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Journal articles on the topic 'Art, Australian 20th century'

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Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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1

Bennett, Theodore. "Tortured genius: The legality of injurious performance art." Alternative Law Journal 42, no. 1 (March 2017): 24–28. http://dx.doi.org/10.1177/1037969x17694791.

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In the 20th century, a distinct subset of performance art emerged in which the artist is deliberately physically injured as part of their performance. While such performances are now a settled type of artistic expression their legal status is unclear. This article examines the legality of such performances under the Australian criminal law. Focusing on common law principles, it compares injurious performance art to the legally recognised category of ‘dangerous exhibitions’ and ultimately argues that such performances will only be lawful if it can be clearly demonstrated that they have public utility.

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2

González Zarandona, José Antonio. "Between destruction and protection: the case of the Australian rock art sites." ZARCH, no. 16 (September 13, 2021): 148–53. http://dx.doi.org/10.26754/ojs_zarch/zarch.2021165087.

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Can heritage be practiced and thought outside the binary of exaltation vs. denigration? To answer this question posed by the editors, this paper will analyse the destruction and protection of Indigenous heritage sites in Australia, where the destruction of significant cultural heritage sites, mainly Indigenous heritage sites, is the result of biased and outdated practice of cultural heritage that divides Indigenous heritage (prior 1788) from Australian heritage (after 1788). This rift has caused an immense damage to Indigenous heritage around the country as it shows how in Australia heritage is practiced and thought outside the dualism of celebration versus destruction. In this paper, I will show how the destruction of Indigenous rock art sites has been a constant in the 20th and 21st century and how this destruction has been framed in media as a result of vandalism. By arguing that this framing is perpetuating the dualism of celebration versus destruction, I suggest that we can move out of this binary by considering the concept of iconoclasm to go beyond this dualism.

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3

Kelly, Piers. "Australian message sticks: Old questions, new directions." Journal of Material Culture 25, no. 2 (July 4, 2019): 133–52. http://dx.doi.org/10.1177/1359183519858375.

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Message sticks are tools of graphic communication, once used across the Australian continent. While their styles vary, a typical message stick is a flattened or cylindrical length of wood with motifs engraved on all sides. Carried by special messengers over long distances, their motifs were intended to complement a verbally produced communication such as an invitation, a declaration of war, or news of a death. It was only in the late 1880s that message sticks first became a subject of formal anthropological enquiry at a time when the practice was already in steep transition; very little original research has been published in the 20th century and beyond. In this article, the author reviews colonial efforts to understand these objects, as recorded in documentary and museum archives, and describes transformations of message stick communication in contemporary settings. He summarizes the state-of-the-art in message stick research and identifies the still unanswered questions concerning their origins, adaptations and significance.

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4

Anderson, Margot. "Dance Overview of the Australian Performing Arts Collection." Dance Research 38, no. 2 (November 2020): 149–67. http://dx.doi.org/10.3366/drs.2020.0305.

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The Dance Collection at Arts Centre Melbourne traces the history of dance in Australia from the late nineteenth century to today. The collection encompasses the work of many of Australia's major dance companies and individual performers whilst spanning a range of genres, from contemporary dance and ballet, to theatrical, modern, folk and social dance styles. The Dance Collection is part of the broader Australian Performing Arts Collection, which covers the five key areas of circus, dance, opera, music and theatre. In my overview of Arts Centre Melbourne's (ACM) Dance Collection, I will outline how the collection has grown and highlight the strengths and weaknesses associated with different methods of collecting. I will also identify major gaps in the archive and how we aim to fill these gaps and create a well-balanced and dynamic view of Australian dance history. Material relating to international touring artists and companies including Lola Montez, Adeline Genée, Anna Pavlova and the Ballet Russes de Monte Carlo provide an understanding of how early trends in dance performance have influenced our own traditions. Scrapbooks, photographs and items of costume provide glimpses into performances of some of the world's most famous dance performers and productions. As many of these scrapbooks were compiled by enthusiastic and appreciative audience members, they also record the emerging audience for dance, which placed Australia firmly on the touring schedule of many international performers in the early decades of the 20th century. The personal stories and early ambitions that led to the formation of our national companies are captured in collections relating to the history of the Borovansky Ballet, Ballet Guild, Bodenwieser Ballet, and the National Theatre Ballet. Costume and design are a predominant strength of these collections. Through them, we discover and appreciate the colour, texture and creative industry behind pivotal works that were among the first to explore Australian narratives through dance. These collections also tell stories of migration and reveal the diverse cultural roots that have helped shape the training of Australian dancers, choreographers and designers in both classical and contemporary dance styles. The development of an Australian repertoire and the role this has played in the growth of our dance culture is particularly well documented in collections assembled collaboratively with companies such as The Australian Ballet, Sydney Dance Company, and Chunky Move. These companies are at the forefront of dance in Australia and as they evolve and mature under respective artistic directors, we work closely with them to capture each era and the body of work that best illustrates their output through costumes, designs, photographs, programmes, posters and flyers. The stories that link these large, professional companies to a thriving local, contemporary dance community of small to medium professional artists here in Melbourne will also be told. In order to develop a well-balanced and dynamic view of Australian dance history, we are building the archive through meaningful collecting relationships with contemporary choreographers, dancers, designers, costume makers and audiences. I will conclude my overview with a discussion of the challenges of active collecting with limited physical storage and digital space and the difficulties we face when making this archive accessible through exhibitions and online in a dynamic, immersive and theatrical way.

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5

Greeff, Laetitia-Ann. "Corporal punishment in New South Wales: A call for repeal of section 61AA." Alternative Law Journal 47, no. 1 (December 15, 2021): 30–35. http://dx.doi.org/10.1177/1037969x211055538.

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Corporal punishment is lawful in the home in all Australian states and territories. In early 2021, the Tasmanian Commissioner for Children and Young People called for a repeal of s 50 of the Criminal Code Act 1924 (Tas) which permits the use of corporal punishment in the home, noting that society had moved on from the regular canings of the early 20th century when the law was passed. This article supports the call to abolish the defence of reasonable chastisement (lawful correction in NSW) by repealing s 61AA of the Crimes Act 1900 (NSW) so that children can have the same protections from physical violence as adults.

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6

Steklova, Irina A., and Olesya I. Raguzhina. "SCULPTURE PARKS OF THE XX CENTURY LAST THIRD – THE XXI CENTURY BEGINNING: TYPOLOGY EXPERIENCE." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 80–94. http://dx.doi.org/10.17223/22220836/41/7.

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The purpose of this article is to present sculpture parks at the modern stage of development, from the last third of the 20th century to our day. The relevance of this purpose is due to the relevance of these parks, which meets, firstly, on the challenges of culture, reproducing itself in the synthesis of landscape and monumental-decorative arts; secondly, on the demands of the population in artistically interpreted natural spaces; thirdly, on the life-building claims of modern art, which is looking for optimal ways of self-presentation. The representation of the sculpture parks is implied their systematization, which, in the course of the factual and visual material analysis, exhibits the most typical trends of formal and informative diversity and takes the form of a typology. To start building a typology, it was necessary to draw up a rather broad and spacious representative sample of objects and to select reference criteria in the trends of the manifold. Thus, a representative sample was made up of 90 Europe, Asia, Africa, Australia, and North and South America brightest objects, and following criteria were put forward: environmental involvement, authorship, the nature of specific forms and links between them. Typology showed that approximately two thirds of the sculpture parks are a product of the natural environment and one third of the architectural environment. In the natural environment, in authentic natural spaces, these are co-author full (independent and contextual) and special (by place, material, style, theme) formats, as well as mono-author formats. In an architectural environment, in integrated or interpreted natural spaces, these are, first of all, city formats that can be both co-authors and mono-authors: destinations, stops, transit zones. The implementation of the typology was facilitated by the attraction of a new material for the national art history. In the scientific circulation were introduced information about objects that were not mentioned before and unknown artists. Accounting for this information, along with known realities, allowed us to reach a higher understanding level of sculpture parks as a modern hypostasis of artistic synthesis.

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Pollard, Irina. "Bioscience-bioethics and life factors affecting reproduction with special reference to the Indigenous Australian population." Reproduction 129, no. 4 (April 2005): 391–402. http://dx.doi.org/10.1530/rep.1.00268.

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The demand for equality of recognition or respect is the dominant passion of modernity. The 20th century experienced a giant leap in technological inventiveness and ruthless use of technological power. In the 21st century, human welfare and environmental wellbeing demand fundamental political appraisal. We have the means, if we choose, to eradicate poverty and to responsibly protect the global environment. However, economic, political and cultural systems act to differentially allocate the benefits and risks for growth between socioeconomic groups. For example, it is a matter of pride that the neonatal mortality rate in affluent societies has dropped substantially since the late 1970s. However, the level of infant mortality (three times the national average) and low birthweight (13%) among the Indigenous Australian population is the highest in the country. With hindsight we now know that is the inevitable legacy of Australia’s colonial history. Chronic physical and psychological stress is recognized as an important etiological factor in many lifestyle diseases of the cardiovascular, immune and reproductive systems. Diseases of adaptation are further advanced by non-adaptive lifestyle choices, depression, alcoholism and other drug dependencies. This review describes the principles of bioscience ethics and targets equity issues as they affect human reproduction across generations with particular reference to the Indigenous population of Australia. The review also considers ways we may advance global and cultural maturity from the Indigenous Australian perspective and proposes an ecologically based model of preventative care. If we are to embrace fundamental social change and protect future children without threatening parents’ basic freedoms, then new beliefs and priorities – based on a compassionate understanding of biological systems – must evolve from the general public. Belief in human rights arising from a sense of human dignity is a collective outcome originating from individual commitment. The golden rule; that is, Nature’s principle of reciprocity, is fundamental in bridging the gap between knowledge and effective action.

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Harper, Sam, Ian Waina, Ambrose Chalarimeri, Sven Ouzman, Martin Porr, Pauline Heaney, Peter Veth, and Kim Akerman. "Metal burial: Understanding caching behaviour and contact material culture in Australia's NE Kimberley." Journal of Social Archaeology 21, no. 1 (February 2021): 28–52. http://dx.doi.org/10.1177/1469605321993277.

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This paper explores identity and the recursive impacts of cross-cultural colonial encounters on individuals, cultural materials, and cultural practices in 20th-century northern Australia. We focus on an assemblage of cached metal objects and associated cultural materials that embody both Aboriginal tradition and innovation. These cultural materials were wrapped in paperbark and placed within a ring of stones, a bundling practice also seen in human burials in this region. This ‘cache' is located in close proximity to rockshelters with rich, superimposed Aboriginal rock art compositions. However, the cache shelter has no visible art, despite available wall space. The site shows the utilisation of metal objects as new raw materials that use traditional techniques to manufacture a ground edge metal axe and to sharpen metal rods into spears. We contextualise these objects and their hypothesised owner(s) within narratives of invasion/contact and the ensuing pastoral history of this region. Assemblage theory affords us an appropriate theoretical lens through which to bring people, places, objects, and time into conversation.

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9

Colless, Matthew, and Brian Boyle. "Redshift Surveys With 2DF." Highlights of Astronomy 11, no. 1 (1998): 473–81. http://dx.doi.org/10.1017/s153929960002181x.

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This IAU Joint Discussion proposes to address the subject of redshift surveys in the 21st century. This paper, however, deals with two major new redshift surveys that those involved sincerely hope will be completed in the 20th century. Nonetheless, these surveys are relevant to the topic of the meeting, as they clearly foreshadow the scope and style of redshift surveys, if not in the coming millennium, at least in the coming decade.The surveys are being carried out with the new Two Degree Field (2dF) facility on the Anglo-Australian Telescope (AAT), a 400-fibre multi-object spectrograph with the capability, as described in Section 2, to increase the size of redshift surveys by an order of magnitude over current best efforts. The main scientific goals, survey strategy and some preliminary results from the 2dF Galaxy Redshift Survey are outlined in Section 3, while Section 4 similarly describes the 2dF QSO Redshift Survey. Further information can be found on the WWW at http://www.aao.gov.au/2df/ for the 2dF facility, at http://msowww.anu.edu.au/~colless/2dF/ for thegalaxy survey and at http://www.aao.gov.au/local/www/rs/qso_surv.html for the QSO survey.

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10

Bazilevich, Mikhail E., and Anton A. Kim. "STYLISTIC FEATURES OF THE EUROPEAN ARCHITECTURE OF BANKING INSTITUTIONS IN GUANGZHOU LATE 19TH – EARLY 20TH CENTURY ON THE EXAMPLE OF SHAMYAN ISLAND." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 5–17. http://dx.doi.org/10.17223/22220836/41/1.

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The article is devoted to the architecture of European banking institutions in Guangzhou, built on the territory of Shamyan island in the late 19th – early 20th century. A brief historical excursion into the history of the formation of the British and French concessions is given. This publication examines the stylistic and compositional features of the architecture of such banking institutions as: Hong Kong and Shanghai Banking Corporation; The Chartered Bank of India, Australia and China; International banking corporation (City Bank); Bank of Taiwan; Commercial Corporation of Mitsubishi; Yokogama Specie Bank; The E.D.Sassoon & Co.Ltd. и D. Sassoon Sons Co. Ltd; Bank of Indochina; China & France Industry Bank. A composite and stylistic analysis was conducted, an iconographic description of the buildings of the main banks located within the boundaries of the former European concessions on Shamyan Island is given The study reveals the general principles of the development of the architecture of banking institutions in Guangzhou. The materials and results of the research carried out by the authors of this article allowed us to formulate the following conclusions: 1. The territorial isolation of the Shamyan island from the Chinese part of Guangzhou, as well as the operation within the concessions of British and French laws, contributed to the fact that the development of the architectural ensemble of the island as a whole was carried out in line with the advanced West European architectural and urban trends. 2. Most of the banking buildings here are built in the eclectic style with the predominance of neoclassicism features, of course, this fact is connected with the desire of the owners of bank corporations to demonstrate to the clients and competitors the financial strength of their organizations. 3. In the architecture of the considered banking institutions there is an active use of tectonics and elements of the order system, colonnades, arcades, the allocation of the first floor in the form of a rustic plinth. The motifs of Renaissance architecture, Baroque and Art Nouveau are also traced. 4. The formation of the appearance of banking buildings in Shamyan was strongly influenced by local conditions. The hot and humid subtropical climate of the south of China contributed to the spread in the architecture of the structures of this type of order colonnades, forming deep open verandas, as well as the use of X-shaped creaks-elements to ensure the natural ventilation of buildings, which, in addition, became an expressive element of the facade decoration

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11

de Burgh, Jane. "Passionate about 20th-century art." Lancet 354, no. 9179 (August 1999): 688. http://dx.doi.org/10.1016/s0140-6736(05)77675-3.

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12

Wahlman, Maude S. "Africa Explores: 20th Century African Art:Africa Explores: 20th Century African Art." Museum Anthropology 15, no. 4 (November 1991): 30–31. http://dx.doi.org/10.1525/mua.1991.15.4.30.

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13

Asanuma, Keiji. "20th Century-End of Modern Art?" TRENDS IN THE SCIENCES 6, no. 2 (2001): 56–58. http://dx.doi.org/10.5363/tits.6.2_56.

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14

Flam, Jack. "Africa Explores: 20th Century African Art." African Arts 25, no. 2 (April 1992): 88. http://dx.doi.org/10.2307/3337064.

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Oguibe, Olu, and Susan Vogel. "Africa Explores: 20th Century African Art." African Arts 26, no. 1 (January 1993): 16. http://dx.doi.org/10.2307/3337105.

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Pellizzi, Francesco. "Africa Explores: 20th Century African Art." African Arts 26, no. 1 (January 1993): 22. http://dx.doi.org/10.2307/3337106.

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17

Küchler, Susanne. "The prototype in 20th-century art." Visual Communication 9, no. 3 (August 2010): 301–12. http://dx.doi.org/10.1177/1470357210372723.

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18

David W. Galenson. "Conceptual Revolutions in 20th-Century Art." Historically Speaking 10, no. 5 (2009): 20–22. http://dx.doi.org/10.1353/hsp.0.0078.

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19

Dudek, Stephanie. "Written in blood: 20th century art." Canadian Psychology/Psychologie canadienne 30, no. 2 (April 1989): 105–15. http://dx.doi.org/10.1037/h0079804.

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20

Cook, J. R. "TOWARDS AN INTERNATIONALISATION OF NATIVE TITLE AND COMMUNITY RELATIONS." APPEA Journal 43, no. 1 (2003): 741. http://dx.doi.org/10.1071/aj02044.

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The 20th Century has witnessed the consolidation of global industry and finance. It has also seen the growth of criticism of some developments associated with globalisation. This has been particularly the case with the resource extraction industries and their downstream counterparts. These industries now have to consider a range of factors as central to the management of risk and of reputation that would not have been necessary 30 years ago. One of these factors is the need for community consultation regarding the nature of specific resource development and often some form of compensation for the impacts of development.Central to the Australian formulation of community consultation and development in the context of land use and natural resource development have been the Northern Territory Aboriginal Land Rights Act (ALRA) and the Native Title Act (NTA) as well as the setting up of Land Councils and representative bodies. These laws have been crucial, not just to the administration of land, but to the concept of aboriginality and citizenship as a whole. Like the ALRA, the Native Title Act has had a fundamental impact on the relationship between Aboriginal land interests and resource development. It has often, however, been mired in uncertainty, conflict, and amendments. This has contributed to a climate of legalism that has not necessary always been to the benefit of on-the-ground agreement processes.In Indonesia there is no basis in law for native title issues and a high level of risk exists as a result of social and political transition. As a result some companies operating in Indonesia have begun to develop new approaches to issues of community relations and development. A new understanding of the necessity of carefully planned partnerships in the context of resource development has begun to emerge in Indonesia. The BP Tangguh project in the Bintuni Bay area of West Papua has set high standards for consultative practices relating to community consultation and community development practices. Whatever the commercial success of the Tangguh project, the processes and systems developed for that project indicate the likely future direction of other best-practice resource development projects in Indonesia and elsewhere.In the past, development in Indonesia has been heavily influenced by rent capitalism, which has tended to emphasise the giving of permission over effective business and development practice. While the proponents of Native Title in Australia have often seen Australia as setting an international standard for development practice, this is belied by the actual results of Native Title and what is being undertaken in other international contexts. Native Title also often seems to act as a form of rent capitalism. As such it may be that Native Title does not necessarily define best practice, and, in the international context, may be under-performing in terms of risk and reputation management.Rather than assuming that emerging practices in either Indonesia or Australia are somehow occupying the higher ground in terms of best-practice development, it is suggested that Native Title and international practice can usefully be cross-fertilised in a critical manner. This process can be beneficial to companies and to stakeholders alike, particularly in the context of transparent consultation and negotiation practices that focus on the possibilities for cooperation in development, rather than conflict.

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21

Kardum, Goran, Dubravka Kuščević, and Marija Brajčić. "The Impacts of Different Sorts of Art Education on Pupils’ Preference for 20th-Century Art Movements." Education Sciences 10, no. 1 (January 3, 2020): 15. http://dx.doi.org/10.3390/educsci10010015.

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The research presented here aims to determine how art education influences students’ preferences for the 20th-century art movements. An educational experiment that spanned through one school year was conducted on 200 primary school students. It included three types of intervention: observing works of art from the 20th century, introducing works of art using a puppet, and the students’ art activities/artwork based on the 20th-century art movements. The results show that the model of art education is an important factor in changing students’ preferences for the 20th century art movements. Students reacted positively to each kind of education, as evidenced in the wider acceptance of 20th-century art (abstract, fauvism, cubism, pop art, and surrealism). The type of education did not influence preferences (as much) when it came to classical art and visual works without artistic value. We concluded that puppets and independent creative work should be used more often in art education.

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22

Prior, Nick. "Review: Scottish Art in the 20th Century." Scottish Affairs 11 (First Serie, no. 1 (May 1995): 155–61. http://dx.doi.org/10.3366/scot.1995.0030.

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23

Dudek, Stephanie Z. "The morality of 20th‐century transgressive art." Creativity Research Journal 6, no. 1-2 (January 1993): 145–52. http://dx.doi.org/10.1080/10400419309534473.

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24

Betz, Dorothy M. "Australian Divagations: Mallarme & the 20th Century (review)." Nineteenth Century French Studies 32, no. 3 (2004): 413–14. http://dx.doi.org/10.1353/ncf.2004.0004.

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25

Armitage, Marc. "Antipodean traditions: Australian Folklore in the 20th century." International Journal of Play 2, no. 2 (September 2013): 150–52. http://dx.doi.org/10.1080/21594937.2013.823812.

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26

Selber, Kimberly A. "Influence of Modern Art on Early 20th-Century Advertising Art." International Journal of the Arts in Society: Annual Review 2, no. 1 (2007): 183–92. http://dx.doi.org/10.18848/1833-1866/cgp/v02i01/35350.

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27

Shank, Will, and Miguel Angel Corzo. "Mortality Immortality? The Legacy of 20th-Century Art." Journal of the American Institute for Conservation 40, no. 1 (2001): 80. http://dx.doi.org/10.2307/3180020.

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PRICE, SALLY. "“Primitivism” in 20th Century Art . WILLIAM RUBIN, ed." American Ethnologist 13, no. 3 (August 1986): 578a—580. http://dx.doi.org/10.1525/ae.1986.13.3.02a00190.

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29

Reif, Wanda. "Alfred Stieglitz and 20th-century art in America." Lancet 357, no. 9258 (March 2001): 811–12. http://dx.doi.org/10.1016/s0140-6736(00)04160-x.

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30

Martin, Colin. "Art in 1900: signposts for the 20th century." Lancet 355, no. 9208 (March 2000): 1021–22. http://dx.doi.org/10.1016/s0140-6736(00)90004-7.

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31

Harney, E. "BLACK ART AND CULTURE IN THE 20TH CENTURY." Nka Journal of Contemporary African Art 1999, no. 10 (March 1, 1999): 69. http://dx.doi.org/10.1215/10757163-10-1-69.

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32

Boyers, Robert. "The attack on value in 20th century art." History of European Ideas 11, no. 1-6 (January 1989): 481–91. http://dx.doi.org/10.1016/0191-6599(89)90234-9.

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Portnova, Irina V. "Russian Animalistic Art of the 20th Century as a Special Kind of Fine Art." Observatory of Culture 18, no. 5 (October 29, 2021): 486–95. http://dx.doi.org/10.25281/2072-3156-2021-18-5-486-495.

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This article aims at analyzing the genre features of the 20th century animalistic art as a special, original phenomenon of Russian artistic culture. There are highlighted the aspects that make up its content basis. The author considers the issues of human perception of an animal, attitude to it, the system of views on the world of flora and fauna, the methods of interpretation of animals and birds. Together, they form the specific characteristics of animalistic art, which appeared in their organized and integral form in the 20th century. The article is relevant because the relationship between human and nature is being more and more re-evaluated, which is why the ideological features and the system of views of the 20th century artists are getting increasingly important (in particular, in the historical and artistic aspect).Animalistic art, having become noticeable as a genre already in the 18th century, passed through the entire 19th century, and crystallized in the 20th century in the most characteristic, typical features in various types of fine arts (graphics, painting, sculpture and their varieties). There is no doubt that among other genres of fine art, animalistic art is an original visual and plastic phenomenon that is fundamentally different from the art that depicts a person. The article notes that the complexity of animalistic art lies in the properties of human perception, which is prone to subjective evaluation and, accordingly, gives an animal human traits. The principle of “imitation” of nature, the study of nature, being constantly followed by artists, pointed to the overcoming of the subjective moment and became the leading one in composing the figurative concept of an animal.

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34

Rycroft, Simon. "Art and micro-cosmos: kinetic art and mid-20th-century cosmology." cultural geographies 19, no. 4 (August 16, 2012): 447–67. http://dx.doi.org/10.1177/1474474012447538.

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Recent work by cultural geographers on visual art has emphasized performative and participatory aspects focusing upon the embodied and multi-sensory experience of encountering and being part of a work of art. Research on non-figurative art has much to offer in elucidating the relationships and distinctions between representation, non-representation and abstraction. Non figurative artists were representing or enacting a new kind of materiality, one that was putative, in process and ever changing. That materiality was based upon the adoption of a mid-20th-century cosmology and inspired by recent advances in the understanding of matter and the universe. Kinetic art, which is characterized by a set of abstract aesthetics that represent or reproduce real or illusory movement, was, especially in the post-war period, inspired by this new cosmology. Mid-century kinetic artists created non-figurative abstract models of the latest understandings to bring their associated energies, forces and motions to the senses of the viewer-participant. The models that kinetic artists produced in a variety of media were designed to be experienced in an embodied manner rather than simply viewed. These and other models of a mid-century cosmology signify a period in which the practices of representation were shifting significantly and consequently demand our attention.

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Alimkulova, Dilzoda. "National Institute of Art and Design named after Kamoliddin Behzod." History Research Journal 5, no. 4 (August 29, 2019): 104–8. http://dx.doi.org/10.26643/hrj.v5i4.7134.

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The art of Uzbekistan of the first decade of 20th century (1920-30s) is worthily recognized as the brightest period in history of Uzbek national art. We may observe big interest among the artwork which was created during the years of Independence of Uzbekistan towards the art of 20th century and mainly it may be seen in form, style, idea and semantics. Despite the significant gap between the 20th century art tendencies and Independence period, there is very big influence of avant-garde style in works of such artists as Javlon Umarbekov, Akmal Ikramjanov, Alisher Mirzaev, Tokhir Karimov, Daima Rakhmanbekova and others.

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36

Keser, Sezer Cihaner. "20th Century quest for new art and interdisciplinary approach." Global Journal of Arts Education 7, no. 2 (June 12, 2017): 61–65. http://dx.doi.org/10.18844/gjae.v7i2.1835.

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AbstractArt; when setting up the combined connection of feelings and thoughts, it is a very effective helper of learning and development. It developes one's source of explanation better, form of expression and other disciplines. That is why, in modern eductaion systems science and art should be nested together. Collaboration of different disciplines in art education started to gain importance towards the end of the 20th century. Because both fields are aimed for service development and discovery of the new, when feelings are educated, mental abilities, thoughts and intelligence have been seen to be developed. In this study, the key actions of the art education in the 20th century education has been briefly noted and towards the end of the 20th century with the importance gained from different disciplines with art the new created discipline based art education and approach to interdisciplinary art has been investigated. Keywords: art, education, interdisciplinary art, mental abilities, learning, development.

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Frederiksen, Jorgen S., and Stacey L. Osbrough. "Tipping Points and Changes in Australian Climate and Extremes." Climate 10, no. 5 (May 19, 2022): 73. http://dx.doi.org/10.3390/cli10050073.

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Systematic changes, since the beginning of the 20th century, in average and extreme Australian rainfall and temperatures indicate that Southern Australian climate has undergone regime transitions into a drier and warmer state. South-west Western Australia (SWWA) experienced the most dramatic drying trend with average streamflow into Perth dams, in the last decade, just 20% of that before the 1960s and extreme, decile 10, rainfall reduced to near zero. In south-eastern Australia (SEA) systematic decreases in average and extreme cool season rainfall became evident in the late 1990s with a halving of the area experiencing average decile 10 rainfall in the early 21st century compared with that for the 20th century. The shift in annual surface temperatures over SWWA and SEA, and indeed for Australia as a whole, has occurred primarily over the last 20 years with the percentage area experiencing extreme maximum temperatures in decile 10 increasing to an average of more than 45% since the start of the 21st century compared with less than 3% for the 20th century mean. Average maximum temperatures have also increased by circa 1 °C for SWWA and SEA over the last 20 years. The climate changes in rainfall an d temperatures are associated with atmospheric circulation shifts.

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Ritesh Ranjan, Ritesh Ranjan. "Folk Art and Nationalism in the 20th Century India." International Journal of Mechanical and Production Engineering Research and Development 10, no. 3 (2020): 2743–48. http://dx.doi.org/10.24247/ijmperdjun2020258.

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Petit, David A. "The Object as Subject in 20th Century American Art." Art Education 43, no. 2 (March 1990): 36. http://dx.doi.org/10.2307/3193205.

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이주현. "Formation of Art Circles in early 20th century Beijing." KOREAN JOURNAL OF ART HISTORY 256, no. 256 (December 2007): 161–92. http://dx.doi.org/10.31065/ahak.256.256.200712.006.

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ADLER, K. "Art Beyond the Gallery in Early 20th Century England." Oxford Art Journal 8, no. 2 (January 1, 1985): 73–74. http://dx.doi.org/10.1093/oxartj/8.2.73.

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Forcer, S. "The Radical Use of Chance in 20th Century Art." French Studies 67, no. 1 (December 21, 2012): 131–32. http://dx.doi.org/10.1093/fs/kns272.

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Fitch, Kate. "Rethinking Australian public relations history in the mid-20th century." Media International Australia 160, no. 1 (August 2016): 9–19. http://dx.doi.org/10.1177/1329878x16651135.

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This article investigates the development of public relations in Australia and addresses calls to reconceptualise Australian public relations history. It presents the findings from an analysis of newspaper articles and industry newsletters in the 1940s and 1950s. These findings confirm the term public relations was in common use in Australia earlier than is widely accepted and not confined to either military information campaigns during the war or the corporate sector in the post-war period, but was used by government and public institutions and had increasing prominence through industry associations in the manufacturing sector and in social justice and advocacy campaigns. The study highlights four themes – war and post-war work, non-profit public relations, gender, and media and related industries – that enable new perspectives on Australian public relations history and historiography to be developed.

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Bach, Clemens. "Die Kunst als Modellierungsinstanz des Körpers." Vierteljahrsschrift für wissenschaftliche Pädagogik 98, no. 1 (March 2, 2022): 92–108. http://dx.doi.org/10.30965/25890581-09703030.

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Abstract Art as Formation of the Body. Pedagogical and Aesthetic Concepts Between Monism, Tectology and Biotechnology at the Beginning of the 20th Century The article focuses on various scientific reflections at the beginning of the 20th century, which converged in László Moholy-Nagy’s pedagogical theory of art to form the idea of modelling the body through art. Aspects of monism, tectology and biotechnology formed a concept that can be understood as the pedagogical influence of art on the body and consciousness with the help of its specifically indirect mode of action.

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Burov, Andrey Mikhailovich. "Artistic and Aesthetical Aspects of the Systematic Change in the First Half of the 20th Century." Journal of Flm Arts and Film Studies 4, no. 2-3 (September 15, 2012): 77–85. http://dx.doi.org/10.17816/vgik42-377-85.

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The article highlights certain artistic and aesthetical aspects of the systematic change in the art of the first half of the 20th century. Based on specific factors, the author discovers a number of basic criteria for the artistic, aesthetical and structural evaluation of post-visual phrases (relevant for both post-visual phrase of the first half of the 20th century and the postvisual phrase of the second half of the 20th century and the beginning og the 21st century).

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Mann, Vivian, and Daniel Chazin. "Printing, Patronage and Prayer: Art Historical Issues in Three Responsa." IMAGES 1, no. 1 (2007): 91–97. http://dx.doi.org/10.1163/187180007782347557.

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Abstract"Printing, Patronage and Prayer: Art Historical Issues in Three Responsa" presents texts from 16th-century Italy, 17th-century Bohemia, and 20th-century Russia that explore the following issues: the impact of the new technology of printing on Jewish ceremonial art and limits to the dedication and use of art in the synagogue.

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Géger, Melinda. "Az elveszett paradicsom. A vidéki táj és vidéki élet ábrázolása a somogyi képzőművészetben a 20. század első felében I." Kaposvári Rippl-Rónai Múzeum Közleményei, no. 7 (2020): 337–50. http://dx.doi.org/10.26080/krrmkozl.2020.7.337.

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The depiction of Hungarian village and rural life ap-peared as a motif of outstanding significance in 20th-century painting. The representation of the hungarian village and ru-ral life appeared as an outstanding motif in the 20th century painting. The variations in the appearance of the topic are closely related to the transformations of Hungarian society in the 20th century (vagy 20th century helyett:era). The focus is on each in artistic oeuvres to depict the rural sites of civic life and to the myth of a peasant living in harmony with nature and folklorization, elsewhere a new, pantheistic one falls to cre-ate a picture of nature. In the artistic oeuvres the focus was on the representation of the civil life’s rural locations, on the myth of peasants who live in harmony with nature, more on their folklrisation and elsewhere on a new, pantheistic nature-picture creation. In the first half of the 20th century, this idyll dominates in pictorial expressions describing the concept of rurality. In the first part of the study, different variations of the depictions of the rural idyll appearing in the art of Somogy are reviewed, especially focusing on the art of József Rippl-Rónai. In the first half of the study, the different variations of rural idyll’s depictions in Somogy’s art are reviewed, espe-cially focused on József Rippl-Rónai’s works.

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Shalyha, O. "UKRAINIAN FINE ART IN CANADA (SECOND HALF OF THE 20th CENTURY)." Bulletin of Taras Shevchenko National University of Kyiv. History, no. 136 (2018): 82–86. http://dx.doi.org/10.17721/1728-2640.2018.136.1.18.

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The article highlights the process of incipience of Ukrainian fine art in Canada. During the second half of the 20th century the Ukrainian diaspora created its own art and multiplied traditional Ukrainian art. Unfortunately, the achievements of the Ukrainian diaspora as a rule aren’t well-known to Ukrainian scientific community. The names of these people have filled up the treasury of spiritual values not only in Ukraine or Canada, but worldwide. Ukrainian artists from Canada have created artistic values reflecting the progress of the world’s fine art and have retained the best traditions of native schools. The article contains information about such organizations as the Ukrainian Association of visual artists of Canada, the Ukrainian-Canadian Art Foundation, the Alberta Council for Ukrainian Art. The article also highlights life and artistic journey of V. Kurilyk, M. Dmitrenko, Leo Mol, G. Novakivska, O. Lesyuk, M. Antoniv.

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Houghton, Beth. "Art book publishing in Britain." Art Libraries Journal 17, no. 3 (1992): 38–40. http://dx.doi.org/10.1017/s0307472200007951.

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Art publishing in Britain flourished in the earlier part of the 20th century, thanks in no small part to the enterprise of European émigrés. However, a majority of art books published now are of a commercial and popular nature, neglecting many aspects of art and British art of this century in particular. Do the conservatism of British taste, or the ready availability of books in libraries, contribute to this situation?

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Sherman, Mary, and M. Catherine de Zegher. "Inside the Visible: An Elliptical Traverse of 20th Century Art." Woman's Art Journal 18, no. 2 (1997): 51. http://dx.doi.org/10.2307/1358557.

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