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Artículos de revistas sobre el tema "Contemporary art"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 25 de julio de 2025

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1

Muraz, Özlem. "BODY AS AN ART OBJECT IN CONTEMPORARY ART." E-journal of New World Sciences Academy 14, no. 2 (2019): 136–44. http://dx.doi.org/10.12739/nwsa.2019.14.2.d0232.

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2

Kesarwani, Sachin. "IN THE CONTEXT OF CONTEMPORARY INDIAN ART-CONTEMPORARY ART." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 281–84. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3755.

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English: The overall development of art is part of the historical, social process. The artist establishes new dimensions through innovative experiments. In present times, not only in India but in the whole world, experimentism can be clearly marked. As change is a continuous process that exists from time to time in which the prevailing beliefs go on being accepted by generations. But a thoughtful conscious community rejects those beliefs and leads the society towards a new direction and new values. This is where change starts, as fast as the meanings of life are changing, the art is changing a
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3

Oguibe, Olu, and Nicole Guez. "L'Art Africain Contemporain/Contemporary African Art: Guide." African Arts 30, no. 1 (1997): 91. http://dx.doi.org/10.2307/3337485.

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4

Oh, Younjung. "Two Approaches to Discussing Japanese Contemporary Art : Japan’s Contemporary Art or the Art of Contemporary Japan." Journal of Korean Modern & Contemporary Art History 46 (December 31, 2023): 119–43. http://dx.doi.org/10.46834/jkmcah.2023.12.46.119.

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5

Sladkova, Hanka. "Framing Contemporary Art." International Journal of Communication and Linguistic Studies 12, no. 2 (2015): 15–27. http://dx.doi.org/10.18848/2327-7882/cgp/v13i02/43649.

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6

Herwitz, Daniel, Stephen Bann, and William Allen. "Interpreting Contemporary Art." Journal of Aesthetics and Art Criticism 50, no. 3 (1992): 265. http://dx.doi.org/10.2307/431243.

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7

Mirfenderesky, Jamshid, Stephen Bann, and William Allen. "Interpreting Contemporary Art." Circa, no. 58 (1991): 39. http://dx.doi.org/10.2307/25557645.

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8

Belik, Eva, and Matthew Cullerne Bown. "Contemporary Russian Art." Leonardo 23, no. 4 (1990): 447. http://dx.doi.org/10.2307/1575353.

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9

Cooper, John, Stephen Bann, and Willian Allen. "Interpreting Contemporary Art." Leonardo 24, no. 5 (1991): 631. http://dx.doi.org/10.2307/1575685.

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10

Ezra, Kate, and Sidney Littlefield Kasfir. "Contemporary African Art." African Arts 34, no. 1 (2001): 11. http://dx.doi.org/10.2307/3337728.

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11

Sylla, Abdou, and Mara Bertelsen. "Contemporary African Art." Diogenes 46, no. 184 (1998): 51–70. http://dx.doi.org/10.1177/039219219804618406.

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12

Niemojewski, Rafal. "Contemporary Art Biennials." Cultural Politics 14, no. 1 (2018): 135–37. http://dx.doi.org/10.1215/17432197-4313065.

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13

Owerka, Carolyn. "Contemporary African Art." African Arts 18, no. 2 (1985): 78. http://dx.doi.org/10.2307/3336197.

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14

Alberro, Alexander. "Periodising Contemporary Art." Australian and New Zealand Journal of Art 9, no. 1-2 (2008): 66–73. http://dx.doi.org/10.1080/14434318.2008.11432794.

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15

Workman, Jason. "Breathing Contemporary Art." Third Text 25, no. 5 (2011): 515–21. http://dx.doi.org/10.1080/09528822.2011.608953.

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16

Hibbert-Jones, Dee. "Contemporary Art from Studio to SituationandSituation(Documents of Contemporary Art series)." Public Art Dialogue 1, no. 1 (2011): 139–41. http://dx.doi.org/10.1080/21502552.2011.537113.

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17

Lawson, Louise, and Deborah Potter. "Contemporary art, contemporary issues—conservation at Tate." Journal of the Institute of Conservation 40, no. 2 (2017): 121–32. http://dx.doi.org/10.1080/19455224.2017.1318079.

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18

UKHOV, Artem, Eleonora SIMONYAN, and Susanna MURADYAN. "Contemporary Art vs Totalitarian Art: Semiotic Analysis." WISDOM 23, no. 3 (2022): 167–77. http://dx.doi.org/10.24234/wisdom.v23i3.821.

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The article provides a semiotic analysis of the types of totalitarian culture and its manifestation in art, both classical and modern. On the basis of totalitarian culture semiotic analyses, it is shown that mass culture (and its attributes) may be considered a modern type of totalitarian culture. Particularly, the antidogmatic and antitotalitarian essence of the contemporary art phenomenon is highlighted. Based on the semiotic methodology, a key moment of demarcation between contemporary art and the ‘totalitarian’ one has been emphasized. The conclusion about the inconsistency of signs and sy
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19

Zhyrov, Vasyl. "Assemblage as Art Technique in Contemporary Art." ART Space, no. 3 (2018): 73–75. http://dx.doi.org/10.28925/2519-4135.4.2018.3.12.

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In this article the content of the notions of “collage” and “аssemblage” is covered. The characteristic to аssemblage as a style of painting is given . Stylization of an artistic image through аssemblage is analysed.
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20

KRIVOLAPOVA, G. A., and A. N. KRIVOLAPOV. "Art and Science in Contemporary Art Glass." Декоративное искусство и предметно-пространственная среда. Вестник МГХПА, no. 3-2 (2021): 252–61. http://dx.doi.org/10.37485/1997-4663-2021-3-2-252-261.

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21

Smith, Terry. "The State of Art History: Contemporary Art." Art Bulletin 92, no. 4 (2010): 366–83. http://dx.doi.org/10.1080/00043079.2010.10786119.

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22

Jiménez, J. L. L. "Mobile Telephony in Contemporary Art (Mobile Art)." Afluir, no. 6 (November 2, 2022): 7–26. http://dx.doi.org/10.48260/ralf.6.116.

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El teléfono móvil no solo se ha convertido en un objeto cultural de uso cotidiano sino que su uso ha traspasado las fronteras de la comunicación telefónica interpersonal, han aparecido nuevos usos como por ejemplo herramienta para la creación artística. El uso del teléfono móvil para la creación de proyectos artísticos, se ha convertido en una práctica muy habitual de múltiples artistas en los últimos años, estos artistas ven a esta herramienta como el objeto tecnológico más adecuado para desarrollar una gran variedad de proyectos audiovisuales. Aunque es una práctica aún muy desconocida para
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23

Guangsheng, Ma. "Using VR art apps in contemporary art." Science and School, no. 1 (February 29, 2024): 238–45. http://dx.doi.org/10.31862/1819-463x-2024-1-238-245.

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The relevance of the study is due to the need to integrate modern computer technologies into the environment of contemporary art. Given the current changes in the world and specifically in the field of virtual technologies, it must be said that the problem of studying the possibilities of these technologies in various fields is becoming extremely relevant. Virtual technologies are introduced today in the economy, law, technology, as well as in the field of art, which is of the greatest interest to us. Virtual reality today has become not only a means of entertainment, but also a way that allow
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24

Coronado, Vibrina. "Ndn Art: Contemporary Native American Art (review)." American Indian Quarterly 32, no. 2 (2008): 229–33. http://dx.doi.org/10.1353/aiq.2008.0020.

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25

Smith. "Contemporary Art and Contemporaneity." Critical Inquiry 32, no. 4 (2006): 681. http://dx.doi.org/10.2307/3877131.

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26

Roberto Barbanti. "Contemporary Art and Degrowth." Korean Journal of Art and Media 15, no. 3 (2016): 11–32. http://dx.doi.org/10.36726/cammp.2016.15.3.11.

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27

Danto, Arthur C. "Kalliphobia in Contemporary Art." Art Journal 63, no. 2 (2004): 24. http://dx.doi.org/10.2307/4134518.

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28

Chio, Jenny. ":Contemporary Art and Anthropology." Visual Anthropology Review 22, no. 2 (2006): 94–95. http://dx.doi.org/10.1525/var.2006.22.2.94.

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29

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

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The use of metaphors in producing contemporary works of art is often used by artists to convey current ideas and issues in the era of contemporary visual art. The metaphor used is as a symbol for the meaning of a work in conveying the ideas and narrative of the story more creatively. In addition, the use of metaphors should be in line with the selection of subjects and meanings to be used and conveyed more accurately and effectively in the production of works to be seen and studied by art critics.
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30

Neumaier, Diane. "Contemporary Russian Art Photography." Art Journal 53, no. 2 (1994): 18. http://dx.doi.org/10.2307/777477.

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31

Kanatani, Kim. "Contemporary Art Start®." Art Education 51, no. 2 (1998): 33. http://dx.doi.org/10.2307/3193740.

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32

Schtein, Sergey Yu. "ONTOLOGY OF “CONTEMPORARY ART”." Articult, no. 3 (2017): 55–72. http://dx.doi.org/10.28995/2227-6165-2017-3-55-72.

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33

Malysse, Stéphane. "Contemporary art and anthropology." Revista de Antropologia 48, no. 2 (2005): 739–47. http://dx.doi.org/10.1590/s0034-77012005000200010.

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34

Fowler, Joan, and Richard Hertz. "Theories of Contemporary Art." Circa, no. 27 (1986): 40. http://dx.doi.org/10.2307/25557071.

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35

Casini, Silvia. "What is contemporary art?" Visual Studies 26, no. 2 (2011): 182–83. http://dx.doi.org/10.1080/1472586x.2011.571915.

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36

Esanu, Octavian. "What was Contemporary Art?" ARTMargins 1, no. 1 (2012): 5–28. http://dx.doi.org/10.1162/artm_a_00003.

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This article contributes to a recent debate around the question “What Is Contemporary Art?” It brings into discussion certain key aspects of the activities of the Soros Centers for Contemporary Art (SCCA)—a network of contemporary art centers established by the Open Society Institute in Eastern Europe during the 1990s. The author draws upon distinctions between this new type of art institution and the Union of Artists (the organizations which represented the interests of artists under socialism), highlighting distinct artistic, aesthetic and economic characteristics of each institutional model
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37

ARNOLD, MARION. "THEMES IN CONTEMPORARY ART." Art Book 12, no. 4 (2005): 68–69. http://dx.doi.org/10.1111/j.1467-8357.2005.00621_8.x.

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38

Smith, Terry. "Contemporary Art and Contemporaneity." Critical Inquiry 32, no. 4 (2006): 681–707. http://dx.doi.org/10.1086/508087.

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39

Jyrämä, Annukka, and Anne Äyväri. "Marketing contemporary visual art." Marketing Intelligence & Planning 28, no. 6 (2010): 723–35. http://dx.doi.org/10.1108/02634501011078129.

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40

Chung, Nak-Rim. "Play and Contemporary Art." Journal of the Daedong Philosophical Association 108 (September 30, 2024): 331–61. http://dx.doi.org/10.20539/deadong.2024.108.13.

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41

Williams, Drid. "Contemporary Art and Anthropology." Visual Anthropology 21, no. 5 (2008): 429–39. http://dx.doi.org/10.1080/08949460802341894.

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42

Danto, Arthur C. "Kalliphobia in Contemporary Art." Art Journal 63, no. 2 (2004): 24–35. http://dx.doi.org/10.1080/00043249.2004.10791123.

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43

CRAVEN, D. "Art in Contemporary Nicaragua." Oxford Art Journal 11, no. 1 (1988): 51–63. http://dx.doi.org/10.1093/oxartj/11.1.51.

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44

Langlitz, Nicolas. "Contemporary physiology of art." BioSocieties 7, no. 2 (2012): 208. http://dx.doi.org/10.1057/biosoc.2012.2.

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45

MILLER, JAY. "Contemporary Coast Salish Art." Museum Anthropology 29, no. 2 (2006): 151–53. http://dx.doi.org/10.1525/mua.2006.29.2.151.

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46

Slifkin, R. "Is Contemporary Art History?" Oxford Art Journal 35, no. 1 (2012): 111–14. http://dx.doi.org/10.1093/oxartj/kcr048.

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47

Imperato, Pascal James. "Contemporary Art in Greenland." African Arts 21, no. 3 (1988): 78. http://dx.doi.org/10.2307/3336459.

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48

Watson, Ruth. "Mapping and Contemporary Art." Cartographic Journal 46, no. 4 (2009): 293–307. http://dx.doi.org/10.1179/000870409x12549997389709.

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49

Blakeney, Michael. "Contemporary art and patents." Queen Mary Journal of Intellectual Property 9, no. 3 (2019): 244–61. http://dx.doi.org/10.4337/qmjip.2019.03.01.

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This article investigates whether contemporary art can or should be protected by patent law. The investigation commences with a working definition of contemporary art and then examines the way that patent law has treated fine art in the US, UK and Australia, and whether this treatment would extend to contemporary art. A number of examples of patents granted to types of contemporary art are reviewed.
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50

Papastergiadis, Nikos. "Modernism and Contemporary Art." Theory, Culture & Society 23, no. 2-3 (2006): 466–69. http://dx.doi.org/10.1177/026327640602300286.

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