Thematische Bibliographien / Musicians as artists – 20th century – exhibitions

Auswahl der wissenschaftlichen Literatur zum Thema „Musicians as artists – 20th century – exhibitions“

Autor: Grafiati

Veröffentlicht am 26. Juli 2024

Zuletzt aktualisiert am 27. Juli 2024

Geben Sie eine Quelle nach APA, MLA, Chicago, Harvard und anderen Zitierweisen an

Wählen Sie eine Art der Quelle aus:

Machen Sie sich mit den Listen der aktuellen Artikel, Bücher, Dissertationen, Berichten und anderer wissenschaftlichen Quellen zum Thema "Musicians as artists – 20th century – exhibitions" bekannt.

Neben jedem Werk im Literaturverzeichnis ist die Option "Zur Bibliographie hinzufügen" verfügbar. Nutzen Sie sie, wird Ihre bibliographische Angabe des gewählten Werkes nach der nötigen Zitierweise (APA, MLA, Harvard, Chicago, Vancouver usw.) automatisch gestaltet.

Sie können auch den vollen Text der wissenschaftlichen Publikation im PDF-Format herunterladen und eine Online-Annotation der Arbeit lesen, wenn die relevanten Parameter in den Metadaten verfügbar sind.

Zeitschriftenartikel zum Thema "Musicians as artists – 20th century – exhibitions"

Ittu, Gudrun-Liane. „Siebenbürgisch-deutsche Künstlerinnen vom Ende des 19. und Anfang des 20. Jahrhunderts“. Studia Universitatis Babeș-Bolyai Historia Artium 65, Nr. 1 (31.12.2020): 127–55. http://dx.doi.org/10.24193/subbhistart.2020.07.

Der volle Inhalt der Quelle

Annotation:

"Transylvanian German women artists from the end of the 19th and beginning of the 20th century. The paper is aiming at analyzing the life and art of a group of six German women artists from Transylvania, the first ones who studied abroad, real forerunners for the next generation of female plastic artists. Emancipated ladies, determined to become artists and earn their own money, the gifted women studied in Budapest, Vienna, Munich or Paris. Only Molly Marlin did not come back home, while the others had a prodigious artistic and pedagogical activity, being present at the annual exhibitions, together with well-known male colleagues. Keywords: art academies, women artists, painters, graphic artists, art teachers, exhibitions, Sibiu, Betty Schuller, Hermine Hufnagel, Molly Marlin Horn, Anna Dörschlag, Lotte Goldschmidt, Mathilde Berner Roth "

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Šeparović, Ana. „Feministički iskazi u kritičkoj recepciji skupnih izložbi hrvatskih umjetnica“. Ars Adriatica 8, Nr. 1 (28.12.2018): 195–210. http://dx.doi.org/10.15291/ars.2762.

Der volle Inhalt der Quelle

Annotation:

This paper discusses the reception discourse related to three waves of group exhibitions by Croatian women artists in the 20th century, with a focus on feminist strategies used in advocating and empowering women’s art. The considered body of texts includes reviews of the first exhibition – the Intimate Exhibition at the Spring Salon of 1916 – the exhibitions of the Club of Women Artists held in 1928-1940, and the exhibitions celebrating Women’s Day from 1960 until 1991. Although taking place in different circumstances and socio-political contexts, all these exhibitions generated public debates on art produced by women, and although they provoked misogynous and anti-feminist statements, they also resulted in openly feminist voices of authors such as Roksana Cuvaj, Zdenka Marković, Marija Hanževački, Verena Han, Nasta Rojc, Zofka Kveder, and others. Based on historiographical sources and texts from the field of feminist theory, this analysis of the art-critical corpus has identified the main strongholds of feminist discourse: disclosure of misogyny and its sources in public opinion and prejudice, critique of the social construction of female inferiority, research on women’s art history, endorsement and praise of female art, and so on. It was these feminist statements that enhanced creative self-awareness in women artists and also slowly tamed the society by getting it used to their presence, leading to the gradual suppression of stereotypes and slow dissolution of the dominant patriarchal matrix in Croatian art during the 20th century.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Krzysztofowicz-Kozakowska, Stefania. „„Raumkunst” autorstwa Teodora Axentowicza“. Lehahayer 8 (19.12.2021): 185–90. http://dx.doi.org/10.12797/lh.08.2021.08.06.

Der volle Inhalt der Quelle

Annotation:

Raumkunst by Teodor Axentowicz Three exhibition arrangements analysed in the article – the halls of Polish artists on the exhibitions in St. Louis (1904), London (1906) and XI International Biennial of Art in Venice (1914) – allow us to consider Teodor Axentowicz as a precursor of the new form of organisation of the exhibition space within the Polish culture. This form was a pattern for the subsequent architects of exhibitions belonging to the Society of Polish Artists “Art”. Projects of Axentowicz perfectly fitted to the modern style of exhibition interior arrangement, which was promoted by the Viennese environment of “Secession” at the turn of the 20th century.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Kyselova, Kateryna, Olha Shandrenko und Alina Shcherbak. „STAGE IMAGES OF ROCK MUSICIANS AND THEIR INFLUENCE ON THE FORMATION OF MODERN TRENDS IN CLOTHING DESIGN“. CULTURE AND ARTS IN THE MODERN WORLD, Nr. 22 (30.06.2021): 199–211. http://dx.doi.org/10.31866/2410-1915.22.2021.235914.

Der volle Inhalt der Quelle

Annotation:

The purpose of the article is to reveal the influence of stage images of rock musicians on fashion design trends formation. Research methodology: the authors of the article use methods of source study analysis to determine the level of scientific development of the issue, comparative historical analysis to identify the characteristic features of images of musicians and catwalk models of clothing collections of famous designers, and theoretical generalization to draw conclusions. The scientific novelty of the work is to highlight the influence of stage images of musicians on the formation of modern trends in fashion design. The analysis of genre affiliation reveals stylistic differences of the stage costume of popular musicians of the USA and Europe. Some stylistic characteristics of the artists’ stage clothing could be traced in the collections of famous fashion brands of the 21st century, such as Balenciaga, Philipp Plein, Vetements, Alexander Wang, Alexander McQueen, and others. Conclusions. The research reveals the main stylistic features of the stage costume of hard rock and heavy metal musicians. Stage images of artists were innovative and widely used in fashion design of the 20th and early 21st century. The active influence of musicians on fashion trends began in the 60s and 70s of the twentieth century, which coincided with the development of stage costume design and the significant spread of media technology. Hard rock and heavy metal performers created and popularized such a style direction as “grunge”, which is one of the leading musical trends in 2020–2021. Designers of the 21st century borrowed many details, visual and stylistic features, and even concepts for brands from popular hard and heavy artists of the 1970s–1990s. Stage images of rock musicians have a significant impact on the development of fashion and design.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Beck, Mirja. „A Lived Experience—Immersive Multi-Sensorial Art Exhibitions as a New Kind of (Not That) ‘Cheap Images’“. Arts 12, Nr. 1 (17.01.2023): 16. http://dx.doi.org/10.3390/arts12010016.

Der volle Inhalt der Quelle

Annotation:

This article analyzes the phenomenon of multi-sensorial, digital, and immersive art exhibitions of popular artists, which has been widely neglected in academic research, from a historical perspective. Reflecting the significance of lived experience in art consumption, this 21st-century phenomenon can be confronted productively with early-20th-century art reproductions. The article focuses on the characteristics of both popular phenomena and on their advertisement, as well as on the discourse around them, documenting reactions from resistance to persistence and accommodation. The analysis shows noticeable similarities between the two types of popularization of high art, positioning the new immersive exhibitions in a traditional line of technical innovative art popularization. Whereas photomechanical art reproduction had an immense influence on the popular art canon, being also dependent on ‘photogenic’ conditions of artworks and thus focusing predominantly on painting, the contemporary canon is predisposed by the immersible characteristics of artists’ oeuvres.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Dane, William J. „Public art libraries and artists and designers: a symbiotic scheme for success“. Art Libraries Journal 12, Nr. 3 (1987): 29–34. http://dx.doi.org/10.1017/s0307472200005277.

Der volle Inhalt der Quelle

Annotation:

The inter-relationship between art librarians and artists/designers in the public library sector in America has been a reality since the early 20th century when libraries were organized into subject departments. This specialized clientele is eclectic and ranges from novices to the most accomplished artists and includes architects, art directors, illustrators, calligraphers, craftspeople and photographers in addition to painters, sculptors and graphic artists. Materials and services in public art libraries are highly diversified and the literature of other disciplines is also readily available. The increase in art exhibitions and special collections is noted in addition to a new focus on information for career opportunities, art law and the handicapped. Current developments set the stage for the continuing symbiotic relationship between public art librarians and artists/designers into the 21st century.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Ponamarchuk, Igor. „Kyiv Association of Artists in the context of consolidation of the artistic forces of Kyiv in turn of the 19-20th cc.“ Text and Image: Essential Problems in Art History, Nr. 2 (2018): 68–83. http://dx.doi.org/10.17721/2519-4801.2018.2.04.

Der volle Inhalt der Quelle

Annotation:

The article is based on the statutory materials and catalogs of the exhibitions of artistic works which were held in Kyiv in the late nineteenth and early twentieth centuries. It reveals the basic principles of activity of the Kyiv artistic associations. The author focuses his attention on the main trends in the development of the exhibition activities in Kyiv during the specified period. In this article we can see the preconditions of the unifying processes in the local artistic environment, the role of the Peredvizhniki (“The Wanderers”) as well as exhibition events of the Kyiv Drawing School M. Muraskho in the public presentation of works of art by Kyiv’s artists. The author reconsiders the peculiarities of exhibition activity in Kyiv from the seldom events of the late 1870's to the exhibitions systematically led in the early 20th century. The statutes of Kyiv artistic intelligentsia associations from the 1890s-1900s ("Bakhtins", the Association of Artists of Kyiv, the Kyiv Union of Artists), the frequency and membership of their exhibitions were revealed. The author highlights the role of O. Murashko in the consolidation of artistic milieu of Kyiv, his initiative in the emergence of the Kyiv Association of Artists (KAA). Also the author carries out a comparative analysis of the Statute of the KAA and similar materials of the associations of Kyiv artists from the late nineteenth and early twentieth centuries. The author shows the key aspects of the art and exhibition activity of KAA during 1916-1918 and determines the role of the KAA in the cultural and artistic life of Kyiv with the advent of Soviet occupation (1917-1918) as well as the participation of KAA members in the establishment of the Council of United organizations, the Professional Union of Artists, the All-Ukrainian Congress of Artistic Organizations, the First Congress of People Ukrainian plastic art.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Федорук, Олександр. „The Kyiv artistic life in the late 19th and early 20th centuries. Polish discourse“. CONTEMPORARY ART, Nr. 18 (29.11.2022): 307–20. http://dx.doi.org/10.31500/2309-8813.18.2022.273817.

Der volle Inhalt der Quelle

Annotation:

The article focuses on the problem of the local isolation of art at the turn of the 19th-20th century and the role of Ukrainian-Polish creative contacts in establishing Ukrainian artistic discourse. The works of K. Pryzhikhovskyi, A. Kendzerskyi, P. Vasylchenko, K. Ivanytska, artists who are half-forgotten today, were discerned by the importance of experience exchange and the need to find new imagery. The aforementioned artists performed together with I. Rashevskyi, M. Pymonenko, and Ya. Stanislavskyi. The connection of the latter with Ukraine is studied in particular through his pedagogical activities. Also, the characteristic features of Polish plastic arts in Poland and outside the country (Kyiv, Odesa) are traced, as well as exhibitions and events that are crucial for our understanding of the ties between Poland and Ukraine. It is proved that because of the emergence of new artistic societies, museums, and the growing role of art schools, Kyiv has become the professional platform where new generations of Polish artists have asserted themselves. The article also traces the impact of Ukrainian and Polish culture on the emergence of new phenomena in European art of the late 19th — early 20th century.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Pastushkova, N. A. „Russians in Spain. Book 2. The 20th century. The Beginning“. Voprosy literatury, Nr. 5 (09.11.2019): 292–95. http://dx.doi.org/10.31425/0042-8795-2019-5-292-295.

Der volle Inhalt der Quelle

Annotation:

Second in the anthology, the volume offers a rich collection of materials, including descriptions of 1900s–1930s Spain by Russian travellers. Artists, musicians, journalists and people of the theatre, all of them share their expectations, recollections and impressions from visits to this Southern country. A poeticized image clashes with reality, which often stands in stark contrast to the idyllic picture. Spain beckons, mesmerizes, and reveals its luxurious self. The country is wrought with controversy: the archaic lifestyle in the provinces and the dizzying pace of life in big cities; its amiable, but very apathetic people; its glorious past and almost desperate present. Russians travel to Spain to experience its natural beauty and splendid cultural heritage. Many of them revelled in visiting the Prado Museum. Numerous performers would come to Spain to tour, spreading knowledge of Russian music, ballet and drama among local audiences.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Jingzhi, Huang. „Features of Vocalist Li Huiqiao’s Interpretation of Some Works by R. Strauss“. Университетский научный журнал, Nr. 78 (16.02.2024): 94–98. http://dx.doi.org/10.25807/22225064_2024_78_94.

Der volle Inhalt der Quelle

Annotation:

. In the history of world music, there are many bright musical trends that stand out for their uniqueness and originality. One of these trends is German chamber vocal music, distinguished by its emotional depth and grace of performance. The greatness of this genre’s art has inspired many musicians around the world, including 20th-century Chinese performers, to interpret and recreate its sound. At fi rst glance, the Chinese musical tradition and German chamber music seem to be different in terms of aesthetic and cultural concepts, as well as unique musical instruments and performance techniques. However, it is in this contradiction and interaction that the vocal unique strength lies. Chinese performers of the 20th century, being outstanding musicians and artists of their time, not only refl ected the cultural heritage of their country, but also sought cultural enrichment through the perception of other musical traditions. It was in this context that they turned their attention to German chamber vocal music, whose value lies in its depth and emotional power.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Mehr Quellen

Dissertationen zum Thema "Musicians as artists – 20th century – exhibitions"

Vigli, Maria. „La participation des artistes grecs aux expositions universelles et internationales en Europe (1901-1939)“. Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040094.

Der volle Inhalt der Quelle

Annotation:

Notre étude porte sur la présence des artistes grecs(peintres, sculpteurs, graveurs) aux manifestations universelles et internationales qui se sont déroulées dans de différentes villes européennes, durant les quarante premières années du XXe siècle.Effectuée principalement aux catalogues officiels des expositions traitées, notre recherche a essayé d’appréhender l’activité artistique des hellènes, en la situant dans un contexte culturel international(expositions universelles et/ou internationales) et dans un cadre chronologique précis (1901-1939) ; pour ce faire, nous avons tenu compte des divers paramètres sociaux, politiques et intellectuels, qui ont régi deux réalités historiques et géographiques : d’un côté la Grèce, un état jeune dans toutes ses manifestations, et de l’autre côté l’Europe de la Grande Guerre, du progrès industriel et des avant-gardes
Our study focuses on the presence of Greek artists(painters, sculptors, engravers) in the universal and international exhibitions, that took place in various European cities during the first forty years of the 20th century.Our research, which was principally carried out in the official catalogues of the presentations in question, attempted the approach and in-depth comprehension of the artistic activity of the Greeks, placed in an international cultural context(universal and international exhibitions in Europe) and in a specific chronological frame(1901-1939). For this to be achieved, we took into consideration the diverse social, political and cultural parameters that ruled two different realities; on the one hand, Greece, a “young” country in all it’s manifestations and on the other hand, Europe of the Great War, industrial progress and the “avant-garde”

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Northfield, Sally. „Canvassing the emotions : women, creativity and mental health in context“. Thesis, 2014. https://vuir.vu.edu.au/29985/.

Der volle Inhalt der Quelle

Annotation:

Canvassing the emotions examines the role and meaning of artmaking in the lives of women who have experienced mental ill-health and/or psychological trauma in Australia between the 1950s and the present. Hovering at the nexus of a number of contested domains, the thesis bypasses the perennial question of what is art to explore the neglected and perhaps more interesting query – what does art do for the artmaker? – and associated questions of why does art matter; what is the function of artmaking in relation to wellbeing; and what are the implications of a thwarted life of making? The thesis presents the findings of three studies: The Exhibition – a touring exhibition of art produced by women with an experience of mental ill-health; The Interviews – with thirty-two women who make art and who have experienced mental ill-health; and The Collage – a collation of women’s accounts of – what does art do?

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Bücher zum Thema "Musicians as artists – 20th century – exhibitions"

Singh, Kishore. Manifestations XI: 75 artists : 20th century Indian art. Herausgegeben von Delhi Art Gallery. New Delhi: Delhi Art Gallery, 2014.

Den vollen Inhalt der Quelle finden

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Gallery, Delhi Art, Hrsg. Manifestations IX: 75 artists : 20th century Indian art. New Delhi: Delhi Art Gallery, 2012.

Den vollen Inhalt der Quelle finden

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Gallery, Delhi Art. Manifestations VII: 75 artists : 20th century Indian art. Herausgegeben von Singh Kishore 1959-. New Delhi: Delhi Art Gallery, 2012.

Den vollen Inhalt der Quelle finden

APA, Harvard, Vancouver, ISO und andere Zitierweisen

galerei︠a︡, Gosudarstvennai︠a︡ Tretʹi︠a︡kovskai︠a︡. Mākslinieki Skulmes: 20. gadsimts, Latvija = Artists Skulmes : 20th century, Latvia. Rīgā: "Jumava", 2000.

Den vollen Inhalt der Quelle finden

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Singh, Kishore. Manifestations X: 75 artists : 20th century Indian art. Herausgegeben von Delhi Art Gallery. New Delhi: Delhi Art Gallery, 2013.

Den vollen Inhalt der Quelle finden

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Karl, Ruhrberg, und Walther Ingo F, Hrsg. Art of the 20th century. Köln: Taschen, 1998.

Den vollen Inhalt der Quelle finden

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Monet, Claude. Monet in the 20th century. London: Royal Academy of Arts, 1998.

Den vollen Inhalt der Quelle finden

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Museum of Modern Art (New York, N.Y.), Hrsg. A century of artists books. New York: Museum of Modern Art : distributed by Harry N. Abrams, 1994.

Den vollen Inhalt der Quelle finden

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Monet, Claude. Monet in the 20th Century: An introduction. London: Royal Academy of Arts, 1999.

Den vollen Inhalt der Quelle finden

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Perez, Nissan. Displaced visions: Émigré photographers of the 20th century. Herausgegeben von Muzeʼon Yiśraʼel (Jerusalem). Jerusalem: The Israel Museum, Jerusalem, 2013.

Den vollen Inhalt der Quelle finden

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Mehr Quellen

Buchteile zum Thema "Musicians as artists – 20th century – exhibitions"

Poddubtsev, Ruslan A. „The Newspaper Nov’ and the Supplement Utrennij Telefon “Novi”: List of Contents“. In Russian Literature and Journalism in the Pre-revolutionary Era: Forms of Interaction and Methodology of Analysis, 562–681. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0661-1-562-681.

Der volle Inhalt der Quelle

Annotation:

This work is a list of the contents of the daily newspaper Nov’, as well as the accompanying supplement Utrennij telefon “Novi”. The objects of attention were publications that touch upon topics related to literature, music, painting, theater, architecture, sculpture and philosophy. The pages of a relatively short-lived newspaper reflected, in particular, such events as the arrival in Moscow of F. Marinetti, H. Wells, G. Kogan, the protest actions of European suffragettes, the exclusion of V. Rozanov from the Religiousphilosophical society, the centenary anniversary of T. Shevchenko, the return of M. Gorky to Russia and exhibitions of avant-garde artists. This indicates that the Nov’ newspaper can be used as a valuable source for the study of Russian culture at the beginning of the 20th century.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Kraševac, Irena, und Petra Šlosel. „Networking of Central European Artists’ Associations via Exhibitions. The Slovenian Art Association, Czech Mánes and Polish Sztuka in Zagreb in the Early 20th Century“. In Modern and Contemporary Artists' Networks. An Inquiry into Digital History of Art and Architecture, 16–36. Institute of Art History, 2018. http://dx.doi.org/10.31664/9789537875596.02.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Rios, Fernando. „Musical Dimensions of Indigenismo“. In Panpipes & Ponchos, 21–57. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190692278.003.0002.

Der volle Inhalt der Quelle

Annotation:

In 1925, La Paz city residents observed Bolivia’s first centennial of political independence, with official state celebrations that in hindsight appear remarkably devoid of Bolivian nationalist exhibitions of indigenismo. Twenty-three years later, urban La Paz hosted another lavish commemoration, this time to honor the city’s 400th anniversary. But, in a clear departure from the 1925 centennial, the 1948 event included a “folklore” festival that was wholly devoted to Andean indigenous music-dance traditions, the Concurso Folklórico Indígena del Departamento. As the Concurso’s inclusion in the 1948 celebration suggests, mainstream La Paz criollo-mestizo views about the cultural value and meanings of Andean indigenous expressive practices had undergone a significant transformation in the twenty-three years following the 1925 centennial. This chapter elucidates this major shift, by exploring key developments in the paceño indigenista musical scene that transpired in the period from the 1920s to 1940s. Throughout Latin America, elite and middle-class interest in regionally distinctive music-dance expressions reached new heights in the early decades of the 20th century, as part of a quest among a varied cast of politicians, writers, and artists for local traditions that unmistakably demonstrated the nation’s cultural uniqueness. Indigenismo represented a manifestation of this phenomenon. The Bolivian variant of this nativist movement took inspiration from indigenista currents radiating from other Latin American countries, including Mexico and Argentina, but above all else from Peru.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Bobilewicz, Grażyna. „Obraz Afryki w malarstwie rosyjskim XX i początku XXI wieku“. In Afryka i (post)kolonializm. Wydawnictwo Uniwersytetu Łódzkiego, 2016. http://dx.doi.org/10.18778/8088-260-7.07.

Der volle Inhalt der Quelle

Annotation:

The research on Russian painting of the 20th and the beginning of the 21st century in the context of early and modern African culture/art belongs to the realm of theoretical reflection within such disciplines as cultural geography, anthropology of place and space, cultural and existential experience, geocriticism (painterly depictions of natural and urban space), geopoetics (painterly topography), and is interdisciplinary in nature. The analysis of Russian-African interdisciplinary dialogue in visual representations of Africa, as an aspect of the Russians’ awareness and idea of this continent, requires an answer to the following questions: what attracted Russian artists to Africa and how did it influence Russian culture/art? And the other way round – what did Russians, especially those travelling through Africa, bring to African culture? In Russian painting, which is diverse in terms of genres (landscape, portrait, still life), Africa functions as a nationally, culturally and socially heterogeneous continent. The early and modern African aesthetics/ art is the source of inspiration for iconographic and formal innovations. In iconic texts, visual translation, representation and interpretation of Africa manifests itself at the imagination-related levels: at thematic and motivic, narrative and compositional levels, at the level of a painterly code and in the conceptualization of artistic language. The painterly depiction of Africa, to which each of the Russian artists contributes their own representation types, artefacts, poetics and semantics, is usually created on the basis of the observation of real space, which, transformed in the iconic text, functions in an artistic, aesthetic, ideological and emotional projection. The reflection focuses on the painterly depictions and various representations of Africa which include motifs referring to African culture/art – the effect of ethnographic and artistic travels to various regions of the Dark Continent. The exemplary material selected from albums, Internet exhibitions of Russian paintings and artists’ professional websites has been analysed in terms of iconography (identification of the elements of the represented world and the relations between them), the connection between the title of the work and the visual representation, the formal determinants of the painterly depiction of Africa, and the poetics of reception.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Bollier, David. „Intellectual Property in the Digital Age“. In Key Issues in the Arts and Entertainment Industry. Goodfellow Publishers, 2011. http://dx.doi.org/10.23912/978-1-906884-20-8-1442.

Der volle Inhalt der Quelle

Annotation:

Once a backwater of law that elicited little interest beyond arts and entertainment industries and their lawyers, over the past generation, copyright law has become a major arena of social and political conflict. Many clashes amount to tactical skirmishes among companies for competitive advantage — a long and familiar dynamicin copyright law. But much of the turmoil revolves around a deeper issue: what legal principles and social norms should be used to promote new creativity, especially when the Internet and other digital technologies are involved? Many Internet users, academics, software programmers, artists and citizens criticise the expansion of copyright law and its enforcement as an obnoxious limitation on their basic freedoms. Content industries, for their part (with significant exceptions among large Internet-based companies like Google) tend to regard expansive copyright protection and enforcement as indispensable for sustaining creativity itself. This chapter describes the profound shifts that copyright law has undergone over the past 20 years as digital technologies have disrupted mass media markets and changed people’s stake in copyright law. As we saw in Chapter 2, the 20th century business models for media industries treated people as passive audiences, whose chief role was to ‘consume’ works made by professionals and sold in the marketplace. This changed with the arrival of the Internet. Telecommunications and digital technologies have enabled ordinary people to become prolific creators in their own right. The ‘people formerly known as the audience’, in Jay Rosen’s memorable phrase (Rosen, 2006), have become bloggers, musicians, remix artists, video producers, website curators, hackers, academic collaborators, and much else. Ordinary people can generate, copy, modify and share works with a global public without having to deal with commercial content intermediaries such as publishers, record labels or studios.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Konferenzberichte zum Thema "Musicians as artists – 20th century – exhibitions"

Петрухина, О. В. „INSTALLATIONS AND EXHIBITIONS USING KINETIC AND PROJECTION TECHNOLOGIES IN THE USSR“. In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.10.

Der volle Inhalt der Quelle

Annotation:

Инсталляция громко заявила о себе в начале XX в. Возможность объединить в инсталляции методы и средства различных видов искусств позволила художнику- концептуалисту выйти на новые высоты образности в диалоге со зрителем, а включение в инсталляцию проекционных технологий и динамики дало дополнительные ресурсы «погружения» в атмосферу мероприятия. В работе рассмотрено творчество наиболее значимых художников, работавших с инсталляцией в СССР. The installation loudly declared itself at the beginning of the 20th century. The opportunity to combine methods and means of various types of art in the installation allowed the conceptual artist to reach new heights of imagery in dialogue with the viewer, and the inclusion of projection technologies and dynamics in the installation provided additional resources for «immersion» in the atmosphere of the event. The work examines the work of the most important artists who worked with the installation in the USSR.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Wir bieten Rabatte auf alle Premium-Pläne für Autoren, deren Werke in thematische Literatursammlungen aufgenommen wurden. Kontaktieren Sie uns, um einen einzigartigen Promo-Code zu erhalten!