sup1 (August 7, 2017): 65–83. http://dx.doi.org/10.1080/21534764.2017.1356034.

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Wakefield, Sarina. "Contemporary Art and Migrant Identity “Construction” in the UAE and Qatar." Journal of Arabian Studies 7, sup1 (August 7, 2017): 99–111. http://dx.doi.org/10.1080/21534764.2017.1358427.

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Newman, Andrew, Anna Goulding, and Chris Whitehead. "The consumption of contemporary visual art: identity formation in late adulthood." Cultural Trends 21, no. 1 (March 2012): 29–45. http://dx.doi.org/10.1080/09548963.2012.641758.

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Sokolovska, S. F. "ART SPACE OF CONTEMPORARY DRAMA." Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no. 1(94) (July 7, 2021): 49–57. http://dx.doi.org/10.35433/philology.1(94).2021.49-57.

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Sokolovska S. F.The study of the modern literary situation, in particular, new trends in drama, is a relevant task for literary criticism. The work of playwrights of the 90s of the twentieth century deserves special attention since the literary practice of this generation of artists caused a number of significant shifts in various formally substantive areas of drama. Indicative in this respect are the works of the modern German author R. Schimmelpfennig. In the process of literary study of the play «The Golden Dragon», an analytical model of a literary text has been built, which is correlated with the interpretation model of a literary work. The chronotope and structure of the narrative reflect the artistic picture of the world and the concept of personality. Creating these aspects of artistic reality, the playwright turns to the aesthetics of B. Brecht’s epic theater. First of all, this is the alienation effect, which occurs through seventeen roles that are distributed among five actors. However, the characters are not puppet heroes, human beings without identity, they play the role of storytellers, report events, addressing directly to the audience. The author’s presence is being augmented, which is realized in the epization of a dramatic text, in the author’s direct description of the characters, in the spatio-temporal organization of the work. The reality that the world of a multi-storey building reproduces in the play does not allow a person to realize themselves. Such a manifestation becomes possible in an imaginary world, in human consciousness. The acquisition of personal uniqueness, the establishment of deep, essential connections with other people occurs in an open, unlimited mental space.

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Kompatsiaris, Panos. "Art Struggles: Confronting Internships and Unpaid Labour in Contemporary Art." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 13, no. 2 (September 30, 2015): 554–66. http://dx.doi.org/10.31269/triplec.v13i2.613.

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This article explores the practices of recently formed and mainly UK-based art workers’ collectives against unpaid internships and abusive work. The modes through which these collectives perform resistance involve activist tactics of boycotting, site-specific protests, counter-guides, and whistleblowing and name and shame approaches mixed with performance art and playful interventions. Grappling with the predicaments of work in contemporary art, a labouring practice that does not follow typical processes of valorization and has a contingent object and an extremely loose territorial unity, this article argues that while the identity of the contemporary artist is systemically and conceptually moving towards fluidity and open-endedness, these groups work to reaffirm a collective in whose name it is possible to advance certain claims, assumptions, and demands. The contradictions and dynamics of art workers organizing against internships and voluntary work within a highly individualized, self-exploitative, and often privileged field are useful for informing labour organizing in the framework of ongoing capitalist restructuring.

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McIntyre, Sophie. "Questions of Identity and Origins in the Museological Representation of Contemporary Indigenous Art in Taiwan." Asian Diasporic Visual Cultures and the Americas 3, no. 1-2 (March 14, 2017): 110–29. http://dx.doi.org/10.1163/23523085-00302006.

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The significant ideological and cultural role of public museums in shaping national identity is widely acknowledged. This paper focuses on the roles of Taiwan’s public art museums in generating nationalist narratives that privilege notions of cultural distinctiveness and authenticity in the visual representation of art from Taiwan. Two exhibitions of contemporary Indigenous art provide a platform for critical analysis of the impact of identity politics on the selection, display, and promotion of Taiwanese Indigenous art. Questions of artistic agency are also explored in this paper, demonstrating how Indigenous artists in Taiwan are increasingly interrogating and contesting systems of museological representation which seek to locate or “frame” Indigenous art within an Austronesian nationalist identity narrative. These exhibitions and the artists’ works and observations offer an insight into the complex and shifting interrelationship between national identity politics and the museological representation of art in Taiwan.

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Pawłowska, Aneta. "Gender and Eroticism in Contemporary Art from South Africa." Werkwinkel 12, no. 1 (June 27, 2017): 85–106. http://dx.doi.org/10.1515/werk-2017-0006.

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Abstract The aim of this article is to present the interaction between the history of lesbian and gay culture and its identity on the one hand, and the connection between the visual art or visual culture on the other hand. This essay endeavors to interpret the different meanings attached to sexual identities by examining the diverse artistic activities of a variety of artists: both men and women (e.g. Steven Cohen, Clive van den Berg, Andrew Verster, Nicolas Hlobo, Jean Brundrit, Zanele Muholi). Employing an intersectional analytical approach, the article shows that the identity of art is constructed alongside a person’s multiple identities, such as race, gender, family ties, religion and class. The main research question is whether in today’s visual art originating from South Africa, which is characterized by a hegemony of heterosexual stereotypes, there is a significant place for gender oriented art?

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Gashinsky, Emma. "An Aesthetic Pattern of Nonbelonging—Immigration and Identity in Contemporary Israeli Art." Arts 8, no. 4 (November 26, 2019): 157. http://dx.doi.org/10.3390/arts8040157.

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This research pinpoints a local pattern of migratory aesthetics recurrently employed by four Israeli artists in the early years of the 21st century. I argue that works by artists Philip Rantzer, Gary Goldstein, Haim Maor, and David Wakstein showcase a hybrid migratory self-definition that is embedded in the artistic language itself. By harnessing a collagistic language of juxtaposition and fragmentation, they frame Israeli identity as uncanny, reflecting a cultural mindset of being neither “here” nor “there”. I contend that this pattern is used by a particular generation of artists, born in the early 1950s, and reflects a reaction, in hindsight, to the Zionist ethos of collective local identity. Employing old photographs from their family albums that they transform into framed detached figures, these artists draw upon childhood memories of immigration. Their art marks an identity clash between two homelands, which is the result of intertwined aesthetic and socio-cultural characteristics. The first is evident in the prevalent use of collage in local art—in itself a language of oppositions. The second is the negation of the diaspora in the Israeli socio-cultural mentality, which constructs identity through binary thinking. To date, no other study has acknowledged this aesthetic pattern nor the common ground these artists share in their works.

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강인혜. "The flow of identity of modern and contemporary art in Korean peninsula." Korean Bulletin of Art History ll, no. 50 (June 2018): 269–71. http://dx.doi.org/10.15819/rah.2018..50.269.

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Slonevska, I. B., and S. Yu Piroshenko. "Contemporary literature as an art representation of the phenomenon of „hybrid identity”." Bulletin of Luhansk Taras Shevchenko National University, no. 4 (335) (2020): 161–69. http://dx.doi.org/10.12958/2227-2844-2020-4(335)-161-169.

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The article considers the features of modern Western literature in postcolonial discourse. Emphasis is placed on researches that have formed the basis for understanding the phenomenon of multiculturalism in modern humanities. In this context, the concept of transculturation as a new worldview and a way of polemics with multiculturalism has been analyzed and the leading ideas have been singled out: „borderline identity”, hybridity, ambivalence, etc. The modern European literature is characterized as an artistic representation of the mentioned concepts, the so-called „borderline consciousness”, which underlies the hybrid worldview. The authors consider the phenomenon of cross-cultural (multicultural, transcultural) or postcolonial novel as one of the brightest phenomena of modern literary discourse. The dominant of creative work of cross-cultural authors is the identity crisis inherent in both the author and his or her character. In the proposed dimension, the work of immigrant authors in general and S. Rushdie’s novels in particular are considered as an artistic actualization of the theory of cultural hybridity, and the narrative of life „on the border” is defined as the most notable artistic strategy of modern literature.

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Keshmirshekan, Hamid. "The Question of Identity vis-à-vis Exoticism in Contemporary Iranian Art." Iranian Studies 43, no. 4 (September 2010): 489–512. http://dx.doi.org/10.1080/00210862.2010.495566.

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Katrib, Ruba. "Representation and identity: Reflections on presenting contemporary art in an American museum." Journal of Contemporary Iraq & the Arab World 15, no. 1-2 (March 1, 2021): 199–214. http://dx.doi.org/10.1386/jciaw_00048_1.

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This text is a curatorial reflection upon the process of organizing the exhibition Theater of Operations: The Gulf Wars 1991–2011, which took place at MoMA PS1 in 2019. The text questions the possibilities and limits of decolonial curating in an American museum and analyses the reception of Iraqi contemporary art in a Western context.

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Kemperl, Metoda, and Nina Sladič. "Representations of Violence in Contemporary Art as a Source for Education in Empathy in Elementary School." Ars & Humanitas 12, no. 1 (July 20, 2018): 139–60. http://dx.doi.org/10.4312/ah.12.1.139-160.

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Art as such can have important effects on our attitude towards ourselves, others, and the world we live in. Artworks can therefore be used to promote empathy among people. As children develop the ability to empathise from early childhood onwards, empathy is undoubtedly a fundamental skill of humankind. One’s ethical development can benefit greatly from learning to identify with a certain work of art. Contemporary art is most appropriate for this purpose, since it deals with contemporary issues and is thus closely connected with life. Themes such as sustainable development, globalisation, interpersonal relations, identity, migrations and cultural exchange are intertwined with the concept of active citizenship. In an elementary school context, the presence of violence in contemporary art and the imparting of empathy can be effectively explored via cross-curricular links. Our aim is to analyse the syllabus in order to identify the most effective way of linking school subjects, their contents and learning objectives. Art history methodology (iconographical, iconological, contextual analysis) will be used to determine which modern Slovene violence-depicting works of art might be suitable for educational purposes.

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Kemperl, Metoda, and Nina Sladič. "Representations of Violence in Contemporary Art as a Source for Education in Empathy in Elementary School." Ars & Humanitas 12, no. 1 (July 20, 2018): 139–60. http://dx.doi.org/10.4312/ars.12.1.139-160.

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Art as such can have important effects on our attitude towards ourselves, others, and the world we live in. Artworks can therefore be used to promote empathy among people. As children develop the ability to empathise from early childhood onwards, empathy is undoubtedly a fundamental skill of humankind. One’s ethical development can benefit greatly from learning to identify with a certain work of art. Contemporary art is most appropriate for this purpose, since it deals with contemporary issues and is thus closely connected with life. Themes such as sustainable development, globalisation, interpersonal relations, identity, migrations and cultural exchange are intertwined with the concept of active citizenship. In an elementary school context, the presence of violence in contemporary art and the imparting of empathy can be effectively explored via cross-curricular links. Our aim is to analyse the syllabus in order to identify the most effective way of linking school subjects, their contents and learning objectives. Art history methodology (iconographical, iconological, contextual analysis) will be used to determine which modern Slovene violence-depicting works of art might be suitable for educational purposes.

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Macrae, Graeme. "Negotiating Architecture Worlds in Indonesia: The Work of Eko Prawoto." Copenhagen Journal of Asian Studies 29, no. 1 (February 28, 2013): 92–119. http://dx.doi.org/10.22439/cjas.v29i1.4022.

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

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Ostajewska, Marta. "„Nie ma już tam tam” – Urban Indians i współczesna sztuka rdzenna, wokół tożsamości i autentyczności w amerykańskiej popkulturze." Literaturoznawstwo 1, no. 13 (April 30, 2020): 19–31. http://dx.doi.org/10.25312/2451-1595.13/2019__02mo.

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“There is no there there” – Urban Indians and The New Contemporary in Indigenous American Art – around Identity and Authenticity in American Pop Culture Native American artists and writers are constantly reimagining their narratives, and addressing context, community, and intersection with others. Based on few examples: Tommy Orange (Cheyenne / Arapaho), James Luna (Payómkawichum / Ipi), Wendy Red Star (Apsáalooke (Crow)) and Steven Paul Judd (Choctaw / Kiowa) author of article examines how their art undermines the conventional view on a stereotypical image of Native Arts and how their strategies are opening a new view on Urban Indians. How does artistic work around their own identity is transforming a social perception of indigenous minorities. Kewords: Urban Indians, the New Contemporary, Indigenous American Art, American Pop Culture, Identity, Authenticity

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Oluwadamilola Ogeye, Olumide. "Towards an Architectural Identity: Learning from the Communication Method of Contemporary Nigerian Art." International Journal of Architecture, Arts and Applications 5, no. 2 (2019): 37. http://dx.doi.org/10.11648/j.ijaaa.20190502.11.

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Dōshin, Satō, and Sarah Allen. "From Art and Identity: For Whom, For What? The “Present” Upon the “Contemporary”." Review of Japanese Culture and Society 26, no. 1 (2016): 341–61. http://dx.doi.org/10.1353/roj.2016.0015.

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Golikova, Irina Sergeevna. "International aspect in the history of Russian contemporary graphics: problems of interpretation and identity." Культура и искусство, no. 11 (November 2020): 93–102. http://dx.doi.org/10.7256/2454-0625.2020.11.34375.

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This article analyzes the examples of formal compliance with global trends in Russian print design of the XX – early XXI centuries. The subject of this research is the comparative characteristics of Russian and world practice in the area of contemporary graphic art. In this context, the author highlights the stylistic characteristics of expressionism (1910 – 1920) and neo-expressionism (1960s – 1980s).  Comparative analysis allows determining the points of intersection of Russian examples to Western analogues, as well as their originalities outlying the formal criteria. Emphasis is placed on the sources of determination of the uniqueness of graphics as a form of art within the history of Russian art studies. In the course of this research, the author brings the examples of “expressive” graphics in the works of N. N. Kupreyanov and A. I. Kravchenko in relation to printmaking of German expressionism, and some recent examples of Russian graphics (Saint Petersburg artists P. S. Bely, P. M. Shvetsov) in comparison to the graphic experiments of A. Kiefer. The conclusions lie in determination of the unique tradition of Russian realism (V. A. Vetrogonsky and V. I. Shistko), which in the author’s opinion, should be considered the crucial actor in the identity of Russian graphics against the trends leveling national cultural differences of international contemporary art.

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Clarasó, Joan Cuscó. "From Dalí to Gaudí: The Building of Artistic Identity in Catalonia." Journal of Catalan Intellectual History 1, no. 11 (October 1, 2017): 55–67. http://dx.doi.org/10.1515/jocih-2016-0005.

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AbstractDuring the twentieth century, the Catalan painter Salvador Dalí and philosopher Francesc Pujols wished for contemporary art an exceptional position in society, based upon an understanding of reality through scientific knowledge, and a new type of Humanism able to provide human life with spiritual values. This is a type of art and a worldview built on the legacy of architects Antoni Gaudí and Claude Ledoux, painters Marià Fortuny and Gustave Moreau, Wagnerism, and philosophers Aguste Comte and Ramon Llull.

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Weiming, Tu. "Cultural Identity and the Politics of Recognition in Contemporary Taiwan." China Quarterly 148 (December 1996): 1115–40. http://dx.doi.org/10.1017/s0305741000050578.

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Taiwan is a geographic location, an economic force, a political presence, a social reality and a cultural expression. The “precious island” (baodao), in the minds of those who are vaguely familiar with East Asia in the English-speaking community, evokes sensations of stunning natural beauty, hard-working people and troubled international status. Those who have travelled there as tourists in recent years are easily impressed by the vibrant economy, cuisine, traffic jams, air pollution, rich folk traditions and colourful popular culture. While journalists and business executives may be fascinated by the transformative power of marketization and democratization in Taiwan's political economy, many students have been overwhelmed by the profound impact of economy and polity on all dimensions of the cultural world - literature, art, dance, music and drama - since the lifting of martial law in 1987.

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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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Singh, Raj Kishor. "Shifting Trend of Mithila Painting: Tradition to Contemporary." SMART MOVES JOURNAL IJELLH 8, no. 12 (December 31, 2020): 1–20. http://dx.doi.org/10.24113/ijellh.v8i12.10855.

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This article communicates the changing pattern of Mithila folk painting to fine art due to the professionals’ intervention in this realm. Besides, technological use has further altered it and the people who were unable to perform their ritual on the works of art are able to do so now. Consequently, the painting has been enhanced from its limited geography to all over the world where even the diaspora Maithils enjoy their culture with full enthusiasm. This phenomenon has led people both connected to their culture as well as uplifted to high spirituality, aware about their identity and commercializing their cultural artifacts. Thus, this fluctuating tendency of this folk art has empowered the community morally, artistically and economically.

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Alagha, Joseph. "Moderation and the Performing Arts in Contemporary Muslim Societies." American Journal of Islamic Social Sciences 32, no. 3 (July 1, 2015): 44–68. http://dx.doi.org/10.35632/ajiss.v32i3.270.

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Art plays an important role for politically engaged Muslims and promotes moderation (wasaṭīyah). Moderation has a civilizational mission: to buttress an open society that recognizes its inhabitants’ diversity so that they can freely and skillfully express their own cultural identity and thus contribute to enhancing the overall Islamic cultural sphere by endorsing the performing arts. The wasaṭīyah authors discussed below reject the notion of “art for art’s sake” and employ a specific genre of Islamic art commonly referred to as “purposeful art” or “art with a noble mission.” Purposeful art is “clean art” that portrays good deeds, as distinguished from bad deeds that characterize indecent or “lowbrow art.” It deals with socio-political issues as well as the themes of justice, jihad, sacrifice, and patriotism. Moderation is the norm, since “Islam is the religion of the golden mean” between excess and deficiency. From the stance of graduality, moderation affords a novel reading of the maxims of Islamic jurisprudence (qawā‘id al-fiqh), whereby the performing arts promote benefits (maṣāliḥ) and avoids harm (mafāsid).

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Alagha, Joseph. "Moderation and the Performing Arts in Contemporary Muslim Societies." American Journal of Islam and Society 32, no. 3 (July 1, 2015): 44–68. http://dx.doi.org/10.35632/ajis.v32i3.270.

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Art plays an important role for politically engaged Muslims and promotes moderation (wasaṭīyah). Moderation has a civilizational mission: to buttress an open society that recognizes its inhabitants’ diversity so that they can freely and skillfully express their own cultural identity and thus contribute to enhancing the overall Islamic cultural sphere by endorsing the performing arts. The wasaṭīyah authors discussed below reject the notion of “art for art’s sake” and employ a specific genre of Islamic art commonly referred to as “purposeful art” or “art with a noble mission.” Purposeful art is “clean art” that portrays good deeds, as distinguished from bad deeds that characterize indecent or “lowbrow art.” It deals with socio-political issues as well as the themes of justice, jihad, sacrifice, and patriotism. Moderation is the norm, since “Islam is the religion of the golden mean” between excess and deficiency. From the stance of graduality, moderation affords a novel reading of the maxims of Islamic jurisprudence (qawā‘id al-fiqh), whereby the performing arts promote benefits (maṣāliḥ) and avoids harm (mafāsid).

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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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Tam, Isabella. "Canton Express: Urbanization and contemporary Chinese art." Journal of Contemporary Chinese Art 7, no. 2-3 (December 1, 2020): 241–60. http://dx.doi.org/10.1386/jcca_00028_1.

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Canton Express was a project situated within the larger exhibition Zone of Urgency in the Venice Biennale in 2003. It was the first comprehensive exhibition focusing on the relationship of urbanization and cultural landscape in the Pearl River Delta and presented on an international platform. Since the open-door policy in 1979, the Pearl River Delta played a pioneering role in China’s economic reform and urbanization throughout the 1980s and 1990s. This was resulted with unprecedent transformation of the cityscape and inhabitants’ lifestyle. More importantly, it defined the artistic context and character of the southern region uniquely from other parts of China, providing an opportunity for an alternative narrative in the discourse of contemporary Chinese art. Taking Canton Express as a case to reflect the uncanny observations and immediate responses among the fourteen participating artists and collectives on the new reality brought by urbanization and economic development which may, however, conflicted with the socialist-communist political ideology. And such tension nevertheless triggered a collective consciousness in the artistic community and their traits of flexibility, openness and self-autonomy to seek for an artistic identity independent from the existing narrative of contemporary Chinese art legitimized by the officials for biennales held inside and outside China. On this note, the essay will point out Canton Express proposed an interdisciplinary curatorial methodology for positioning ‘urbanism’ in the discourse. It will also provide examples of how it was instituted into the official system, expanding the multiplicity of contemporary Chinese art other than the market and political symbols, and shifted attention to art productions from a local perspective with global resonance. Through Canton Express and curatorial projects held afterwards, this essay attempts to prompt future research and discussion on qualities and conditions for artistic production and circulation of Chinese art in a world emerging from the COVID-19.

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Zhang, Lin, and Taj Frazier. "‘Playing the Chinese card’: Globalization and the aesthetic strategies of Chinese contemporary artists." International Journal of Cultural Studies 20, no. 6 (August 24, 2015): 567–84. http://dx.doi.org/10.1177/1367877915600554.

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This article examines the art and travels of two contemporary Chinese artists – Ai Weiwei and Cai Guo-Qiang – to explore how each of them successfully navigates the rapidly shifting terrains and interests of the Chinese state and the global high art industry while simultaneously articulating a distinct politics and practice of creative ambivalence. We argue that these two artists’ creative productions and strategies: (1) refute various western critics’ critique of Chinese artists as inauthentic imitators of western art who produce exotic representations of China and Chinese identity for western consumption; (2) call into question the Chinese government’s numerous efforts to simultaneously promote and control Chinese contemporary art for nationalist/statist purposes. Furthermore, we unpack how both artists deploy various resources to produce complex works that interrogate and demonstrate the clashes of power, culture and identity in global spaces of encounter.

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Journal articles on the topic 'Identity - Contemporary Art'

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