Thematische Bibliographien / Paintings, Modern – 20th century – Exhibitions

Auswahl der wissenschaftlichen Literatur zum Thema „Paintings, Modern – 20th century – Exhibitions“

Autor: Grafiati

Veröffentlicht am 27. Juli 2024

Zuletzt aktualisiert am 29. Juli 2024

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Zeitschriftenartikel zum Thema "Paintings, Modern – 20th century – Exhibitions"

Linden, Diana L. „Modern? American? Jew? Museums and Exhibitions of Ben Shahn's Late Paintings“. Prospects 30 (Oktober 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 history of American art had been eclipsed for many decades by the attention given to the abstract expressionists. The Jewish Museum responded in 1998 with Common Man, Mythic Vision: The Paintings of Ben Shahn, organized by the Museum's curator Susan Chevlowe, with abstract expressionism scholar Stephen Polcari (Figure 1). The exhibition traveled to the Allentown Art Museum in Pennsylvania and closed at the Detroit Institute of Arts in 1999.Smaller Shahn exhibitions then in the planning stages (although not scheduled to open during the centennial year) were to focus on selected aspects of Shahn's oeuvre: the Fogg Museum was to present his little-known New York City photographs of the 1930s in relationship to his paintings, and the Jersey City Museum intended to exhibit his career-launching series, The Passion of Sacco and Vanzetti (1931–32). Knowing this, Chevlowe smartly chose to focus on the later years of Shahn's career and on his lesser-known easel paintings of the post-World War II era. In so doing, Chevlowe challenged viewers to expand their understanding both of the artist and his place in 20th-century American art.

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Lyashenko, Ekaterina S. „Transbaikal Painting of the 18th — the Early 20th Centuries: Periodization Problems“. Vestnik of Saint Petersburg University. Arts 13, Nr. 3 (2023): 467–88. http://dx.doi.org/10.21638/spbu15.2023.305.

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The article is devoted to the research of Transbaikal painting history in the context of regional fine arts formation, artistic direction development. The Transbaikal art features are connected with region’s distance from cultural centers. Transbaikal painting has formed as result of penetration Russian art traditions and influence of regional national cultures. It’s possible to conditionally distinguish several stages in the history of Transbaikal painting. The first stage of formation (18th–19th centuries) was associated with creativity of visiting artists and with emergence of self-educated artists. The drawings were being made during the ethnographic expeditions in Siberia, also the Decemberists made their contribution. Besides, the icon painting was presented. The Transbaikal visual art heyday (the 2nd stage, 20th century) was presented with period of creativity and exhibition activities activation of the 20th century beginning, period of war years’ poster art, and period of realistic painting heyday. A lot of various in colorit landscapes were made in period of realistic painting heyday (the middle and second half of the 20th century). These are open spaces, steppes, roads, lyrical overcast landscapes, majestic north Transbaikalia and Buryatia mountains, landscapes of the Lake Baikal. The plot and historical paintings were being depicted scenes of Soviet reality, events of the region history and culture. Socialist realism was reflected in portraits and in subject painting, works of “austere style” were created. Individual artists with a pronounced style, manner stood out. Paintings were created with decorative, symbolic, ethnic motifs, impressionistic. At the present stage (beginning of the 21st century) artists of Transbaikalia create in the traditional and modernist direction, in the direction of ethnofuturism. Globalization processes, digitalization stimulate the penetration of creativity various forms into the region, and modern art projects begin to be implemented. System of art education traditions are emerging.

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Majewski, Piotr. „Constructing the canon: exhibiting contemporary Polish art abroad in the Cold War era“. Ikonotheka, Nr. 30 (28.05.2021): 135–53. http://dx.doi.org/10.31338/2657-6015ik.30.7.

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The article focuses on the attempts of constructing and presenting the canon of Polish modern and contemporary art in the West after World War II. Initially, the leading role was played by Colourists – painters representing the tradition of Post-Impressionism. After 1956 the focus shifted towards artists who drew in their practice on tachisme and informel. However, the most enduring effects brought the consistent promotion of the interwar Polish Constructivism and its postwar followers. The article discusses the subsequent stages of this process, from the famous exhibition at the Paris Galerie Denise René in 1957, through exhibitions such as Peinture moderne polonaise. Sources et recherches (Modern Polish Painting. Sources and Experiments) from the late 1960s, up to the monumental Présences polonaises (Polish Presences) from 1983 (both in Paris), showing that these efforts contributed to securing a permanent position of Polish Constructivism within the global heritage of 20th-century art.

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Park, Hyesung. „Rethinking the 20th-Century Korean Embroidery from Gender Perspectives“. Korean Journal of Art History 320 (31.12.2023): 65–98. http://dx.doi.org/10.31065/kjah.320.202312.003.

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The rupture in the history of Korean embroidery is generally perceived as a severance from the traditional embroidery, made due to the Japanese colonial rule. However, it cannot be denied that the narrative of modern and contemporary Korean art history, mainly constructed around artistic movements and groups, also played a major part. The dispute encompasses the fundamental question of whether embroidery can be seen as a form of fine art from the perspective of modernist aesthetics, and the matter of hierarchy between different crafts. Also inherent are the tensions between contradictory values such as tradition and modernity, Western or Japanese and Eastern or Korean, abstract and figurative, and others peculiar to Korea, and the effects of such binary oppositions are closely related to gender problems. This paper re-examines, from gender perspectives, the chronological history of embroidery since the late 19th century, which had been placed on the periphery of Korean art history until now. In the traditional society, embroidery was produced and enjoyed privately, but moved into the public sphere through education and exhibitions for women during modernization. In the process, in order to be recognized as a form of pure art, embroidery gave up its unique characteristics as craft and took on the formative language of paintings. In the years immediately after liberation from Japanese colonial rule, which was the era of eradication of Japanese influences, establishment of national identity, and industrialization, embroidery was divided into abstract embroidery understood as more masculine, and traditional embroidery considered more feminine. Korean embroidery artists in the 20<sup>th</sup> century, as women experiencing particular historical contexts, worked with confidence in the artistic value of embroidery due to or despite their specific circumstances.

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Chvyr, L. A. „The Visitor and the East West Jazz“. Journal of the Institute of Oriental Studies RAS, Nr. 1 (11) (2020): 61–75. http://dx.doi.org/10.31696/2618-7302-2020-1-61-75.

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The article is based on the author’s impressions of the East West Jazz exhibition in the Pushkin Museum of Fine Arts in Moscow in the fall of 2019. The exhibition was quite notable, and especially attractive due to the fashionable way of exhibiting the works of art, deliberately erasing the established boundaries between genres, styles and trends. The originality of the exposition was manifested in a paradoxical comparison of two artistic traditions, standing far from each other in all respects — chronologically, territorially, ethnically, religiously, and culturally. But the main and interesting feature was the opposition of two types of arts — decorative and applied art pieces and easel painting. The first are the artifacts of folk art of Central Asia of the 19th — early 20th centuries in the form of magnificent examples of oriental silk-weaved traditional robes (from the private collection of Alexander Klyachin); the second — a number of paintings and drawings by European abstract artists of the mid-20th century (from the collections of the Jean Claude Gandur Foundation in Geneva, the Pompidou Center and the Applicat-Prazan Gallery in Paris). The samples selected on both sides, located in the exposition side by side in “pairs”, clearly demonstrated ornamental and coloristic analogies in dressing gowns and abstract paintings. However, the idea of the organizers of the exhibition (according to the catalog) was not simply to compare them, but to show different types of abstraction, equally expressing the “idea of freedom”, which in the West is often symbolized by jazz music. The author of the article develops this idea, believing that the underlying cause of these similarities is the use of the main (“jazz”) principle — improvisation within the canon, originally inherent in any sphere of both ancient, and modern “oral” pieces, not only musical, but also visual.

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Xiaotao, Li, und Yan Qing. „The influence of the Itinerants' creative ideas on Chinese realistic painting“. World of Russian-speaking countries 2, Nr. 8 (2021): 87–104. http://dx.doi.org/10.20323/2658-7866-2021-2-8-87-104.

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The article analyzes the influence of the Itinerants' creative ideas on Chinese realistic painting, the development of which is inseparable from the study of the Itinerants. The article examines how the painting technique and ideology of the Association of Itinerant Art Exhibitions founded in the late 19th century are relevant to many 20th-century Chinese artists. The authors identify the ideological principles of the Itinerant movement that have influenced different generations of Chinese artists (rejection of the “art for art's sake” principle, emphasis on national characteristics of painting, responsibility for reflecting the life of people in the country, advocating the spirit of critical realism as the only true way to reflect life in art) and prove that without Russian Itinerants there would be no Chinese realism in painting and modern Chinese realistic painting. The article identifies and characterizes three stages of adopting the Itinerant creative ideas in China: the period of the Republic of China (acquaintance of the Chinese public with the Itinerants' paintings and understanding the Itinerant ideology at the time of the “Movement for New Culture”), the beginning of the PRC foundation (the period of comprehensive study of realist painting, training of talented Chinese artists in art educational institutions of the USSR as part of the cultural exchange and mastering the principles of Soviet realist art) and the first decade after the Cultural Revolution (a critical “painting of scars” reflecting the experiences and fates of people during the Cultural Revolution). The authors conclude that the study of the Itinerants' creative ideas from the point of view of cultural studies in the context of the Chinese realist art school development is important for understanding the Russian- Chinese cultural dialogue.

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Karpenko, Vladimir E., und Nikolay I. Shchepetkov. „Light Forms in Urban Environment“. Light & Engineering, Nr. 04-2021 (August 2021): 6–15. http://dx.doi.org/10.33383/2021-033.

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The paper proposes a method for generalizing and understanding the achievements of modern lighting design by means of classifying light forms and their main features are specified. The variety of types and complexity of light forms are due to avant-garde experiments in the art of the early and mid 20th century and is consistent with the successive change in artistic styles. Advances in computer technology and programming have made it possible to combine lighting elements, visual, colour and optical effects in one form. The new lighting techniques were developed for illuminating the architectural environment, various buildings, structures and forms in the spaces of world exhibitions. In this paper, the following light forms of the urban environment are investigated: projection mapping, light-graphic, light-painting and installation, sculptural, media surfaces and media facades, structural and vertical, energy-saving and virtual. The classification of light forms makes it possible to identify their structure and image, their correspondence to different eras in art, to predict the possibility of their transformation in the perspective of modern visual creativity.

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Shamraeva, Elena Yu. „The Mentality of a Museum on a Library Site: Book Exhibitions and the Representative Function“. Observatory of Culture 19, Nr. 3 (05.07.2022): 236–46. http://dx.doi.org/10.25281/2072-3156-2022-19-3-236-246.

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The development of digital culture has made significant changes in the field of culture and information, in particular in the field of library activities. Digitization of library collections forms a digital resource of knowledge, which requires reflection and identification of its potential, strengths and weaknesses. The strengths of the digital resource include a multiple increase in the availability of the book collections and a qualitative change in the opportunity of their research. The problematic aspects of digitalization include the issue of reliability of the digital sources and authenticity of a book unit translated into digital format. One of the verification solutions to this issue may be creating a digital information block accompanying a digital book to collect, accumulate and preserve information about the paper book unit and the history of its existence.Due to the development of digital technologies, a paper book ceases to be the only medium of information. From an information document, it turns into an object of culture with a memory value, historical and artistic features. The translation of the book into the category of a cultural object brings together the position of libraries and museums as medium socio-communicative institutions that act as a platform for the presentation of their collections, one of the most optimal forms of which are exhibitions. The article considers the issues of representativeness of book exhibits and book exhibitions in the conditions of development of the digital environment and digital technologies. There is examined the representativeness of book exhibitions using the example of thematic and artistic-mythological exposition methods.The article considers the activities of the Museum of Painting Culture (MZHK) and the Higher Art and Technical Workshops (VKHUTEMAS) and their experimental searches of the first third of the 20th century in the field of creating new museum exposition forms and exhibition formats. The author draws parallels between universal methods of working with an art object developed by MZHK and VKHUTEMAS and working with book exhibits when creating an exhibition today. The article briefly outlines the tasks solved by the curatorial and design group to strengthen the representative function of an exhibit-book. There are analyzed modern forms of real and virtual exhibitions, their interrelation and mutual influence, formats of interaction. The article notes the importance of exhibitions for the self-presentation of cultural institutions in the digital space.

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Buyak, Halyna. „THE FORMATION OF BOHDAN KHAVARIVSKYI AS PERSONALITY, SOCIAL, POLITICAL, CULTURAL AND EDUCATIONAL FIGURE (THE SECOND HALF OF THE 20TH CENTURY – THE BEGINNING OF THE 21ST CENTURY)“. Scientific Herald of Uzhhorod University. Series: History, Nr. 2 (47) (20.12.2022): 67–74. http://dx.doi.org/10.24144/2523-4498.2(47).2022.266521.

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This article attempts to investigate the development of Bohdan Khavarivskyi as a philologist, teacher, archivist, local historian, artist, personality, public-political and cultural-educational figure in the second half of the 20th century and the beginning of the 21st century. This significant list of his interests testifies to this person's uniqueness, comprehensiveness, and talent. Based on the analysis of archival materials, it was found that the formation of B. Khavarivskyi took place in the traditions of family upbringing, his parents and teachers who encouraged him to draw, write poems, recite, and sing was an example to follow in childhood. Bohdan-Roman was a comprehensively gifted individual who could realize his talents later in life. His activities were traced during his studies at the philological faculty of Chernivtsi State University. He attended the literary studio named after Stepan Budny, designed and edited its handwritten newspapers "Sunny Clarinets" and "Vesely Ostap," and gave speeches at scientific conferences. Acquaintance with famous Ukrainian science and culture figures from Chernivtsi contributed to his formation as a mature personality with an active life position and deep national convictions. It has been proven that the beginnings of his pedagogical work were connected to his teaching activities in a rural school in the Ternopil region. Over time, Bohdan Khavarivskyi worked as an educator in the dormitory of Ternopil Technical School № 2. Also, as a teacher at Ternopil Special Vocational Technical School № 3. It was found that the center of the future writer's organization, a professional center of artists, free from the restrictions of the standards of socialist realism, was formed in this educational institution. Subsequently, he was a senior researcher at the Ternopil Regional State Archives, a teacher at the Ternopil State Pedagogical Institute, the head of the public education department of the Ternopil Regional Executive Committee, the director of the State Archives of the Ternopil Region. It is known that he thoroughly mastered the subjects he taught. He practiced original modern forms and teaching methods, involved pupils and students in Ukrainian and world cultural achievements, and worked in close contact with the Ternopil Art Gallery, the Ternopil Museum of Local History, and the creative organizations of the city. He organized fine art weeks and involved artists from Ternopil and Lviv in exhibitions of paintings and graphics.

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Rasmussen, Leah. „Curating Russia: The Shchukin Collection, Nationalism, and Border Crossing from Lenin to Putin“. Canadian Journal of European and Russian Studies 15, Nr. 1 (20.09.2022): 43–60. http://dx.doi.org/10.22215/cjers.v15i1.3288.

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Russia’s relationship with nation is marred by contradictions that stem from its place in comparison to the West. Cultural nationalism in artistic production originated with the arrival of the Peredvizhniki [Wanderers] in the 1870s. Moscow merchant Pavel Tretyakov, in collecting Russian and European art, openly embraced a nation that encompassed Western ideas in conjunction with distinctly Russian themes. The unparalleled collecting of French modern art by Moscow merchants Sergei Shchukin and Ivan Morozov in the early 20th century continued this embrace. The nature of their collected paintings produced shockwaves in late tsarist and Soviet society and politics before being inculcated into Russian national identity in the 21st century. This article explores the life of Henri Matisse’s The Dance (1909), commissioned by Sergei Shchukin. It follows the work across time and regimes as it assumes pride of place in not only Russia’s national collections but also within its identity. Through a focus on the 2008 exhibition From Russia at the Royal Academy of Arts in London, this article examines Russia’s relations and protection of this work to understand, why even as the country seeks to define itself once more actively through its opposition to the West, their cultural diplomacy speaks to an openness built on a transnational history of the most prized works in their national collections.

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Dissertationen zum Thema "Paintings, Modern – 20th century – Exhibitions"

Brown, Carol. „"Museum spaces in post-apartheid South Africa": the Durban Art Gallery as a case study“. Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1006231.

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This dissertation examines the history of the Durban Art Gallery from its founding in 1892 until 2004, a decade after the First Democratic Election. While the emphasis is on significant changes that were introduced in the post-1994 period, the earlier section of the study locates these initiatives within a broad historical framework. The collecting policies of the museum as well as its exhibitions and programmes are considered in the light of the institution 's changing social and political context as well as shifting imperatives within a local, regional and national art world. The Durban Art Gallery was established in order to promote a European, and particularly British, culture, and the acquisition and appreciation of art was considered an important element in the formation of a stable society. By providing a broad overview of the early years of the gallery, I identify reasons for the choice of acquisitions and explore the impact and reception of a selection of exhibitions. I investigate changes during the 1960s and 1970s through an examination of the Art South Africa Today exhibitions: in addition to opening up institutional spaces to a racially mixed community, these exhibitions marked the beginning of an imperative to show protest art. I argue that, during the political climate of the 1980s, there was a tension in the cultural arena between, on the one hand, a motivation to retain a Western ideal of 'high art' and, on the other, a drive to accommodate the new forms of people's art and to challenge the values and ideological standpoints that had been instrumental in shaping collecting and exhibiting policies in the South African art arena. I explore this tension through a discussion of the Cape Town Triennial exhibitions, organised jointly by all the official museums, which ran alongside more inclusive and independently curated exhibitions, such as Tributaries, which were shown mainly outside the country. The post-1994 period marked an opening up of spaces, both literally and conceptually. This openness was manifest in the revised strategies that were introduced to show the Durban Art Gallery 's permanent collection as well as in two key public projects that were started - Red Eye @rt and the AIDS 2000 ribbon. Through an examination of these strategies and initiatives, I argue that the central role of the Durban Art Gallery has shifted from being a repository to providing an interactive public space.

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Czujack, Corinna. „An economic analysis of price behaviour in the market for paintings and prints“. Doctoral thesis, Universite Libre de Bruxelles, 1997. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212155.

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Utz, Laura Lee. „Museum Educator as Advocate for the Visitor: Organizing the Texas Fashion Collection's 25th Anniversary Exhibition Suiting the Modern Woman“. Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc277589/.

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Suiting the Modern Woman documented the evolution of women's power dressing in the 20th century by featuring four major components: thirteen period suit silhouettes, the power suits of twenty-eight influential and successful high profile Texas women, a look at the career and creations of Dallas designer, Richard Brooks, who created the professional wardrobe for former Texas Governor Ann Richards, and a media room which showcased images of working women in television and movie clips, advertisements, cartoons, and fashion guidebooks. The exhibition served as an application for contemporary museum education theory. Acting as both the exhibition coordinator and educator provided an opportunity to develop interpretative strategies and create a meaningful visitor experience.

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Lindley, Anne Hollinger. „Relating to relational aesthetics“. Pomona College, 2009. http://ccdl.libraries.claremont.edu/u?/stc,74.

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This thesis will examine the practice of relational aesthetics as it involves the viewer, as well as the way in which it plays out within and outside of the institutional setting of the museum. I will focus primarily on two unique projects: that of The Machine Project Field Guide at Los Angeles County Museum of Art on November 15, 2008, produced by Machine Project, a social project operated out of a storefront gallery in Echo Park; and David Michalek's Slow Dancing at the Lincoln Center Festival in New York City, July 12-29 2007.

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Andrieu, Mélanie. „Une spécificité Cobra, les oeuvres collectives: émergence d'une pratique et exemplarité de Christian Dotremont“. Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209838.

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Cette thèse est une étude du mouvement Cobra à travers les œuvres collectives, une de ses composantes caractéristiques. Il s’agit tout d’abord de comprendre le mouvement, ses origines et influences, ainsi que sa visée d’un art libre, ouvert, expérimental, partie prenante de la vie. Dans un contexte social d’après-guerre, souvent politisé, Cobra défend l’action collective, définie notamment dans les notions d’antispécialisme et d’interspécialisme. Il convient de mettre en exergue les origines de cette pratique, et saisir les divers aspects qu’elle arbore, notamment au travers de revues, d’expositions ou de créations partagées. Le poète Christian Dotremont, animateur et âme de Cobra, favorise le travail de collaboration et contribue à son développement en stimulant les rencontres artistiques. Il se fait le passeur et le permanent "agitateur"» de cette notion. Les peintures-mots qu’il crée avec d’autres artistes participent à sa réflexion majeure sur l’écriture et la peinture. Ce lien interpelle quelques artistes belges comme Pierre Alechinsky, mais il passionne Christian Dotremont qui ne cesse de multiplier les expériences à ce propos, pour aboutir à ce qu’il nomme les logogrammes, remarquable fusion de la peinture et de la poésie, et aboutissement de toute une vie de recherche.

Ce travail est structuré en trois points. Le premier établit une étude du contexte artistique et social des années précédent Cobra puis la mise en place du groupe. Le second aborde les années d’intense activité "officielle" du groupe, au service du collectif. Enfin, le troisième propose de suivre l’évolution post-Cobra des œuvres collectives et des recherches sur l’écriture et la peinture. / This thesis is a study of the Cobra movement through one of its characteristic components: the collective works. First of all it's about understanding the movement, its origins (three countries), its influences and its purpose of a free art, open, experimental, involvement with life. In a social after-war context, often politicized, Cobra defends collective action, notably defined in concepts of anti-specialism and inter-specialism. We should therefore underline the origins of this practice and undestand different aspects that it shows, in particular through publications, exhibitions or shared creations. The poet Christian Dotremont, leader and soul of Cobra, promotes cooperative work by collaboration and contributes to its development by stimulating artistic meetings. He is the purveyor and permanent "agitator" of this concept. The words-paintings that he creates with other artists, take part of his major thinking about writing and painting. This link interpellates a few Belgian artists like Pierre Alechinsky, but it fascinates Christian Dotremont who keeps experimenting on it, in order to reach what he calls the logograms, a remarkable fusion of painting and poetry, and a culmination of a life-time of research.

This work is structured in three parts. The first one draws a study of the artistic and social context of the years preceding Cobra and the setting up of the group. The second one talks about years of intense "official" activity of the group serving collective way of work. Finally, the third one offers to follow the post-Cobra evolution of collective works and researches about writing and painting.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished

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Cohen, Robyn Yael. „The relationship between repetition and originality : selected paintings of Robert Hodgins“. Thesis, 1990. http://hdl.handle.net/10539/22849.

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A dissertation submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, for the Degree of Master of Arts in Fine Arts.
This dissertation investigates a particular use of repetition (and `quotation`) in the artistic method of Robert Hodgins, and the pedagogical significance of this method for the author. (Abbreviation abstract)
AC2017

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Sithole, Nomcebo Cindy. „Exhibitions of resistance posters: contested values between art and the archive“. Thesis, 2017. https://hdl.handle.net/10539/24483.

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A Research report submitted in partial fulfilment of the Degree Masters in History of Arts at the University of Witwatersrand, 2017
This research report has followed three periods in the history of the political struggle for freedom in South Africa, from the height of the Anti-apartheid struggle in the 1980s to the present day by way of exploring three exhibitions of resistance posters as case studies. It is located in the realm of political and art history. Looking at the positioning of the resistance poster in South African art history, the intension is to highlight how these exhibitions have used display strategies to construct values reflected in the resistance poster. The three selected exhibitions are as follows: firstly, Thami Mnyele and Medu Art Ensemble Retrospective (2008), Second is the exhibition Images of Defiance: South African poster of the 1980’s (2004). And the third exhibition Interruptions: Posters from the Community Arts Project Archive (2014).
XL2018

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Jacobs, Natasha Sandra Ruth. „Abstraction, ambiguity and memory in selected artworks by Ursula von Rydingsvard and Kemang wa Lehulere“. Thesis, 2017. https://hdl.handle.net/10539/24461.

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A research report submitted to the Faculty of Humanities, University of the Witwatersrand, in partial fulfilment of the requirements for MA by Coursework and Research Report, Johannesburg, 2017
This research report explores the influences of memory in selected works by two visual artists: South African Kemang Wa Lehulere’s Remembering the Future of a Hole as a Verb 2.1 and Polish artist Ursula von Rydingsvard’s Droga. The report examines the ways in which personal memory can inform creative practice and the surface difficulties such endeavours may present. These works and writings on memory and creative practice inform my own practice, through which I investigate ways of expressing my memories of my grandparents’ carpentry workshop in Sunnydale Eshowe in KwaZulu Natal, South Africa.
XL2018

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Ananmalay, Kiyara. „Ethnography and the personal: the field practices of writing and photography on the Natal leg of the ninth frobenius expedition“. Thesis, 2017. https://hdl.handle.net/10539/23894.

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A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Arts (History of Art), March 2017
Within this research report, I explore how the (re-)integration of writing and photography enhances an understanding of the role of the personal within documentary practices. I focus on a portion of the Frobenius Archive as my case study, specifically the documents produced during the five-week Natal leg of the ninth expedition in early 1929. The German Leo Frobenius (b.1873–d.1938) was a primarily self-taught Africanist ethnographer, who had an interdisciplinary practice that blurred the boundaries between anthropology, archaeology and history. He conducted a total of twelve expeditions within Africa between 1904 and 1935, and his objective on these expeditions was to record ways of life that he felt were vulnerable to changes due to modernity. The documents collected during the Natal leg consist of field notes, photographs, hand-drawn pictures and diary entries. The field notes comprise of a set of eleven rock art site descriptions that have been constructed by the three artists: Maria Weyersberg, Elisabeth Mannsfeld and Agnes Schulz. Weyersberg’s diary entries provide a more impressionistic set of notes, tracking the day-today unfolding of their journey (but with many gaps). The subject matter of the photographs ranges from the rock art sites and the landscapes these sites are a part of, to the people they encountered along the way. I engaging with the concept of writing, particularly through the example of Weyersberg’s personal diaries, and the ways in which these entries relate to the photographs, creating a space in between where the personal relationships would have played themselves out. Within this research report I demonstrate that writing and photography can be brought back together in order to restore something of the original encounter and that this (re-)integration offers an opportunity for a new dialogue and a new understanding to be achieved.
MT2018

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Kotze, Steven. „Gender, power and iron metallurgy in archives of African societies from the Phongolo-Mzimkhulu region“. Thesis, 2018. https://hdl.handle.net/10539/27048.

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A thesis submitted to the Faculty of Humanities, University of Witwatersrand, Johannesburg, in fulfilment of the requirements of Master of Arts, Durban 2018
This dissertation examines the social, cultural and economic significance of locally forged field-hoes, known as amageja in Zulu. A key question I have engaged in this study is whether gender-based divisions of labour in nineteenth-century African communities of this region, which largely consigned agricultural work to women, also affect attitudes towards the tools they used. I argue that examples of field-hoes held in eight museum collections form an important but neglected archive of “hoeculture”, the form of subsistence crop cultivation based on the use of manual implements, within the Phongolo-Mzimkhulu geographic region that roughly approximates to the modern territory of KwaZulu-Natal. In response to observations made by Maggs (1991), namely that a disparity exists in the numbers of fieldhoes collected by museums in comparison with weapons, I conducted research to establish the present numbers of amageja in these museums, relative to spears in the respective collections. The dissertation assesses the historical context that these metallurgical artefacts were produced in prior to the twentieth-century and documents views on iron production, spears and hoes or agriculture recorded in oral testimony from African sources, as well as Zulu-language idioms that make reference to hoes. I furthermore examine the collecting habits and policies of private individuals and museums in this region from the nineteenthcentury onwards, and the manner in which hoes are used in displays, in order to provide recommendations on how this under-utilised category of material culture should be incorporated into future exhibitions.
XL2019

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Bücher zum Thema "Paintings, Modern – 20th century – Exhibitions"

Kashey, Elisabeth. European paintings, drawings and sculpture: 19th and early 20th century. New York: Shepherd Gallery, 1992.

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interviewer, Moshayedi Aram, Hacienda Gallery (Zurich Switzerland) und Truth and Consequences (Geneva, Switzerland), Hrsg. Pentti Monkkonen: Box truck paintings. Los Angeles, CA: DoPe Press, 2014.

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Vriesendorp, Madelon. The world of Madelon Vriesendorp: Paintings, postcards, objects, games. London: AA Publications, 2008.

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Andrea, Rose, und British Council, Hrsg. Coastlines: An exhibition of 20th century paintings of the British coastline. (Great Britain): British Council, 1992.

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Stomberg, John R. A theater of recollection: Paintings and prints. Boston: Boston University Art Gallery, 1997.

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Baer, Jo. Jo Baer: Paintings 1960-1998. Amsterdam: Stedelijk Museum, 1999.

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Till, Barry. Tradition and innovation in 20th century Chinese painting. Victoria, B.C: Art Gallery of Greater Victoria, 1998.

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Galleries, Hammer. 19th & 20th century European & American paintings: The Gallery Collection, Winter 1987. New York, N.Y. (33 W. 57th St., New York, N.Y. 10019): The Galleries, 1987.

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Hilton, Rose. Rose Hilton: Recent paintings, 21st June-8th July, 1995. London: David Messum, 1995.

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Hunter, Sam. Modern art: Painting, sculpture, architecture. 3. Aufl. Upper Saddle River, NJ: Prentice Hall and Harry N. Abrams, 2000.

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Buchteile zum Thema "Paintings, Modern – 20th century – Exhibitions"

Salis Gomes, Carolina, Cátia Ferreira, Brenda Rossenaar, Ineke Joosten, Inez van der Werf, Leslie Carlyle und Klaas Jan van den Berg. „Pigment Surface Treatments: 20th and 21st Century Industrial Techniques and Strategies for their Detection“. In Conservation of Modern Oil Paintings, 39–60. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19254-9_3.

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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.

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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.

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Regina Baggio Osinski, Dulce, und Ricardo Carneiro Antonio. „Children’s Art Exhibitions in Brazil: A Modern Badge for the New Man“. In Pedagogy - Challenges, Recent Advances, New Perspectives, and Applications [Working Title]. IntechOpen, 2021. http://dx.doi.org/10.5772/intechopen.99161.

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In this article we analyze, within the context of the decades between 1940 and 1960, children’s art exhibits as a strategy for asserting the importance of Art in educating and developing a child’s personality, using newspaper articles, pictures, children’s drawings, reports and other institutional documents as sources. The artistic vanguards of the early 20th century, advocates of the artist’s self expression, and the acknowledgement – by Psychology and Pedagogy – of the specificities of being a child have resulted both in the defense of the child’s freedom of artistic expression, and in a renewal of Art and education concepts of that period of time. As of the mid ‘40s, children’s art caught UNESCO’s attention because it represented potential integration and fraternity among people and the desire to build a new Man. Such exhibits acted as showcases for several ideas and justified the importance of children’s art involving, in the Brazilian context, from governmental agencies to national newspapers and private companies. Aiming at inculcating an educational conduct based on assumptions such as the unrestricted freedom of children’s creative spirit they had, as a contradiction, the censorship of themes considered unsuitable such as violence, and the need to follow a pre-defined esthetic standard.

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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.

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Konferenzberichte zum Thema "Paintings, Modern – 20th century – Exhibitions"

Wong, Peter P. „Vague Space: Tracing Eyes, Edges, and the Indeterminate Limits of the Architectural Interior“. In 109th ACSA Annual Meeting Proceedings. ACSA Press, 2021. http://dx.doi.org/10.35483/acsa.am.109.27.

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The perception of architectural space involves a visual understanding of objects, light, color, and the configuration of wall, floor, and ceiling elements. This eye-tracking study examines how architectural student viewers of two-dimen-sional scenes see these elements in images from 17th century Dutch paintings and photographs of mid-20th century modern architectural interiors. Results indicated significant patterns in how viewers observed these spaces, especially the attention given to openings with space beyond – the dis¬tant and vague regions of the scene. These patterns did not vary significantly between the three types of images viewed: historic color, historic black and white and modern black and white. Gender differences emerged, especially in participants’ visual attention to foreground objects. In addition, there were distinct differences between the results proposed by a computer simulation model and those of the actual participants. This study elevates the significance of architecture as a spatial practice in contrast to its focus on the object.

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Koblenkova, Diana V. „ON SOME TRENDS IN THE SATIRICAL LITERATURE AND CINEMATOGRAPHY OF SWEDEN AT THE END OF THE 20TH — BEGINNING OF THE 21ST CENTURY (C.-J. VALLGREN AND R. ÖSTLUND)“. In Second Scientific readings in memory of Professor V. P. Berkov. St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063576.

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The article deals with satirical tendencies in Swedish literature and cinema of the end of the 20th — beginning of the 21st century. On the example of the book by C.-J. Vallgren “This is for you for a brochure, Mr. Bachmann” and R. Östlund’s paintings “Turist” (“Force Majeure”), “Voluntarily-compulsory”, “The Square” and “Triangle of Sadness”, the main problems of Swedish society are analyzed, which are becoming pan-European scale. The paper concludes that both authors consider the most significant problems to be the disappearance of independent thinking, the distortion of ethical principles, the fear of losing personal well-being against the backdrop of growing ethnic and class contradictions in Europe, indicating the beginning of a new socio-political stage in society. Comprehending European double standards, hypocrisy, ostentatious political correctness, the authors testify that European society is turning into a refined capitalist minority that has lost its main value orientation — Christian humanism. The poetics of the literary and cinematographic works of Vallgren and Östlund differ significantly from the methods of their predecessors: modern authors abandon the satirical principles of secondary convention, allowing themselves only slight exaggeration. This testifies to the desire for journalism, documentary depiction, the movement from fiction to non-fiction, to the understanding of the historical context and socio-political perspective.

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Berichte der Organisationen zum Thema "Paintings, Modern – 20th century – Exhibitions"

Two Visions of El Salvador. Inter-American Development Bank, September 2000. http://dx.doi.org/10.18235/0006436.

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29 paintings and 1 sculpture by artists (including two women) from the early to late modern period of the 20th century, and 36 contemporary folk objects form this exhibition which juxtaposes the art of two different sectors of society the formally trained and the spontaneous, reflecting the circumstances and the social environments of each, but making all part of the national memory. The works come from the National Collection, the Julia Díaz Foundation-Museo Forma, and the INAR Foundation collection.

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