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1
Khonsari, Torange. "Contemporary Initiatives in Participatory Art and Architecture Practice." Open House International 33, no. 2 (June 1, 2008): 85–92. http://dx.doi.org/10.1108/ohi-02-2008-b0011.
Повний текст джерелаАнотація:
Recently in the fluid space between Art and Architecture new innovative projects have emerged using informal and playful forms of social engagement to facilitate community led design. This paper shows the difference between a participatory project commissioned within the arts and a participatory project commissioned within architecture. Two projects carried out by the practice of public works will be explained to show how art and architecture working together can reach beyond temporary social events to support community led projects in the medium to long term. The first project ‘Lay-out’ commissioned by Gasworks Gallery was a residency over a 3-month period, which examined how the gallery is perceived and used by its audiences. The second project shows work with the residents of two housing estates, Braithwaite House and Quaker Court in Bunhill Row - Old street - London. The project was derived from the public realm strategy for EC1, commissioned by EC1 New Deal for Communities and was to create an active public and social space to be shared by two rather conflicting communities.
2
&NA;. "INVACARE-COMMISSIONED FINE ART PORTRAITURE BOOK NOW AVAILABLE." Pediatric Physical Therapy 5, no. 1 (1993): 24. http://dx.doi.org/10.1097/00001577-199300510-00010.
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3
Younger, Jay. "The Coupling of Art and Government: Dilemmas in Government Commissioned Public Art." International Journal of the Humanities: Annual Review 9, no. 7 (2012): 95–116. http://dx.doi.org/10.18848/1447-9508/cgp/v09i07/43270.
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4
Romano, Dennis. "Aspects of Patronage in Fifteenth- and Sixteenth-Century Venice*." Renaissance Quarterly 46, no. 4 (1993): 712–33. http://dx.doi.org/10.2307/3039020.
Повний текст джерелаАнотація:
Michael Baxandall's Study Painting and Experience in Fifteenth-Century Italy opens with the useful reminder that a “painting is the deposit of a social relationship,” that is, a relationship between patron and client. When Baxandall and other historians of Renaissance art use the term patronage, they generally do so in a restricted sense to indicate the relationship that existed when an individual or an institution such as a guild, confraternity, or monastic establishment commissioned a specific work of art from an artist or artisan. Often formalized through a contract, the relationship between patron and client was essentially a legal one in which the artist agreed to render a specific service in return for a preestablished or a negotiable sum of money. With the completion of the commission, the relationship essentially ended, unless succeeded by another commission.
5
Tate, James, David Clarke, Helen Spencer, and Belén Cobo del Arco. "THE MUSEUM OF SCOTLAND AND CONSERVATION ISSUES OF COMMISSIONED ART." Studies in Conservation 49, sup2 (September 1, 2004): 16–20. http://dx.doi.org/10.1179/sic.2004.49.s2.004.
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6
Salt, Susan. "When words are not enough – the use of commissioned art." BMJ Supportive & Palliative Care 2, Suppl 1 (March 2012): A119.1—A119. http://dx.doi.org/10.1136/bmjspcare-2012-000196.350.
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7
Ugry, Bálint, and Maja Žvorc. "The Čakovec Stone Bust Collection: New Identifications, Possible Dating and the Identity of its Commissioner." Radovi Instituta za povijest umjetnosti, no. 43 (December 31, 2019): 123–38. http://dx.doi.org/10.31664/ripu.2019.43.10.
Повний текст джерелаАнотація:
The Museum of Međimurje in Čakovec, situated within a former Zrinski residence, stores a stone bust collection containing portraits of 17th-century Croatian and Hungarian dignitaries. Most of the identified portraits have been modelled on Elias Widemann’s engravings from the series Icones Illustrium Heroum Hungariae. So far researchers have formed two opposing opinions concerning the collection’s interpretation: while some claim the collection was commissioned by the Zrinski family during the second half of the 17th century, others insist it was commissioned by the Festetics in the 1820s. This article proposes another engraved portrait series as a model for the collection, namely Franz Leopold Schmittner’s engravings published in Corpus Juris Hungarici (1751), which can be used to confirm or newly establish the identity of seven busts. The authors examine in what way this new find affects the interpretation of the collection’s commission and its contextualization within Croatian and Hungarian art.
8
Brisman, Avi. "“Green Harms” as Art Crime, Art Criticism as Environmental Dissent." Journal of Contemporary Criminal Justice 27, no. 4 (November 2011): 465–99. http://dx.doi.org/10.1177/1043986211418888.
Повний текст джерелаАнотація:
This article argues that the focus of many criminologists and art crime scholars is too often rather narrow, and promotes a more expansive notion of “art crime” —one that centers not on crime, but on the relationship between art and crime. More specifically, this article argues for an approach to “art crime” that contemplates “socially injurious acts” or omissions involving art that are not defined as “crime” or proscribed by civil or criminal statutes. Employing this “harm-based” approach, this article examines the responses to Damian Hirst’s The Physical Impossibility of Death in the Mind of Someone Living—a piece consisting of a 14-ft tiger shark (caught by a fisherman commissioned to do so) immersed in formaldehyde in a vitrine of glass and steel—to demonstrate how art criticism can be employed as a tool for dissent, especially in cases involving art that causes ecological or environmental harms.
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Wang, Michelle Chaotzu, and James Quo-Ping Lin. "The Future Museumshapes the museum future." Arts and the Market 8, no. 2 (October 1, 2018): 168–81. http://dx.doi.org/10.1108/aam-12-2017-0030.
Повний текст джерелаАнотація:
PurposeThe purpose of this paper is to introduce a progressive strategy of the National Palace Museum (NPM) using new media art exhibitions as a creative marketing tool to interpret its collection, generate cultural value and navigate the greater global context.Design/methodology/approachA review of museum marketing literature and the challenges presented by Taiwan’s sociopolitical situation contextualize discussions on marketing activities and the emergence of museum-commissioned new media art at the NPM within the past two decades.FindingsDemocratic potency inherent in the digital medium has enabled the NPM to transcend the conflicting cultural perceptions surrounding its collection and fulfill the function of market expansion and cultural transmission.Originality/valueSpecialized heritage museums, such as the NPM, do not traditionally create or collect contemporary artworks that engage in ongoing cultural dialogues. This paper brings into view the novelty of using the digital medium to generate cultural value as exemplified in the new media art commissioned by the NPM.
10
Prysiazhniuk, Oleksii. "„Royal Commission on Monuments and Landscapes” as a guarantor of the cultural heritage of Belgium." Bulletin of Luhansk Taras Shevchenko National University, no. 6 (337) (2020): 54–63. http://dx.doi.org/10.12958/2227-2844-2020-6(337)-54-63.
Повний текст джерелаАнотація:
The „Royal Commission on Monuments and Landscapes” of Belgium was one of the first European institutions to emerge in the 19th century and lay the foundations for the systematic protection of cultural heritage. In fact, it was created by decree of King Leopold I on January 7, 1835. The Royal Commission was set up a few years before the adoption of municipal and provincial laws, which became the backbone of the Belgian democratic and decentralized regime. In 1860, the structure of the Royal Commission changed – committees were established at the provincial level under the chairmanship of the governors. The committees were tasked with gathering information on the ground and overseeing the preservation of monuments or works of art. The Royal Commission was commissioned to make a general inventory of artifacts of art and antiquity belonging to public institutions, the preservation of which is important for the history of art and national archeology. Following the enactment of the Landscape Beauty Act of 1911, a section of landscapes appeared in the Royal Commission, approved by a royal decree of May 29, 1912. Since then, it has received its current name, the Royal Commission on Monuments and Landscapes. Members of the Royal Commission have developed an internal classification of monuments, as well as landscapes and places of most interest to the Kingdom. This practice led to the gradual adoption of the concept of classification, which was first approved in the Law of 7 August 1931 on the Preservation of Monuments and Landscapes. The law of 1931 was the culmination of almost a century of efforts by the Royal Commission. Thanks to him, Belgium has acquired a modern legal arsenal that allows for a real policy on heritage protection. Since then, the Commission has become the most important body for dealing with requests for work with classified objects and the official source of requests for classification proposals.
11
Petelin, George. "Visual Art Doctorates: Practice-Led Research or Research Per Se?" Media International Australia 118, no. 1 (February 2006): 25–33. http://dx.doi.org/10.1177/1329878x0611800105.
Повний текст джерелаАнотація:
As part of a benchmarking project commissioned in 2002 by ACUADS, the Australian Council of University Art and Design Schools, I conducted a series of focus groups with candidates for higher degrees in Visual Art in Australia in order to gain some insight into how the terminology of research was understood and used by visual art higher degree students. The present paper makes use of that data and examines to what extent practice-led research can engage in a general research debate.
12
Riggs, Christina. "An autopsic art: drawings of ‘Dr Granville's mummy’ in the Royal Society archives." Notes and Records: the Royal Society Journal of the History of Science 70, no. 2 (March 7, 2016): 107–33. http://dx.doi.org/10.1098/rsnr.2015.0050.
Повний текст джерелаАнотація:
In 1821 Augustus Bozzi Granville FRS unwrapped and dissected an ancient Egyptian mummy, presenting the results of his examination to the Royal Society in 1825. He commissioned artist Henry Perry to draw the process in stages; these drawings were subsequently engraved by James Basire for publication in Philosophical Transactions . This article presents the original drawings for the first time, allowing comparison with their engravings. Taken together with Granville's accounts of the unwrapping of the mummy, the drawings demonstrate the significant role of illustration and other visual practices in anatomical argumentation in the early nineteenth century, as well as the prestige that commissioned illustrations lent to the performance and dissemination of scientific expertise. Moreover, the drawings include one of the key visual tropes of race science—a skull in left-facing profile, mapped with a facial angle—and thus indicate the early incorporation of Egyptian mummies into typologies of race.
13
Schmitter, Monika. "TheQuadro da Portegoin Sixteenth-Century Venetian Art*." Renaissance Quarterly 64, no. 3 (2011): 693–751. http://dx.doi.org/10.1086/662848.
Повний текст джерелаАнотація:
AbstractDuring the sixteenth century a symbiotic relationship developed between the form, use, and symbolic associations of the Venetian portego, the central reception and entertainment hall of Venetian palaces, and the paintings that were increasingly commissioned to ornament these spaces. The intended placement of the paintings affected their size, format, composition, subject matter, and contemporary interpretation. At the same time, the works of art themselves reflected upon and helped to define the social meanings of the space and the activities taking place there. Analyzing documentary sources and surviving paintings reveals the degree to which we can speak of thequadro da portegoas a distinctive type of Venetian painting.
14
&NA;. "INVACARE-COMMISSIONED FINE ART PORTRAITURE PUTS PEOPLE WITH DISABILITIES IN NEW LIGHT." Pediatric Physical Therapy 4, no. 4 (1992): 201. http://dx.doi.org/10.1097/00001577-199200440-00017.
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15
Gjesdal, Kristin. "Imagining Hedda Gabler: Munch and Ibsen on Art and Modern Life." Text Matters, no. 7 (October 16, 2017): 71–86. http://dx.doi.org/10.1515/texmat-2017-0004.
Повний текст джерелаАнотація:
Among Edvard Munch’s many portraits of Henrik Ibsen, the famous Norwegian dramatist and Munch’s senior by a generation, one stands out. Large in scope and with a characteristic pallet of roughly hewed gray blue, green and yellow, the sketch is given the title Geniuses. Munch’s sketch shows Ibsen, who had died a few years earlier, in the company of Socrates and Nietzsche. The picture was a working sketch for a painting commissioned by the University. While Munch, in the end, chose a different motif for his commission, it is nonetheless significant that he found it appropriate to portrait the Norwegian dramatist in the company of key European philosophers, indeed the whole span of the European philosophical tradition from its early beginnings to its most controversial spokesman in the late 1800s. In my article, I seek to take seriously Munch’s bold and original positioning of Ibsen in the company of philosophers. Focusing on Hedda Gabler—a play about love lost and lives unlived—I explore the aesthetic-philosophical ramifications of Ibsen’s peculiar position between realism and modernism. This position, I suggest, is also reflected in Munch’s sketches for the set design for Hermann Bahr’s 1906 production of the play.
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Bykova, Iuliia Igorevna. "Jewelers who were commissioned by the tsar in Russia during the time of Peter the Great: biography, work organization, and stylistics." Культура и искусство, no. 12 (December 2020): 27–51. http://dx.doi.org/10.7256/2454-0625.2020.12.34368.
Повний текст джерелаАнотація:
The goal of this research consists in comprehensive examination of all groups of gold, silver and diamond jewelers who were commissioned by the tsar in Moscow and Saint Petersburg in the late XVII – early XVIII centuries (their biographies, work organization, and artworks), as well as in analysis of stylistic evolution in the artistic image of items made of precious metals of that period. The research is based on the combination of art and historical-cultural approaches. The object this work the jewelry art of the time of Peter the Great. For achieving the set goal, the author refers to the unpublished archival documents and monument of decorative and applied art from the collections of Russian museums. Summary and analysis are conducted on the published material dedicated to the work of jewelers of that time; new records on the jewelers are introduced into the scientific discourse. The research demonstrates that that in the early XVIII century, tsar’s order was carried out by several teams of jewelers from Moscow and Saint Petersburg, who were simultaneously public servants and “free” artisans. The analysis of archival documents allowed specifying the nationality of foreign specialists, as well as the time of their arrival to Russia. The author suggests correlation between attitude of the monarch-commissioner towards court culture and the stylistics of works of decorative and applied art.
17
Odlum, Nadia Rene, and Morwenna Collett. "The Right to Play: Snakes and Ladders." Journal of Public Space 7, no. 2 (June 26, 2022): 243–58. http://dx.doi.org/10.32891/jps.v7i2.1501.
Повний текст джерелаАнотація:
This case-study will present learnings from the public art project ‘Snakes and Ladders’, a fifty metre, ground plane mural in Sydney Olympic Park, in Sydney’s western suburbs. This was a collaboration between Digby Webster, an artist with Down syndrome, and Nadia Odlum, an artist without disability who specialises in playful, large-scale public art. Snakes and Ladders was commissioned by the Sydney Olympic Parks Authority (SOPA) as a result of a community consultation and co-design process, and was supported by Accessible Arts, the peak body for advancing the rights of New South Wales artists who have disability and/or who are d/Deaf. The result was a public artwork that functions as an inclusive playspace, supporting the right to play for all people who visit or live in Sydney Olympic Park.The key achievements of this project were the meaningful inclusion of an artist with disability in a significant public art project, and the creation of an accessible and inclusive opportunity for play in public space. This case-study focuses on process, including the community consultation process that led to the commission; the role of peak body Accessible Arts in facilitating and guiding the commission; the methods used to ensure accessibility in the artwork design; and the collaborative process between Digby and Nadia, including the steps taken to support Digby’s access requirements and ensure his full participation in the commission from concept to delivery.
Read the full article in accessible html-format here.
18
d'Agostino, Peter, Deirdre Dowdakin, and David Tafler. "World-Wide-Walks / between earth & sky / Dun na nGall." Leonardo 45, no. 2 (April 2012): 184–85. http://dx.doi.org/10.1162/leon_a_00301.
Повний текст джерелаАнотація:
The World-Wide-Walks explore natural/cultural/virtual identities: mixed realities that encompass walking in physical environments and virtually surfing the Web. The first of these projects, The Walk Series, was initiated by Peter d'Agostino in 1973 as video documentation/performances. World-Wide-Walks / between earth & sky / Dun na nGall is a video/web sculptural installation informed by environmental arts and sciences and local knowledge. It is one of the five Lovely Weather: Art and Climate Change public art projects commissioned by Regional Cultural Centre/Donegal County Council Public Art Office in partnership with Leonardo/Olats: www.peterdagostino.net/WorldWideWalks/Donegal .
19
Shabout, Nada. "Whose Space Is It?" International Journal of Middle East Studies 46, no. 1 (February 2014): 163–65. http://dx.doi.org/10.1017/s0020743813001347.
Повний текст джерелаАнотація:
Designers and architects argue that interaction in public spaces is the product of relations between physical, cultural, social, and aesthetic components. As an art historian, my interest in and understanding of the production of public space is necessarily linked to its visual construction and to public art in particular. Urban planners have always included art in public spaces as a means of forming relationships between the people and the space. Governments have similarly understood the political significance of public space and its power to make meaning and have commissioned art accordingly. This essay reflects on the role of aesthetics and public art in the production and transformation of the modern public space in the Arab world by considering two examples from Cairo and Baghdad.
20
Schalk, Meike, and Apolonija Sustersic. "Taking care of public space." Architectural Research Quarterly 13, no. 2 (June 2009): 141–50. http://dx.doi.org/10.1017/s1359135509990236.
Повний текст джерелаАнотація:
Through an examination of the public art project Garden Service, in this text we explore possibilities of and obstacles to practices of agency. The project was commissioned by the art institution The Common Guild in Edinburgh for the exhibition Jardins Publics, which took place in connection with the Edinburgh International Festival in summer 2007. It was based on the participation of a community and the communication between different actors, from institutions and associations to individual local residents, communication which included solving conflicts as well as building partnerships.
21
Cesare, T. Nikki, and Jenn Joy. "Performa/(Re)Performa." TDR/The Drama Review 50, no. 1 (March 2006): 170–77. http://dx.doi.org/10.1162/dram.2006.50.1.170.
Повний текст джерелаАнотація:
Newly commissioned pieces from Performa05 raise questions about shifting modes of transmission and witness in the staging of performance and visual art, also key concerns considered in response to Seven Easy Pieces, 2005, Marina Abramovic's (re)performance of seminal works by Vito Acconci, Bruce Nauman, Joseph Beuys, VALIE EXPORT, and Gina Pane.
22
Whiting, Cécile. "Philip Johnson." Journal of the Society of Architectural Historians 75, no. 3 (September 1, 2016): 318–38. http://dx.doi.org/10.1525/jsah.2016.75.3.318.
Повний текст джерелаАнотація:
In the late 1950s and 1960s, before it became a norm to situate contemporary art in public spaces, Philip Johnson employed a model for relating contemporary architecture and art, proposing mutual enhancement based on juxtaposition and contrast over independence or integration. In Philip Johnson: The Whence and Whither of Art in Architecture, Cécile Whiting examines two examples of Johnson's use of contemporary art: the New York State Theater at Lincoln Center and the New York State Pavilion at the 1964–65 New York World's Fair. Whiting discusses the ways in which the commissioned art contrasted with the structures and orchestrated the movement of visitors. Johnson's use of painting and sculpture in and on these two buildings blurred lines—not only the line between art and architecture but also that between high art and popular commerce. As demonstrated in these works, modern art and architecture could engage in a rapprochement without effacing the creative tension between them.
23
Fleming, Alison C. "Jesuit Visual Culture: Communication, Globalization, and Relationships." Journal of Jesuit Studies 6, no. 2 (June 21, 2019): 187–95. http://dx.doi.org/10.1163/22141332-00602001.
Повний текст джерелаАнотація:
The visual arts are a powerful tool of communication, a fact recognized and utilized by the Jesuits from the foundation of the order. The Society of Jesus has long used imagery, works of art and architecture, and other aspects of visual and material culture for varied purposes, and the five articles in this issue of the Journal of Jesuit Studies explore how the art they commissioned exemplifies the ideals, goals, desires, and accomplishments of the Society. In particular, these five scholars examine a wide array of images and ideas to consider myriad relationships between the Society and works of art in the early modern period, and the implications of their increasingly global footprint.
24
Lloyd, Kirsten. "Art, Life and Capitalist Social Reproduction: Curating Social Practice." Journal of Curatorial Studies 10, no. 2 (October 1, 2021): 150–76. http://dx.doi.org/10.1386/jcs_00041_1.
Повний текст джерелаАнотація:
Addressing the latest encounter between feminist politics and art, this article identifies a curatorially driven turn towards social reproduction processes and infrastructures across the contemporary art field. It analyses the curatorial mediation of social practice through two UK-based projects that foreground social and economic justice issues, specifically through the politics and economies of food: Effy Harle and Finbar Prior’s Wandering Womb (2018), commissioned by Manual Labours for Nottingham Contemporary, and WochenKlausur’s Women-led Workers’ Cooperative (2013), initiated through Glasgow’s Centre for Contemporary Arts as part of the ECONOMY exhibition project. The central argument is that a rigorous engagement with social reproduction perspectives and theoretical vectors is vital to the analysis and critique of feminist curatorial work within the contemporary art institution.
25
Das, Jareh. "On Curating Pain: The Sick Body in Martin O’Brien’s Taste of Flesh/Bite Me I’m Yours." Leonardo 49, no. 3 (June 2016): 266–67. http://dx.doi.org/10.1162/leon_a_01274.
Повний текст джерелаАнотація:
This article discusses the “sick body” in performance art and ethics, specifically in Taste of Flesh/Bite Me I’m Yours (2015) by London-based artist Martin O’Brien, which was commissioned by the Arts Catalyst as part of Trust Me, I’m an Artist, a Creative Europe-funded project exploring ethical issues in art that engages with biotechnology and medicine, such as medical self-experimentation, extreme body art and art practices using living materials and scientific process. It considers the bodily categorization “sick,” particularly in relation to when the markers for such categorization are rendered invisible through illnesses—in this context, cystic fibrosis. Through the performance of this illness, important ethical questions are raised for the performing sick body, including complicity, subjectivity and the situation-behavior dynamics present between a performer and an audience.
26
McCormick, Maggie. "The Public Voice." Journal of Public Space 3, no. 2 (August 31, 2018): 5–12. http://dx.doi.org/10.32891/jps.v3i2.1107.
Повний текст джерелаАнотація:
The Public Voice discusses art and activism in public space through the lens of how art practice is re-territoralising public space. The article begins with a consideration of both commissioned and uncommissioned works that challenge male dominance of public space while retaining a traditional relationship between the artist, art and the public. Through a discussion of ‘relational’ public practices from Relational Aesthetic to Community Art to Social Engagement, the article argues that the kind of ‘relational’ art and activism undertaken by the collectives, teams and individuals featured in this issue of The Journal of Public Space is linked by spatial practice as a conduit for social change. By framing their practice through a discussion around her own spatial public practice over time, the author emphasises the impact of urbanisation and digitalisation on the changing nature of public space and the public and how the public voice can be mapped through art and activism.
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McCormick, Maggie. "The Public Voice." Journal of Public Space, Vol. 3 n. 2 | 2018 | FULL ISSUE (August 31, 2018): 5–12. http://dx.doi.org/10.32891/jps.v3i2.1107.
Повний текст джерелаАнотація:
The Public Voice discusses art and activism in public space through the lens of how art practice is re-territoralising public space. The article begins with a consideration of both commissioned and uncommissioned works that challenge male dominance of public space while retaining a traditional relationship between the artist, art and the public. Through a discussion of ‘relational’ public practices from Relational Aesthetic to Community Art to Social Engagement, the article argues that the kind of ‘relational’ art and activism undertaken by the collectives, teams and individuals featured in this issue of The Journal of Public Space is linked by spatial practice as a conduit for social change. By framing their practice through a discussion around her own spatial public practice over time, the author emphasises the impact of urbanisation and digitalisation on the changing nature of public space and the public and how the public voice can be mapped through art and activism.
28
Lerm Hayes, Christa-Maria. "Art and Research: A Portrait of a Humanities Faculty as an Inclusive Workspace." Krisis | Journal for Contemporary Philosophy 40, no. 1 (December 11, 2020): 180–202. http://dx.doi.org/10.21827/krisis.40.1.37009.
Повний текст джерелаАнотація:
At a time when monuments are falling, learning processes and discourses accelerating, it seems apposite to pay attention also to artworks commissioned by established institutions in order to give form to good intentions. This essay focuses on a commissioned portrait of female professors, on art (history) education, Dutch art policy / politics and the former colonial (VOC) site that the University of Amsterdam occupies, in order to aide this institution’s desired process to become more inclusive. It proposes Art(istic) Research as a realm that can contribute a differentiated and thoughtful positioning of research and universities in visual and public domains: a necessary ally.
Since the essay was written in Summer 2019 (with later additions), much has happened: the Faculty in question has been found to be the locus of ongoing sexual harassment. The student victims did not feel that the (internal) complaints procedures were safeguarding them sufficiently. They went to the media. The university’s ombudsperson asked to investigate found no systemic deficiencies. Since George Floyd’s death, such a conclusion is no longer possible, and the Board of the university has admitted shameful and systemic failures.[1] We now know better what “systemic” means.
This essay’s case study is meant to show that art (history) and philosophy can jointly analyze systems and organizations as a basis for necessary conversations, followed by a broad range of people taking responsibility and acting accordingly.
In Covid lock-down times, it became deceptively obvious how unimportant art is. Through an essay such as this (and the Faculty’s “art committee” that I established), it is hopefully also evident how art can be an indicator of institutional culture: e.g. in relation to how embedded the principle to consult specialists is, even if this seems to be unimportant. And that is a matter of life and death.
[1] https://www.folia.nl/actueel/138876/fred-weerman-en-geert-ten-dam-dit-is-ongehoord-beschamend
29
Brezavšček, Pia, and Saška Rakef Perko. "‘You ought not to be obsessed with the idea that you have to intervene on every subject at every moment’: Interview with Jacques Rancière." Maska 32, no. 185 (September 1, 2017): 98–104. http://dx.doi.org/10.1386/maska.32.185-186.98_7.
Повний текст джерелаАнотація:
For the conference The Aesthetic Regime of Art: Dimensions of Rancière’s Theory, organised by Maska, Radio Ars commissioned an interview with Jacques Rancière. The conversation focused on topics such as the relationship between politics and aesthetics, and the genesis of Rancière’s thinking, which has recently focused on aesthetics beyond the notion of beauty. We discussed the role of art in contemporary society and the accusations of its hermeticity. And we tackled the idea of communism for present times. In contrast with other star intellectuals, Rancière expresses reservations about the constant need for intellectuals to provide opinions on all subject-matters and events.
30
Sermon, Paul. "The Teleporter Zone: Interactive Media Arts in the Healthcare Context." Leonardo 40, no. 5 (October 2007): 426–31. http://dx.doi.org/10.1162/leon.2007.40.5.426.
Повний текст джерелаАнотація:
The author discusses the recent development and implementation of The Teleporter Zone, a permanent interactive art installation commissioned by Guy's and St Thomas' Charity for the new Evelina Children's Hospital in London. The article places the production and conception of this installation in the context of the author's research in telematic and telepresent art over the past 15 years, alongside current research reports on the effects and influences of the arts on healthcare. The author also draws upon personal experiences in order to provide practical insights into the objectives and outcomes of this work in the healthcare context.
31
Becker, Karin, and Geska Helena Brečević. "More Than a Portrait: Framing the Photograph as Sculpture and Video Animation." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 48–55. http://dx.doi.org/10.47659/m5.048.art.
Повний текст джерелаАнотація:
This essay traces the resurrection of the fotoescultura, a three-dimensional photographic portrait popular in rural Mexico in the early 20th century, as interpreted in recent works by Performing Pictures, a contemporary Swedish artist duo. The early fotoesculturas were an augmented form of portraiture, commissioned by family members who supplied photographs that artisans in Mexico City converted into framed sculptural portraits for display on family altars. We compare these »traditional« photographic objects with “new” digital forms of video animation on screen and in the public space that characterize Performing Pictures work, and explore how the fotoescultura inspired new incarnations of their series Men that Fall. At the intersection between the material aspects of a “traditional” vernacular art form and “new” media art, we identify a photographic aesthetic that shifts from seeing and perceiving to physical engagement, and discuss how the frame and its parergon augment the photographic gaze. The essay is accompanied by photos and video stills from Performing Pictures’ film poem Dreaming the Memories of Now (2018), depicting their work with the fotoesculturas. Keywords: fotoesculturas, frame, parergon, vernacular photography, videoart
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Wang, Cheng-hua. "One Painting, Two Emperors, and Their Cultural Agendas." Archives of Asian Art 70, no. 1 (April 1, 2020): 85–117. http://dx.doi.org/10.1215/00666637-8124988.
Повний текст джерелаАнотація:
Abstract This research focuses on one of the most famous paintings made at the court of the Qing dynasty (1644–1911)—Qingming shanghe (Up the River during Qingming). Commissioned by the Yongzheng emperor (r. 1723–1735) and completed in the second year of the Qianlong emperor's reign (1736–1795), the painting is a rare example of Qing court art that reveals how Qianlong furthered his father's artistic vision while formulating his own in the first fifteen years of his long tenure as ruler. This vision involved how to reinterpret and reinvent the Chinese painting tradition through time-honored themes. The article is divided into four sections. In the first, it brings attention to the salient and crucial but long neglected stylistic features of the painting—those that emphasize theatricality and spectatorship. These interconnected features link and characterize the paintings commissioned by Yongzheng. The second section shifts to discuss the emerging cultural agenda of Yongzheng as seen through the manner in which court art references the Chinese painting tradition. The most remarkable act regards the reinterpretation of old painting themes that include Qingming shanghe and Baijun tu (One Hundred Horses). The third section analyzes how the paratextual elements of Qingming shanghe, especially Qianlong's poem and inscription, inform us of the emperor's views about the production mechanism of court painting and the political meaning of this work. The last section, based on Qianlong's understanding of the painting, highlights the emperor's cultural agenda associated with the idea of yuanben, which pointed to new versions of old themes made by his painting academy.
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RODRÍGUEZ VIEJO, JESÚS. "The Performative Manuscript: Art, Agency and Public Ritual in Ottonian Mainz." Journal of Ecclesiastical History 70, no. 2 (April 2019): 229–64. http://dx.doi.org/10.1017/s0022046918002646.
Повний текст джерелаАнотація:
The German city of Mainz under Archbishop Willigis (975–1011) witnessed a major flourishing of the arts, particularly in the field of architecture. During this period, a benedictional, now in St Gall, was also commissioned. Its only figurative content is an image of Christ in Majesty on its first folio. Taken as a case study, analysis of this permits an approach to the barely-explored concept of performativity in early medieval illuminated manuscripts. This Maiestas Domini, the list of blessings contained in the book and contemporary depictions of religious ceremonies invites consideration of the joint role that image and manuscript played in the dynamic liturgical rites during which the benedictional was handled.
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Walsh, Michael. "Happiness is Not Fun: Godard, the 20th Century, and Badiou." Journal of French and Francophone Philosophy 18, no. 2 (January 28, 2010): 29–42. http://dx.doi.org/10.5195/jffp.2010.211.
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"Godard is the most contemporary of directors, one who has never set a film in the past. Yet since the 1990s he has produced a whole cycle of works whose tones are retrospective, memorial, elegaic. These include JLG/JLG:Auto-portrait du Décembre (1995), the much-discussed Histoire(s) du Cinèma (begun in 1988, completed in 1998) 2 x 50 Years of French Cinema (commissioned by the BFI for the centennial of cinema in 1995), The Old Place (commissioned by the Museum of Modern Art in 1999), On the Origin of the Twenty-First Century (commissioned by the Cannes Film Festival for the year 2000), Dans Le Noir du Temps (a contribution to the 2002 compilation film Ten Minutes Older), and the 2006 Centre Pompidou exhibition “Travels in Utopia.” This last was a retrospective in the conventional sense (screenings of four decades worth of film and video by Godard, Godard/Gorin, Godard/Mièville, etc), but was also retrospective as an installation, divided into three spaces identified as hier, l’avant-hier, and aujourd’hui (yesterday, the day before yesterday, and today), with tomorrow notable for its absence..."
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Cross, David, and Cameron Bishop. "A pleasant coach journey across the political frontier: Public art and suburban dissensus." Art & the Public Sphere 8, no. 2 (December 1, 2019): 147–61. http://dx.doi.org/10.1386/aps_00013_1.
Повний текст джерелаАнотація:
‘Six Moments in Kingston Town’ was an art project developed by the Public Art Commission in May 2019 that sought to collectively speak to the diverse cultures and shared histories of the City of Kingston, south of Melbourne. A series of leading Australian artists were commissioned to work with local community groups to develop projects that spoke to the complex, rich and interwoven social fabrics of this region, concentrating on the period of the mid-1970s to early 1980s. Using as key case studies events such as the election of Moorabbin’s first female councillor in 1976, a selection of nationally famous political protests in 1982, and the disappearance of aviator Fred Valentich who flew out from Moorabbin airport in 1978 never to be seen again, the project sought to highlight hidden or obscured historical moments that impacted well beyond the Kingston region. This text examines how curatorial practice via the commissioning of a series of iterative, place-specific, temporary projects can serve to nurture resilient communities while showcasing adventurous, challenging contemporary art. In picking up on local gestures, materials and events that clearly resonate with our contemporary milieu, we bring into question art’s repeated teleology ‐ one that eschews resistance in favour of its own disappearance into a kind of utopic consensus, where politics, art, culture and the economy fuse into a life of communal accord. In this article, we argue that the making of public artworks as dissensus serves to resist the collapse of art into life and, therefore, the danger that, with the disappearance of art, politics is doomed as well. As the article progresses, we pick up on a number of theoretical threads that present the works as ruptures in our conventional approaches to these sites and their histories.
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Berce, Françoise. "Les Collections Iconographiques de la Direction du Patrimoine." Art Libraries Journal 15, no. 1 (1990): 22–25. http://dx.doi.org/10.1017/s0307472200006611.
Повний текст джерелаАнотація:
La Direction du Patrimoine is the successor of the Commission des Monuments historiques, which from its inception in 1837 was responsible for identifying, compiling an inventory of, and restoring, historic buildings. During the 19th century, this meant, in effect, medieval ecclesiastical structures and sites. From the beginning the Commission was careful to safeguard its papers, including drawings and plans of specific buildings; a number of volumes illustrating the nation’s architectural heritage were published in the second half of the 19th century; drawings, and photographs, were commissioned, and a library was assembled. From the 1860s the Commission employed photographers on its staff and efforts were made to record those buildings for which the state was responsible. The documentary resources which accumulated became known as the Bibliothèque des Monuments historiques. Recent decades have witnessed the devolution of the management of historical monuments, while the documentary collections are being cared for, exploited, and developed in a wider context, embracing secular, industrial, vernacular, and modern architecture, as well as art, photography itself, and artefacts from everyday life, to provide the broadest possible documentation of the French cultural heritage. A computer system is used, and many photographic images are being transferred to videodisc.
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Mondloch, Katie. "A Symphony of Sensations in the Spectator: Le Corbusier's Poème électronique and the Historicization of New Media Arts." Leonardo 37, no. 1 (February 2004): 57–62. http://dx.doi.org/10.1162/002409404772828148.
Повний текст джерелаАнотація:
This essay seeks to historicize the technological production of artistic virtual space, which is often misconstrued as having originated with contemporary new media art production. The author critically investigates Le Corbusier's Poème électronique, a 1958 automated multimedia performance commissioned by the Philips Corporation for its pavilion at the World's Fair in Belgium, as a paradigmatic example of much earlier attempts to create a spatialized, virtual experience in the spectator. The author argues that the highly disciplined spectatorship conditions of the Poème électronique have many suggestive parallels with those of contemporary artistic production in new media, thus offering a theoretical and historical foundation for art-historical discourse regarding the proliferation of immersive multimedia artworks in contemporary practice
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Oakley, Kate. "The Art of Education: New Competencies for the Creative Workforce." Media International Australia 128, no. 1 (August 2008): 137–43. http://dx.doi.org/10.1177/1329878x0812800117.
Повний текст джерелаАнотація:
This article is a summary of a longer study entitled Educating for the Creative Workforce: Rethinking Arts and Education, commissioned by the Australia Council as part of its research partnership with the Institute for Creative Industries and Innovation. That study analyses the claims for the role of the arts in education, concentrating on empirical research studies that looked at arts education programs and sought to explore whether, and how, they can contribute to contemporary approaches to education for the ‘creative workforce’. In line with the focus of this special issue, this paper seeks to draw parallels between this debate and that on digital literacy. In both cases, we look at how these areas are said to contribute to the skills and competencies required for the contemporary workforce, the differences between formal and informal approaches to skill acquisition, and the degree to which both areas are often surrounded by notions of empowerment.
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Ušpuras, E. "State of the Art of the Ignalina RBMK-1500 Safety." Science and Technology of Nuclear Installations 2010 (2010): 1–11. http://dx.doi.org/10.1155/2010/102078.
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Ignalina NPP is the only nuclear power plant in Lithuania consisting of two units, commissioned in 1983 and 1987. Unit 1 of Ignalina NPP was shut down for decommissioning at the end of 2004 and Unit 2 is to be operated until the end of 2009. Both units are equipped with channel-type graphite-moderated boiling water reactors RBMK-1500. The paper summarizing the results of deterministic and probabilistic analyses is developed within 1991–2007 by specialists from Lithuanian Energy Institute. The main operational safety aspects, including analyses performed according the Ignalina Safety Improvement Programs, development and installation of the Second Shutdown System and Guidelines on Severe Accidents Management are discussed. Also the phenomena related to the closure of the gap between fuel channel and graphite bricks, multiple fuel channel tube rupture, and containment issues as well as implication of the external events to the Ignalina NPP safety are discussed separately.
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Ayres, Jennifer. "A Fashion Exhibit Without Fashion." Fashion Studies 1, no. 1 (2018): 1–35. http://dx.doi.org/10.38055/fs010114.
Повний текст джерелаАнотація:
In this review, I critically examine the fashion and art exhibition “fashion after Fashion,” April 7–Aug 27, 2017 at the Museum of Arts and Design in New York City, curated by Hazel Clark and Ilari Laamanen. The exhibition design was commissioned work by six interdisciplinary artists/designers who incorporated a mix of sculpture, performance, and audiovisual material into their installations. The different installations, taken together and experienced together, acted back and upon each other in interesting ways in the exhibition, which was a strength of the curators’ method; the use of commissions exclusively acted as a kind of artistic method in itself. The first and most notable thing about the exhibit was that there were no clothes on mannequins. While the exhibition’s premise was on fashion, the intentional absence of clothing was a risky strategy the curators pursued to intervene in how viewers think about fashion. The installations were purposely amorphous and abstract as well to inspire a broader consideration of what fashion can be and what bodies can do. Though the relationship between fashion and the body has been a constant topic in fashion scholarship, this exhibition offered a new perspective through commissioning and showcasing the category-defying work of recent fashion and art school graduates and performance artists.
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Hanner, Charlotte. "Education for art librarianship in the Nordic countries." Art Libraries Journal 19, no. 2 (1994): 7–8. http://dx.doi.org/10.1017/s0307472200008737.
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Big changes in the educational system of Sweden took place in 1992/1993 because of political changes in the government. Earlier the government and parliament made decisions about course details at the different universities, and research education was offered only by the universities, and not by the colleges. In the early 1970s the College of Librarianship in Borås was commissioned by the government to offer a two-year academic level supplementary course in librarianship. Until the spring term in 1993, education for librarianship in Borås changed course several times, and five years ago courses in art and music librarianship, which had given students some insights in art history, were discontinued. Beginning in the autumn of 1993 the education system in Sweden will be much freer, implying that every university and college will be permitted to make its own decisions about courses. And from now on courses in librarianship will be offered by the universities in Umeå, Stockholm (starting spring 1994) and Lund, as well as in Borås. Librarianship at the research level was established three years ago at Göteborg University in close cooperation with the college of librarianship in Borås
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Robson, Roy. "Art and Politics at the Vatican Congregation for the Oriental Churches, 1917-45." Russian History 38, no. 1 (2011): 42–57. http://dx.doi.org/10.1163/187633111x549597.
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AbstractIn the period 1917-45, the Roman Catholic Church vacillated in its views of Russian Orthodoxy and the Russian Revolution. Some forces in the Vatican focused on the “consecration” of Russia, connoting support for Orthodoxy. Others preferred to push for the “conversion” of Russia to Roman Catholicism. The tension between these competing views can be seen in the Vatican's patronage of the arts. From 1925-1945, the Congregation for the Oriental Churches commissioned works by four artists—Leonid and Rimma Brailowski, Pimen Sofronov, and Jérôme Leussink. Collectively, their work illustrated the changing mixture of politics, piety, and aesthetics that characterized Rome's view toward Russia in the first half of the twentieth century.
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Marciari, John. "Girolamo Muziano, Scipione Pulzone, and the First Generation of Jesuit Art." Journal of Jesuit Studies 6, no. 2 (June 21, 2019): 196–212. http://dx.doi.org/10.1163/22141332-00602002.
Повний текст джерелаАнотація:
While Bernini and other artists of his generation would be responsible for much of the decoration at the Chiesa del Gesù and other Jesuit churches, there was more than half a century of art commissioned by the Jesuits before Bernini came to the attention of the order. Many of the early works painted in the 1580s and 90s are no longer in the church, and some do not even survive; even a major monument like Girolamo Muziano’s Circumcision, the original high altarpiece, is neglected in scholarship on Jesuit art. This paper turns to the early altarpieces painted for the Gesù by Muziano and Scipione Pulzone, to discuss the pictorial and intellectual concerns that seem to have guided the painters, and also to some extent to speculate on why their works are no longer at the Gesù, and why these artists are so unfamiliar today.
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Wójcik, Agata. "Działalność Towarzystwa Polska Sztuka Stosowana (1901-1913) – próby nawiązania współpracy między producentami, projektantami i odbiorcami." Załącznik Kulturoznawczy, no. 6 (2019): 105–19. http://dx.doi.org/10.21697/zk.2019.6.05.
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Active between 1901–1903, the Polish Applied Art Society (the TPSS), sought to achieve three essential aims: ‘to spread admiration for Polish applied art, to facilitate its development and to introduce it to the industry’. This article presents the activities of the TPSS, whose aim was to establish cooperation with manufacturers and workshops as well as to acquire commissions from institutions and private individuals. Under this cooperation, the TPSS opened competitions, provided designs or employed artists as artistic directors. The Society succeeded in establishing cooperation with a number of printing and publishing houses; it also finalised an agreement with Antonina Sikorska’s kilim workshop, Czernichów. What is more, by employing TPSS members as artistic directors, it exerted influence on ceramics manufacturing in J. Niedźwiecki & Co. Faience Factory in Dębniki and on that of stained glass in Stanisław Gabriel Żeleński’s Stained Glass and Mosaic Works in Krakow. The TPSS was also commissioned to design interiors and furniture by private individuals and by institutions. However, no cooperation was established with any furniture factory. Contrary to its plans, the Society did not succeed in directly influencing furniture manufacturing; its activities had the features of exclusive artistic craft. This is also how they were received by the audience. Summing up and closing its activities, the Society set a goal for Polish applied art, which would be to create two types of businesses – ones which would manufacture things ‘of quality, in design, material, and workmanship’ and others for ‘machine manufacturing’ and producing cheap objects without, however, ‘lowering standards of taste and workmanship
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Tobin, Elizabeth H., and Jennifer Gibson. "The Meanings of Labor: East German Women's Work in the Transition from Nazism to Communism." Central European History 28, no. 3 (September 1995): 301–42. http://dx.doi.org/10.1017/s0008938900011857.
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In Christoph Wetzel's 1988 painting, An Everyday Story, the divided canvas proudly depicts women's accomplishments in the German Democratic Republic (Figure 1). On one side, a woman operates a large piece of heavy machinery in a rolling mill, cool and competent behind the enormous mass of metal and gears. On the other side, the same woman helps her two children prepare for school in the morning. In the act of combing her daughter's hair, she looks out directly at the viewer, her expression asking: “And what are you surprised at?” This painting, displayed as part of a 1995 exposition on art commissioned by government agencies in the GDR, graphically displays that government's ideological commitment to women's paid labor, especially in jobs that, in capitalist societies, are often thought to be inappropriate for women.
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Cross, David. "On task: De-Limit, dance and the performance of menial action." Choreographic Practices 12, no. 2 (December 1, 2021): 135–51. http://dx.doi.org/10.1386/chor_00033_1.
Повний текст джерелаАнотація:
Reflecting on a specific case study commissioned for the 2020 Keir Choreographic Awards in Australia, this text investigates how the work De-Limit sought to negotiate the relationship between menial, process-driven labour and dance/installation art. Developed as a collaboration between dance maker Alison Currie and visual artist David Cross, the work interrogated how Walter Benjamin’s and Martin Heidegger’s ideas on boredom and suspended time, respectively, might offer new considerations of task-based practice. This study specifically seeks to test key thresholds in relation to task-orientated discourse with the insertion of a series of counter-moments informed by Freud’s thinking around the uncanny. Playing with ideas of staging and set making at the intersection of art and dance, this text also seeks to interrogate how the building of an art installation offers a frame in which to understand dance and its assorted modalities in different ways. De-Limit slips between functional and abstract, exploring live action as an unstable liminal space between labour and performance.
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Pichou, Myrsini. "The ATOPOS cvc RIPPING Project: A ‘New’ Life for Dress Objects?" Costume 54, no. 2 (September 2020): 242–64. http://dx.doi.org/10.3366/cost.2020.0166.
Повний текст джерелаАнотація:
This article will examine the RIPPING ATOPOS project initiated by the Athens-based ATOPOS Contemporary Visual Culture Organization (ATOPOS). In this project, contemporary artists and fashion designers are commissioned to create their own works of art or garments, either inspired by specific pieces or by using duplicates of the 1960s paper dresses from the ATOPOS collection. The article describes results of the collaborations with the different artists and fashion designers. The project has enabled ATOPOS to investigate new ways of handling, managing and displaying its collection.
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Burd, Gary. "A modern medal." Biochemist 24, no. 4 (August 1, 2002): 46–47. http://dx.doi.org/10.1042/bio02404046.
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The new Biochemical Society Award is to be presented this year to Steven Rose and Bernard Dixon for their outstanding contribution to the field of science communication. This is the first year that this award has been given, and consequently, a new medal was needed. The Society enlisted the help of Martin Kemp, Professor of Art History at the University of Oxford, to choose an artist who would design a medal that pushed the boundaries of design. Consequently, Mirjam Mieras, a Dutch medal designer was commissioned.
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Rudrum, David. "Before Us Is The Salesman’s House: Exploring the Contingent Aesthetic of eBay." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 11 (October 18, 2019): 88. http://dx.doi.org/10.12681/syn.20895.
Повний текст джерелаАнотація:
In 2012, data artist Jer Thorp and statistician Mark Hansen collaborated on an installation called Before Us Is The Salesman’s House. Commissioned by theeBay/PayPal corporation, and inspired by Arthur Miller’s Death of a Salesman, thisdata art project has been described variously as “an investigation of eBay as a cultural artefact,” “a kind of fly-over of [eBay’s] rich data landscape,” and “a portrait ofhumanity in the purchases we make.” Based on big data from eBay and ProjectGutenberg, it uses sheer random contingency to show the interweavings of literary texts with everyday commodities. This essay seeks to read the challenging project that is Before Us Is The Salesman’s House variously as literary text, a piece of corporate art,an opening for social critique, and an example of Nicolas Bourriaud’s relationalaesthetics.
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Leuchter, Shira. "Keeping Good Company." Canadian Theatre Review 189 (January 1, 2022): 8–12. http://dx.doi.org/10.3138/ctr.189.002.
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A personal reflection on how Shira Leuchter’s desire to preserve existent family memories led her to create the live art performance All the Things I’ve Lost, which she performed with her mother, Joyce. All the Things I’ve Lost was commissioned by the Gardiner Museum in Toronto and premiered in August 2016. Through performing the piece, Shira discovered that casting her mother to help her recreate lost childhood objects prompted audience members to share their stories of loss with her during impromptu sessions after each performance. Acknowledging the apparent need for sharing and companioning stories of loss, Shira created the live art performance Lost Together. Lost Together premiered as part of the SummerWorks Festival Lab in 2018. While Shira and co-performer Michaela Washburn recreate and reimagine lost things for audience participants during this intimate performance, Shira recognizes that they can never be successful in resolving loss for their audience participants. Instead, they can hold the weight of the loss with their audience and offer community and connection. Shira contends that collaborating with audiences and leading with tenderness is a radical act of performing care in a culture that prizes individualism.