Journal articles on the topic 'Art, Modern 20th century Australia'
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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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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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Laming, Alice, Michael-Shawn Fletcher, Anthony Romano, Russell Mullett, Simon Connor, Michela Mariani, S. Yoshi Maezumi, and Patricia S. Gadd. "The Curse of Conservation: Empirical Evidence Demonstrating That Changes in Land-Use Legislation Drove Catastrophic Bushfires in Southeast Australia." Fire 5, no. 6 (October 26, 2022): 175. http://dx.doi.org/10.3390/fire5060175.
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Protecting “wilderness” and removing human involvement in “nature” was a core pillar of the modern conservation movement through the 20th century. Conservation approaches and legislation informed by this narrative fail to recognise that Aboriginal people have long valued, used, and shaped most landscapes on Earth. Aboriginal people curated open and fire-safe Country for millennia with fire in what are now forested and fire-prone regions. Settler land holders recognised the importance of this and mimicked these practices. The Land Conservation Act of 1970 in Victoria, Australia, prohibited burning by settler land holders in an effort to protect natural landscapes. We present a 120-year record of vegetation and fire regime change from Gunaikurnai Country, southeast Australia. Our data demonstrate that catastrophic bushfires first impacted the local area immediately following the prohibition of settler burning in 1970, which allowed a rapid increase in flammable eucalypts that resulted in the onset of catastrophic bushfires. Our data corroborate local narratives on the root causes of the current bushfire crisis. Perpetuation of the wilderness myth in conservation may worsen this crisis, and it is time to listen to and learn from Indigenous and local people, and to empower these communities to drive research and management agendas.
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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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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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CIRLOT, L. "THE KEY TO MODERN ART OF THE EARLY 20TH CENTURY." Art Book 1, no. 3 (June 1994): 16f. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00130.x.
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Heusser, Hans-Jörg. "AICARC and the Archives of Modern Art." Art Libraries Journal 11, no. 2 (1986): 4–8. http://dx.doi.org/10.1017/s0307472200004582.
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Since the 1960s AICA, the Association Internationale des Critiques d’Art, has been increasingly concerned with the primary resources on which research depends. In particular, access to archival material was felt to be necessary in order to counter a dominant, highly selective, ‘modernist’ interpretation of 20th century art, with a more objective, comprehensive, and thoroughly researched history of the period covering all countries. The AICARC-Bulletin, founded in 1974, is devoted to primary sources, archives and documentation centres, archival techniques, and the ‘documentary’ approach to art, in relation to the art of this century.
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Baier, Martin, Sri Kuhnt-Saptodewo, H. J. M. Claessen, Annette B. Weiner, Charles A. Coppel, Wang Gungwu, Heleen Gall, et al. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 150, no. 3 (1994): 588–623. http://dx.doi.org/10.1163/22134379-90003081.
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- Martin Baier, Sri Kuhnt-Saptodewo, Zum Seelengeliet bei den Ngaju am Kahayan; Auswertung eines Sakraltextes zur Manarung-Zeremonie beim totenfest. München: Akademischer Verlag,1993 (PhD thesis, Ludwig-Maximilian-Universitiy München). - H.J.M. Claessen, Annette B. Weiner, Inalienable Possessions; The paradox of keeping-while-giving. Berkeley: University of California Press, 1992, 232 pp. Bibl. Index - Charles A. Coppel, Wang Gungwu, Community and Nation; China, Southeast Asia and Australia. Sydney: Asian studies of Australia in association with Allen & Unwin, 1992 (2nd revised edition), viii + 359 pp - Heleen Gall, W. J. Mommsen, European expansion and Law; the encounter of European and Indigenous Law in 19th- and 20th- century Africa and Asia. Oxford; Berg publishers, 1992, vi + 339 pp, J.A. de Moor (eds.) - Beatriz van der Goes, C. W. Watson, Kinship, Property and inheritance in Kerinci, Central Sumatra. Canterbury:University of Kent, Centre for Social Anthropology and computing Monographs no: 4. South-East Asian Series, 1992, ix + 255 pp - Kees Groeneboer, Tom van der Berge, Van Kenis tot kunst; Soendanese poezie in de koloniale tijd. Proefschrift Rijksuniversiteit Lieden, November 1993, 220 pp - Kees Groeneboer, J.E.A.M. Lelyveld, ‘... waarlijk geen overdaad, doch een dringende eisch..’’; Koloniaal onderwijs en onderwijsbeleid in Nederlands-Indië 1893-1942. Proefschrift Rijksuniversiteit Utrecht, 1992. - Marleen Heins, R. Anderson Sutton, Variation in Central Javanese gamelan music; Dynamics of a steady state. Northern Illinois University: Center for Southeast Asian Studies, Monograph series on Southeast Asia, (Special Report 28 ),1993. - Marleen Heins, E. Heins, Jaap Kunst, Indonesian music and dance; Traditional music and its interaction with the West. Amsterdam: Royal Tropical Institute/Tropenmuseum, University of Amsterdam, Ethnomusicology Centre `Jaap Junst’, 1994, E. den Otter, F. van Lamsweerde (eds.) - David Henley, Harold Brookfield, South-East Asia’s environmental future; The search for sustainability. Tokyo: United Nations University Press, Kuala Lumpur: Oxford University Press, 1993, xxxii + 422 pp., maps, tables, figures, index., Yvonne Byron (eds.) - Antje van der Hoek, Keebet von Benda-Beckmann, De emancipatie van Molukse vrouwen in Nederland. Utrecht: Van Arkel,1992, Francy Leatemia-Toma-tala (eds.) - Michael Hitchcock, Brita L. Miklouho-Maklai, Exposing Society’s Wounds; Some aspects of Indonesian Art since 1966. Adelaide: Flinders University Asian studies Monograph No.5, illustrations, 1991, iii + 125 pp - Nico Kaptein, Fred R. von der Mehden, Two Worlds of Islam; Interaction between Southeast Asia and the Middle East.Gainesville etc: University Press of Florida 1993, xiii + 128 pp - Nico Kaptein, Karel Steenbrink, Dutch Colonialism and Indonesian Islam; Contacts and Conflicts 1596-1950. Amsterdam-Atlanta, GA: Rodopi, 1993. - Harry A. Poeze, Rudolf Mrázek, Sjahrir; Politics and exile in Indonesia. Ithaca, N.Y.: Cornell University, Southeast Asia Program, 1994. - W.G.J. Remmelink, Takao Fusayama, A Japanese memoir of Sumatra 1945-1946; Love and hatred in the liberation war. Ithaca: Cornell University (Cornell Modern Indonesia Project Monograph series 71), 1993, 151 pp., maps, illustrations. - Ratna Saptari, Diana Wolf, Factory Daughters; Gender, Household Dynamics, and Rural Industrialization in Java. Berkeley: University of California Press, 1992. - Ignatius Supriyanto, Ward Keeler, Javanese Shadow Puppets. Singapore (etc.): Oxford University Press, 1992, vii + 72 pp.,bibl., ills. (Images of Asia). - Brian Z. Tamanaha,S.J.D., Juliana Flinn, Review of diplomas and thatch houses; Asserting tradition in a changing Micronesia. Ann Arbor: University of Michigan Press, 1992. - Gerard Termorshuizen, Dorothée Buur, Indische jeugdliteratuur; Geannoteerde bibliografie van jeugdboeken over Nederlands-Indië en Indonesië, 1825-1991. Leiden, KITLV Uitgeverij, 1992, 470 pp., - Barbara Watson Andaya, Reinout Vos, Gentle Janus, merchant prince; The VOC and the tightrope of diplomacy in the Malay world, 1740-1800. Leiden: KITLV Press, 1994, xii + 252 pp.
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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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Ştefănescu, Mircea. "The Beginnings of The Modern Art." Review of Artistic Education 18, no. 1 (March 1, 2019): 255–61. http://dx.doi.org/10.2478/rae-2019-0028.
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Abstract At the beginning of the 20th century visual artists found in the art the perfect field to experiment with different materials, combinations of new shapes and proportions to create new artistic currents. But this new trend has questioned the relation of classical arts with its perennial values which can not be overlooked, however radical the desire of young artists to “break” definitively with the past. Thus, in this new artistic context, many of the old art flagship techniques have been questioned and, as is always the case for predicting the “future of art”, the new artistic tendencies are absolutized and others are considered obsolete and declared “death”. The best known example is that of Marcel Duchamp, who, along with his famous ready-made exhibitions, strongly supported the death of art. Finally, the great creators of the past century felt at one point the need to relate to established art in order to better understand the “place” occupied by the generation of new artistic revolutions.
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Penney, David W., and William Rubin. ""Primitivism" in 20th Century Art: Affinity of the Tribal and the Modern." African Arts 18, no. 4 (August 1985): 27. http://dx.doi.org/10.2307/3336253.
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Karpova, Elena A. "TEXTILE ART AS PART OF CITY'S ARCHITECTURAL SPACE." Architecton: Proceedings of Higher Education, no. 2(70) (June 29, 2020): 20. http://dx.doi.org/10.47055/1990-4126-2020-2(70)-20.
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The article is devoted to the interaction of textile art with architecture. The prototypes of tent architecture were temporary and mobile structures and ancient tent shelters. Decorative fabrics were used to decorate city streets during festivals and processions. They served as an essential color dominant emotionally affecting the viewers. The textile art of the 20th – early 21st century has seen the emergence of three-dimensional forms named "new tapisserie" and "environment". In the 20th century, architectural tent structures received extensive engineering and technical development, which influenced the form and plasticity in modern textile art, existing in synthesis with the architectural space of the city.
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Eskilson, Stephen. "Thomas Wilfred and Intermedia: Seeking a Framework for Lumia." Leonardo 36, no. 1 (February 2003): 65–68. http://dx.doi.org/10.1162/002409403321152347.
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The most successful early-20th-century artist of colored light in the United States was undoubtedly Thomas Wilfred (1889–1968). In the 1920s, his “Lumia” compositions were praised by art critics and performed throughout the U.S. After initially embracing a musical analogy to explain Lumia, in the early 1930s he shifted to an analogy based on painting. In pursuit of this new context, Wilfred sought to legitimize Lumia through a relationship with the Museum of Modern Art in New York. His career is emblematic of the difficulties inherent in the creation of art using technology early in the 20th century, years before the postmodern embrace of pluralism.
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Khrenov, Nicolai A. "Modern art history as a human science in a situation of cultural turn." Journal of Flm Arts and Film Studies 11, no. 1 (March 15, 2019): 82–98. http://dx.doi.org/10.17816/vgik11182-98.
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Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology.
However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism.
The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.
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Khrenov, Nicolai A. "Modern art history as a human science in a situation of cultural turn." Journal of Flm Arts and Film Studies 11, no. 2 (June 15, 2019): 102–15. http://dx.doi.org/10.17816/vgik112102-115.
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Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology.
However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism.
The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.
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Khrenov, Nikolai A. "Modern art history as a human science in a situation of cultural turn." Journal of Flm Arts and Film Studies 11, no. 3 (November 13, 2019): 94–106. http://dx.doi.org/10.17816/vgik11394-106.
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Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology.
However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism.
The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.
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Khrenov, Nikolay. "Modern Art History As a Human Science in a Situation of Cultural Turn." Journal of Flm Arts and Film Studies 11, no. 4 (December 30, 2019): 98–113. http://dx.doi.org/10.17816/vgik11498-113.
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Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts selfprotection against deviations from the established methodology.
However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requiresa deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism.
The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.
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Kuhutiak, Mykola, Ihor Raikivskyi, and Oleh Yehreshii. "Halychyna. Journal of Regional Studies: Science, Culture, and Education. Twenty Years of Publishing Activity." Journal of Vasyl Stefanyk Precarpathian National University 4, no. 2 (October 30, 2017): 134–38. http://dx.doi.org/10.15330/jpnu.4.2.134-138.
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This is a review of the twenty-year-long publishing activity of Halychyna. Journal of Regional Studies: Science, Culture and Education, one of the first Ukrainian journals for historians, philologists, art critics that appeared in the independent Ukraine. In Halychyna, there has been published the works by well-known scholars of Vasyl Stefanyk Precarpathian National University and many other higher educational establishments of Ukraine. The Journal can boast an array of sections – archaeology, history, ethnology, political science, historiography, source studies, documents and materials, culturology, art criticism, historical biography studies, and others. Most of the studies published in Halychyna focus on the issues of the modern and contemporary history of Ukraine, ethnology. A special attention is given to the issues of the Ukrainian national liberation movement in the 20th century, the Ukrainian national revival in the 19th–20th century, the activity of the political parties in Galicia in the late 19th–early 20th century, source studies and historiography in Ukraine, historical regional studies, the problems of modern state formation in Ukraine, and others
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RADU-GIURGIU, Cristina-Ioana. "Opera Agents in 20th Century (1). Opera business and singers’ careers." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 14(63), Special Issue (January 27, 2022): 147–54. http://dx.doi.org/10.31926/but.pa.2021.14.63.3.14.
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The key point in promoting singers’ careers in the 20th century was the Agent (known also as impresario, the art manager, the promoter). The business of opera is quite old, starting in the mid-17th century together with the newborn genre of lyric show, but in the 20th century, it has developed in more advanced forms, as a real institution. The “Opera Agents in 20th Century” is built in 2 parts. This first article presents the impresario throughout history, focusing on the development and the notable transformations of the opera business in the 20th century. The second part will consist of a related article, focusing on the role of the agent in developing and promoting the singers’ careers, different models of business contracts, agents’ fees (Compensation), and the modern agencies.
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Umarova, Zarrina. "Characteristics of development of Tajik jewelry art at the turn of the 21st century." SHS Web of Conferences 50 (2018): 01226. http://dx.doi.org/10.1051/shsconf/20185001226.
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The paper identifies and analyzes the characteristic features of the development of Tajikjewelry art in the late 20th - early 21st centuries. The author believes that at this time, after a long period of oblivion, there is a marked way to restoration of many lost and nearly forgotten folk traditions in Tajik jewelry art. This period of time can be distinguished as a transitional period in the history of Tajik jewelry art development. This issue carries a significant value in the history of Tajikistan because the jewelry art in the period from the 80ies ofthe 20th century to the early 20th century was previously not subjected to a dedicated study, which results in certain gaps in the research of modern Tajik jewelry art. Studying the characteristics of the development of jewelry art at the turn of the 21st century and of the problems faced by master jewelers (zargars) at that time will aid in the future to identify the most efficient ways of developing this industry and facilitate its becoming one of the export-oriented areas, taking into account that the Republic of Tajikistan possesses all the necessary natural resources.
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Petrov, Vladislav O. "Synthetic Ideas of Giovanni Lorenzo Bernini in the 20th Century: to the History and Theory of Performance." Observatory of Culture, no. 5 (October 28, 2015): 66–71. http://dx.doi.org/10.25281/2072-3156-2015-0-5-66-71.
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The article demonstrates relevance of the synthetic ideas of the Italian architect, sculptor and artist Giovanni Lorenzo Bernini (1598-1680) in the modern performance art, which has become a landmark in the 20th century in terms of the Actionism manifestation. The chosen subjects (the absurdist situation and the actual event), as well as the methods for their dramatic composition and the applied means of their expression, characterize the performance of the 20th century, which gives us a reason to examine the position of Bernini and the position of one of the most actual genres in the modern world more closely.
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Liu, Ting. "Singing (vocal) as a component of ballet: the experience of interpreting the phenomenon in the context of artistic trends of the early 20th century." Culture of Ukraine, no. 75 (March 21, 2022): 93–102. http://dx.doi.org/10.31516/2410-5325.075.12.
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The article is devoted to one of the forms of creative synthesis of types of art, which is being actualized in the modern space-time of musical and stage compositions, including through its own historical and genetic code. Singing in ballet appears in the context of art of the early 20th century as a common aesthetic phenomenon. However, music criticism and academic science have not yet provided the explanation of its mechanisms (image-aesthetic, psychological, form-creating, communicative), its overriding tasks in the concepts of modern musical theatre. The experience of problem statement in the field of interpretology provides the relevance of the topic of the article and determines the novelty of the obtained results.
The purpose of the article is to reveal the preconditions and content of the functional unity of the art of singing and dance against the background of artistic trends of the early 20th century (starting with “Pulcinella” by I. Stravinsky).
The creative tandem of dance and singing has its roots in ancient Greek culture, on which the creators of the French tradition of ballets du court (J.-B. Llully focused. In the realm of «mixed genres» of baroque music, the «golden age» of homo musicus began. The latest history of singing in ballet begins with I. Stravinsky, his «Pulchinelli». The obtained results of the research of the problem “What is singing in ballet — a tribute to history or an invention of modern culture”? First, the presence of the “genetic code” of this phenomenon in the art of Western Europe of the Modern times; secondly, the regularity of the tendency to synthesize singing in the art of ballet as a manifestation of neoclassicism, closely related to the historicism of compositional thinking of I. Stravinsky.
The conclusions outline the preconditions and content of the functional unity of singing and dance in the format of artistic trends of the early 20th century: 1) the historical and cultural code of French art (singing — dramatic play — dance); 2) personal self-reflection of I. Stravinsky (his relations on the basis of creative cooperation in the early 20th century later formed a wide range of communication for artists: O. Rodin, A. Modigliani, K. Monet, P. Picasso, V. Kandinsky); 3) imitation of pre-classical, pre-baroque, and ancient folk traditions. In general, the revival of the function of singing in ballet of the 20th century took place on the basis of musical historicism and serves as a mental sign of the birth of neoclassicism.
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Nikitin, Yury, Vasiliy Goryunov, Vera Murgul, and Nikolay Vatin. "Research on Industrial Exhibitions Architecture." Applied Mechanics and Materials 680 (October 2014): 504–9. http://dx.doi.org/10.4028/www.scientific.net/amm.680.504.
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All-Russian and regional exhibition architecture in the second half of the 19th century through the early 20th century had varied distinct differences in style and design. Temporality of exhibition architecture in those days contributed to a variety of experiments made for pavilions in the context of styles and structures. There was a high demand for the Russian style to be applied for pavilions both in Russia and abroad. First search and application experience in respect to the modern art principles are connected with exhibition architecture. These experiments in the national architecture and art are of a high interest. Neo-classicism was applied in exhibition architecture in the early 20th century to a large extent. The exhibitions of the early 20th century appeared to be special ‘style workshops’. Organizers of certain exhibitions tried to keep uniformity of style of basic constructions. The major merit of exhibition architecture is that it contributed to the transition from eclecticism to a new style on the cusp of the 19th and beginning of the 20th centuries.
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Nikitina, Irina Petrovna. "Artistic Space as a Modern Aesthetical Category." Journal of Flm Arts and Film Studies 5, no. 2 (May 15, 2013): 66–80. http://dx.doi.org/10.17816/vgik5266-80.
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The article describes the process of transforming the concept of “artistic space” into a category of modern aesthetics due to the work of various 20th century philosophers (O. Spengler, M. Heidegger, P. Florensky, etc.) The author argues that unlike the chronotope, which is a local notion relevant only for temporal arts, the notion of “artistic space” is universal and valid for all art-forms.
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Lyu, Liang. "Modern Approaches to the Study of Music of the Twentieth Century." Contemporary problems of social work 7, no. 1 (March 31, 2021): 76–82. http://dx.doi.org/10.17922/2412-5466-2021-7-1-76-82.
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the subject of research – modern academic music of the 20th century is a special kind of art, the effective development of which by students of art departments and universities requires appropriate methods. The purpose of the work is to consider problematic teaching methods that ensure the effective mastery of complex artistic material by university students who do not have sympathy for 20th century music. To verify the effectiveness of the application of problem learning techniques when students mastered avantgarde music, a pedagogical experiment was conducted to introduce problem problems, the case method and the design method into the process of mastering musical and historical disciplines. The study carried out a theoretical justification and introduced into creative practice the methods considered, which made it possible to involve the student in the development of discipline in the process of creative activity, which significantly increases the level of cognitive activity and contributes to the formation of students; to solve the problem of modern musical skill, students of the musical and pedagogical profile of education were presented with problem problems, and the task requiring brainstorming – to practically “guess” the alleged image of the author – had the necessary didactic effect. Methodological recommendations related to the use of problematic methods in music education are formulated.
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Sernelj, Téa. "Different Approaches to Modern Art and Society: Li Zehou versus Xu Fuguan." Asian Studies 8, no. 1 (January 10, 2020): 77–98. http://dx.doi.org/10.4312/as.2020.8.1.77-98.
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Proceeding from the inseparable relation between ethics and aesthetics in traditional (and often also modern) Chinese thought, this article aims to illuminate two important approaches to the aesthetic foundations of Chinese modernity. The relation between the individual and society, which is a core question of modern ethics, is reflected in most of the ethical theories of 20th century China. In this context, the article first presents Li Zehou’s theory of aesthetics and his definition of aesthetic experience. In this way, it aims to illuminate Li’s interpretation of modern art and society, and to posit it into a contrastive position to Xu Fuguan’s ethico-aesthetic theories, especially the ones regarding modernity and Western culture. The basic approaches applied by these two important modern Chinese scholars reveal great differences in attitude towards the spiritual and material development of humanity in the 20th century, which is especially interesting since they are both rooted in the abovementioned belief that ethics cannot be separated from aesthetics. Besides, Li Zehou sincerely admired Xu Fuguan’s work on traditional Chinese aesthetics and referred to his comprehension of general concepts of traditional Chinese aesthetics in many of his own works dealing with aesthetics.
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Tamang, Nem Bahadur. "Distortion of Forms and Subjects in Paul Cezanne’s Paintings." Journal of Fine Arts Campus 3, no. 1 (December 31, 2021): 31–34. http://dx.doi.org/10.3126/jfac.v3i1.42493.
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Paul Cezanne is the 19th century painter born in France who was a very important figure in the history of modern art. He had painted so many paintings like landscapes, portraits and still life. The figures and forms in his artwork do resemble the real world but the distortion is the most significant feature. The subject matters reveal the changes and gives emphasis upon forms. Subjects lack likeness and negate imitation as art followed by predecessors. The flatness and geometric forms are amplified along with expression in the paintings. The formal distortion played a vital role to give birth to Modernism in 20th century Western Art. So, he is called “Father of Modern Art”.
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Stalmaszczyk, Piotr. "Celtic Studies in Poland in the 20th century: a bibliography." ZCPH 54, no. 1 (April 30, 2004): 170–84. http://dx.doi.org/10.1515/zcph.2005.170.
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Introduction Celtic Studies are concerned with the languages, literature, culture, mythology, religion, art, history, and archaeology of historical and contemporary Celtic countries and traces of Celtic influences elsewhere. The historical Celtic countries include ancient Gaul, Galatia, Celtiberia, Italy, Britain and Ireland, whereas the modern Celtic territories are limited to Ireland, Scotland, Wales, Isle of Man, Cornwall and Brittany. It has to be stressed that Celtic Studies are not identical with Irish (or Scottish, Welsh, or Breton) Studies, though they are, for obvious reasons, closely connected.
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Давиденко, І. В., and К. Л. Пашкевич. "АНАЛІЗ ХУДОЖНЬО-КОМПОЗИЦІЙНИХ ЗАСОБІВ ФОРМОУТВОРЕННЯ МОДЕЛЕЙ ДИЗАЙНЕРА МАДЛЕН ВІОНЕ." Art and Design, no. 1 (June 14, 2018): 55–66. http://dx.doi.org/10.30857/2617-0272.2018.1.5.
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Study of art-compositional means for shaping the models of clothes of the famous couturier of the 20th century Madeleine Vionnet and her design techniques with the purpose of developing a classification for use in the design of modern clothing
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Kondakov, I. V. "Art on Both Sides of Reality. (Article I)." Art & Culture Studies, no. 4 (December 2021): 16–39. http://dx.doi.org/10.51678/2226-0072-2021-4-16-39.
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In a broad cultural and philosophical discourse, the comparison and differentiation of two layers of artistic reality in the 20th century, defining “the position of postmodern” (J.-F. Lyotard), are considered. It should be noted that in the 20th century art, without completely excluding the narrative-type artistic reality, was increasingly mastering the post-narrative artistic reality, but most often combined both artistic realities — modern and postmodern. The comprehension of art on both sides of reality presupposes the combination of narrative and post-narrative artistic realities as two layers of meaning covering the “vital reality” displayed and simultaneously overcome by them from both sides. The combination of “one’s own” text as the author’s narrative of life reality and the interweaving of “others” texts, ironically or creatively reflected in the form of a post-narrative texture, are put together as a two-layer text that contrasts “the life reality” in two ways. These provisions are confirmed by a number of literary examples.
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Hoffmann, Frank. "20th Century Korean Art, and: Modern Korean Ink Painting (review)." Journal of Korean Studies 13, no. 1 (2008): 118–23. http://dx.doi.org/10.1353/jks.2008.0000.
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Plakhotnyuk, Oleksandr. "PERCEPTION OF THE WORLD OF JAZZ DANCE IN THE ARTISTIC SPACE OF THE 20TH CENTURY." Baltic Journal of Legal and Social Sciences, no. 2 (October 26, 2022): 157–62. http://dx.doi.org/10.30525/2592-8813-2022-2-26.
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In the provisions of the scientific article, the author substantiates the worldview and philosophical perception of jazz dance in the cultural and artistic space of the historical period of the 20th century – early 21st century in the context of the development of modern choreographic art. As a result of the study, an expansion of ideas about the philosophy of choreographic art is formed, which is reflected in the formation of the perception of modern dance in modern science. Also, in defining the worldview of jazz dance in the artistic space, which manifests itself at all stages of its development and becomes relevant in the art criticism discourse of the late 20th - early 21st centuries, it is a logical conclusion that jazz dance has a meaningful philosophical content and tries to give answers to eternal questions. , as well as everyday problems: how not to lose everything, and if this happened, then restore strength, and restore yourself anew, how to find love, and when found, how not to get rid of it, solve all the problems of a domestic nature and the spiritual life of everyone person. Jazz dance has always been a mirror image of a person's existence, his worldview and manifestation of will, striving for originality and revealing his own individuality. The dance movement of jazz dance is always a hymn in honor of human life in its manifestations and depths of all aspects of human existence, which is clearly manifested in the dance art. One of the main philosophical properties of jazz dance is the ability to quickly and thoroughly respond to all socio-political and historical processes of society development. Reflection of cataclysms, crises and pertrubation of economic development filigree reflects the tragedy of wars and emotions, its completion from victory to defeat. It is constantly developing, forming new samples, directions and whole self-sufficient types and directions of modern dance art.
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Rybačiauskaitė, Karolina. "Ranciere’s Challenge for the Lithuanian Modern Art Histories: The Possibility of New Sensible Structures." Problemos 97 (April 21, 2020): 198–208. http://dx.doi.org/10.15388/problemos.97.16.
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By analysing Jacques Rancière’s conception of art regimes and taking the practical example of paintings by Lithuanian artist Vincas Kisarauskas, it is demonstrated that by thinking about the modern art in the 20th century as the intersection of the three art regimes by Rancière, we might escape from the binary oppositions still prevailing in the interpretations of modern art in post-soviet and post-socialist countries, and also escape the current narratives of late and silent modernisms implying the belatedness and disability of modern art created in Soviet Lithuania. By writing histories of modern art with Rancière, it is possible to claim that at least a part of Lithuanian modern art is neither late nor silent. On the contrary, the part operating in the aesthetic regime of art becomes a space of search for the new tropes of expression and of the common sensual fabric of life.
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Taranda, G. L. "Modern Dance As an American Alternative to Classical Ballet." Contemporary problems of social work 6, no. 4 (December 30, 2020): 45–51. http://dx.doi.org/10.17922/2412-5466-2020-6-4-45-51.
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the article analyzes the features of the American modern dance, which formed in the first half of the 20th century as an alternative to the classical ballet of the United States, which had Russian roots. In the article there were formulated both the artistic and aesthetic principles of modern dance and the historical and cultural prerequisites for the formation of the US national choreographic school. The work uses theoretical methods: visual and text analysis of choreographic works and music for performances, comparison of the means of plastic expressiveness, movements and figures of classical ballet and modern dance, the principles of stage development of artistic images of performances. The basis of the empirical study was a generalization of the practical experience of staging performances by leading American dancers of the 20th century. According to the results of the study, it is noted that the features of modern dance are opposite to the classical ballet of the United States, testify to the desire of Americans to illuminate the problems of modern time and convey the unique national features of US culture, using elements of African or Indian dances, as well as movements that are not characteristic of classical ballet, but reflect the spirit of our time. The materials of the article have theoretical and practical value for specialists dealing with the problems of culture and art of the 20th century, including modern choreography
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KARAKOVA, T. V., and E. V. RYZhIKOVA. "INFLUENCE OF THE SOVIET VANGUARD OF THE DEVELOPMENT OF MODERN ARCHITECTURE." Urban construction and architecture 2, no. 4 (December 15, 2012): 22–24. http://dx.doi.org/10.17673/vestnik.2012.04.4.
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Vanguard are typical for all the transition stages in the history of art culture, certain types of art. In the 20th century. notion of the avant-garde has become the term to refer to a powerful phenomenon of artistic culture that has enveloped her significant events, which have much in common. Vanguard is the reaction of the artistic and aesthetic consciousness on a global, not yet encountered in the history of mankind change in cultural and civilizational process caused by scientific and technological progress (STP) of the last century. The nature and importance to humanity of this process in culture have not yet received adequate scientific and philosophical understanding, but with sufficient detail expressed in the artistic culture in the phenomenon of the avant-garde, modernism, postmodernism.
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BeiBei, Zhou. "Piano Performing Art of Russia: Major Development Trends in the 20th Century." IRA International Journal of Education and Multidisciplinary Studies 13, no. 2 (November 29, 2018): 8. http://dx.doi.org/10.21013/jems.v13.n2.p1.
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<p>The purpose of the article is to identify features of the development of piano playing in Russia in the 20<sup>th</sup> century in the context of key trends and leading genre and styles. In connection with the goal, the following tasks were identifying: to consider Essence of Definition “Russian Piano School”; to characterize Russian Piano School in Conditions of Reorganization of System of Music Education after 1917; to consider Russian Piano Performance Art in 1930–1950s; to describe Russian Pianism in 1960–1990s. This work elucidates the Russian Piano School’s evolving characteristics, its tendencies and styles, and how it received such authority and respect throughout the world. This article also reveals the Russian Piano School’s principal musical pedagogical figures, and how diverse and original they are, especially modern Russian pianists. The unique and pivotal influence of these artists is clearly defined in the context of an emerging and distinct Russian Piano School.<em></em></p>
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ЧАУС, Дмитро. "The didactics of colour in art and artistic education of the 20th century." EUROPEAN HUMANITIES STUDIES: State and Society 2 (June 27, 2019): 40–50. http://dx.doi.org/10.38014/ehs-ss.2019.2.04.
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The purpose of the study is the color as a phenomenon of semantic - cultural and educational potential in art and art education. In the article, the significance of color is revealed in the aspect of historical and national peculiarities taking into account the development of modern color didactics. It has been proved that the development of color thinking is an expression of the spiritual and cultural level of society, as well as one of the main aspects in the training of future professionals in artistic professions. A historical analysis of color education in art education was conducted, color concepts and methods of work with the color of some outstanding artists and teachers were considered. The cultural and educational significance of color in the picturesque legacy of V. Kandinsky, K. Malevich, M. Krymov and other artists was considered, the discovery and achievements of which, in the field of color education of specialists, formed the basis of modern color didactics. The methodology of the research is to apply comparative, historical and logical methods with the use of cultural approaches. This methodological approach allows us to reveal the problem under study from a philosophical, pedagogical, cultural and artistic point of view. Analysis, systematization and generalization of theoretical and empirical provisions allowed to determine the state of color education of future specialists of artistic profiles in its historical aspect. Conclusions It is proved that the development of color thinking is an expression of the spiritual and cultural level of society, as well as one of the main aspects in the process of color education of future specialists in artistic professions.
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Dyadyk, Natalia. "Art of the second half of XX — early XXI centuries as visual philosophy." Socium i vlast 4 (2021): 95–106. http://dx.doi.org/10.22394/1996-0522-2021-1-95-106.
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Introduction. The article is focused on studying the area of intersection of contemporary art and philosophy, it is a continuation of the research project on conceptual art and its intersection with philosophy, which we started earlier. By conceptual art, we mean art aimed at intellectual comprehension of what has been seen, art that appeals to thinking and generates philosophical meanings. But if earlier we explored conceptual cinema and mainly visual art of the early 20th century, then in this article we want to turn to the visual art of the second half of the 20th century — the beginning of the 21st century, which is also called contemporary art by art critics. The empirical material of the study was the works of such contemporary artists as E. Warhol, D. Koons, D. Hirst, J. Ono, F. Bacon, I. Kabakov, D. Kossuth, the movement of “new realists” and photorealists, the movement of Moscow conceptualists and etc. Contemporary art is one of the ways of understanding the world, visual philosophy, which is of interest for philosophical understanding. The purpose of the article is to conduct a philosophical analysis of visual art of the second half of the 20th — early 21st I centuries in order to identify its philosophical sources and content. Methods. The author uses the following general scientific methods: analysis and synthesis, induction, deduction, abstraction. When analyzing works of conceptual art, we use hermeneutic and phenomenological methods, a semiotic approach. We also use the symbolic-contextual method of analyzing exhibition concepts, which is based on identifying the philosophical meanings and ideas of exhibitions of contemporary art. Scientific novelty of the study. We regard contemporary art as a visual philosophy. Philosophizing, in our opinion, can exist in various forms and forms from everyday practical (the so-called naive philosophizing) to artistic-figurative, that is, visual. Philosophical ideas or concepts are born not only from professional thinkers, but also from artists. The artistic concepts of contemporary artists are similar to the concepts of philosophers, since the goal of both is to cognize the world and grasp being. We find and describe the area of intersection of modern philosophy and contemporary art, each of which is in a situation of crisis separately and continuous dialogue together. Results. In the course of our research, we identify and describe the philosophical origins of visual art in the second half of the twentieth century - early twenty-first century: postmodern philosophical consciousness, conceptualism, the idea of “death of the author” and “death of art”, simulacrum, kitsch and camp, the method of deconstruction and its application in modern art. Conclusions. Visual art of the second half of the 20th century — early 21st century is a visual form of philosophical questioning about the essence of art itself, about the existence of a person and being in general. The works of contemporary artists are based on philosophical problems: meaning, speech and meaning, the ratio of the rational and the irrational, the problem of abandonment and loneliness of a person, the problem of the “death of the author” and the alienation of the creator from his work, the idea of the impossibility of objective knowledge of reality.
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Gultyaeva, Galina S. "Realistic Painting of the 20th Century China in the Context of Cultural Visualization." Observatory of Culture 18, no. 1 (May 24, 2021): 32–43. http://dx.doi.org/10.25281/2072-3156-2021-18-1-32-43.
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This article examines the phenomenon of Chinese realism, as well as the prerequisites and factors that influenced the processes of reception in modern Chinese art. At the beginning of the 20th century, under the influence of Western academic realism and the artistic system of social realism, a new direction and artistic method was formed — realism, which became mainstream in the art of China of the mid-20th century. According to its aesthetic and ideological motifs, Chinese realism is an object of social realism reception, which was determined by cultural and historical factors, and the development of political, economic and cultural ties with the USSR. Studying the realistic painting, which reflects the atmosphere of the era, the worldview, and the dialogue of cultures, is relevant for both Chinese and Russian contemporary art studies. The article examines the role of realism in the development of Chinese art culture of the 20th century, including its socio-political components, as well as the dynamics of artistic and expressive means and the iconographic system in the context of the historical and cultural situation. In the 1980s and 1990s, as a result of the liberalization of economic and political life, the artistic consciousness formed new concepts of realistic painting — neorealism and cynical realism, associated with a critical rethinking of the historical heritage. The neorealism and cynical realism, which would significantly enrich realistic painting with new forms and content, adopted Western postmodern concepts of pop art, and debunked, in a grotesque and satirical form, the political stereotypes of the past. The analysis of realistic painting of the 1990s demonstrates how the transformation of past painting canons reflects the desire of society to free itself from the pressure of totalitarian ideology and to rethink the value orientations of the previous era.The novelty of this study lies in the fact that it applies a systematic and holistic approach to the analysis of realism in Chinese painting, reveals the diversity of its forms and directions, and gives ground for the specifics of its evolution in the context of the artistic culture of the 20th century China. There are almost no comprehensive studies of this issue in modern art history, so this work is an attempt to create a scientific approach to the study of this artistic phenomenon and the formation of ideas about how the artistic consciousness of an entire epoch was changing.
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Cheng, Christopher. "Beacons of modern learning: Diaspora-funded schools in the China-Australia corridor." Asian and Pacific Migration Journal 29, no. 2 (June 2020): 139–62. http://dx.doi.org/10.1177/0117196820930309.
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In the early 20th century, modern school curricula and new-style schools mushroomed in the Chinese remittance landscape of southern China. Breaking away from the two-and-a-half millennia of Confucian tradition, their creation marked a pivotal point of departure between the nation’s past and future. Since overseas migration and modern education both provide a fruitful context for the circulation of new objects and a cross-fertilization of ideas, new schools serve as barometers of social-material change. Research in the present-day cities of Zhongshan and Zhuhai (formerly Heung San County) suggests that diaspora-funded schools were beacons of modern learning within the China–Australia corridor. Both their physical structures and material manifestations invited a new engagement with the modern world.
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Sablin, Ivan D. "Kurt Badt. Verlust der Mitte (On the Question of Modernism and the Anti-modernism in mid-20th Century German Art History)." Vestnik of Saint Petersburg University. Arts 11, no. 3 (2021): 532–54. http://dx.doi.org/10.21638/spbu15.2021.309.
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On the example of the activities of the German art historian Kurt Badt, the article reveals the complex relationship between modern art and contemporary art history. The outstanding and, obviously, underestimated figure of the scholar, who throughout his long life was ready to confront the rest of the discipline unwilling to become a part of the university system, with all his creativity embodied the very idea of freedom that modern artists and sympathizing art critics strove for. Due to the availability of English-language versions of the art historian’s texts mainly on the masters close to modern art — Delacroix, Constable, and Cézanne — his position in the dispute about modernism seems more or less unambiguous. The aim of this article is to show that this is far from the case, discovering the points of contact of Badt with many of his colleagues who have earned a reputation as unconditional conservatives. First of all, it concerns the Austrian art theorist Hans Sedlmayr, an interest for whom, especially in recent times, is predetermined by widespread ideas about the fundamental incompatibility of academic art history with attempts of unbiased consideration of the history of modern art. Moreover, a deep kinship of such research activity with the most reactionary political ideas is also widely discussed, which, as it should be noted, this outstanding critic of the modern culture was not absolutely innocent of. Nevertheless, his clash with Badt, a polemic that took place in the 1950s and 60s, centered on the work of not Cézanne, but Vermeer van Delft, can be considered from the point of view of the attitude of the two scholars to phenomena less distant in time. This makes it possible to raise the question of the paradoxical similarity of the views of these two authors — with such a different creative and human destiny.
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Edwards, Allen. "Unpublished Bouleziana at the Paul Sacher Foundation." Tempo, no. 169 (June 1989): 4–15. http://dx.doi.org/10.1017/s0040298200025109.
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Though in existence for less than a decade, Basle's Paul Sacher Foundation has already achieved an importance as a repository for the music of the 20th century comparable only to the importance of New York's Museum of Modern Art as a storehouse for representative masterpieces of this century's visual arts.
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Linden, Diana L. "Modern? American? Jew? Museums and Exhibitions of Ben Shahn's Late Paintings." Prospects 30 (October 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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Yaldiz, Esra. "The Evaluation of 20th Century Architecture in Konya in the Context of Modern Architecture Heritage." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 28, 2017): 171–84. http://dx.doi.org/10.18844/prosoc.v4i11.2872.
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Understanding about conservation is limited to ‘monument’ or ‘old work of art’ in the past compared with today’s new concepts like ‘historical and cultural heritage’, ‘heritage of modern architecture’ and ‘heritage of industry’. Turkey’s 20th century modern architecture was started with the early modernism buildings constructed all over Turkey, especially in Ankara and İstanbul in the first years of the Republic. This period includes all the works of architecture that were produced until the late 1980s, carrying the traces of modern movement, rationalist, purist, transparent, reinterpreting the traditional architectural values by means of modern material and seeking of independent form. In this study, the Mevlana Axis between Alaaddin Hill and the historical city centre and the works of architecture in the modernisation period between the early 1900s and 1980s on this axis, contribute to the city identity and handled in the context of modern architectural heritage are evaluated. Keywords: Modern architecture heritage, evaluation criteria, Konya.
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Mačiulis, Algimantas M. "IRACIONALUMO APRAIŠKOS XX A. UŽSIENIO IR LIETUVOS ARCHITEKTŪROJE." JOURNAL OF ARCHITECTURE AND URBANISM 34, no. 3 (September 30, 2010): 151–60. http://dx.doi.org/10.3846/tpa.2010.15.
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The paper analyses irrationality as an expression of modern architecture, overviews the concept of irrational architecture. Various art and philosophical trends, that influenced the development of architecture in the 20th century, are analysed. Influences of global and Lithuanian analogues of irrational architecture on the development of architectural styles are presented. Since the concept of irrational architecture hasn’t been widely analysed, the paper suggests several approaches of analysis of irrational forms in architecture. The author arrives at the following conclusions: – Irrationality is an opposite expression of rationality, pragmatism, posityvism, technicist morphology. It’s based on deconstruction, indetermination, roughness, dramatic expression, etc. – The effect of irrationality can be obtained by two ways: using decorations, ornaments, polichromy, and using deformations of forms and constructions. – Irrational trends in architecture are caused by several factors. Philosophical trends such as reliatyvism, irrationalism, intuityvism, psychoanalysis, deconstructyvism, and art trends such as cubism, symbolism, expressionism, art deco, surrealism, etc. – Irrational trends in global and Lithuanian architecture of the 20th century can be noticed in art nouveau, art deco, organic, late modern, postmodern, deconstructyvist architectural styles. Santrauka Straipsnyje analizuojamas iracionalumas kaip šiuolaikinės architektūros meninės išraiškos forma, aptariama iracionalumo sąvoka architektūros mene. Taip pat charakterizuojamos sociokultūrinės prielaidos, filosofinės, meno srovės, dariusios įtaką iracionalumo požymiams architektūroje. Nagrinėjami pasauliniai ir Lietuvos iracionaliosios architektūros analogai, apžvelgiamos iracionalumo apraiškos stilistinėje architektūros raidoje.
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Fishel, Simon, Anna-Katerina Hadjantonakis, Berenika Plusa, Laura Rienzi, Yojiro Yamanaka, Aneta Suwińska, and Anna Ajduk. "Breakthroughs and challenges of modern developmental biology and reproductive medicine." International Journal of Developmental Biology 63, no. 3-4-5 (2019): 77–82. http://dx.doi.org/10.1387/ijdb.180398aa.
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In recent decades we have witnessed unprecedented progress in the field of the developmental biology of mammals. Building on 20th century discoveries, we have managed to increase our understanding of the molecular and cellular mechanisms governing early mammalian embryogenesis and link them to other biological questions, such as stem cells, regeneration, cancer, or tissue and organ formation. Consequently, it has also led to a creation of a completely new branch of reproductive medicine, i.e. assisted reproductive technology (ART). In this Special Issue of The International Journal of Developmental Biology (Int. J. Dev. Biol.) we wished to review state-of-the-art research regarding early mammalian development, from fertilization up to the implantation stage, and discuss its potential meaning for practical applications, including ART. As an introduction to the issue we present a compilation of short essays written by the most renowned scientists in the field, working both in basic and clinical research. The essays are dedicated to the greatest breakthroughs and challenges of 21st century developmental biology and reproductive medicine.
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Skliarenko, Halyna. "Interpretation Peculiarities of the Impressionistic Trends in Ukrainian Ar." Folk art and ethnology, no. 1 (February 28, 2022): 30–45. http://dx.doi.org/10.15407/nte2022.01.030.
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The article is dedicated to the interpretation peculiarities of the impressionistic trends in Ukrainian art. Impressionism as the first modernist style has a huge impact on world art, been marked in it both by new purely formal, plastic and also world-view features. Ukrainian art hasn’t also avoided it and attracts its experience to the search for a new artistic language of the turning point in the artistic development of the period of the late 19th – early 20th century in its own way. Although impressionism hasn’t formed a definite exact trend in Ukrainian art, its ideas, in particular, the individualization of artistic vision, subjectivity of perception, colour expressiveness mark a new stage of its development and keep their relevance for a long time. The sources of impressionistic influences in Ukrainian painting at the turn of the 19th – early 20th century, the contradictions of its interpretation by critics and artists, the peculiarities of impressionism significance in the works of avant-garde artists (D. Burliuk, O. Bohomazov, K. Malevich) are considered in the article. A great importance of a large exhibition Impressionism in Ukraine in the phenomenon representation is emphasized. The event has been held on December, 2009 – March, 2010 at the National Museum of Modern Art in Kyiv. A range of impressionistic interpretations in Ukrainian painting of the late 19th – early 20th century is submitted for the first time. An attitude to the trend during the next periods of the history of Ukrainian art, namely in the post-revolutionary 1920s, 1930s – 1950s, 1960s – 1970s, is analyzed in the article. These are the periods, when impressionism as a bourgeois artistic trend has been “deleted” from the Soviet art because of the establishment of socialist realist doctrine. It has been returned gradually into the artists’ creative practices in the following years. Impressionism has preserved its attractiveness until the 1970s due to the peculiarities of the art development in the Soviet conditions (isolation from the world experience, shortage of extensive information about Ukrainian art of the pre-Soviet times) despite its historicity and close connection with art of the turn of the 19th – 20th century.
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Kisin, Eugenia, and Fred R. Myers. "The Anthropology of Art, After the End of Art: Contesting the Art-Culture System." Annual Review of Anthropology 48, no. 1 (October 21, 2019): 317–34. http://dx.doi.org/10.1146/annurev-anthro-102218-011331.
Full textAbstract:
We focus on the anthropology of art from the mid-1980s to the present, a period of disturbance and significant transformation in the field of anthropology. The field can be understood to be responding to the destabilization of the category of “art” itself. Inaugural moments lie in the reaction to the Museum of Modern Art's 1984 exhibition “Primitivism” in 20th Century Art, the increasing crisis of representation, the influence of “postmodernism,” and the rising tide of decolonization and globalization, marked by the 1984 Te Maori exhibition at the Metropolitan Museum in New York. Changes involve boundaries being negotiated, violated, and refigured, and not simply the boundaries between the so-called “West” and “the rest” but also those of “high” and “low,” leading to a re-evaluation of public culture. In this review, we pursue the influence of changing theories of art and engagements with what had been noncanonical art in the mainstream art world, tracing multiple intersections between art and anthropology in the contemporary moment.
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Voskresenskaya, V. V. "Symbolism in Russian Painting of the Early 20th Century: the Vitality of Plastic Expressiveness." Art & Culture Studies, no. 4 (December 2022): 108–39. http://dx.doi.org/10.51678/2226-0072-2022-4-108-139.
Full textAbstract:
The purpose of the article is to reveal the understanding of vitality as the intensity of innovative plastic expressiveness in Russian painting of the early 20th century. It was in that period, since the turn of the 20th century, that the means of artistic expression and the tasks of art were changing fundamentally, which had a great impact on the future development of art. This study, based on the relevant theoretical and methodological perspective of the material already explored, allows identifying the conceptual aspects of Russian artistic culture of the indicated period and outline further area of scientific research. The author proceeds from the belief that vitality is an innovative vital capacity of art that is expressed in the strain of the artist’s creative energy embodied in the plastic expressiveness of the work. The appeal of a number of Russian painters of the early 20th century in line with symbolism to the innovative aspects of the plastic thinking and the consistent fixation of plastic innovations reveal this provision, demonstrating the uniqueness of Russian art in the world artistic culture of the epoch. In this context, it is important to foreground both the recognized achievements of such masters as M. Vrubel or V. BorisovMusatov and the early period of creativity of N. Roerich, K. Bogaevsky, p. Kuznetsov, M. Saryan or K. Malevich. The research problem determines a complex approach, which involves the combination of historical, cultural, chronological, and comparative methods and the formal-stylistic analysis. One of the most important results of the study is the identification of the significance of vitality as innovative plastic expressiveness for the evolution of art of the Modern times.
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Geba, Maria, Lacramioara Stratulat, Nicoleta Vornicu, Daniela Salajan, and Mihaela M. Manea. "Research on the Chromatic Palette of a Modern Romanian Painter." Revista de Chimie 68, no. 3 (April 15, 2017): 447–52. http://dx.doi.org/10.37358/rc.17.3.5476.
Full textAbstract:
The paper focuses on two works of art, Chrysanthemums and Roses, painted by Stefan Luchian, a representative painter for the modern Romanian art from the beginning of the 20th century. The two paintings were analyzed by several non-invasive techniques (optical microscopy, grazing light and UV examination, IR reflectography, XRF and Raman spectrometry) in order to get information concerning the chromatic and to assess the state of conservation. The study is focused in particular on yellow, red and white pigments, which are different in the two pictorial compositions: in Chrysanthemums the predominant pigments are Madder lake, cadmium yellow and zinc white mixed with lead white, while in Roses cinnabar, strontium yellow and lead white were found, according to the XRF and Raman analysis.