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Letteratura scientifica selezionata sul tema "Art, Modern – 20th century – Political aspects"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 19 febbraio 2022

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Articoli di riviste sul tema "Art, Modern – 20th century – Political aspects"

Darasz, Zdzisław. "Plakat polityczny w chorwackiej ikonosferze." Poznańskie Studia Slawistyczne, no. 18 (April 28, 2020): 283–89. http://dx.doi.org/10.14746/pss.2020.18.17.

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The titular problem of Croatian political poster, regarded as an art of margins, is treated by the author, according to the order of chapters, in four main aspects: historical, aesthetic, socio-political, and cultural one. The development of poster art, correlated with national history in 19th and 20th century Croatia, is presented in the chapter “In the vapour of history”. In the next chapters some particular sections of the searching field are described. These sections are as follows: technique of montage of the pictures, modern iconoclastic practices, chaos vs. order, and the place (“From m

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Linden, Diana L. "Modern? American? Jew? Museums and Exhibitions of Ben Shahn's Late Paintings." Prospects 30 (October 2005): 665–84. http://dx.doi.org/10.1017/s0361233300002222.

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The year 1998 marked the centennial of the birth of artist Ben Shahn (1898–1969). Coupled with the approach of the millennium, which many museums celebrated by surveying the cultural production of the 20th century, the centennial offered the perfect opportunity to mount a major exhibition of Shahn's work (the last comprehensive exhibition had taken place at the Jewish Museum in New York City in 1976). The moment was also propitious because a renewed interest in narrative, figurative art, and political art encouraged scholarly and popular appreciation of Ben Shahn, whose reputation within the h

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Perry, Robert L., and Melvin T. Peters. "The African-American Intellectual of the 1920s: Some Sociological Implications of the Harlem Renaissance." Ethnic Studies Review 19, no. 2-3 (June 1, 1996): 155–72. http://dx.doi.org/10.1525/esr.1996.19.2-3.155.

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This paper deals with some of the sociological implications of a major cultural high-water point in the African American experience, the New Negro/Harlem Renaissance. The paper concentrates on the cultural transformations brought about through the intellectual activity of political activists, a multi-genre group of artists, cultural brokers, and businesspersons. The driving-wheel thrust of this era was the reclamation and the invigoration of the traditions of the culture with an emphasis on both the, African and the American aspects, which significantly impacted American and international cult

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Juszkiewicz, Piotr. "Biuro, natura, wyobraźnia, wiejska chata, fabryczna hala. Wizerunki artystycznej pracowni w dokumentalnym filmie o sztuce czasów PRL-u." Artium Quaestiones, no. 26 (September 19, 2018): 149–69. http://dx.doi.org/10.14746/aq.2015.26.7.

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Artists’ studios turned into museums are always specific representations of thepast – spatial images reflecting some idea of art and the artist, as well as his or herworks, and even the position of the spectator imagined as a visitor, admirer, insider,outsider or pilgrim.When a studio is shown through a film, its status of representation comes to theforeground very distinctly just because of the properties of the medium. A filmic representationof the studio is a result of combining images into a sequence, while individualimages attract the spectator’s attention to particular places, areas or a

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Leśniak, Kamila. "The Family of Man in Poland: An Exhibition as a Democratic Space?" Ikonotheka 26 (June 26, 2017): 213–38. http://dx.doi.org/10.5604/01.3001.0010.1679.

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The exhibition entitled The Family of Man, which was designed by Edward Steichen and presented for the fi rst time in 1955 at the Museum of Modern Art in New York, belongs to the most famous and most controversial photographic expositions of the 20th century. Usually perceived in the light of the anachronistic, West-centric vision of humanism, i.e. as an embodiment of Modernist views on photography, it constitutes a good example of the museum’s infl uence as a Modernist “social instrument”. However, contemporary theories in exhibition studies offer a more complex interpretation. The present wo

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Makliuk, D. "Ivan Mazepa’s personality as a cultural symbol: historicalperforming aspects." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (November 20, 2019): 61–76. http://dx.doi.org/10.34064/khnum1-55.05.

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Abstract. The article explores the image of I. Mazepa in the context of numerous sources devoted to the personality of the Ukrainian hetman in historical science, literature and music. The analysis shows that the ideas of the great Ukrainian in the works of art evolve: from a traitor to a patriot. If in the 18th – 19th centuries artists created this image being inspired by myths, then from the early 20th century and up to the present time the historical approach has been dominant. In this paper the author suggests performing aspect basing on the vocal and scenic image of I. Mazepa created by h

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ЧАУС, Дмитро. "The didactics of colour in art and artistic education of the 20th century." EUROPEAN HUMANITIES STUDIES: State and Society 2 (June 27, 2019): 40–50. http://dx.doi.org/10.38014/ehs-ss.2019.2.04.

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The purpose of the study is the color as a phenomenon of semantic - cultural and educational potential in art and art education. In the article, the significance of color is revealed in the aspect of historical and national peculiarities taking into account the development of modern color didactics. It has been proved that the development of color thinking is an expression of the spiritual and cultural level of society, as well as one of the main aspects in the training of future professionals in artistic professions. A historical analysis of color education in art education was conducted, col

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Kuhutiak, Mykola, Ihor Raikivskyi, and Oleh Yehreshii. "Halychyna. Journal of Regional Studies: Science, Culture, and Education. Twenty Years of Publishing Activity." Journal of Vasyl Stefanyk Precarpathian National University 4, no. 2 (October 30, 2017): 134–38. http://dx.doi.org/10.15330/jpnu.4.2.134-138.

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This is a review of the twenty-year-long publishing activity of Halychyna. Journal of Regional Studies: Science, Culture and Education, one of the first Ukrainian journals for historians, philologists, art critics that appeared in the independent Ukraine. In Halychyna, there has been published the works by well-known scholars of Vasyl Stefanyk Precarpathian National University and many other higher educational establishments of Ukraine. The Journal can boast an array of sections – archaeology, history, ethnology, political science, historiography, source studies, documents and materials, cultu

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Sernelj, Téa. "Different Approaches to Modern Art and Society: Li Zehou versus Xu Fuguan." Asian Studies 8, no. 1 (January 10, 2020): 77–98. http://dx.doi.org/10.4312/as.2020.8.1.77-98.

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Proceeding from the inseparable relation between ethics and aesthetics in traditional (and often also modern) Chinese thought, this article aims to illuminate two important approaches to the aesthetic foundations of Chinese modernity. The relation between the individual and society, which is a core question of modern ethics, is reflected in most of the ethical theories of 20th century China. In this context, the article first presents Li Zehou’s theory of aesthetics and his definition of aesthetic experience. In this way, it aims to illuminate Li’s interpretation of modern art and society, and

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Gultyaeva, Galina S. "Realistic Painting of the 20th Century China in the Context of Cultural Visualization." Observatory of Culture 18, no. 1 (May 24, 2021): 32–43. http://dx.doi.org/10.25281/2072-3156-2021-18-1-32-43.

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This article examines the phenomenon of Chinese realism, as well as the prerequisites and factors that influenced the processes of reception in modern Chinese art. At the beginning of the 20th century, under the influence of Western academic realism and the artistic system of social realism, a new direction and artistic method was formed — realism, which became mainstream in the art of China of the mid-20th century. According to its aesthetic and ideological motifs, Chinese realism is an object of social realism reception, which was determined by cultural and historical factors, and the develo

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Tesi sul tema "Art, Modern – 20th century – Political aspects"

Younge, James Gavin Forrest. "The mirror and the square : a study of ideology within contemporary art systems with special reference to the American avant-garde in the period 1933-1953." Master's thesis, University of Cape Town, 1987. http://hdl.handle.net/11427/16370.

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Bibliography: pages 232-240.<br>This dissertation argues that abstract art is not ideologically neutral. In spite of many artists' anti-fascist stance early in their careers, the mantle of neutrality was assumed as a reaction to the protracted struggle between the two major ideologies confronting artists living in Europe and the United States of America in the period 1933-1953, namely capitalism and communism. These ideologies were not peripheral to artists lives, but were actively debated by both artists and intellectuals and resulted in the establishment of powerful cultural organisations. T

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Wise, Gianni Ian Media Arts College of Fine Arts UNSW. "Scenario House." Awarded by:University of New South Wales. Media Arts, 2006. http://handle.unsw.edu.au/1959.4/26230.

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Scenario House, a gallery based installation, is comprised of a room constructed as a ???family room??? within a domestic space, a television with a looped video work and a sound componant played through a 5.1 sound system. The paper is intended to give my work context in relation to the processes leading up to its completion. This is achieved through clarification of the basis for the installation including previous socio-political discourses within my art practice. It then focuses on ways that the installation Scenario House is based on gun practice facilities such as the Valhalla Shooting

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Van, Robbroeck Lize. "Writing white on black : modernism as discursive paradigm in South African writing on modern Black art." Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/1329.

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Lang, Graham Charles. "Aspects of brutality : anxious concepts in sculpture since 1950." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1012724.

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It would be wrong to suggest that this essay is in any way a comprehensive study of brutal sculpture. Certainly not. There have been many deliberate omissions for reasons which become clear in the text. Very briefly, omissions of certain sculptors and their work are largely due to my wish to avoid repetitive ideas and images. My view in this essay is to provide a cross-section of ideas and works, whereby the reader might gain some insight into the varied nature of this kind of sculpture. Thus, there seemed very little need for endless similarities of concept and expression. It was the diversit

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Ganczak, Iwona. "At the crossroads of politics and culture : Polish dissident art of the 1980s." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83104.

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This thesis will examine the political and social significance of the new artistic language that emerged in Poland in the 1980s. The new artistic language pertains to symbols, imagery and themes that originated in the discourse of the opposition and can be defined as the amalgam of the traditional religious vocabulary and time-specific symbols of oppression under Communism. The most prominent in this category are the symbols of the cross, the flowers, the national red and white flag, exclusively contemporary symbols such as the "television-people" as well as an array of traditional reli

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Suescun, Pozas María del Carmen. "Modern femininity, shattered masculinity : the scandal of the female nude during political crisis in Colombia, 1930-1948." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85958.

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This dissertation examines two controversies involving paintings of the female nude by artists Debora Arango and Carlos Correa during a period of political crisis in Bogota (Colombia) in order to open the political to cultural analysis and thus shed light on scenarios of change in the 1930s and 1940s. Unpacking the controversies lends insight into the unique ways in which modernity, the body, its representations, sexuality, gender and politics came together in Colombia during this period. Such an approach also shows that modernity in Colombia involved shifts in religious and secular fra

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Hojdyssek, Gunter Art College of Fine Arts UNSW. "From laughing at the world to living in the world." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43091.

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Born in 1938 in Poland, I epxperienced wartime Berlin and post-war Stalinism. My first job, at sixteen, was with the East Berlin States Opera and the Bertold Brecht's Berliner Ensemble. The play writes Betrtold Brecht and Buechner had the strongest influence on me. Brecht's play 'Mutter Courage and her children' and Georg Buechner's 'Woyzech' encapsulated the harsh realities of post-war Europe, and confirmed my desire for social justice and reform. Yet, the main influence on my work comes from my own life experience. My life in Australia has become a kind of exile-a deprivation of the origin

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Ayers, David Lee. "An architectural expression in the age of video culture." Thesis, Georgia Institute of Technology, 1993. http://hdl.handle.net/1853/23435.

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Kroeter, Chloe Melinda. "Art and activism : promoting change through British periodical illustration, 1893-1914." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648341.

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Tang, Cheong Wai Acty. "Gazing at horror: body performance in the wake of mass social trauma." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1002381.

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This thesis explores various dilemmas in making theatre performances in the context of social disruption, trauma and death. Diverse discourses are drawn in to consider issues of body, subjectivity and spectatorship, refracted through the writer’s experiences of and discontent with making theatre. Written in a fractal-like structure, rather than a linear progression, this thesis unsettles discourses of truth, thus simultaneously intervening in debates about the epistemologies of the body and of theatre in context of the academy. Chapter 1: Methodological Anxieties Psychoanalytic theory provides

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Libri sul tema "Art, Modern – 20th century – Political aspects"

Art and revolution: Transversal activism in the long twentieth century. Los Angeles, CA: Semiotext(e), 2007.

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Lily, Prince, ed. Something to say: Thoughts on art and politics in America. Teaticket, Mass: Leapfrog Press, 2011.

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Marius, Babias, Groĭs Boris, and Samuel P. Harn Museum of Art., eds. Project Europa: Imagining the (im)possible. Gainesville: Samuel P. Harn Museum of Art, 2010.

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Alejandro, Anreus, and Jersey City Museum, eds. Ben Shahn and The passion of Sacco and Vanzetti. Jersey City: Jersey City Museum, 2001.

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Frascina, Francis. Art, politics and dissent: Aspects of the art left in sixties America. Manchester: Manchester University Press, 1999.

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Conversation pieces: Community and communication in modern art. Berkeley: University of California Press, 2013.

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Empathic vision: Affect, trauma, and contemporary art. Stanford, Calif: Stanford University Press, 2005.

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Guttsman, W. L. Art for the workers. New York: Manchester University Press, 1997.

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Things of the spirit: Art and healing in the American body politic, 1929-1941. New York: P. Lang, 2012.

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Christine, Dixon, and National Gallery of Australia, eds. 1968. Canberra, ACT: National Gallery of Australia, 1995.

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Capitoli di libri sul tema "Art, Modern – 20th century – Political aspects"

Diamantides, Marinos, and Anton Schütz. "Social Systems on the Cross." In Political Theology. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9780748697762.003.0003.

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While early 20th century Social Darwinism has been discredited, post-WW2 theories have re-emphasized Darwin's notion of the environment. On this basis, and substituting social systems for natural species, society has been analyzed as a system-in-evolution, a machinery that, reflexively or self-referentially, produces itself at every moment anew. Modern society, according to social systems theory, continuously makes itself, thanks to countless simultaneous communications taking place at once. There are two equally disquieting lessons here. On the one hand, modern law, understood as the communicative system that applies the distinction lawful/unlawful to everything that gets in its way, is placed within an environment constituted by other communicative social systems (the economy, politics, religion, art etc) and the conditions created by those. On the other hand, social systems at large are separated from the realm of human consciousness, i.e. of collective or individual identity (the ‘psychic systems’). While ‘social' and ‘psychic’ systems never meet, they rely on absolute indifference with respect to their other side, as only this indifference enables especially social systems to assure their (superior) fact-creating potential. Our own project consists in spelling out the implications of this scissile sense of ‘meaning’, at once understood as a shorthand for what is actually happening (fragmented communications) and as consciousness-as-identity (imaginary unity).

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Besarab, Olena. "MASS CULTURE (MASS ART) IN CONTEMPORARY SCIENTIFIC RESEARCHES". У Іншомовна комунікація: інноваційні та традиційні підходи, 17–35. Primedia eLaunch LLC, 2021. http://dx.doi.org/10.36074/ikitp.monograph-2021.02.

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The research deals with phenomenon of mass art (mass culture) as one of the components of mass art modern world. An attempt to identify mass culture, mass art as a phenomenon is made and main approaches to its treatment and different aspects of its study in contemporary science are analysed. The first part of the work offers an overview of researchers’ views on the problem of definition of mass culture, mass art phenomenon and reveals ways of self-identification of it in the course of its development. Main features of mass culture, mass art are also studied. The second part of the work is devoted to the analysis of main approaches to the study of mass art and mass culture in early and in modern scientific works. As we see this phenomenon is widely examined by representatives of different research schools and scientific spheres. Philosophers, political scientists, writers, art critics, culturologists are involved in this process. The majority of the twentieth century researchers perceived mass culture as negative aspect of cultural social development because of its low level of quality and as a part of bourgeois culture focused on manipulating the minds of the masses. On the other hand the 21st century researchers realizing all the negative moments (idolatry, personality levelling) consider mass culture and mass art as natural necessary phenomenon of modern life, a base for development of professional art, a product of modern technology, show-business. The analyses of the phenomenon of mass art, mass culture gives us the picture of variety in opinions and approaches to this phenomenon as well as of the great number of aspects of scientific interest to the problem. In the majority of cases researchers’ concepts of mass culture, mass art clearly reflects the ideas of the periods they belong to.

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Cerasi, Laura. "Tra nostalgia preindustriale, ghildismo e rinascita nazionale Il pensiero sociale di Ruskin nel dibattito culturale italiano." In John Ruskin’s Europe. A Collection of Cross-Cultural Essays With an Introductory Lecture by Salvatore Settis. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-487-5/021.

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Ruskin’s social criticism, which in Unto This Last (1862) harshly condemned the effects of industrialism by mythologizing medieval age and craftmanship, had a wide influence on social reformers of various political orientations: William Morris, J.A. Hobson, the Art and Crafts Movement, the guildism of Arthur Penty and GHD Cole and the New Age circle, with an impact that went as far as the early decades of the 20th century. While his work as an art critic was promptly received in the Italian cultural debate, his social criticism found little audience, at least until the turn of the centuries, and anyway not in the sphere of economic and sociological culture. In this contribution I intend to examine how the circulation of Ruskin’s social thought in the Italian cultural debate between the nineteenth and twentieth centuries was inscribed in the renewed interest in the social function of art, advocated in the Florentine literary journal Il Marzocco with particular reference to the work of Lev Tolstoy by young intellectuals such as Ugo Ojetti, Angelo Orvieto, and Enrico Corradini, as well as established critics as Angelo Conti. The debate became a watershed moment in Italian culture, involving crucial issues as identity and tradition, artistic heritage and national rebirth. By including in this cultural framework the reception of Ruskin’s social criticism, I intend to highlight its connection with the emergence of the movement for the conservation of the artistic heritage, in which Il Mazocco had a leading role, and to suggest it having mixed political implications. Ruskinian references were channeled in a perspective of national rebirth and regeneration; for a paradoxical but interesting twist, aspects of Ruskin's anti-industrialist and medievalist imagery converged within the new nationalist and nationalist dimension that crossed the Italian (and European) culture of the first decade of the century.

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Crouch, Dora P. "Physical and Intellectual Issues." In Geology and Settlement. Oxford University Press, 2004. http://dx.doi.org/10.1093/oso/9780195083248.003.0015.

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The issues associated with this study are both physical and intellectual, as are the factors in urban development. The correlation of known data from inscriptions (epigraphy), literary references (ancient history and more recent government and church documents), evidence from destroyed and rebuilt buildings (archaeology), and modern scientific and technical findings (several kinds of engineering and subfields of geology such as seismology and sedimentology) can give a more complete picture of each city’s development than does one kind of information alone. Most of the necessary site-specific studies, however, have not been done. Our problem parallels the study of global warming, where precise records of weather events have been kept for less than 200 years. Urban elements must be studied by experts in that building type and in social expression. Ramparts need more study by historians of warfare, theaters by scholars of drama and literature, stadia by those who study the history of sports, plumbing by hydraulic, civil, and fluids engineers, and temples by historians of comparative religion. Insights into institutional and political aspects of ancient studies and the historiography of all the disciplines involved in ancient studies would be both useful and fascinating (Kardulias 1994). The benefits and difficulties of interdisciplinary research are clearer now to us than when we started. In considering the physical setting and geological processes in the Mediterranean area, is description sufficient or should scholars strive for explanation, even if this involves theory building? “In much of art history and classical archaeology traditional practices have continued without explicit theoretical support” (McNally 1985; but cf. Preziosi 1989). The theorists of archaeology and urban history desire comprehensive and precise theories—even in the absence of enough data to make that possible. Some data may be rescued by followers of one discipline after being ignored or thrown out by followers of another. The awareness of theoretical difficulty is part of the increase in consciousness typical of the second half of the twentieth century when we began to question the nature of both knowledge and culture.

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Atti di convegni sul tema "Art, Modern – 20th century – Political aspects"

Meškova, Sandra. "THE SENSE OF EXILE IN CONTEMPORARY EAST CENTRAL EUROPEAN WOMEN’S LIFE WRITING: DUBRAVKA UGREŠIČ AND MARGITA GŪTMANE." In NORDSCI International Conference. SAIMA Consult Ltd, 2020. http://dx.doi.org/10.32008/nordsci2020/b1/v3/22.

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Exile is one of the central motifs of the 20th century European culture and literature; it is closely related to the historical events throughout this century and especially those related to World War II. In the culture of East Central Europe, the phenomenon of exile has been greatly determined by the context of socialism and post-socialist transformations that caused several waves of emigration from this part of Europe to the West or other parts of the world. It is interesting to compare cultures of East Central Europe, the historical situations of which both during World War II and after the

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Malinina, Elena. "Contemporary Art Culture as a Creator of Publicity New Forms: Experience of Perm Theatrical Community." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-13.

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This article covers some new forms of publicness in the field of art culture of the Russian city of Perm, e.g. dramatics as a performance in a street environment, and synthetic museum-theatrical form under the conditions of a stage box. The study was accomplished mainly via culturological method. At one time theatre left the urban environment, but in the 21st century theatrical forms have begun to permeate urban space again, the statement primarily concerns site-specific theatre. This is equivalent to the birth of new theatrical-city publicity, a new modality of the interpenetration of the pub

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