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Journal articles on the topic 'Outside art'

Author: Grafiati

Published: 4 June 2025

Last updated: 1 August 2025

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1

Radyk, K. R. "ART OUTSIDE INSULATION." UKRAINIAN CULTURAL STUDIES, no. 1 (8) (2021): 80–81. http://dx.doi.org/10.17721/ucs.2021.1(8).18.

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2

Jiehong, Jiang. "Chinese art outside the art space." Journal of Contemporary Chinese Art 5, no. 2 (2018): 111–15. http://dx.doi.org/10.1386/jcca.5.2-3.111_2.

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3

Krakowska, Joanna. "Eating Bananas Outside the National Museum." TDR: The Drama Review 65, no. 4 (2021): 131–46. http://dx.doi.org/10.1017/s1054204321000587.

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The banana protest, a mass reenactment of Consumer Art (1972), a series of photographs by Natalia LL that was removed from the National Museum in April 2019, was staged as a grassroots protest against this act of censorship and the Polish conservative government’s “decency” policy as well as the underrepresentation of women’s art in museums and galleries.

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4

de Mille, Charlotte. "Outside-In: Art History Divided." Art History 38, no. 3 (2015): 585–87. http://dx.doi.org/10.1111/1467-8365.12167.

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5

Catherine Zuromskis. "Outside Art: Exhibiting Snapshot Photography." American Quarterly 60, no. 2 (2008): 425–41. http://dx.doi.org/10.1353/aq.0.0016.

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6

Bahn, Paul G. "Pleistocene Images outside Europe." Proceedings of the Prehistoric Society 57, no. 01 (1991): 91–102. http://dx.doi.org/10.1017/s0079497x00004904.

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At first sight it may seem a pointless exercise to produce a survey of late Pleistocene ‘artistic activity’ around the world, but there are two specific aims involved here: first, to show that human beings in different parts of the world were producing ‘art’ at roughly the same time, i.e. from about 40,000 BC onward, and particularly at the end of the Pleistocene, from about 12,0000 BC, and second, to show that the well known Ice Age art of Europe is no longer unique, but part of a far more widespread phenomenon (Bahn 1987; Bahn and Vertut 1988, 26–32). The European art remains supreme in its

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7

ORT, THOMAS. "ART: TO BE “INSIDE” OR “OUTSIDE” CULTURE." Modern Intellectual History 15, no. 1 (2017): 243–60. http://dx.doi.org/10.1017/s1479244317000233.

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In the opening pages of his remarkable book about Marcel Duchamp, Jerrold Seigel writes that the French artist “cared more about his personal independence than he did about art itself. Beneath the succession of avant-garde movements there had always lurked an impulse of radical individualism, and no one represented it better than Marcel Duchamp” (PW, 10). Given the subject matter of this essay—the place of art in Seigel's thinking—it may seem odd to say so, but in one respect Seigel's attitude to art mirrors that of Duchamp: he cares less about art itself than about the impulse of radical indi

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8

Clauw, Daniel J., and James Witter. "Pain and rheumatology: Thinking outside the joint." Arthritis & Rheumatism 60, no. 2 (2009): 321–24. http://dx.doi.org/10.1002/art.24326.

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9

Hodgin, Nick. "Art Outside the Lines: New Perspectives on GDR Art Culture (review)." German Studies Review 35, no. 2 (2012): 449–51. http://dx.doi.org/10.1353/gsr.2012.a478339.

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10

Crowe, Edith L. "Research outside the mainstream." Art Libraries Journal 13, no. 3 (1988): 5–9. http://dx.doi.org/10.1017/s0307472200005745.

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Needlework with a political theme is an example of the kind of art ‘outside the mainstream’ which tends to be documented inadequately or not at all. Information is likely to be unpublished, ephemeral, or not indexed. In supposedly free societies, this can be the result of a cultural conspiracy which allows, while ‘ignoring, condemning, or belittling’, the creative activities of women and of racial, ethnic, or class minorities. Librarians should ensure that library collections do not merely reflect the ‘mainstream’, in spite of the problems of collecting non-mainstream material and of making it

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11

Garyf'yanov, F. N., and E. V. Strezhneva. "THE SUMMARY EQUATION FOR FUNCTIONS ANALYTICAL OUTSIDE FOUR SQUARES. APPLICATIONS." Issues of Analysis 27, no. 2 (2020): 58–67. http://dx.doi.org/10.15393/j3.art.2020.7930.

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12

Chang, Chia-Ju. "Life outside the Dome." Prism 18, no. 1 (2021): 188–209. http://dx.doi.org/10.1215/25783491-8922241.

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Abstract This article uses a non-Western, scientific, and ecocritical perspective to explore the nature-cultural phenomenon of “smog life,” that is, outdoor activities taking place on a smog day, such as hiking, enjoying the fog, or practicing taiji. It presents a sharp contrast with environmentally focused, avant-garde smog art. Although avant-garde smog art is in line with today's scientific correctness by virtue of its strong commitment to activism, I believe that everyday smog life, which is viewed either as “ecoambiguous” or as “smog Ah-Q,” is in effect more subversive than its avant-gard

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13

MacGregor, Ronald N. "An outside View of Discipline-Based Art Education." Studies in Art Education 26, no. 4 (1985): 241. http://dx.doi.org/10.2307/1320848.

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14

Brian Myers. "North Korean Art Responds to the Outside World." Journal of History of Modern Art ll, no. 30 (2011): 283–316. http://dx.doi.org/10.17057/kahoma.2011..30.010.

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15

Thielemans, Veerle. "Looking at American Art from the Outside In." American Art 22, no. 3 (2008): 2–10. http://dx.doi.org/10.1086/595800.

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16

Delacruz, Elizabeth Manley. "Outside In: Deliberations on American Contemporary Folk Art." Journal of Aesthetic Education 34, no. 1 (2000): 77. http://dx.doi.org/10.2307/3333656.

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17

Anderson, Christy. "Art History In and Outside of the Academy." Art Bulletin 105, no. 1 (2023): 6–8. http://dx.doi.org/10.1080/00043079.2023.2155100.

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18

Opstrup, Kasper. "Bag masken atter en maske." K&K - Kultur og Klasse 51, no. 134-135 (2023): 287–310. http://dx.doi.org/10.7146/kok.v51i134-135.137190.

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This article investigates concatenations of art, activism and occultism in contemporary art and politics while it, simultaneously, develops a notion of the ‘political weird’. Beginning with the Gruppo di Nun’s manifesto for a revolutionary demonology, the article traces the interconnectedness between art, politics, and the occult in a historical perspective, using the tactical media scenes from the 90s, with a particular focus on the Luther Blissett project, as a primary point of comparison to the Nun group.  This leads to a reflection on the use of myth functions and hyperstitions as wa

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19

Castellano, Carlos Garrido, and Magdalena Lopez. "Inside and Outside the Exhibition Space." Small Axe: A Caribbean Journal of Criticism 24, no. 3 (2020): 31–52. http://dx.doi.org/10.1215/07990537-8749758.

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This essay deals with issues of citizenship, artistic labor, and belonging in the context of the Dominican Republic. It examines the collaborative work of the Colectivo Quintapata to understand how artistic collaboration is used as a way for generating social transformation and reaching audiences beyond the artistic medium. Analyzing art installations, public interventions, and socially engaged art pieces produced by Quintapata between 2009 and 2014, this essay argues that artistic collaboration works in the case of Quintapata, not so much as a formula but rather as a flexible tool employed to

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20

Chuqiu, Li. "How Do Arts Exist Inside and Outside of the Market and Institutes?" Communications in Humanities Research 27, no. 1 (2024): 131–37. http://dx.doi.org/10.54254/2753-7064/27/20232157.

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This document explores the existence of art within and outside of the market and institutions. It provides a historical overview of the art market, highlighting the emergence of commercial art galleries and the current $60 billion art industry. The impact of digital art and Non-Fungible Tokens (NFTs) on the art market is discussed, including their growing popularity and challenges. The role of art outside the market is emphasized, focusing on its potential for social change and activism. The document concludes by questioning the value of art and the interplay between art and commerce. It highl

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21

Brun, Baptiste. "Pour une histoire de l’art brut : une affaire de collections ?" Histoire de l'art 88, no. 2 (2021): 205–12. https://doi.org/10.3406/hista.2021.3984.

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Outsider art (art brut ) questions and fascinates today well beyond the restricted circle of artists, researchers, and passionate amateurs who, since the 1970s in France, have fought to make known these often despised or ignored productions. It is thus necessary to reflect on the sociological and historical causes of such a craze, by questioning the myth of a deconditioned creation, un touched by any external influence, outside of history, and on the margins of society. Here intermingle a fascination for the psychic otherness and the reactivation of certain forms of primitivism which often con

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22

Kompaneets, E. G., and V. V. Starkov. "Smirnov's inequality for polynomials having zeros outside the unit disc." Issues of Analysis 28, no. 3 (2021): 71–90. http://dx.doi.org/10.15393/j3.art.2021.10970.

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23

Sames, Lucy A. "The outside is already inside." Journal of Writing in Creative Practice 16, no. 2 (2023): 165–75. http://dx.doi.org/10.1386/jwcp_00050_2.

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This editorial details the contributions to this second Special Issue of Journal of Writing in Creative Practice to emerge from the Ways of Writing in Art and Design (WoW) research network, which sits within the Visual Culture Research Group at the University of the West of England, Bristol (https://vcrg.co.uk/). This second Special Issue is divided into two halves - issues 16.2 and 17.1.

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24

FISHMAN, Olga. "THE ETHNGRAPHY OF KAREIANS OUTSIDE KARELIA: CURRENT RESEARCHES." Nordic and Baltic Studies Review, no. 5 (December 2020): 48–74. http://dx.doi.org/10.15393/j103.art.2020.1648.

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25

Bouque, Ty. "OUTSIDE INSIDE (LOVE)." Tempo 79, no. 313 (2025): 43–55. https://doi.org/10.1017/s0040298225000385.

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AbstractThe radical expansion of the written score as art object in late-twentieth and twenty-first-century music resulted in a rapid porting of extramusical objects into music’s textual realm, including a wide array of linguistic graphemes newly treated as musical material. This article suggests that the modern compositional use of scored parentheses, although rarely undertaken for identical aesthetic or formal ends, nevertheless always involves the generation of a virtual site for intimacy between irreconcilable bodies. Parentheses radically reveal the fragile contingencies of fallible music

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26

Burchmore, Alex. "The aesthetics of export in Chinese art outside China." Journal of Contemporary Chinese Art 9, no. 1 (2022): 19–43. http://dx.doi.org/10.1386/jcca_00054_1.

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This article counters the prevailing and frequently disparaging economic and diplomatic associations of the term ‘export’ in discussions of contemporary Chinese art, and especially those artists who live and work outside China. Drawing attention to the previously underacknowledged political, social and affective aspects of this term, the article offers a new reading of foundational works by Huang Yong Ping (1954‐2019), resident in Paris from 1989 until his death; Ni Haifeng (b. 1964), resident in Amsterdam since 1994; and Cai Guo-Qiang (b. 1957), resident in Tokyo from 1986 to 1995, then subse

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27

Ernstrom, Adele M. "Editorial Introduction: Art History Inside and Outside the University." RACAR : Revue d'art canadienne 28 (2001): 1. http://dx.doi.org/10.7202/1069778ar.

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28

Sloan, E. D., C. A. Koh, A. K. Sum, et al. "Hydrates: State of the Art Inside and Outside Flowlines." Journal of Petroleum Technology 61, no. 12 (2009): 89–94. http://dx.doi.org/10.2118/118534-jpt.

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29

Turner, Alaena. "Fictioning painting: Or imagining an ‘outside’ to art history." Journal of Contemporary Painting 9, no. 2 (2023): 223–43. http://dx.doi.org/10.1386/jcp_00057_1.

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This article seeks to explore the relationship between contemporary painting and fictioning practices, examining the implications for historicization, authenticity and authorship. Taking as a starting point the re-appearance of Walter Benjamin in 1986, I will trace the ways in which painting practice and fictioning discourse have intersected, drawing on recent interviews with the authors of these projects and ongoing research into artist novels. I will discuss Albert Oehlen’s 2021 film The Painter, which is set in Oehlen’s studio and documents the struggle to produce an abstract painting, aski

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30

Korenic, Lyn. "Inside the discipline, outside the paradigm: keeping track of the New Art History." Art Libraries Journal 22, no. 3 (1997): 12–18. http://dx.doi.org/10.1017/s0307472200010488.

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From the point of view of a student of art history in the 1980s re-entering the discipline as a graduate student, the ‘new’ art history represents a dramatically wider field of enquiry involving new methodologies, although ‘old’ art history is still pursued by some academics. The ‘new’ art history employs an interdisciplinary approach which embraces materials far beyond ‘traditional’ art historical sources, and so information has to be sought outside the art library and via the Internet. Librarians responsible for supporting art history studies need to keep in touch with teachers, with curricu

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31

Esrock, Ellen J. "Touching art." Consciousness & Emotion 2, no. 2 (2001): 233–53. http://dx.doi.org/10.1075/ce.2.2.04esr.

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Viewers have a way of using their somatosensory system to create temporary boundary changes that bring them into intimate relationships with art objects. Spectators experience this imaginary fusion when simultaneously attending to their own somatosensory sensations, which occur inside the body, and to qualities of the artwork, which exist in the external world. At such moments viewers reinterpret their somatosensory sensations as a quality of the artwork. When inside and outside are reinterpreted, viewers cross the conventional boundary between self and object. This effect can be illustrated i

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32

Debinski, Anna. "“Something Outside of Ourselves”." Screen Bodies 3, no. 1 (2018): 59–80. http://dx.doi.org/10.3167/screen.2018.030105.

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Documentary film has traditionally perpetuated damaging cultural understandings of disability. However, Astra Taylor’s Examined Life (2008) and Bonnie Sherr Klein’s Shameless: The Art of Disability (2006) utilize documentary techniques to problematize the culturally constructed boundary between disability and able-bodiedness. Spectators are dragged into simultaneously traditional and innovative relationships with the spaces, bodies, and lives inhabited by the documentaries’ disabled subjects. These relationships encourage connection and intimacy even as they contain moments of distance and ali

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33

Ten Berge, Jos. "‘Confusingly Unique’:." Rijksmuseum Bulletin 72, no. 2 (2024): 142–61. http://dx.doi.org/10.52476/trb.19306.

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Given the reception of his work, transfer of the custody of the drawing Moscow (c. 1955) by Willem van Genk (1927-2005) to the Rijksmuseum is more remarkable than it might seem. A ‘labelling history’ shows that the man and his work were volleyed back and forth between the categories of psychiatric art, hobbyist art, naive art, art brut and outsider art – this, even though the artist himself would most likely have preferred to be recognized simply as ‘an artist’. The Rijksmuseum finally succeeded in doing so (albeit perhaps unwittingly). At the same time, Van Genk’s ‘case history’ reveals aspec

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34

Giuliani, Rita. "About the Utility of Russian Literature Outside of Russia." Проблемы исторической поэтики 18, no. 3 (2020): 290–300. http://dx.doi.org/10.15393/j9.art.2020.8262.

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<p>This article analyzes the excellence, uniqueness and specific elements of Russian literature that make it valuable in the eyes of a Western reader, helping him or her to better understand Russia and enrich his or her spiritual dimension. There are many such elements, and while I cannot touch on all of them, I would like to remind the reader of the fact that Russian literature has always been that particular point where social, humanitarian, political and philosophical thought comes together. Russian literature also sheds light on the mindset of the Russian people (<em>narod</

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35

Lenzi, Iola. "Early contemporary art in Vietnam: Đổi Mới shift as spur of innovation in globalizing 1990s-Hanoi". Russian Journal of Vietnamese Studies 6, № 1 (2022): 73–85. http://dx.doi.org/10.54631/vs.2022.61-105389.

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The social impacts of 1986 Đổi Mới economic reform in Vietnam are well-studied. However, connections between Đổi Mới change and 1990s artistic transformation are not. This study examines these ties to reveal how post-Đổi Mới, outside Vietnamese mainstream art, and in not yet globally-open Hanoi, vanguard expressions emerged. Using artwork analysis and cross-disciplinary literature, this paper spotlights how material and social landscapes of 1990s-Hanoi impacted art. It uncovers parallels with Southeast Asian contemporary art to conclude that Hanoi vanguard practices constituted early Vietnames

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36

Kipel, Zora. "Byelorussian art literature collections." Art Libraries Journal 17, no. 2 (1992): 16. http://dx.doi.org/10.1017/s0307472200007756.

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In spite of the absence of specialised art libraries, some significant collections of publications on Byelorussian art exist in the State Library, and in some other libraries in Minsk. Other collections of material on Byelorussian art can be found outside Byelorussia, in England (in the Francisk Skaryna Byelorussian Library in London), and in several libraries in the USA.

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37

Nathan, Stuart. "Thinking Outside the Box with a Game-Changing Innovation." Engineer 299, no. 7908 (2019): 54. http://dx.doi.org/10.12968/s0013-7758(23)90776-2.

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38

Stauskis, Gintaras. "JAPANESE GARDENS OUTSIDE OF JAPAN: FROM THE EXPORT OF ART TO THE ART OF EXPORT." JOURNAL OF ARCHITECTURE AND URBANISM 35, no. 3 (2011): 212–21. http://dx.doi.org/10.3846/tpa.2011.22.

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Since the 19th century, a Japanese garden as a cultural phenomenon with a millennium-old history of religion and philosophy-based landscaping art has been exported to different regions of the globe and built in countries far from the land of its origin. The article focuses on two aspects of Japanese gardens: the basic and more specific principles of planning and design of a traditional Japanese garden, and the related discourse of a tradition of exporting its planning and design cultural tradition outside of Japan. Based on analysed international examples of Japanese-style gardens, the specifi

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39

Pincus, Theodore. "Guidelines for monitoring of methotrexate therapy: “Evidence-based medicine” outside of clinical trials." Arthritis & Rheumatism 48, no. 10 (2003): 2706–9. http://dx.doi.org/10.1002/art.11276.

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40

Ziff, Matthew, and David W. Galenson. "Painting outside the Lines: Patterns of Creativity in Modern Art." Journal of Aesthetic Education 38, no. 3 (2004): 123. http://dx.doi.org/10.2307/3527448.

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41

Haller, Stephen A. "From the Outside In: Art and Architecture in the Bathhouse." California History 64, no. 4 (1985): 283. http://dx.doi.org/10.2307/25158325.

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42

Freedman, Kerry. "Critiquing the Media: Art Knowledge inside and outside of School." Art Education 50, no. 4 (1997): 46. http://dx.doi.org/10.2307/3193653.

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43

Sönmez, Begüm. "Outside the “Center” The Appropriation Art in Slovakia and Turkey." ARS 57, no. 2 (2024): 170–86. http://dx.doi.org/10.31577/ars-2024-0015.

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44

Olesen, Bodil Birkebæk. "Outside things: materializing space, place and boundaries in world art." World Art 2, no. 1 (2012): 9–12. http://dx.doi.org/10.1080/21500894.2012.662175.

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45

Baranova, Jūratė. "Deleuzian/Guattarian cartographies: Art outside galleries in new Vilnius map." Cogent Arts & Humanities 5, no. 1 (2018): 1462544. http://dx.doi.org/10.1080/23311983.2018.1462544.

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46

Lamm, Kimberly. "Outside Voices: Art, Visibility, and the Gender of Public Speech." Public Art Dialogue 13, no. 1 (2023): 1–16. http://dx.doi.org/10.1080/21502552.2023.2176693.

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47

Gómez-Peña, Guillermo, and Emma Tramposch. "Practical Jobs for Utopian Artists (From the “Imaginary Activism” Series)." TDR/The Drama Review 60, no. 4 (2016): 10–13. http://dx.doi.org/10.1162/dram_a_00592.

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As the “alternative” art world collapses due to funding cuts, critical artists engaged in socially responsible projects outside of the museum are faced with a great paradox: the work is more necessary than ever but the means and resources for it are becoming scarcer. We must find “utopian jobs” for critical artists operating outside of the capital art world.

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48

Darian, Veronika. "The scenario of the map: Discovering documents and performance in East Art Map project by IRWIN." Maska 30, no. 172 (2015): 84–91. http://dx.doi.org/10.1386/maska.30.172-174.84_1.

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“History is not given. Please help to construct it.” Shortly after the turn of the millennium, this speech act performed the onset of the East Art Map project by the Slovenian artist collective IRWIN. Instead of just documenting the realities of (art) history, the project also set out to construct them anew by deconstructing binary configurations, such as West and East, being inside or outside the map(s), as well as by investigating the preconditions for producing art and (art) history. By offering a constellation of artistic documents – respectively, documentary artifacts – EAM explored a spe

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49

Jones, Gayle C. "Jumping Cultures — Is the Baggage All Packed?" Dialogue and Universalism 7, no. 3 (1997): 171–77. http://dx.doi.org/10.5840/du199773/417.

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Western aesthetics attends to its art as a symbohsm-statement created by an artist with a signature-statement. Accompanying every piece is a unique set of informative signs, symbols and techniques which allow for interpretive readings from an individual expression within the Western cultural context. Does an art form from another culture, specifically the Tibetan thanka as selfless art in a selfless culture, retain its aflfectivity and integrity when attended to by Western perusal outside its cultural context? And when the thanka travels (outside its culture), does it come with all its baggage

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50

Prokhorov, Alexey Anatolievich, and Yuriy Nikolaevich Karpun. "Characteristics of plants distribution in botanical gardens outside the ecological optimum." Principles of the Ecology 3, no. 3 (2012): 74–81. http://dx.doi.org/10.15393/j1.art.2012.1402.

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