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1
Enxuto, João, and Erica Love. "The Institute for Southern Contemporary Art (ISCA)." Finance and Society 2, no. 2 (2016): 173–74. http://dx.doi.org/10.2218/finsoc.v2i2.1730.
Texte intégralRésumé :
The Institute for Southern Contemporary Art (ISCA) was founded in 2016 to advance a meaningful alternative to the problem of contemporary art production and its political economy. While technology is intensifying the soft power of speculation, reputation, and the hype of networks, recent changes in technical infrastructure have done very little to shake the narrowly-defined and limited objectives of contemporary art. Technological change alone hasn’t curtailed an art field defined by individualism and competition, despite counter-claims made by progressive artists and collectives. Following a long-century of escapist fantasies projected as utopian horizons, there is little to offer up as a functional alternative to an art market spiralling toward ever more comprehensive financialization. At a time when disdain for contemporary art is proliferating, undoing this system accelerating toward stagnation cannot be left to the ‘inevitable’ unravelling of its internal contradictions. ISCA offers another option by rerouting capital from the contemporary art market to fund a path to working otherwise, culminating in a think-tank and independent program to promote new terms for art production.
2
Lopatkova, Alisa. "Evaluation of Contemporary Art in the Process of Production, Distribution and Consumption." Inter 16, no. 1 (2024): 16–30. http://dx.doi.org/10.19181/inter.2024.16.1.2.
Texte intégralRésumé :
How does the art community evaluate contemporary art? This question is discussed based on 16 interviews with artists, gallery owners, curators, and collectors. The contemporary art market is conceptualized as a “creative industry that unites actors involved in the production, distribution, and consumption of art objects. The research methodology is based on the anthropological approach of Igor Kopytoff and the discursive psychology of Rom Harré, according to which the history of the movement of cultural objects through social space and the discourses accompanying them are sources of symbolic values. Market practices of art distribution are described: criteria for selecting artists by galleries, legal aspects of distribution and consumption of art objects, informal purchasing practices, moral and pragmatic taboos on buying art objects. Four logics of justifying the value of art objects — “commercial success,” “testimony of the times,” “intellectual development,” “emotional experience”—have been reconstructed. It is demonstrated that consumption as a collector's practice requires following the rules of a “professional approach” to be recognized in the art community.
3
Esposito, Claudia. "Traces of Souffles: on cultural production in contemporary Morocco." Contemporary French Civilization 45, no. 3-4 (2020): 305–15. http://dx.doi.org/10.3828/cfc.2020.18.
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This article examines contemporary cultural production in Morocco and focuses in particular on how poet-artist Abdellatif Laâbi, founder of the journal Souffles, and writer-artist Mahi Binebine display ties of filiation. Bringing to light the artistic and social collaborations that these two cultural actors nurture in Morocco, the article traces a filial genealogy between Laâbi and Binebine and examines the post-independence years to reveal the spirit of combat that lies at the origin of the current artistic scene in Morocco. Questioning the link between art and the public, the article concludes by acknowledging the tension between art and market-driven concerns inherent in an increasingly competitive art business.
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Skiba, Stefan. "Some Thoughts on Contemporary Graphic Print." Journal of Arts and Humanities 5, no. 9 (2016): 84. http://dx.doi.org/10.18533/journal.v5i9.1010.
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<p align="center">The production requirements of original graphic works of art have changed since 1980. The development of digital printing using lightfast colors now rivals traditional techniques such as wood cut, screen print, lithography, etching etc. Today, with respect to artistic legitimacy, original graphics using traditional printing techniques compete with original graphics produced by digital printing techniques on the art market. What criteria distinguish traditional printing techniques from those of digital printing in the production and acquisition of original graphics? What consequences is the serious artist faced with when deciding to implement digital print production? How does digital print change original graphic acquisition decisions?</p>
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Dholakia, Ruby Roy, Jingyi Duan, and Nikhilesh Dholakia. "Production and marketing of art in China." Arts and the Market 5, no. 1 (2015): 25–44. http://dx.doi.org/10.1108/am-10-2013-0023.
Texte intégralRésumé :
Purpose – The purpose of this paper is to explore how art production and marketing in China is attempting to move up the value chain as increasing number of Chinese replica-selling galleries seek to break free from the image of Chinese art towns as skilled but imitative centres of art production. Design/methodology/approach – In-depth interviews were conducted among seven gallery owners in Wushipu art village over three weeks to discover how art production in China has evolved and to chart its future growth. Findings – In the Chinese setting with its distinctive cultural patterns, tensions between the emergent national pride in original art and the facile and commercial moneymaking potential of simply selling industrially produced art are revealed. Practical implications – The changing dynamics of arts markets in China provide marketers and researchers a glimpse into a parallel trend: the gradual but rising shift to innovation, originality and luxury occurring in the China-based manufacturing centres of material goods. Social implications – The attempts to break from the imitative mass production of art and strike a balance between creating and meeting the art needs of the Chinese consumer indicate how domestic market priorities and economic growth are likely to serve as the new fuel for contemporary China’s socioeconomic development. Originality/value – Via an interpretive look at contemporary Chinese modes of arts production and marketing, the paper revisits the antagonism between the creation of original art and the production of industrial art in a context not well-known in the west, the massive art production centres of China.
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Chubarov, Igor M., and Elina V. Samokhvalova. "Art without an Artist: On the Question of the Criteria of Contemporary Art." Čelovek 34, no. 5 (2023): 130–48. http://dx.doi.org/10.31857/s023620070028506-3.
Texte intégralRésumé :
The article raises the question of the authorship of works of contemporary art, the institutional nature and socio-economic conditions of its production, as well as the spatial and media-aesthetic mediations of its perception. The main research problem is formulated at the intersection of two questions: is everything that artists produce may be considered art? And: are artists the only authors of the works they signed? The problem is the appearance of a commodity form for works of contemporary art, which does not interfere with them, but, on the contrary, becomes a condition for their social and cultural legitimation, recognition in the context of the history of world art, i.e. museumification. In addition, the article discusses: The ontological status of art objects produced by contemporary artists or, more precisely, by the entire industry and contemporary art market; a specific way of their impact on a person, which, as a purely aesthetic, is abstracted from other channels of sensory and existential experience; and: The integral artistic experience of being-with-art or in-art of spectators and artists, its structure and essence. The methodological approach to the phenomenon of contemporary art developed in the article simultaneously criticizes the positions of aesthetic nominalism and realism, relying on the vocabulary and tools of the theory of art by Walter Benjamin and Russian constructivism. As an alternative to the currently dominant criteria for evaluating works of contemporary art (for example, by T. de Duve), the authors propose an original theory of the Russian left avant-garde with the central concepts of the artistic “thing-comrade” and the collective author-producer.
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Negoiță, Ana. "Arta contemporană și granițele interdisciplinarității. Intersecționalitatea cu noile tehnologii și AI." Revista de filosofie 71, no. 6 (2024): 815–24. https://doi.org/10.59277/rf.2024.71.6.06.
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Contemporary art develops within an extremely rapidly evolving landscape, where paradigm and methodology changes are very dynamic. This is the context where technology plays an essential role, reshaping artistic practices, aesthetics and the relationship between the artist and the public, as well as the relationship with cultural institutions and museums, but also with the art market, in general. The study explores the interaction between contemporary art and new technologies, examining how new technological tools such as digital media, virtual reality, artificial intelligence and social media have transformed artistic production. Analysing key examples and theoretical frameworks, we aim to identify the methodology by which technology transgresses the status of a mere tool for artists, becoming a fundamental component of the contemporary art paradigm.
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Kuleva, Margarita I. "Turning the Pushkin Museum into a ‘Russian Tate’: Informal creative labour in a transitional cultural economy (the case of privately funded Moscow art centres)." International Journal of Cultural Studies 22, no. 2 (2019): 281–97. http://dx.doi.org/10.1177/1367877918821236.
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This article investigates the creative work that is now taking place in newly established cultural institutions in Moscow, the non-governmental museums of contemporary art (MoCAs). The exploration of creative work in Russian art centres is of particular interest because it promises to record the transition of the contemporary art market from the Soviet-era cultural monopoly to the market economy, during the real-time formation of new, informal standards of cultural production. The present article evaluates what informality means within these new standards of the organization of creative work: while standing for culture ‘in a new and innovative way’, the new art centres preserve many residues of the ‘old system’, such as the practices of blat, favour-swapping and clientelism. The article is based on an empirical study conducted in 2016 which included 25 in-depth interviews with cultural workers employed full-time, and 20 live observations in offices and exhibition areas of the art centres.
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Tam, Isabella. "Canton Express: Urbanization and contemporary Chinese art." Journal of Contemporary Chinese Art 7, no. 2-3 (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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Tagore-Erwin, Eimi. "Contemporary Japanese art: between globalization and localization." Arts and the Market 8, no. 2 (2018): 137–51. http://dx.doi.org/10.1108/aam-04-2017-0008.
Texte intégralRésumé :
Purpose The purpose of this paper is to identify and analyze the influence that globalization has had on the development of the contemporary Japanese art production. The study also aims to expand the global narrative of Japanese art by introducing concepts behind festivals for revitalization that have been occurring in Japan in recent years. Design/methodology/approach Guided by Culture Theorist Nira Yuval-Davies’ approach to the politics of belonging, the paper is situated within cultural studies and considers the development of contemporary art in Japan in relation to the power structures present within the global art market. This analysis draws heavily from the research of art historians Reiko Tomii, Adrian Favell, and Gennifer Weisenfeld, and is complemented by investigative research into the life of Art Director Kitagawa Fram, as well as observational analyses formed by on-site study of the Setouchi Triennale in 2015 and 2016. Findings The paper provides historical insight to the ways that the politics of belonging to the western world has created a limited benchmark for critical discussion about contemporary Japanese art. It suggests that festivals for revitalization in Japan not only are a good source of diversification, but also evidences criticism therein. Research limitations/implications Due to the brevity of this text, readers are encouraged to further investigate the source material for more in-depth understanding of the topics. Practical implications The paper implies that art historiography should take a multilateral approach to avoid a western hegemony in the field. Originality/value This paper fulfills a need to reflect on the limited global reception to Japanese art, while also identifying one movement that art historians and theorists may take into account in the future when considering a Japanese art discourse.
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Qin, Wei. "An Analysis of the Development and Marketing Strategy of Art Merchandise in Art Museums." Highlights in Art and Design 2, no. 1 (2023): 44–48. http://dx.doi.org/10.54097/hiaad.v2i1.5323.
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There have been many limitations and lags in the commercial operation of public art institutions, while art merchandise is an important business for the commercial operation and profitability of art museums. How to make profits in the market while still building an art brand image has been the priority for art museum operators to think and study. This paper examines the new experiences and innovative initiatives of public art museums in the art merchandising business through the case of the National Museum of Modern and Contemporary Art, Korea (MMCA). First, through the experience of operating art merchandise at the MMCA, it is found that a sound archival management of art museums is conducive to boost the quality and diversity of art merchandise and to dominating the market. Secondly, the production of high-quality digital content and its display on the visited web pages are favorable to increase online sales, raise profits and advertise the brand at the same time.
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Dai, Mingyue. "The Influence of Contemporary Art on Modern Design." BCP Social Sciences & Humanities 22 (August 2, 2023): 141–46. http://dx.doi.org/10.54691/bcpssh.v22i.5351.
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Contemporary art, like modern design, cannot define a period scientifically, we can only understand it from a general period. Both contemporary art and modern design came into people's view gradually after the Second World War, and both actively explored and interacted with the whole world in their own ways of development under the great cultural environment after the Second World War. Although contemporary art and modern design have their own development characteristics, they have certain commonalities. Even in a certain sense, contemporary art and modern design are interchangeable. Due to the influence of science and technology and production factors, designers are different from artists. Art is a pure personal feeling, while design needs to take into account the preferences of the market, consumers and customers. Therefore, designers cannot be compared with artists in the pursuit of beauty. Therefore, in the design process, designers often draw inspiration from works of art, and the design thus develops in a good way. However, this does not mean that art and design are good or bad. Art and design are independent and interdependent, and art and design can only develop through mutual learning. Since the emergence of the Bauhaus Institute, modern design has undergone groundbreaking changes, from the pursuit of cumbersome and gorgeous design only for the aristocracy to the public design, simple style has become the dominant, which is a big step in the design industry. With the development of productivity level, design has changed from meeting people's basic life needs to meeting people's means of enriching daily life and improving the quality of life.
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Fetter, Bruna. "O PAPEL DO MERCADO NA LEGITIMAÇÃO ARTÍSTICA E ALGUNS REFLEXOS PARA HISTÓRIAS DA ARTE EM CONSTRUÇÃO / The role of the market for artistic legitimation and some reflexes for art histories under construction." arte e ensaios 26, no. 40 (2020): 173–83. http://dx.doi.org/10.37235/ae.n40.12.
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O mundo contemporâneo apresenta uma série de desafios para o sistema da arte. Mudanças econômicas, sociais, culturais e organizacionais na década passada produziram um mercado global de arte cuja influência já atinge desde a produção artística à programação de importantes instituições. O número de museus privados cresce, enquanto instituições públicas não possuem verba para investir em novas aquisições para suas coleções. Nesse cenário, nos perguntamos: em 50 ou 100 anos, o que estará legitimado nas coleções institucionais referentes à atualidade? Onde estarão as obras mais significativas dos artistas brasileiros contemporâneos? Quem serão os artistas brasileiros mais reconhecidos? Quais critérios estéticos estão sendo legitimados através dos mecanismos dessa nova institucionalização no Brasil? Quais narrativas acompanharão a historicizacão da arte contemporânea brasileira? Que papel o mercado e os colecionadores privados têm desempenhado na definição de histórias da arte em construção?Palavras-chave: Mercado de arte; Legitimação; Papel do colecionador; História da arte; Arte brasileira.Abstract:The contemporary world presents a series of challenges for the art system. Economic, social, cultural and organizational changes in the past decade have produced a global art market whose influence already reaches from artistic production to the programming of important institutions. The number of private museums grows, while public institutions do not have funds to invest in new acquisitions for their collections. In this scenario, we ask ourselves: in 50 or 100 years, what will be legitimized in the institutional collections for today? Where are the most significant works by contemporary Brazilian artists? Who will be the most recognized Brazilian artists? What aesthetic criteria are being legitimized through the mechanisms of this new institutionalization in Brazil? Which narratives will accompany the historicization of contemporary Brazilian art? What role have the market and private collectors been playing in shaping art histories under construction?Keywords: Art market; Legitimation; Collector's role; Art history; Brazilian art.
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Stevenson, Alice. "Dialogues between Past and Present? Modern Art, Contemporary Art Practice, and Ancient Egypt in the Museum." Arts 13, no. 3 (2024): 99. http://dx.doi.org/10.3390/arts13030099.
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Whenever twentieth-century modern art or new contemporary artworks are included amongst displays of ancient Egypt, press statements often assert that such juxtapositions are ‘surprising’, ‘innovative’, and ‘fresh’, celebrating the external perspective they bring to such collections. But contemporary art’s relationship with museums and other disciplines needs to be understood in a longer-term perspective. Pairings of twentieth- and twenty-first-century artistic works with objects of antiquity is an activity that has been undertaken for more than a century in what has been a relatively long period of mutually reinforcing influences between modern/contemporary art, museum display, the art market, and Egyptian heritage. Together, they have decontextualised ancient Egyptian culture and shaped the language and perspectives of scholars, curators, and artists. In this paper, rather than considering how artists have been inspired by ancient Egypt, I will give a few examples of how more recent art practices from the late nineteenth century onwards have impacted the language and discourse of Egyptology and its museum representation. Then, using more recent artist engagements with the British Museum, I argue for greater interdisciplinary dialogues between artists and Egyptologists, as both take more critical stances towards research that recontextualises the power and agency of collections, representation, and knowledge production.
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McQuilten, Grace, Deborah Warr, Kim Humphery, and Amy Spiers. "Ambivalent entrepreneurs: arts-based social enterprise in a neoliberal world." Social Enterprise Journal 16, no. 2 (2020): 121–40. http://dx.doi.org/10.1108/sej-03-2019-0015.
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Purpose The purpose of this paper is to consider the social turn in contemporary capitalism and contemporary art through the lens of art-based social enterprises (ASEs) that aim to create positive social benefits for young people experiencing forms of marginalisation, and which trade creative products or services to help fulfil that mission. A growth in ASEs demonstrates a growing interest in how the arts can support social and economic development, and the ways new economic models can generate employment for individuals excluded from the labour market; extend opportunities for more people to participate in art markets; and challenge dominant market models of cultural production and consumption. Design/methodology/approach This paper considers a number of challenges and complexities faced by ASEs that embrace a co-dependence of three goals, which are often in tension and competition – artistic practice, social purpose and economic activity. It does so by analysing interviews from staff working with 12 ASE organisation’s across Australia. Findings While the external forces that shape ASEs – including government policy, markets, investors and philanthropy – are interested in the “self-sufficient” economic potential of ASEs, those working in ASEs tend to prioritise social values and ethical business over large financial returns and are often ambivalent about their roles as entrepreneurs. This ambivalence is symptomatic of a position that is simultaneously critical and affirmative, of the conditions of contemporary capitalism and neoliberalism. Originality/value This paper addresses a gap in social enterprise literature presenting empirical research focussing on the lived experience of those managing and leading ASEs in Australia.
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Di Summa-Knoop, Laura T. "Art Today and Philosophical Aesthetics." Culture and Dialogue 4, no. 2 (2016): 246–62. http://dx.doi.org/10.1163/24683949-12340014.
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The demise of grand narratives of art, and the emergence of “post-historical art,” have produced a chasm between the tradition of philosophical aesthetics and the production and reception of contemporary art, a divide that has deprived philosophy of the fundamental role it had played, arguably, until the end of the Modern period. The goal of this paper, which focuses primarily on art after 2000, is to investigate possible venues and directions in the current production and reception of art that might lead to a reconciliation of these two poles and to the advancement of new philosophical strategies for the analysis of art. Specifically, I will concentrate on three aspects of the experience of art today: first, the emphasis, in the production and reception of artworks, on enactive accounts of artistic experience; secondly, the importance given to the ethical content of artworks and to their ability to trigger ethical, social, and political reflection; and, lastly, the growing role of the art market and its structures in the overall appreciation of the arts.
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Waldenyr, Caldas. "Mass Culture, New Capitalism, and Its Codes." Art Style, Art & Culture International Magazine 5, no. 5 (2020): 81–91. https://doi.org/10.5281/zenodo.6371479.
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Art Style | Art & Culture International Magazine Abstract This article discusses the expectations of global culture, connected and mediated by a constant force. This discussion is based on a review by three great thinkers on the topic. First, we review the key terms of media, the evolution of technology, and the advent of a globalized culture in its current state as advocated by the reflections of Marshall McLuhan. Then we place on the market aspects, which are the structural basis of the capitalist system and contemporary culture, based on the work of Richard Sennett. Therefore, we discuss the new relations of production and reproduction in this material and symbolic value system. However, it is, in this sense, in the symbolic aspects that we present our reading and interpretation of Jean Baudrillard's reflections. Finally, our paper proposes a synthesis of these three significant references to the social sciences, art, and culture about the new condition of the contemporary individual and their challenges in handling the new market requirements on the values of influential mass culture. We will seek a logical connection by analyzing <em>Understanding Media: The Extensions of Man</em> (McLuhan 1964), <em>Le système des objets</em> (1968) and <em>The Culture of the New Capitalism</em> (Sennett 2007), which, in principle, are focused on contemporary society. Therefore, to better understand the intricacies of this society, which propagates democratic values and evokes social justice at all times, including in its arts and culture, we will end this essay by presenting social reality based on the complementary ideas of these three authors.
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Cohen, Matthew Isaac. "Wayang Kulit Tradisional dan Pasca-Tradisional di Jawa Masa Kini." Jurnal Kajian Seni 1, no. 1 (2014): 1. http://dx.doi.org/10.22146/art.5965.
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Regional traditions of wayang kulit puppetry remain alive and vibrant in contemporary Indonesia, responding to currents of global culture, changing configurations of patronage, and the challenges of doctrinal Islam. Enterprising artists tap into new funding sources to renew audiences, strategic alliances are struck between academics and performers, and after the long hiatus of a military dictatorship under President Soeharto, wayang kulit has resumed its role as a mouthpiece for political commentary and dissent. In addition to traditional wayang kulit, the last decade has seen a surge of post-traditional wayang kulit. Post-traditional productions, which are generally not linked to ritual events or functions, etiolate and hybridize the conventions of the form, intentionally violating sacred norms and taboos. Traditionally-trained practitioners alive to global popular culture and the demands of the international contemporary art market, sometimes in collaboration with other artists, create new work that draws deeply on wayang kulit conventions and practices to speak to new audiences about issues of current relevance. While traditional and post-traditional wayang kulit present strikingly different aesthetic profiles, practitioners happily cross between the two art worlds, benefiting from contemporary society’s cultural pluralism.
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Grba, Dejan. "Faux Semblants: A Critical Outlook on the Commercialization of Digital Art." Digital 3, no. 1 (2023): 67–80. http://dx.doi.org/10.3390/digital3010005.
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Heralded by promises for the long-awaited economic empowerment of digital art and the paradigmatic shift of creative production, the art market’s fusion with blockchain technologies and the crypto economy has polarized opinions among artists, cultural workers, and economists. Its capricious dynamics and exuberance largely shroud the continuation of the art market’s ideology and the reinforcement of the disturbing political vectors of the crypto/blockchain complex. In this paper, I address several interrelated aspects of art tokenization in a compact and comprehensive critical framework that may be useful for a constructive discourse of contemporary digital art. By focusing on the core poetic principles of artmaking—which concern the historically informed autonomy of expression and socially responsible freedom of creative thinking—I identify some of the prospects for advancing digital art towards an ethically coherent and epistemologically relevant expressive stratum. The opening sections Introduction, Markets, and Contrivances outline the art market, its adoption of crypto technologies, and its influences on the production and expressive modes of digital art. Sections Ideologies and Myths describe the ideological and technical issues of the crypto economy, while Shams and Fallouts delve into the conceptual shortcomings and ethical, political, and creative consequences of the standard art tokenization rhetoric. The closing sections Options and Conclusion present the considerations for a productive assessment of blockchain technologies in digital art and summarize some of the alternative approaches for navigating and interfacing with the crypto art world.
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Post, Erik, and Filipe Calvão. "Mythical Islands of Value: Free Ports, Offshore Capitalism, and Art Capital." Arts 9, no. 4 (2020): 100. http://dx.doi.org/10.3390/arts9040100.
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The Geneva Free Port in Switzerland has paved the way for a new generation of art and luxury free ports. These are critical spatial pivots for the management of art assets, including storage and transactions of artworks, and serve as proxy to examine mechanisms for the capture and generation of value, integral but also outside the global art market. Drawing from the trajectory of the Geneva Free Port and an interdisciplinary body of scholarship on “offshore” and other special zones of production, and value circulation in human geography, anthropology, history, and sociology, this article frames free ports in a longer genealogy of offshore capitalism. First, we claim that the emergence of the Geneva Free Port prefigures and helps illuminate contemporary transformations in offshore capitalism; second, these spaces are more deeply imbricated with public and state authorities than previously suggested. Finally, a holistic understanding of art capital—works of art for investment and asset management—requires an encompassing view of free ports not as accidental and exceptional features in the world of high art but as spaces deeply implicated in the creation and operation of the art market more generally.
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Zheng, Zexi. "The Innovative Application of Hubei Shadow Play Art in Literary and Creative Stationery." Highlights in Art and Design 5, no. 2 (2024): 49–53. http://dx.doi.org/10.54097/hiaad.v5n2.10.
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Hubei shadow play art, as a national intangible cultural heritage, has a long history and unique artistic charm. This study focuses on the innovative application of this art form in the emerging cultural and creative stationery industry, and analyzes its current situation in the contemporary cultural and creative field as well as the problems and challenges it faces. By extracting the classic elements of Hubei shadow play art, combined with modern design and production technology, this paper explores the innovative transformation mode and market feedback of shadow play art in cultural and creative products, and examines the balance between cultural protection and commercial innovation. In addition, in view of the dilemma of market competition and brand building, this study puts forward the strategy of industrial transformation and upgrading, and emphasizes the importance of strengthening the cultivation of cultural and creative talents and international exchanges and cooperation. The results of this research not only provide theoretical guidance for the inheritance and innovation of Hubei shadow play art, but also contribute new experience and perspective to the development of cultural and creative industry.
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Rusakov, Serhii. "The Theoretical Model of Circuit of Culture as a Cultural Approach to Study Contemporary Cultural Phenomena." Issues in Cultural Studies, no. 36 (December 28, 2020): 24–37. https://doi.org/10.31866/2410-1311.36.2020.221040.
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The purpose of the article is to demonstrate the importance and applicability of the theoretical model of the circuit of culture for researching of axiological aspects of the contemporary cultural phenomena. The research methodology applies the methods of studying, analysis and generalisation to clarify the peculiarities of the theoretical model of the cultural circuit. There is a hermeneutical approach to study the semantic aspects of cultural phenomena. The scientific novelty of the article is in explanation of the prospects of using the model of the circuit of culture for analyses of the phenomena of contemporary culture in Ukrainian Cultural Studies. Conclusions. The article has identified the usage of the model of the cultural circuit, which offers the studying of the meanings in the context of human social and cultural experience, significantly expands the research frameworks for the interpretation of the value-semantic sphere of people. The article has proved that the theoretical model is significant because it meets the peculiarities of Ukrainian Cultural Studies and can be used as a methodology of the research of the value-semantic aspect of phenomena in contemporary culture. To confirm the prospects of the usage of the circuit of culture, the author’s own invention of the value-semantic element of the circuit of the culture of the chestnut symbol in the context of the urban culture of Kyiv is given, and the prospects of this methodology for the analysis of contemporary art and the art market are indicated. The research based on five connected processes as representation, identity, production, consumption, and regulation. They require a detailed examination of human ideology, everyday social practices, lifestyle and ways of understanding reality, as well as the study of works of art and official documentation, which testifies to the possibilities of diverse study of values and meanings that circulate in the dynamic area of culture. The article is a part of the cultural study of the art market as an area of functioning of contemporary art and aims to find a current methodology. The expediency of using the model of the circuit of culture as a theoretical basis is substantiated, which makes it possible to study the specifics of the creation of the meaning when a person gains experience in different social and cultural conditions.
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Zou, Xiangping. "Promoting Environmental Protection through Art: The Feasibility of the Concept of Environmental Protection in Contemporary Painting Art." Journal of Environmental and Public Health 2022 (September 26, 2022): 1–8. http://dx.doi.org/10.1155/2022/3385624.
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With the development of society and the progress of science and technology, the impact of human beings on the environment is becoming more and more serious but also facing the crisis of resource exhaustion. The frequent occurrence of natural disasters has sounded the alarm to human beings, and people are paying more and more attention to the concept of green ecology. There is a close relationship between people and the environment, the development of industry, and the abuse of resources, so that today’s ecological environment has been greatly damaged, people’s requirements for the environment are constantly improving, and people’s environmental awareness is also increasing. While vigorously strengthening environmental management, the government also put forward the “people-oriented” sustainable development strategy. Along with the development of The Times, the art of graphic design is an important service in the field of the society, serves people, is the service life of important activities, its art function must keep pace with The Times, should not only meet the needs of The Times, and to be able to meet the needs of The Times, and to be able to meet the needs of the market. More should make full use of the function of the design to influence and change the society through design ideas, to advocate environmental protection, to improve people’s thinking patterns and values, and to change those production and life styles that deviate from sustainable development. Therefore, this article will discuss and analyze the modern painting from the artistic concept, art education, green environment concept, green design, and so on.
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LEWTHWAITE, STEPHANIE. "Reworking the Spanish Colonial Paradigm: Mestizaje and Spirituality in Contemporary New Mexican Art." Journal of American Studies 47, no. 2 (2013): 339–62. http://dx.doi.org/10.1017/s002187581300011x.
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During the early 1900s, Anglo-Americans in search of an indigenous modernism found inspiration in the Hispano and Native American arts of New Mexico. The elevation of Spanish colonial-style art through associations such as the Anglo-led Spanish Colonial Arts Society (SCAS, 1925) placed Hispano aesthetic production within the realm of tradition, as the product of geographic and cultural isolation rather than innovation. The revival of the SCAS in 1952 and Spanish Market in 1965 helped perpetuate the view of Hispanos either as “traditional” artists who replicate an “authentic” Spanish colonial style, or as “outsider” artists who defy categorization. Thus the Spanish colonial paradigm has endorsed a purist vision of Hispano art and identity that obscures the intercultural encounters shaping contemporary Hispano visual culture. This essay investigates a series of contemporary Hispano artists who challenge the Spanish colonial paradigm as it developed under Anglo patronage, principally through the realm of spiritually based artwork. I explore the satirical art of contemporary santero Luis Tapia; the colonial, baroque, indigenous and pop culture iconographies of painter Ray Martín Abeyta; and the “mixed-tech media” of Marion Martínez's circuit-board retablos. These artists blend Spanish colonial art with pre-Columbian mythology and pop culture, tradition with technology, and local with global imaginaries. In doing so, they present more empowering and expansive visions of Hispano art and identity – as declarations of cultural ownership and adaptation and as oppositional mestizo formations tied historically to wider Latino, Latin American and transnational worlds.
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Wang, Haina. "Dimension of Framing and Capturing in the Surface-driven World: A Study of Li Shuns Internet Sketch." Communications in Humanities Research 2, no. 1 (2023): 416–23. http://dx.doi.org/10.54254/2753-7064/2/2022516.
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This research paper discusses the works of art from artist Li Shuns solo exhibition-Brave New World in Enclave Contemporary, Shenzhen, 2022. The exhibition features Lis latest production continuing Internet Sketch series, which he uses Google Map to take virtual tour in foreign museums and appropriates the masterpieces for reproductions. Although Li tends to situate the viewers to consider the new dimension in viewing at the world, he also presents a confined pleasure that both combines and challenges conventional viewing. His intentional juxtaposition of multiple creations of the surface-driven imageries, fulfilling Nicholas Bourriauds Relational Aesthetics and Guy Debords Society of Spectacle, unhides peoples fragmented understanding of truth under the chaotic contemporary world. Welcoming viewers engagement and interpretation, Lis exhibition encourages critical reflections on the ongoing pandemic control, capitalist economy, globalization, and consumerist culture. The 2019 pandemic is lacked abundant scholarly reviews, but popularly being adopted as subject matter by worldwide artists. Therefore, scholarly reviews would be focused on the artworks, and then the reflection of their spatial installment on institutional critique and contemporary art market. Based on that, I will also analyze how the happening social situation is going to become the mainstream for art practice.
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Claassen, Marek. "Artfacts.Net." Leonardo 45, no. 3 (2012): 278–79. http://dx.doi.org/10.1162/leon_a_00372.
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The author posits that the vast majority of people have little confidence about the “value” they should attribute to contemporary artworks. Many people are seduced into confusing worth with material production, with auction sales records, cult of celebrity, and endless gossip. People are unable to analyze the real activities of artists, their sales and exhibitions, from the unsubstantiated catchphrases of media speculation. This article aims to help clarify the basic mechanisms of the contemporary art market and to enhance understanding through the means of econometrics.
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Keshmirshekan, Hamid. "Modern Art in the Arab World, Primary Documents: A Review Essay." Review of Middle East Studies 54, no. 2 (2020): 342–51. http://dx.doi.org/10.1017/rms.2021.4.
Texte intégralRésumé :
The study of modern and contemporary art from Islamic lands, and particularly the Arab world, is a developing field. Over the past few decades, a variety of publications on modern and contemporary art from the Arab world and its diasporas has appeared in art magazines, journals, and exhibition and auction catalogues. There is, however, still a lack of scholarly literature and reliable resources on the subject. Many such existing sources have focused on productions that are largely in line with certain interests or agendas pursued by the particular magazine/journal, exhibition, or art market in question. Therefore, although recent scholarly output has played a crucial role in introducing modern art in the Arab countries in the Middle East and North Africa, these publications have not sufficiently filled the gap of discussion regarding certain aspects of the subject. Modern Art in the Arab World, a collection of critical writings by Arab intellectuals and artists, offers an unparalleled source for the study of modernism in the Arab world. Mapping the primary documents with additional entries written by the editors and other scholars, this book addresses the major historical, conceptual, theoretical, and aesthetic issues that inform the modern art paradigm in the Arab world. Arranged largely in a chronological order, it explores the art of the Arab world by tracing the main discourses that have shaped artistic practices and transformations in the region from the mid-nineteenth century until the late 1980s.
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Lanzendörfer, Tim. "How to Read the ‘Literary’ in the Literary Market." Zeitschrift für Anglistik und Amerikanistik 69, no. 1 (2021): 9–23. http://dx.doi.org/10.1515/zaa-2020-2026.
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Abstract This essay argues that under contemporary capitalism, all literary production is, at first approximation, commodity production. This has consequences for our understanding of the work of literary studies. We are no longer able to easily recur to preformed theories of the ‘literary’ as a category at least in some way exempt from extrinsic pressures. Attention to the ‘literary market’ remains superficial when it insists on paying attention chiefly to so-called literary fiction on the understanding that it has prima facie higher claims to our attention than popular genre fiction—it does not. In fact, as this essay argues, appreciation of the thorough commodification of art under capitalism asks us to take seriously the need to break with our categories; to insist on the primacy of interpretative attention in determining what kinds of fiction we study.
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Hvala, Tea. "As little as possible for as little as possible." Maska 30, no. 175 (2015): 58–71. http://dx.doi.org/10.1386/maska.30.175-176.58_5.
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On the occasion of the 20th anniversary of the contemporary art festival City of Women, which was dedicated to survival tactics, I discuss the conditions under which it came about and the conditions under which artists or self-employed individuals in the field of culture must work in this time of cuts to public funding of the arts in Slovenia. In the context of selected performances from this year’s City of Women programme, I ask how it is possible to create antagonistic art within the capitalist means of production without the artist and producer burning themselves out in the process and, with the insights of Silvia Federici, how it is possible to separate oneself from the market and from the country without reducing oneself to poverty.
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Qinqin, Wang, Syed Alwi Syed Abu Bakar, and Niu Ruilin. "Exploration of Innovative Design and Development of Yang's Clay Sculpture." Malaysian Journal of Social Sciences and Humanities (MJSSH) 10, no. 5 (2025): e003059. https://doi.org/10.47405/mjssh.v10i5.3059.
Texte intégralRésumé :
Yang’s clay sculpture is a unique traditional art form indigenous to Yangpo Village in Wenbao Township, Longde County, Ningxia Hui Autonomous Region. Recognized as a national intangible cultural heritage, its origins date back nearly 200 years to the Daoguang period of the Qing Dynasty (1832) and are deeply rooted in ethnic folk art and traditional sculptural techniques. This study employs a qualitative research approach, integrating field investigation and in-depth interviews to explore the craftsmanship, artistic techniques, and innovative adaptations of Yang’s clay sculpture. The findings reveal a delicate balance between the preservation of traditional production techniques and the integration of modern elements. While the art form maintains its rich cultural heritage, it is also evolving through contemporary artistic expressions and market-oriented adaptations. Notably, the fifth-generation inheritor, Yang Jianian, has played a crucial role in advancing its sustainable development by incorporating diverse artistic elements and establishing a dedicated art enterprise. Overall, this research provides valuable insights into how traditional craftsmanship can adapt to modern contexts while ensuring cultural continuity and artistic evolution.
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Nouruldeen, Khadijah. "AlUla Archaeological Decorations Regarding Ornamental Accessories Using Contemporary Printing Techniques by Metal Surface Treatment." Humanities and Social Sciences 12, no. 6 (2024): 179–92. http://dx.doi.org/10.11648/j.hss.20241206.11.
Texte intégralRésumé :
The research aimed to explore the use of archeological rock ornamentations from AlUla in designing and manufacturing decorative accessories globally, employing up-to-date printing methods on metal surfaces. AlUla is the place in northwest Saudi Arabia that boasts a very rich cultural tradition expressed through different forms of ancient rock carvings, inscriptions, and decorative motifs. These archaeological constituents represent a great opportunity for the integration of historical art forms with state-of-the-art design practices in line with KSA Vision 2030, set on cultural promotion coupled with technological advancement. The central research problem looks into how AlUla&apos;s cultural motifs could be adapted for use in ornamental accessories by employing advanced surface treatment techniques on metals. The approach followed in the research is descriptive and analytical to explore, from a theoretical viewpoint, the historical significance and artistic value of the archaeological decorations in AlUla. It further probes into an experimental methodology of applying methods of contemporary digital printing on metal surfaces. This will not only try to bring to light how these ancient symbols influenced the evolution of the decorative arts in the Kingdom, but also how present-day technology may revitalize these traditional designs for today&apos;s market. The findings prove that digital printing techniques are actually useful in producing very complex and culturally inspired metal accessories, thus proving the point of heritage meeting innovation. From this research, it is necessary to establish that it holds great potential for functionality and aesthetic enhancement of ornamental accessories to foster cultural heritage via contemporary art. It goes to recommend further explorations of technological advances in digital printing and applications within metal accessory industries for further emphasis on integrating traditional art forms with modern technologies of production for added value to the cultural heritage and commercial practices.
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Honcharuk, Serhii, and Vladyslav Marusenko. "Impact of Technology on Electronic Broadcasting Development." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 6, no. 2 (2023): 166–76. http://dx.doi.org/10.31866/2617-2674.6.2.2023.289285.
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The purpose of the article is to analyze the history of television art and electronic broadcasting in Ukraine; to find out the technologies that influence the development of the television industry; to consider the media market offers to the modern viewer and to conduct a comparative analysis of audiovisual works offered by the Internet; to find possible options for synthesis between television and the Internet; to find out the advantages and disadvantages of broadcasting and online media. Research Methodology. The following methods were used: theoretical – to study the historiography of the development of television, namely, information sources, infographics and publications; practical – to review the offers of the modern media market and compare it with audiovisual content on the Internet; analysis – to study the content under study in detail, in particular, an overview of television and the Internet, to understand the quality of media production; analogy – to draw clear parallels between the media product of television production and the Internet. Scientific novelty. For the first time, a detailed analysis of the history of electronic art in the context of screen broadcasting development is carried out, namely, the technologies of influence on television broadcasting, viewer tastes and preferences at certain stages of media market development are considered. The state of contemporary electronic art development and its impact on the viewer is analyzed, and a general vision of the viewer audience is formed. Variants of media products of the synthesis of television and the Internet are presented, taking into account new genres of audiovisual works. Conclusions. The article analyses the history of the formation and development of Ukrainian electronic art. The main stages of television technology formation and improvement of electronic broadcasting and cinema techniques have been identified. The state of transformation and changes in electronic art in the modern world, as well as the factors influencing the rapid changes in the technologies of screen broadcasting, have been analyzed. A general picture of the technology’s impact on the development of the modern media space has been formed.
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Honcharuk, Serhii, and Vladyslav Marusenko. "Impact of Technology on Electronic Broadcasting Development." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 6, no. 2 (2023): 166–76. https://doi.org/10.31866/2617-2674.6.2.2023.289285.
Texte intégralRésumé :
<strong>The purpose of the article </strong>is to analyze the history of television art and electronic broadcasting in Ukraine; to find out the technologies that influence the development of the television industry; to consider the media market offers to the modern viewer and to conduct a comparative analysis of audiovisual works offered by the Internet; to find possible options for synthesis between television and the Internet; to find out the advantages and disadvantages of broadcasting and online media. <strong>Research Methodology. </strong>The following methods were used: theoretical – to study the historiography of the development of television, namely, information sources, infographics and publications; practical – to review the offers of the modern media market and compare it with audiovisual content on the Internet; analysis – to study the content under study in detail, in particular, an overview of television and the Internet, to understand the quality of media production; analogy – to draw clear parallels between the media product of television production and the Internet. <strong>Scientific novelty. </strong>For the first time, a detailed analysis of the history of electronic art in the context of screen broadcasting development is carried out, namely, the technologies of influence on television broadcasting, viewer tastes and preferences at certain stages of media market development are considered. The state of contemporary electronic art development and its impact on the viewer is analyzed, and a general vision of the viewer audience is formed. Variants of media products of the synthesis of television and the Internet are presented, taking into account new genres of audiovisual works. <strong>Conclusions. </strong>The article analyses the history of the formation and development of Ukrainian electronic art. The main stages of television technology formation and improvement of electronic broadcasting and cinema techniques have been identified. The state of transformation and changes in electronic art in the modern world, as well as the factors influencing the rapid changes in the technologies of screen broadcasting, have been analyzed. A general picture of the technology's impact on the development of the modern media space has been formed.
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Skinner, Ryan Thomas. "Money Trouble in an African Art World: Copyright, Piracy, and the Politics of Culture in Postcolonial Mali." IASPM Journal 3, no. 1 (2013): 63–79. http://dx.doi.org/10.5429/595.
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This article presents a genealogy of copyright and its criminalized corollary, piracy, through an emergent politics of culture in Mali, West Africa, over the past half-century. Emphasizing the production, circulation, and performance of music, this history reveals the steadily deepening social, political, and economic precarity that has shaped the subjectivity of the contemporary Malian artist. Framed as a critique, the essay brings the past to bear on the current era of neoliberalism and the anomic disjuncture between an unregulated free market and the disciplinary state institutions that neoliberal governmentality has produced within the Malian culture economy.
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Lee, Junhaeng, Jae Han Kwon, and Jinsu Park. "Predicting Art Price using Machine Learning and Statistical Models." Korean Data Analysis Society 26, no. 1 (2024): 117–34. http://dx.doi.org/10.37727/jkdas.2024.26.1.117.
Texte intégralRésumé :
The art market is comprised of complex cultural, economic, and social characteristics and has recently received a lot of attention. Art transactions are carried out in a variety of ways, of which art auctions account for a large portion. We collected auction data on Post-War and Contemporary Art artists born after 1920 from Artnet and implemented an art price prediction model. In addition to the hedonic price model commonly used in existing studies, price prediction performance was compared using various machine learning models such as regression model, random effects model, regularization model, tree-based model, and SVM. To compare various machine learning models, RMSE and MAE were compared using two cross-validation methods. As a result, the nonlinear random effects model using author information showed the good performance. The impact of explanatory variables on price was analyzed using the optimal model. In addition, we were able to obtain price curves of various patterns according to the passage of time for each author. Among machine learning models that do not use author information, Bagging showed the best performance. As a result of measuring the importance of variables through Bagging, it was found that the size of the work had the most influence in predicting the price, followed by the artist's year of birth, the method of painting, the material with which the painting was painted, and the year of production.
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Davronovna, Raximova Dilnoza, and Abdikahorov Amirbek Abdirozikovich. "EXPORT POTENTIAL OF BRANDED TEXTILE ENTERPRISES IN UZBEKISTAN ON THE GLOBAL MARKET." International Journal Of Management And Economics Fundamental 4, no. 11 (2024): 171–78. http://dx.doi.org/10.37547/ijmef/volume04issue11-17.
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The article examines the export potential of branded textile enterprises in Uzbekistan on the global market, highlighting the significance of the textile industry as a key sector of the country's economy. The introduction outlines the historical context, from the Silk Road to modern reforms initiated by President Shavkat Mirziyoyev, aimed at modernizing and diversifying the economy. The focus is on the role of government reforms, such as programs for deep processing of cotton and the establishment of special economic zones, which contribute to export growth. The article also analyzes contemporary Uzbek brands, such as Art Soft Holding, Osborn Textile, BCT Denim, and Bahmal Group, and their presence in international markets. It discusses the main export markets, including CIS countries, Europe, Asia, and the Middle East, and the competitive advantages of Uzbek textiles, such as high-quality cotton and low production costs. Despite its successes, the textile industry faces challenges, including insufficient brand recognition and sustainability requirements. The article concludes with an overview of the sector's development prospects, emphasizing the need for enhanced marketing efforts and the adoption of new technologies to increase competitiveness in the global market.
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Dedinkin, M. O. "Friedrich Wilhelm Brass, Creator of the Genossenschaft for Proletarian Art in Berlin: the First Experience of a Biography." Art & Culture Studies, no. 3 (August 2022): 38–63. http://dx.doi.org/10.51678/2226-0072-2022-3-38-63.
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The purpose of this article is to study the life and activity of Friedrich Wilhelm Brass, founder of Genossenschaft for Proletarian Art in Berlin (1920). Friedrich Wilhelm Brass (1873–1931) throughout his life sought to combine the commercial interests of a contemporary art dealer with the ideas of the social reorganization of the world. One of the first to call himself a communist in Germany, he created in 1920 in Berlin the Genossenschaft for Proletarian Art, the collection of which became the first contemporary western art brought to Soviet Russia. On the basis of this collection kept in the Hermitage and the Russian Academy of Arts, archival materials and work in museum collections in Germany, the history of the emergence of the Genossenschaft in Berlin in 1920, the composition of the participants and the biography of its creator are reconstructed. The relevance and novelty of the article is due to the lack of scientific research on this issue discovered by the author in his works. The life path of F.W. Brass is consistently considered. Trained as a craftsman in Krefeld, Brass made several attempts to establish an art trade there, primarily aimed at the workers’ milieu. A member of the Social Democratic Party of Germany, he tried to interest the party in the prospect of such educational and agitational work. These initiatives proved to be financially untenable. Brass later worked at the German Workshops Hellerau, where the manufacturer Karl Schmidt implemented a project for the mass production of furniture designed by leading European designers and oriented to the widest and most democratic market. During the First World War, Brass was mobilized and spent several years in captivity in Russia, where he met the revolution and returned to Germany in 1919 as a convinced supporter of the communist reorganization of the world. After the November Revolution, several artistic organizations arose in Berlin, whose activities were directed towards the proletariat (the Workers’ Council for Art, the Association of Socialist Artists, the Union for Proletarian Culture, the Proletarian Theatre of Erwin Piscator, etc.). Among them was the Genossenschaft for Proletarian Art of the communist Brass, who collected the works of left-wing artists, mainly expressionists of the first and second generation. Like most of these artistic initiatives, the Brass Genossenschaft could not survive the economic crisis. The unique collection of the Genossenschaft was acquired during a trip to Germany by Comintern Chairman G. Zinoviev in October 1920 and brought to Soviet Russia. Later, during the years of the Weimar Republic, Brass no longer undertook such ambitious projects, continuing to trade in the works of left-wing artists. He worked in Hagen and Düsseldorf, where he died in 1931. The author comes to the conclusion that the figure of Brass represents a new type of entrepreneur for the art market of the 20th century, focused primarily on the promotion of the latest art among the workers, agitation for a new life in the language of art.
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Pupparo, P., M. Tufarelli, and M. C. Coppola. "Experimenting in Industrial Product Design. The Case: "Art, Design and Business Project for New Young Talents - Young Culture as a Motor for a New Business Economy in Tuscany”." Proceedings of the Design Society 2 (May 2022): 2175–82. http://dx.doi.org/10.1017/pds.2022.220.
Texte intégralRésumé :
AbstractThe design of mass-produced products is a design process aimed at the masses, which describes approaches and phenomena in strong transformation. The production techniques, the semantic value of the products, the concept of mass production and the similarities between these factors explain new production and design balances following the latest technological and cultural transformations within contemporary society and the market. The paper discusses and investigates the theme of industrial design aimed at the masses, reporting relevant case studies and experimental tests.
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Bai Ying. "Application of Traditional Painted Decoration and Modern Technology in Ceramic Art Design." Journal of Information Systems Engineering and Management 10, no. 5s (2025): 731–42. https://doi.org/10.52783/jisem.v10i5s.764.
Texte intégralRésumé :
Introduction: Traditional painted decoration, with its rich cultural heritage and artistic style, plays a vital role in ceramic art design. As a medium for cultural expression, ceramics offer a platform for reinterpreting traditional motifs using modern technologies. Digital design, 3D printing, and AR/VR provide new creative tools, transforming traditional decorations in design techniques, presentation, and user engagement. Objectives: This study explores the integration of digital design, 3D printing, and AR/VR into ceramic art to enhance the visual appeal, precision, and cultural significance of traditional motifs. It also examines how technological innovation supports the internationalization and cultural exchange of ceramic design. Methods: Using a mixed-methods approach, the study combines literature review, expert interviews, case analysis, experiments, and quantitative research. It critically examines existing studies, gathers insights from practitioners, analyzes artworks, and evaluates market trends to understand how modern technologies influence ceramic craftsmanship and cultural heritage. Results: Through the digital reconstruction and dynamic reinterpretation of traditional decorative motifs, ceramic art can present more diverse visual effects and cultural meanings. The precision and flexibility provided by modern production technologies allow for the realization of intricate patterns and complex forms that were previously difficult to achieve. Furthermore, the integration of technology and art fosters cross-cultural exchanges, enriching ceramic design with an international perspective and facilitating the creation of works that balance both traditional and innovative elements. Conclusions: Digital tools enable intricate patterns and diverse visual effects, revitalizing traditional motifs. Advanced production techniques enhance design precision and flexibility. Moreover, integrating technology and art fosters cross-cultural exchanges, enriching ceramic design with both traditional and contemporary elements.
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Diabour, Kwame Kyere, Nyamawero Navei, and Hillia Fuseini Marifah. "Indigenous Basketry Furniture Art in Upper West Region of Ghana: Opportunities and Sustainability." Journal of Innovations in Art and Culture for Nature Conservation and Environmental Sustainability 1, no. 2 (2023): 123–52. https://doi.org/10.60129/jinces.v2i1.00323.
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Basketry, as an artistic discourse, is one of the enviable indigenous heritage arts that evolves with society and is still of great relevance in contemporary African civilisation. Although the primary historical reason for the perpetuation of basketry art in many ancient African societies was largely utilitarian, the scope of basketry has since metamorphosed beyond its functional focus to include aesthetic, economic, and many opportunities that are geared toward meeting the sociocultural and economic needs of African societies. The focus of this qualitative case study was to investigate the opportunities and sustainability of indigenous basketry furniture artistic practices in the geographical context of the Upper West Region of Ghana. Thematic analysis of triangulated data generated from twenty-seven (27) conveniently sampled experts reveals the use of local technology and ingenuity in the indigenous basketry furniture artistic practices in the Sissala West District, Sisaala East and Jirapa Municipalities in the Upper West Region. The study also found that the indigenous basketry furniture products (lounge chairs, beds, dining tables, local market tables among others) the ready market thereby providing lucrative economic gains to the artisans. The study concludes that the indigenous basketry furniture art in the Sissala West District, Sisaala East and Jirapa Municipalities in the Upper West Region of Ghana is an economically viable vocation that provides decent livelihood to its practitioners. The artisans are, therefore encouraged to seek governmental and non-governmental funding to expand the frontiers of the vocation within global sustainability dictates for massive employment and industrial production.
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Dr., Ashis Kumar Pradhan. "Innovation of Traditional Textile Art and Crafts in North East India." International Journal of Trend in Scientific Research and Development 3, no. 4 (2019): 1193–97. https://doi.org/10.5281/zenodo.3590785.
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India is a combination of multiple worlds. At a time it lives in many centuries and cultures. The world of India's crafts persons spans millennia and spreads across the length and breadth of our rich land, which is apparently observed in cities, towns and in beautiful villages. India opened her market to the multinationals during the era of economic reforms, bringing an end to the license Raj. Now world boundaries are eroding paving way to economic investment across the world, in which developed nation are penetrating and leading in underdeveloped market of third world. If we talk about Indian Artisans and their products handicrafts which are integral part of our society are in demand in Western consumers Jena, 2010b . Good upper class of textile handicraft goods is possession. Creation total beauty is the origin of many of the environmental difficulty we are facing. Sustainable production, like traditional textiles created using traditional techniques and dyed with natural color, have no major outcome. If it does not affect the quality of the product, cultural goods retail contributes to the overall development of economic system. The loss of our senior craftsmen, the migration of new generations to urban areas, the manufacture of industrial competitive goods and the universal ignorance of spiritual culture are few problems that the traditional textile art is facing. Trade peoples needful resources, quality raw materials and marketplace for their production. Business evolution is a important part in handicraft development but is frequently conditioned by critical concept. Traditional textiles are in need of a optical identity. Workshop centers, season schools, free training and approach to markets and sales outlet are some of the contemporary ideas for sustainable and smart development. Through with further research of intelligent clothing on art aesthetic, scientific aesthetic and technical aesthetic. With the assist of the artistic creation of science and technology, the study attempt to make up for the deficiencies in academic ground for fashion design, and puts progressive the design inspiration. While modification programmed regarding handicrafts have been favoured by the state and non governmental organization as low cost, low risk participation, their value is compromised by the continuity of consumptive forms of manufacture.International view the young people proceed to be specially affected by the weak and uneven improvement after the recession which is reflected in several International Business Trend reports of International Labor Organization with the juvenile unemployment reaching13.1 . From national and topical development view in India young employability goes on representation the attraction of government and policy makers which could be very much awareness from the initiatives undertaken in that way. Dr. Ashis Kumar Pradhan "Innovation of Traditional Textile Art and Crafts in North East-India" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-3 | Issue-4 , June 2019, URL: https://www.ijtsrd.com/papers/ijtsrd25100.pdf
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Chen, Chen, Kailin Teng, and Kexin Xie. "Analysis on the Development Value of Curatorial Commerce." Advances in Economics, Management and Political Sciences 34, no. 1 (2023): 198–203. http://dx.doi.org/10.54254/2754-1169/34/20231707.
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The rapid changes in the development of contemporary society drive exhibitions to create more diversified ideas and ways to cope with the needs of different audiences. In the field of curation, the diversification of ideology and artistic resources is also presented. Commercial curation is a mode of production significance in the field of curation, which leads to the constant elimination of the boundary between art and business. More and more exhibitions are connected with commercial activities. For the modern society with increasingly vigorous material and cultural demands, curation plays an essential role in the transmission of culture and spirit. The space presenting 'artistic works' and 'artistic activities' combined with the drive of the capital market and commercial curatorial exhibition has enough prospects for development. Curatorial commerce integrates aesthetics into people's life, which combines characteristics of The Times and science and technology. However, it the success of curatorial commercialization needs the curators' correct planning to improve the art collection's universality and not let the curators deviate from the focus and become overly commercialized. At the same time, this requires calling on the world to respect human intellectual property rights.
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BRAIDE, O. O. "STYLISTIC FEATURES OF CONTEMPORARY ADIRE IN NIGERIAN TEXTILE PRACTICE." Journal of Humanities, Social Science and Creative Arts 11, no. 1 (2017): 106–18. http://dx.doi.org/10.51406/jhssca.v11i1.1698.
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With the whole lot of innovation the adire textile is going through, the indigenous craft still maintained and retained its cultural values among its various users most especially the Yoruba people. The paper therefore examines the styles and forms of contemporary adire in Nigeria, its distribution and entrepreneurship. Of further interest is the wide gamut of other product which Kampala technique images have been adapted. From clothing to postcard and house hold decoration items. Examination of contemporary adire and its mellowed design, ease of production and recent acceptance as wearable fashion material and other uses, indicate the diverse direction that traditional art forms may take as it enters the international market, The paper deduced that the different innovations that have taken place in the traditional textile craft is as a result of the formal education been acquired by the very few 7.4% of new generation producers of adire and this innovations has in one way or the other improve the patronage of adire and the calibre of its users. It has also transformed adire into ceremonial attire, other than the usual knockabout. It highlights the differences in the patterning methods of the cloth and also the preference choice of users. The study discovered that adire can play a dual role of a commodity and a gift because of its new variety of uses among the customers, from dress to house hold materials and souvenir.
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Zhan, Sudan, and Wan Jamarul Imran Wan Abdullah Thani. "EMBRACING TRADITIONS AND INNOVATIONS OF SUIXI LION HEADS IN LION DANCE PERFORMANCES IN CHINA." International Journal of Applied and Creative Arts 6, no. 1 (2023): 65–90. http://dx.doi.org/10.33736/ijaca.5663.2023.
Texte intégralRésumé :
This study investigates the incorporation of traditions and innovations in the use of Suixi Lion Heads in lion dance performances in China. Suixi Lion Heads are a form of folk art that has been passed down through generations, and their design incorporates new elements while still maintaining their traditional essence. Through an analysis of the visual symbols and production process of Suixi Lion Heads, this study explores how the balance between tradition and innovation has contributed to their popularity and success in lion dance performances. The simplified production process of Suixi Lion Heads allows for faster and more cost-effective production, resulting in streamlined designs that are better suited to contemporary aesthetics and market demands. Furthermore, this study highlights the importance of promoting and developing Suixi Lion Head culture through lion dance performances, which can facilitate the preservation and evolution of the tradition. By embracing both traditions and innovations, Suixi Lion Heads continue to play a vital role in the cultural heritage of China, providing a link between the past and the present in lion dance performances.
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Krupenya, Iryna, and Vladylena Sokyrska. "Ukraine – ASEAN: new opportunities for strengthening partnership." Acta de Historia & Politica: Saeculum XXI, no. 08 (June 16, 2024): 88–98. http://dx.doi.org/10.26693/ahpsxxi2024.08.088.
Texte intégralRésumé :
The article provides a comprehensive scientific analysis of the current state of relations between Ukraine and ASEAN. The article considers promising areas of cooperation between them in the areas of food, agriculture, digitalisation, trade, energy, disaster management, demining, and socio-cultural cooperation. The author outlines Ukraine’s advantages in the field of agriculture and its ability to make a significant contribution to the sustainable supply of products to the ASEAN markets, given the production potential that far exceeds the needs of the domestic market. The article considers Ukraine’s readiness to share its experience in the field of digitalisation, given the existence of successful projects, such as the Diia mobile application developed by the Ministry of Digital Transformation of Ukraine in 2019; the ‘Trembita’ system for electronic interaction of state electronic information resources; and experience in disaster prevention. And to learn from the experience of ASEAN member states in demining agricultural land in de-occupied communities, given their unique experience in demining in Cambodia, where years of war left a significant number of mines. It is proposed to develop and strengthen partnerships between the parties in the socio-cultural sphere to promote contemporary Ukrainian cinema, music, theatre, performance, literature, classical and contemporary fine arts. A separate area of this sphere is the promotion of the Ukrainian language among ASEAN countries, as well as the promotion of Ukrainian cultural heritage and projects in the field of culture and art of indigenous peoples and national minorities, including the promotion of Crimean Tatar culture in ASEAN countries.
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hockx, michel, and julia strauss. "introduction." China Quarterly 183 (September 2005): 523–31. http://dx.doi.org/10.1017/s0305741005000330.
Texte intégralRésumé :
this collection offers a variety of perspectives on culture in contemporary china. we begin and end with pieces by jing wang and deborah davis on the production and consumption of culture in general, before moving on to three specific areas: visual culture, music and poetry. jing wang's opening piece on “bourgeois bohemians” (bobos) in china revolves around the all-important question of how taste is constructed and a multiplicity of lifestyles imagined. in china as elsewhere in the world, lifestyles are first imagined and transmitted through advertising. wang describes how marketing campaigns propagate idealized lifestyles to different segments of china's self identified urban middle class; notably the bohemian and the xin xin renlei. deborah davis focuses on the consumption end of culture, suggesting that for all the real resentments and worries engendered by growing income inequality and job insecurity, urbanites in shanghai experience consumer culture and the pursuit of individual taste and comfort in the home through shopping to be positive experiences, particularly when juxtaposed against the deprivations of the past. both wang and davis show that the production and consumption of culture are complex phenomena that go beyond mere market manipulation. there is substantial agency involved, from urbanites joyfully participating in redecoration of their flats to the ways in which niche segments of the urban middle class separate into different “tribes.”the braester, denton and finnane essays focus on different aspects of the production and consumption of visual culture: film, museums and fashion. braester suggests that one cannot sharply differentiate commercial film from art film on the basis of content or aesthetics, as directors previously known for making art films move into commercials, and both share similar sensibilities.
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Portnova, Tatiana. "Historical Aspects of Project Technologies Development and Opportunities for their Use in Scenic Arts." Space and Culture, India 6, no. 4 (2018): 48–56. http://dx.doi.org/10.20896/saci.v6i4.380.
Texte intégralRésumé :
The author considers historical trends in the development of project technologies in the arts. Various project and artistic solutions are analysed with the focus on various historical periods and styles, from the Ancient East to the Modern Age. An emphasis is placed on the era itself, which required a new approach to the organisation of theatrical enterprises and the performance production principles. The article also reveals the specifics of projects as a type of the human creative activity and defines the role of the project method as a system of unique and clearly defined actions aimed at obtaining specific results in a multifunctional environment within a specified period and within the allocated resources. The author shows that they are characterised by a deep mutual integration of the artistic and creative principle and the development of information technologies. The article contains various examples of the implementation of projects from the beginning of civilisation up to the twentieth century when art management appears as a form of arrangement of the theatrical business, and a combined company becomes possible. The author emphasises the role of the Russian Seasons by S. P. Diaghilev in creating conditions for the development of unique professional and artistic experience in Russia and other countries. Development of special knowledge and dialectics of research of project strategies in the twentieth century imply increasing importance of knowledge derived from the historical past, which can improve the competitiveness of performances, as well as of other creative works in the contemporary art market.
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Osodlo, Vasyl, Oleh Rybchuk, and Viktoriia Krykun. "Organizational Culture as a Basis for Efficient Development of Organization." Management and Business Research Quarterly 17 (February 2021): 18–30. http://dx.doi.org/10.32038/mbrq.2021.17.02.
Texte intégralRésumé :
The article is devoted to the study of non-material assets of an organization development, particularly of organizational culture as a basis of effective development of an organization. The hypothesis lies in the fact that specific features study of organizational culture of a company provides possibility of objective evaluation of a degree of stability of organization, its ability for competition, allows to predict the important directions of management decisions, and a possibility of achievement of planned results. The tendencies concerning the transformations of contemporary management of organizations, which are realized in transferring of management influences from the management of technology of work to technology of management of human potential of a company, are revealed. The change of emphasis is due to objective reasons: due to the processes of globalization, state-of-the-art production technologies, including the latest information technologies, as well as the international labor market, humanization of industrial relations and human resource management technologies are becoming widely available. The article presents the results of an empirical study of certain aspects that determine the organizational culture. Promising directions, that have a significant potential for improving organizational culture, are identified.
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Alfaro-Viquez, David, Mauricio Zamora-Hernandez, Michael Fernandez-Vega, Jose Garcia-Rodriguez, and Jorge Azorin-Lopez. "A Comprehensive Review of AI-Based Digital Twin Applications in Manufacturing: Integration Across Operator, Product, and Process Dimensions." Electronics 14, no. 4 (2025): 646. https://doi.org/10.3390/electronics14040646.
Texte intégralRésumé :
Digital twins (DTs) represent a transformative technology in manufacturing, facilitating significant advancements in monitoring, simulation, and optimization. This paper offers an extensive bibliographic review of AI-Based DT applications, categorized into three principal dimensions: operator, process, and product. The operator dimension focuses on enhancing safety and ergonomics through intelligent assistance, utilizing real-time monitoring and artificial intelligence, notably in human–robot collaboration contexts. The process application concerns itself with optimizing production flows, identifying bottlenecks, and dynamically reconfiguring systems through predictive models and real-time simulations. Lastly, the product dimension emphasizes the applications focused on the improvements in product design and quality, employing lifecycle and historical data to satisfy evolving market requirements. This categorization provides a structured framework for analyzing the specific capabilities and trends of DTs, while also identifying knowledge gaps in contemporary research. This review highlights the key challenges of technological interoperability, data integration, and high implementation costs while emphasizing how digital twins, supported by AI, can drive the transition toward sustainable, human-centered manufacturing systems in line with Industry 5.0. The findings provide valuable insights for advancing the state of the art and exploring future opportunities in digital twin applications.
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Osodlo, Vasyl, Oleh Rybchuk, and Viktoriia Krykun. "Organizational Culture as a Basis for Efficient Development of Organization." European Journal of Studies in Management and Business 17, no. 2 (2020): 18–30. https://doi.org/10.32038/mbrq.2021.17.02.
Texte intégralRésumé :
The article is devoted to the study of non-material assets of an organization development, particularly of organizational culture as a basis of effective development of an organization. The hypothesis lies in the fact that specific features study of organizational culture of a company provides possibility of objective evaluation of a degree of stability of organization, its ability for competition, allows to predict the important directions of management decisions, and a possibility of achievement of planned results. The tendencies concerning the transformations of contemporary management of organizations, which are realized in transferring of management influences from the management of technology of work to technology of management of human potential of a company, are revealed. The change of emphasis is due to objective reasons: due to the processes of globalization, state-of-the-art production technologies, including the latest information technologies, as well as the international labor market, humanization of industrial relations and human resource management technologies are becoming widely available. The article presents the results of an empirical study of certain aspects that determine the organizational culture. Promising directions, that have a significant potential for improving organizational culture, are identified.