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Journal articles on the topic 'Art and society'

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Published: 4 June 2021
Last updated: 31 July 2024

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1

Corcoran, Ali. "Art & Society: The Art of Work." Circa, no. 72 (1995): 41. http://dx.doi.org/10.2307/25562814.

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2

Mathews, Patricia, and Whitney Chadwick. "Women, Art, and Society (World of Art)." Art Bulletin 73, no. 2 (June 1991): 336. http://dx.doi.org/10.2307/3045802.

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3

Garrard, Mary D., and Whitney Chadwick. "Women, Art, and Society." Woman's Art Journal 12, no. 2 (1991): 36. http://dx.doi.org/10.2307/1358283.

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4

Sonia, Ashutosh Kumar. "ART AND SOCIETY RELATIONSHIP." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 59–62. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.988.

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English : The painting is produced for the purpose of society. Arts have always been responsible for social facts and they express the wishes of society. The sense of painting (art) is hidden in the arts. It is free from rules even after being bound in social bond. Art is a part of the culture of the society, which the society keeps on progressing as tradition and art always lives. The artist creates a relationship only with the appearance, activities and feelings of society in the external world. In his creation, social emotions are directly related to human instincts. The expression of these feelings is expressed in artistic creation, as a result the form of art is also universal. The talent of the artist, his self-power and his artistic elements, in the form of art, harmonize with the nature and emotions of the society, giving it a wider look. Most of the subjects of art are the problems of the society then, in this purpose, the personality takes a secondary form in creation and the reflection of the needs of the society is reflected in its creation. In such a situation, the artist wants to achieve self-peace through expressive purpose. In this situation one chooses his own path to achieve the objective, but can never remain separate from society. But in front of technical principles, the goal of the viewer's joy and self-power remains. On the basis of the principle, the form of art created in the first position is pure and original and in the second position, the form of art is practical and originality away from it for the goal. As a result, many techniques have to be adopted and presented as crafts. Hindi : चित्रकला समाज के उद्‌देश्य पूर्ति के लिए निर्मित की जाती है। कलाएँ सामाजिक तथ्यों के प्रति सदैव उत्तरदायी रही हैं तथा इनमें समाज की इच्छाओं की अभिव्यक्ति होती है। कलाओं में चित्रकला (कला) का भाव छिपा रहता है। यह सामाजिक बन्धन में बंधे होने के पश्चात्‌ भी नियमों से स्वतन्त्र होती है। समाज की संस्कृति का एक अंग कला है, जिसको समाज परम्परा के रूप में क्रमशः आगे बढ़ाता रहता है और कला सदैव जीवित रहती है। कलाकार वाह्‌य जगत के रूप-स्वरूप, गतिविधियों एवं समाज की भावनाओं से सम्बन्ध बनाकर ही सृजन किया करता है वह अपने सृजन में सामाजिक भावनाओं का मानव-वृत्तियों से सीधा सम्बन्ध रखता है। कलात्मक सृजन में इन्ही भावनाओं की अभिव्यक्ति होती है, परिणाम स्वरूप कला का रूप भी विश्वव्यापी होता है। कलाकार की प्रतिभा, उसकी आत्मशक्ति एवं उसके कलात्मक तत्व, कला के रूप में समाज के स्वरूप और भावनाओं के साथ सामंजस्य जोड़कर, उसको व्यापक रूप प्रदान करते हैं। कला के अधिकांश विषय तत्कालीन समाज की समस्यायें ही होती है, इस उद्‌देश्य से किये गये सृजन में व्यक्तित्व गौण रूप ले लेता है ओर समाज की आवश्यकताओं का प्रतिबिम्ब उसके सृजन मे स्पष्ट झलकता रहता है। कलाकार ऐसी स्थिति में उद्‌देश्य अभिव्यक्ति के माध्यम से आत्मशान्ति प्राप्त करना चाहता है। इस स्थिति में उद्‌देश्य के प्राप्ति के लिए स्वयं अपना मार्ग चुनता है, लेकिन समाज से कभी अलग नहीं रह सकता है। किन्तु तकनीकी सिद्धान्तों के समक्ष दर्शक के आनन्द और आत्मशक्ति का लक्ष्य रहता है। सिद्धान्त के आधार पर पहली स्थिति में सृजित कला का रूप शुद्ध और मौलिक होता है तथा दूसरी स्थिति में लक्ष्यपूर्ति के लिए कला का रूप व्यावहारिक एवं मौलिकता उससे दूर हो जाती है। फलस्वरूप अनेकानेक तकनीकों को ग्रहण करना तथा उन्हें शिल्प के रूप में प्रस्तुत करना होता है।
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5

Gebauer, Gunter, Christopher Wulf, and Don Reneau. "Mimesis: Culture--Art--Society." Philosophy East and West 47, no. 2 (April 1997): 291. http://dx.doi.org/10.2307/1399889.

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6

Barber, Fionna, and Whitney Chadwick. "Women, Art and Society." Circa, no. 52 (1990): 42. http://dx.doi.org/10.2307/25557541.

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7

Crudden, Eamonn. "Art & Society: Translations." Circa, no. 71 (1995): 26. http://dx.doi.org/10.2307/25562771.

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8

Malina, Roger F., and Whitney Chadwick. "Women, Art and Society." Leonardo 24, no. 4 (1991): 491. http://dx.doi.org/10.2307/1575544.

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9

Bermann, Marc. "Art, society and archaeology." Nature 364, no. 6434 (July 1993): 202. http://dx.doi.org/10.1038/364202a0.

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10

Eogan, George. "Megalithic Art and Society." Proceedings of the Prehistoric Society 65 (1999): 415–46. http://dx.doi.org/10.1017/s0079497x00002073.

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Megalithic art is associated with passage tombs in Atlantic Europe. But it is not found in all areas, rather it has a restricted distribution. In those areas where it occurs it is very often associated with large and, therefore, prestigious tombs. These tombs have a confined distribution within defined areas. It can be argued that such areas indicate tribal regions within which elite societies existed and where cohesion was provided by a leader, possibly in the form of a chief.
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11

Clark, Kenneth. "From Art to Society." Chesterton Review 41, no. 3 (2015): 687. http://dx.doi.org/10.5840/chesterton2015413/470.

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12

Jaskot, Paul B. "Art in Bourgeois Society." Historical Materialism 7, no. 1 (2000): 281–94. http://dx.doi.org/10.1163/156920600794750793.

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13

Calder, Angus. "Art & Society: Art for a New Scotland?" Circa, no. 64 (1993): 26. http://dx.doi.org/10.2307/25557782.

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14

Tsereteli, Asmat. "Media as Art and Art as Media (Magazines: “Theatre”, “Aril”, “Art in America”, “ARTFORUM”)." Works of Georgian Technical University, no. 1(531) (March 22, 2024): 29–38. http://dx.doi.org/10.36073/1512-0996-2024-1-29-38.

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Media and culture, two influential and important spheres of public life, have a long history of coexistence. There is no media art and no art without media. It is especially important to research the forms of impact on the formation of public consciousness in these areas, as well as the results. British media theorist Dennis McQuail in his work Journalism and Society notes that all theories that study the relationship between media, culture, and society, despite conceptual differences, agree that the media can serve to liberate and unify society, as well as to fragment and divide it – both development, advancement and retreat. Despite a kind of indeterminacy, the media, which shapes and reflects society, is the main message about society. (McQuail, 1992) Culture and art are a fundamental part of public life, which creates values, develops and strengthens public relations, together with the media, forms public consciousness. “Political confrontations and wars do not cause a cultural crisis, but, on the contrary, incompatibility, aggression and wars are the result of a cultural crisis” - this conclusion of European researchers is a kind of postulate, which says everything about the role of culture in the process of improving society.
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15

Debby, Nirit Ben-Aryeh. "Jews in Art and Society." Ars Judaica: The Bar Ilan Journal of Jewish Art 14 (May 2018): 131–33. http://dx.doi.org/10.3828/aj.2018.14.10.

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16

AYDOĞAN, Derya, and Lütfü KAPLANOĞLU. "SOCIETY, ART AND VIRTUAL REALITY." Electronic Journal of New Media 4, no. 2 (2020): 79–88. http://dx.doi.org/10.17932/iau.ejnm.25480200.2020.4/2.79-88.

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17

Langer-Dintrone, Patricia, and Jacob Isager. "Pliny on Art and Society." Classical World 89, no. 6 (1996): 511. http://dx.doi.org/10.2307/4351881.

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18

Brett, David. "Art and Society: Material Evidence." Circa, no. 62 (1992): 20. http://dx.doi.org/10.2307/25557713.

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19

Tipton, Gemma. "Art & Society: Safety Zone." Circa, no. 71 (1995): 54. http://dx.doi.org/10.2307/25562777.

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20

Robinson, Hilary. "Art & Society: Reframing Women." Circa, no. 72 (1995): 18. http://dx.doi.org/10.2307/25562809.

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21

O'Neill, Paul, and Paul Dunne. "Art & Society: Talking Cures." Circa, no. 73 (1995): 33. http://dx.doi.org/10.2307/25562851.

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22

Bastos, Flávia. "Can Art Education Shape Society?" Art Education 62, no. 6 (November 2009): 4–5. http://dx.doi.org/10.1080/00043125.2009.11519038.

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23

HANCOCKS, ANTHEA. "Art Museums in Contemporary Society." Curator: The Museum Journal 31, no. 4 (December 1988): 257–66. http://dx.doi.org/10.1111/j.2151-6952.1988.tb00697.x.

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24

Lau, George, Veronica Sekules, and Margit Thøfner. "Foreword: Why ‘Art Makes Society’?" World Art 3, no. 1 (March 2013): 1–2. http://dx.doi.org/10.1080/21500894.2013.802076.

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25

Lau, George, Veronica Sekules, and Margit Thøfner. "Afterword: Why ‘Art Makes Society’?" World Art 3, no. 1 (March 2013): 163–68. http://dx.doi.org/10.1080/21500894.2013.802078.

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26

Garousi, Mehrdad, and Masoud Kowsari. "Fractal art and postmodern society." Journal of Visual Art Practice 10, no. 3 (May 28, 2012): 215–29. http://dx.doi.org/10.1386/jvap.10.3.215_1.

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27

Cayley, Jeanette. "Join the Medical Art Society." Veterinary Record 185, no. 7 (August 16, 2019): 211.2–211. http://dx.doi.org/10.1136/vr.l5123.

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28

Bettinger, Sven-Claude. "Art and Society: The Art of Promotion: Critical Mass." Circa, no. 62 (1992): 50. http://dx.doi.org/10.2307/25557720.

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29

Darke, Colin. "Art & Society: Art, Class and the Sectarian Divide." Circa, no. 68 (1994): 36. http://dx.doi.org/10.2307/25562662.

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30

Ryan, Jackie. "Art & Society: Containment or Integration? Art in Context." Circa, no. 70 (1994): 50. http://dx.doi.org/10.2307/25562739.

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31

Sydie, R. A., Arnold W. Foster, and Judith R. Blau. "Art and Society: Readings in the Sociology of Art." Canadian Journal of Sociology / Cahiers canadiens de sociologie 15, no. 2 (1990): 228. http://dx.doi.org/10.2307/3340761.

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32

Crowe, Edith L. "WOMEN, ART, AND SOCIETY (World of Art). Whitney Chadwick." Art Documentation: Journal of the Art Libraries Society of North America 9, no. 4 (December 1990): 216–17. http://dx.doi.org/10.1086/adx.9.4.27948298.

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33

Consoli, James J. "The Art Therapist's Third Hand—Reflections on Art, Art Therapy and Society." Art Therapy 9, no. 1 (January 1992): 48–49. http://dx.doi.org/10.1080/07421656.1992.10758937.

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34

Chelani, Gomti. "MUSIC AND SOCIETY." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3403.

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Art has an important place in life. Man's imitation instinct and beauty is considered to be the mother of art. Creating and consuming art is mankind's own unique power. Due to this special power, he is called superior to other beings. Art makes the soul prosperous, so it is said that the arts originate from the apps of self-fulfillment. जीवन में कला का महत्वपूर्ण स्थान है। मानव की अनुकरण वृत्ति और सौंदर्य-प्रियता को कला की जननी माना जाता है। कला का सृजन करना तथा उसका उपभोग करना, यह मनुष्य जाति की अपनी विशिष्ट शक्ति है। अपनी इसी विशिष्टठ शक्ति के कारण वह अन्य प्राणियों से श्रेष्ठ कहलाता है। कला आत्मा को समृद्ध बनाती है अतः कहा जाता है कि आत्म तृप्ति की क्षुधा से ही कलाओं की उत्पत्ति होती है।
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35

STREHOVEC, Janez. "Art State, Art Activism and Expanded Concept of Art." Cultura 18, no. 2 (January 1, 2021): 55–73. http://dx.doi.org/10.3726/cul022021.0003.

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Abstract: Contemporary post-aesthetic art implies an expanded concept of the work of art that also includes political functions. Beuys’s concept of social sculpture and Marcuse’s idea of society as a work of art can be complemented by Abreu’s project of a musical orchestra as a social ideal (the Venezuelan example of the music and education project El Sistema) and the Neue Slowenische Kunst transnational state formed from the core of art. These concepts are close to the views of Hakim Bey (Temporary Autonomous Zone), with D’Annunzio also touching upon them with his State of Fiume (1919–1920), for which he wrote the constitution and defined music as its central governing principle. Although the art state is a utopian project, art can serve a variety of emancipatory functions even in the dystopian present to intervene in and change the political. In this article, we also discuss the case of art activism in Slovenia, where culture (with many engaged artists) has become a central part of civil society oriented towards social change. Art activism contributes to an expanded concept of the political, which includes new subjects and new forms of antagonisms. Likewise, such repurposing of art emphasises its role in research.
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36

Baxandall, Michael. "Art, Society, and the Bouguer Principle." Representations 12, no. 1 (October 1985): 32–43. http://dx.doi.org/10.1525/rep.1985.12.1.99p04137.

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37

Jimenez, Juan Carlos, and John McCormick. "Bullfighting. Art, Technique and Spanish Society." Hispanic Review 69, no. 3 (2001): 383. http://dx.doi.org/10.2307/3247070.

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38

Fredriksson, Malin. "Art and religion in contemporary society." Approaching Religion 6, no. 2 (December 14, 2016): 186–88. http://dx.doi.org/10.30664/ar.67583.

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39

Brown, Kathryn. "Tolerating Art in a Liberal Society." International Journal of the Arts in Society: Annual Review 4, no. 3 (2009): 155–64. http://dx.doi.org/10.18848/1833-1866/cgp/v04i03/35629.

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40

Carrier, David, and Meyer Schapiro. "Worldview in Painting-Art and Society." Art Bulletin 82, no. 2 (June 2000): 355. http://dx.doi.org/10.2307/3051382.

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41

Asanuma, Keiji. "Interactive Relation of Art and Society." TRENDS IN THE SCIENCES 5, no. 4 (2000): 56–57. http://dx.doi.org/10.5363/tits.5.4_56.

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42

Keifer-Boyd, Karen, A. Hemingway, and W. Vaughan. "Art in Bourgeois Society: 1790-1850." Studies in Art Education 42, no. 2 (2001): 186. http://dx.doi.org/10.2307/1321033.

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43

Isaacson, Joel, and Robert L. Herbert. "Impressionism: Art, Leisure, and Parisian Society." Art Journal 49, no. 1 (1990): 63. http://dx.doi.org/10.2307/777182.

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44

Jahn, Marilyn. "Cultural Counterpoints in Society and Art." Art Journal 53, no. 3 (1994): 64. http://dx.doi.org/10.2307/777433.

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45

Evans, Geoff. "Art for Society: Myths & Experience." Circa, no. 29 (1986): 22. http://dx.doi.org/10.2307/25557108.

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46

Turpin, John. "Art & Society: Cuchulainn Lives On." Circa, no. 69 (1994): 26. http://dx.doi.org/10.2307/25562696.

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47

Lovett, Marian. "Art & Society: Public under Statement." Circa, no. 76 (1996): 26. http://dx.doi.org/10.2307/25562963.

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48

Beagles, John. "Art & Society: A New Approach." Circa, no. 77 (1996): s10. http://dx.doi.org/10.2307/25563032.

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49

Dawes, Mark, and Alastair MacLennan. "Art & Society: Trusting Inter-Relations." Circa, no. 80 (1997): 22. http://dx.doi.org/10.2307/25563131.

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50

Baxandall, Michael. "Art, Society, and the Bouguer Principle." Representations 12 (1985): 32–43. http://dx.doi.org/10.2307/3043776.

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