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Journal articles on the topic 'Artists' House'
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1
Stone, Lisa. "Playing House/Museum." Public Historian 37, no. 2 (2015): 27–41. http://dx.doi.org/10.1525/tph.2015.37.2.27.
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What happens when a historic house museum is owned and operated by an art school, much of the work is done by students, and it is used as a stage for contemporary practices and experimentation? The Roger Brown Study Collection, an instructional resource of the School of the Art Institute of Chicago (SAIC), has operated as an “artists’ museum” for the SAIC community and the public since 1997. Our project has been to rewrite the rules of playing house/museum, to allow the histories of a nineteenth-century building and a twentieth-century artist to perform fully in the twenty-first century.
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Fomin, Dmitriy V. "V.M. Konashevich and the Publishing House “Academia”." Bibliography and Bibliology, no. 2 (May 14, 2024): 129–46. http://dx.doi.org/10.25281/2411-2305-2024-2-129-146.
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There are a number of publications dedicated to the legendary publishing house “Academia”, but its history has not been studied enough yet. In particular, it is necessary to dwell in detail on the work of artists who have created authentic masterpieces, currently recognized as examples of the art of the book. With the help of a complex of book-based, art-historical, source-based methods, the article examines editions of classical works of foreign literature, commissioned by “Academia” by the outstanding domestic graphic artist V.M. Konashevich (1888—1963). Although some of them have already been analyzed to one degree or another, a new look at the evolution of his artistic views is proposed. The purpose of the article is to trace how V.M. Konashevichʼs works relate to the general design concept of the publishing house, what role cooperation with “Academia” played in the artistʼs creative biography. The books of the 1930s, previously bypassed, are characterized in the most detail.
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Hendrix, Harald. "The early musealization of writers’ and artists’ houses through guidebooks." Nordisk Museologi 28, no. 1 (2020): 8. http://dx.doi.org/10.5617/nm.7962.
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Writers’ and artists’ residences developed into museums only at the end of the eighteenth and beginning of the nineteenth centuries, when houses inhabited by Walpole, Rousseau and Petrarch as well as Canova’s birthplace were turned into tourist destinations. This shift is apparent in the guidebooks to these mansions published in the decades between 1780 and 1840. In examining such booklets, this article highlights the long-term transformations of the phenomenon of the writers’ and artists’ house, and particularly the changing interaction of curators and visitors these texts allow to identify. In order to investigate this evolution in museological communication, this essay discusses the guidebooks to Horace Walpole’s Twickenham villa (1784), Petrarch’s country house in Arquà close to Padua (1797 and 1830), the villa and gardens designed by Melchiorre Cesarotti in Selvazzano also close to Padua (1810), Jean-Jacques Rousseau’s “Les Charmettes” near Chambéry (1811) and Canova’s studio/residence/museum in Possagno (1837).
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Bloch, Maurice. "Different types of creativity on the two sides of shutters." Creativity, Cognition and Material Culture 22, no. 1 (2014): 109–23. http://dx.doi.org/10.1075/pc.22.1.06blo.
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A charitable sale housed in the Paris showrooms of Christie’s displayed works created by European artists. These were painted over or on the backs of specially commissioned carved house shutters typical of the Zafimaniry region of Madagascar. The present article considers and contrasts the two types of creativity juxtaposed at the Christie’s sale. The European work stresses the artist’s individual originality and social isolation from the everyday lives of those who come to admire or buy the works. The process of the art’s production ends abruptly at the moment of exhibition and sale. In contrast, the work of the Malagasy carvers is contained within a general concern of continuing the life and growth of their families. Their art intends to harden and beautify the houses that represent the continuation of the families’ life. There is no disconnection between the carver and those who will see and use the shutters similar to that of the European artists, and there is no clear beginning or end to the process of creation similar to the point of exhibition and sale. The Malagasy carvers do not want to be different from their predecessors; they want to continue the work and lives of those they are in contact with.
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Ustinov, A. B., and I. E. Loshchilov. "Nikolai Zabolotsky and His Artists." Studies in Theory of Literary Plot and Narratology 15, no. 1 (2020): 260–90. http://dx.doi.org/10.25205/2410-7883-2020-1-260-290.
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The essay reconstructs the history of Nikolai Zabolotsky’s relations with artists, starting with his debut book of poems “The Pillars,” published in February 1929 and throughout the 1930s. Zabolotsky can be considered an artist both in a broad (an artist as a creator) and in a professional sense: before “The Pillars,” he attended Pavel Filonov’s workshop, created some drawings, and designed his handwritten books using the technique of Filonov’s “analytical art.” He included some of these calligraphic manuscripts in his collection “Ararat” (1928). He also painted the cover putting in the center of the composition an image of a spread skin, borrowed from Vera Ermolaeva’s illustrations for his children’s book “Good Boots” (1928). The same year Zabolotsky was asked to prepare a collection of his poems for the “Publishing House of Writers in Leningrad.” He asked another artist Lev Yudin (1903–1941), who collaborated with Kazimir Malevich in Ginkhuk, to make a cover for “The Pillars.” However, the publishing house went with a different design, and Yudin’s cover was lost. He also worked on the design of Zabolotsky’s book “The Circus,” which he envisioned as a livre d’artiste, as well as on illustrations for a never published story “The Indians” (1929). Vera Ermolaeva (1893–1937) made her own cover for “The Pillars” a study of which is preserved in the Russian Museum. She also collaborated with Yudin on drawing a poster for the famous OBERIU performance “Three Left Hours,” held on January 24, 1928, at the Leningrad Press House. Her remarkable cover for “The Pillars” is discussed here in connection with the poems, selected by Zabolotsky for his first book. His creative collaboration with the artists found its realization in the field of children’s literature, primarily in the famous magazines “Hedgehog” and “Siskin,” published under the editorial supervision of Samuil Marshak. The publication of Zabolotsky’s “The Tale of the Crooked Man” (1933) in “Siskin” magazine is of particular interest. The poem was illuminated by Pavel Kondratiev (1902–1985), who also attended Filonov’s workshop, and depicted the poet together with his son Nikita in one of his illustrations.
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Ilhan, Ayse Cakir. "Artists participating in the 15th Istanbul biennial in Turkey." New Trends and Issues Proceedings on Humanities and Social Sciences 5, no. 6 (2018): 106–13. http://dx.doi.org/10.18844/prosoc.v5i6.3846.
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The Istanbul Foundation for Culture and Arts has been organising the Istanbul Biennial since 1987. The biennial aims to create a meeting point in İstanbul in the field of visual arts between artists from diverse cultures and the audience. The 14 biennials that İKSV has organised up to now have enabled the formation of an international cultural network between local and international art circles, artists, curators and art critics by bringing together new trends in contemporary art every 2 years. Curated by the artist duo Elmgreen and Dragset, the Istanbul Biennial exhibited works by 56 artists from 32 countries which discuss the concepts of house, neighborhood and belonging under the title ‘a good neighbour’. The works of the nine Turkish artists participated in the 15th Istanbul Biennial are included in this review. A descriptive study in the screening model, the data of the report, was obtained by scanning the source.Keywords: 15th Istanbul Biennial, Turkey artists.
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Stam, Deirdre C. "Artists and art libraries." Art Libraries Journal 20, no. 2 (1995): 21–24. http://dx.doi.org/10.1017/s0307472200009329.
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Asked about how artists use libraries, art librarians confirm that artists gather ideas from a wide spectrum of subjects and sources, beyond the scope of the art library; they also need images and other, specific, information which art libraries often can supply. Their approach is typically exploratory and intuitive; they are compulsive browsers, but are likely to be impatient of catalogs and only occasional users of standard references tools. They expect a lot of help from specialist librarians. Art libraries serving artists generally provide access to a wide range of images, and invariably house their collections on open stacks. Photocopying, including color copying, is an essential service, and other visual and ‘studio’ facilities may also be provided. As more and more visual and other relevant information is made available through electronic networks, art libraries can provide artists with assisted, convenient access to it.
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McGoldrick, Rosemarie. "Artist Ethics and Art’s Audience: Mus Musculus and a Dry-Roasted Peanut." Arts 12, no. 4 (2023): 174. http://dx.doi.org/10.3390/arts12040174.
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The museum’s instrumentalisation of contemporary art as a visitor attraction has come to mean that any use of live animals in art now must participate in and acknowledge the politics of spectacle, which for other animals means the optics of the zoo or the circus. At the same time, established social media can now deliver mass criticism of an artwork, requiring artists to learn how to manage reputation as a matter of professional art practice. In this article, I examine art’s changing ethics by working from a dilemma I faced recently as an artist over a simple 30-s video I had made featuring a wild house mouse that I had trained between COVID-19 lockdowns to take food from my shoe. Subsequently, I decided not to exhibit, publish or broadcast that video. I argue that it is the digital—its exposure of the micro-issue, its close focus on the individual case, its onus on linguistic precision and its diligent proofing and testing of arguments large or small—that now transforms the work the artwork does. This may now push artists into a much wider range of ethical decision-making about artworks to arrive at the artist’s regular mode of reflection and evaluation via a level of hyper detail and super nuance that, historically, artists of no particular celebrity have had little or no reason to engage with before.
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Gellman, Philippe. "Blockchain: The New Art House." ITNOW 63, no. 3 (2021): 18–19. http://dx.doi.org/10.1093/itnow/bwab070.
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Abstract NFTs (Non-fungible tokens) have been thrust into the spotlight as companies, people and artists seek to monetise creations, from artworks to tweets. Philippe Gellman, co-founder and CEO of Arteïa, talks to Johanna Hamilton about his creation of ‘the first Digital Catalogue Raisonné supported by blockchain’ and how cutting-edge tech is changing the art world.
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Nesterenko, Petro. "PUBLISHING SIGN OF UKRAINE OF THE SECOND HALF OF XX – BEGINNING OF XXI CENTURY: TRANSFORMATION IN TIME." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 28 (December 15, 2019): 116–23. http://dx.doi.org/10.33838/naoma.28.2019.116-123.
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Annotation. The article analyzes the little-studied art of the Ukrainian publishing sign, which has a history of almost fifty years and is well known for its highly artistic works. An excursion into the past of the Ukrainian publishing label has been made, collecting documents scattered across various sources of reports on samples of the publishing labels, both known and in the vast majority of unknown authors, and we pay tribute to this important cultural heritage that has developed in the course of the European process. The publishing signs of the second half of XX – beginning of XXI centuries are described and their artistic features are analyzed. The art of the Ukrainian emblem, especially in the last century, has not been practically studied. Probably, the topic is considered too small to draw enough attention. Turning pages of the book, few people pay atten- tion to the publishing house, thanks to which we have the happy opportunity to hold it. The artistic decision of modern publishing signs, which often quite often has a small font character, is not striking. They are created mainly by artists, editorial staff, without paying much attention to this process. However, there are times when they turn out to be the work of talented young artists who, over time, become famous. For example, the well-known art publishing signs for the leading Kiev publishing houses "Art" (artist V. E. Perevalsky) and "Rainbow" (artist O. I. Gubarev), created at that time by young graphic artists, who are now well-known folk artists of Ukraine. However, the art of the sign is an important component of book graphics, it does not lose its relevance at a new stage of society and deserves in-depth study.
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Ain, Hurmat, and Pam Hall. "Pam Hall as House: A Conversation." Canadian Theatre Review 191 (August 1, 2022): 46–53. http://dx.doi.org/10.3138/ctr.191.007.
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This conversation between artists Pam Hall and Hurmat Ain, which took place in December 2021, is framed within a ‘house’ as a metaphor and a verb, in response to Pam Hall’s work. Hall’s practice is a way of life and houses many lives within itself. The following conversation gives insight into Pam Hall’s practice around women’s labour, everyday life, domesticity, and performance of living. It would not be possible to speak of Hall’s many years of artistic production in a few hours, yet this interview is an attempt to capture a fraction of that vast practice, or prayer, as Hall often refers to it. The reader is being invited on a walk with Hall through an imagined house, in the hope that this exercise provides context for witnessing a specific stream of her works and thoughts around performing house/housing.
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Zanuar, Seri Nurul Syuhada, and Khairunnisa Diyana Md Noor. "Social Media's Effectiveness for Malaysia's Independent Artists." Environment-Behaviour Proceedings Journal 7, SI9 (2022): 9–14. http://dx.doi.org/10.21834/ebpj.v7isi9.3928.
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Social media has played a crucial role for artists to market and promote their artwork. They have increasingly used Instagram, Facebook, YouTube, and Twitter. This study focuses on three elements which are to investigate which platform of social media that been used the most for the artists to market their products and service, to study impacts of the social media on their marketing strategies, and to find out how the artistes manage their social media and identifying on how the artistes maintain their fan interest towards their works. Keywords: social media, technology, internet, social networks eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by E-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer-review under responsibility of AMER (Association of Malaysian Environment-Behavior Researchers), ABRA (Association of Behavioral Researchers on Asians), and cE-Bs (Centre for Environment-Behavior Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI9.3928
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Phillips, Tom. "Artists on Libraries 1:." Art Libraries Journal 11, no. 3 (1986): 9–10. http://dx.doi.org/10.1017/s0307472200004703.
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I love the word ‘library’ and feel sorry for the French who wasted their equivalent on a mere stationery shop and cornered themselves into using the nobly historical yet somewhat dry term ‘bibliothéque’. I feel that my own books make up a library but would scarcely constitute a bibliothéque.I am temporarily separated from the bulk of my books and thus more keenly aware than ever of their importance to me. It is not only the contents that I miss but the visible presence of them. I can picture the shelves and the configurations of buckrams and dust-jackets: in my mind’s eye particular books can be located. I see Bergson’s Creative Evolution there next to Wittgenstein’s Tractatus. Shall I ever read it again? I doubt it; yet the sight of it, austere on its appropriate shelf reminds me that in some sense what lies within its covers is also to be found within my head, although I cannot quote a word of it. Books do furnish a mind. The visual array of them is a house of memory in the form of a mnemonic of evocative spines.
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Kontula-Webb, Sani Aleksandra. "Portraits of Nikolas II by Finnish Artist Albert Edelfelt (To the History of Russia and Finland Cultural Links )." Observatory of Culture, no. 5 (October 28, 2014): 79–83. http://dx.doi.org/10.25281/2072-3156-2014-0-5-79-83.
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Deals with the relations to Russia of the Finnish artist Albert Edelfelt (1854-1905). He was one of the most prominent artists of Finland whose talent was well known also abroad. He became popular among the high society of Europe as a portraitist and made a remarkable career in the house of the Russian Tsars. This article is also devoted to his connections with Russia and especially to his portraits of Nikolas II. The fragments of letters written by the artist and translated by the author into Russian are cited in the article.
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Felix, John. "Analisa Semiotik Terhadap Ragam Hias Rumah di Daerah Between Two Gates, Kampung Alun-Alun, Kotagede." Business Economic, Communication, and Social Sciences (BECOSS) Journal 2, no. 1 (2020): 9–17. http://dx.doi.org/10.21512/becossjournal.v2i1.6072.
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Indonesia consists of diverse cultures that have interesting backgrounds. One of them is Javanese culture which until now can be seen through one of them is decorative ornaments from several old houses in the Kotagede area of Jogjakarta. Traditional artists express aesthetic values and communicate messages through the design of house ornaments. This research attempts to read the message implied through home decoration in Kotagede, Jogjakarta with the semiotic method. When traditional artists make decorative ornaments, it seems he is giving a message through visual images or carving. This message seems to originate from their view of life as a result of their interaction with the environment which gives them a way to not only survive but also develop.
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Broadhead, Samantha. "The Artists’ House: The recontextualized art practices of British postgraduate students in conversation with Italian amateur artists." Art, Design & Communication in Higher Education 18, no. 1 (2019): 51–65. http://dx.doi.org/10.1386/adch.18.1.51_1.
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Mochalsky, N. A. "ARTIST DMITRY MOCHALSKY AND HIS WORKS." Arts education and science 1, no. 2 (2020): 103–12. http://dx.doi.org/10.36871/hon.202002013.
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"Girlfriends", "Virgin Soil Newlyweds", "A Protracted Explanation", "New Settlers. From a Tent to a New House", "Day off", "Tractor Tent" — these and other works were created by the artist Dmitry Mochalsky during the thaw era, his small genre compositions of the war years were continued in the whole cycle of works "People of Virgin Lands". This stage in the artist's work is characterized by a free manner of painting, the discovery and revival of the traditions of color, coming from the masters of the beginning of the century. The main direction in the works of artists of the 1908s–1988s was the image of the simple man, in contrast to the heroic canvases of the "cult of personality" period, this was facilitated by the weakening of censorship and condemnation of many previous negative trends in art.
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Nesterenko, Petro. "AN IMMORTAL POEM IN THE WORKS OF UKRAINIAN ARTISTS." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 30 (December 9, 2021): 83–91. http://dx.doi.org/10.33838/naoma.30.2021.83-91.
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Abstract. For the first time, the article highlights the continued interest of researchers and artists in the memorial of ancient Russian literature of the end of the 12th century, "The Tale of Igor’s Campaign" at the present stage. The peculiarities of the decoration of editions dedicated to the poem performed by domestic artists in the second half of XX — beginning of XXI centuries are investigated. The pearl of ancient Russian literature of the end of the XII century, «The Tale of Igor’s Campaign» does not leave many generations of its admirers indifferent. The 200 th anniversary of the release of the monument of Ukrainian culture has passed, and the interest in the «The Tale of Igor’s Campaign» has not subsided. The magic of this work continues to attract new researchers and artists. Anniversary dates helped to increase interest in the landmark. On the occasion of the 150 th anniversary of the first printing of the poem, J. Hnizdovsky in New York illustrated and artfully decorated the anniversary edition. A quarter of a century the design and illustrations for the poem were performed by Kyiv’s I. Selivanov. G. Yakutovich’s editions, created in the Dnipro publishing house as souvenirs, look like real masterpieces. The engravings of G. Yakutovich were already heard in another edition of «The Tale of Igor’s Campaign», which came out of print in the Kiev publishing house Veselka in 2008. In 1989, the publishing house «Soviet School» published a thorough edition of «The Tale of Igor’s Campaign», illustrations, layout and decoration of which were made by V. Lopata, and the editing and notes by O. Mishanych. The artist’s works are multifaceted in composition and imbued with special drama and symbolism with expression. Equally interesting was the 2015 edition, commissioned by the State Committee for Television and Radio Broadcasting of Ukraine under the Ukrainian Book program. Particularly noteworthy are the graphic works by V. Yefimov from Odessa and M. Bondarenko from Sumy region, who embodied their preferences and unique manners in the work on the poem.
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Iwan Shahrom Shah, Muhamad Yusri Shah, Muhamad Khairi Shamsudin, Rahman Amin, and Mohd Farif Ab Jalil. "Influence of Intermedia in Development of Malaysian Art Scene." Environment-Behaviour Proceedings Journal 7, SI9 (2022): 63–68. http://dx.doi.org/10.21834/ebpj.v7isi9.3940.
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Media art has evolved over time. Artists are developing intermedia in their art. It begins in 1950s NYC. The idea of Intermedia has since extended globally. Malaysia's media development is influenced by western Intermedia. Malaysian artists are intermedia experts. This research aims to determine why Malaysian artists use Intermedia and to classify its disciplines. This research was place in studio or online, depending on current conditions. Pandemic, artist demand. This research used library, catalogue, and web sources for data. The data will be analyzed to classify the artists' Intermedia use. Intermedia has diversified into numerous disciplines, and it's still growing. Keywords: Intermedia, Malaysian Art, New media eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by E-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer-review under responsibility of AMER (Association of Malaysian Environment-Behavior Researchers), ABRA (Association of Behavioral Researchers on Asians), and cE-Bs (Centre for Environment-Behavior Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI9.3940
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Afnan, Nooshfar. "Encouragement of the Arts During the Ministry of ‘Abdu’l-Bahá." Journal of Bahá’í Studies 33, no. 1-2 (2023): 71–108. http://dx.doi.org/10.31581/jbs-33.1-2.411(2023).
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This article examines how ‘Abdu’l-Bahá promoted the arts during His ministry, through His encouragement and support of a prominent artist in the early Bahá’í community. Mishkín-Qalam was the first and most celebrated Bahá’í visual artist from the East. Best known for his calligraphic design of the Greatest Name, his life exemplified the “twofold moral purpose”: through his art, he was able to develop his own inherent spiritual potential as well as make lasting contributions to society. ‘Abdu’l-Bahá employed his artisticskill in service to some of the most important achievements of His ministry: the interment of the remains of the Báb, the construction of the first Bahá’í House of Worship, and the transcription of Bahá’í literature. ‘Abdu’l-Bahá’s encouragement might serve as an emerging model for individuals, communities, and institutions of how to engage with artists and the arts, while Mishkín-Qalam’s response stands as an example to artists of how the pursuit of spiritual virtue and excellence in one’s craft can intertwine.
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Tambling, Pauline. "Opera, education and the role of arts organisations." British Journal of Music Education 16, no. 2 (1999): 139–56. http://dx.doi.org/10.1017/s0265051799000236.
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This article describes three projects organised by the Royal Opera House Education Department between 1985 and 1997. Following the descriptions each project is analysed in terms of students, artists and teachers with a view to placing the work within an overall conceptual framework suggesting that arts education provides an interface between the professional work of artists and educational settings. It proposes that arts education can be most effective when students are encouraged to see themselves ‘as artists’ and by creating their own work they can then engage with the work of other artists, both living and from other generations.
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Poleshchuk, A. A. "Smart Book is not a Fiction." Bibliotekovedenie [Library and Information Science (Russia)], no. 1 (February 28, 2014): 128–29. http://dx.doi.org/10.25281/0869-608x-2014-0-1-128-129.
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Levin, Erica. "American as Apple Pie." Camera Obscura: Feminism, Culture, and Media Studies 36, no. 2 (2021): 145–49. http://dx.doi.org/10.1215/02705346-9052872.
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Abstract This brief tribute to Carolee Schneemann examines her self-conception as an American artist, considering how it intersects with the disruptive performance of gender norms in Americana I Ching Apple Pie (1972). The work was originally staged for the camera in Schneemann's London kitchen in 1972, during a period in which the artist was living in voluntary exile. She published a performance score for the piece in her artist's book Parts of a Body House (1972) and reprinted it in Cezanne She Was a Great Painter (1974–75). This essay reads Americana I Ching Apple Pie as an unruly reenactment of the highly gendered role that the filmmaker Stan Brakhage cast Schneemann to play in his short experimental film Cat's Cradle (1959). It considers the way she understood home and homeland as two interlocking fronts in the ongoing battle over how gender is encoded and enacted. It concludes by briefly considering the reception of Schneemann's work by a younger generation of artists, including Sondra Perry, who staged an homage to Americana I Ching Apple Pie in 2015.
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WHARTON, ANNABEL. "Doll's House/Dollhouse: Models and Agency." Journal of American Studies 53, no. 1 (2017): 28–56. http://dx.doi.org/10.1017/s0021875817000895.
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Models – economic, mathematical, toys, manikins – are ubiquitous. This article probes one model, the Stettheimer doll's house, in order to understand all models better. The Stettheimers, three wealthy unmarried sisters living in New York in the early the twentieth century, attracted a remarkable melange of Camp artists and writers, identified by Arthur Danto as “the American Bloomsbury.” The Stettheimers were involved in many of New York's happenings, including the Harlem Renaissance and the innovative stage productions of Gertrude Stein. Androgyny, excess, racial mixing and theatricality flourished in the Stettheimer milieu. Carrie Stettheimer's doll's house, now housed in the Museum of the City of New York, captured this life. I consider this model for two related purposes. First, and more narrowly, I document the various effects this eccentric doll's house had on the artistic production of those in its vicinity, most notably on the novels of her sister Ettie and on the paintings both of her sister Florine and Marcel Duchamp. Second, I use the evidence of the doll's house's affect to discuss the agency of models in general.
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Saskara, I. Putu Adi, I. Gusti Ayu Jatiana Manik Wedanti, and Ida Bagus Komang Sindu Putra. "USE OF PAINTING SALES WEBSITE AS A MARKETING COMMUNICATION MEDIA IN TAKMUNG VILLAGE, BANJARANGKAN SUB-DISTRICT, KLUNGKUNG DISTRICT." Widya Duta Jurnal Ilmiah Ilmu Agama dan Ilmu Sosial Budaya 18, no. 1 (2023): 47–58. http://dx.doi.org/10.25078/wd.v18i1.2009.
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Takmung village is one of several in the Klungkung area. Takmung Village has a popular tourist destination known as "Nyoman Gunarsa Classical Painting Museum," which is famous for its paintings. However, Takmung Village itself is less known to the public as a village of artists. In contrast to Kamasan Village, Takmung Village's artists are much less known, and many of them do not have their stalls or time to sell their artworks. The use of websites comes in handy in this problem, which helps artists to advertise their services and sell their artwork online. Aside from providing information and selling its products, a website works as an indirect representation of its professionalism and legitimacy. In addition to the local artist, it helps introduce other artists. Therefore, by utilizing the art on this website, artists from various parts of the Klungkung district can also become famous. This study created the Griya Art House, an art gallery, implementing the Research and Development methodology as its foundation. Data Flow Diagrams and Entity Relationship Diagrams are used in this study's website creation procedure. The final result of this study stated that the effectiveness of the sales website on the purchasing power of paintings was demonstrated to be effective with a total of three product purchases. The creation of this website is expected to be able to contribute to the community in Takmung Village, Banjarangkan District, Klungkung Regency, especially artists as assistance in the form of website applications that are applied in marketing their work.
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Vostrikova, Ekaterina. "THE НWAJOHWA GENRE (BIRD-AND-FLOWER PAINTING)IN KOREAN TRADITIONAL PAINTING OF THE LATE CHOSŎN PERIOD (18th - EARLY 20th CENTURIES)". Scientific and analytical journal Burganov House. The space of culture 17, № 3 (2021): 31–49. http://dx.doi.org/10.36340/2071-6818-2021-17-3-31-49.
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This article is devoted to the hwajohwa artistic genre (bird-and-flower painting) of the late Chosŏn period (18th - early 20th centuries). The study identifies the historical and cultural context and traces the stylistic evolution of the bird-andflower genre. The national features inherent in Korean hwajohwa painting, as well as the influence of traditional Chinese styles and Western European painting techniques on the bird-and-flower genre, are noted. The author outlines the leading artists working in this genre. In the 18th century, the bird-and-flower painting in Korea underwent a significant transformation. The work of professional artists Chŏng Sŏn and Pyŏn Sangbyŏk presents a new realistic approach to hwajohwa painting. Artists began to carefully observe the structural characteristics of the depicted objects of wildlife. Also, artist Sim Sajŏng was a recognised master of the bird-and-flower genre. His work was based on the Chinese “southern school” pictorial principles and aesthetics, the influence of which was strong in Korea. Kim Hondo, the leading artist of the late Chosŏn period, actively used traditional landscape as a background for his works with flowers and birds. However, in depicting living creatures, he did not use formal templates, painting birds in realistic nature scenes. Kim Hondo contributed significantly to the development of Korean traditional painting and the hwajohwa genre. The popularity of the bird-and-flower genre in the late Chosŏn period is mainly due to economic growth and the improvement in the welfare of ordinary people. Most of the works of this genre were created by artists from the people. The works were examples of the so-called minhwa folk painting, which developed in accordance with the requests of a new customer, a native of the lower and middle classes. Such works combined auspicious symbols and were the embodiment of the highest harmony of nature. However, they also began to be used simply to decorate the house. In the hwajohwa painting of the 19th century, a new approach to the depiction of an artist’s personal experiences was reflected; such trends were mixed with the traditional “painting of ideas”. The birdand-flower genre acquired a free style and conveyed fresh aesthetic feelings under the influence of the work of artist Chang Sŭngŏp, whose pictorial approaches were continued and developed by masters at the very end of the Chosŏn era.
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Zakaria, Salehuddin, Rafeah Legino, and Mohammad Kamal Abdul Aziz. "The Concept of National Identity in the Artwork of Female Artists in Malaysia." Environment-Behaviour Proceedings Journal 7, SI8 (2022): 81–85. http://dx.doi.org/10.21834/ebpj.v7isi8.3918.
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This study examines the national identity elements of the Fatimah Chik and Khatijah Sanusi artworks, which begins with the examination of relevant material, including examples of national identity-related works and visual data on the results of Malaysian female artists obtained through digital photographs and records. Identifying and recognising national identity in Malaysian female artists' works is categorised by the artwork's profile. The artwork's focus and criteria will be mapped with the inquiry of the National Cultural Congress's study (NCC). Women's attitudes in art production reflect national identity in female artists' artworks that emphasise culture, family, and accuracy. Keywords: Artworks, Female artist, National identity, Malaysia eISSN: 2398-4287 © 2019. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI8.3918
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Stahl, Joan. "LIFELINES: ARTWORK & POETRY BY THE ARTISTS OF HOSPITALITY HOUSE. Sharon Tanenbaum." Art Documentation: Journal of the Art Libraries Society of North America 11, no. 2 (1992): 111. http://dx.doi.org/10.1086/adx.11.2.27948447.
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Satbai, T. Y., and K. M. Ilyassova. "The financial situation of creative unions of Kazakhstan in the post-war years." BULLETIN of L.N. Gumilyov Eurasian National University. HISTORICAL SCIENCES. PHILOSOPHY. RELIGION Series 130, no. 1 (2020): 64–74. http://dx.doi.org/10.32523/2616-7255-2020-130-1-64-74.
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The article discusses the socio-material situation of the artistic intelligentsia and creative unions of Kazakhstan in the post-war years. The most active of the creative unions was the Union of Writers of the country, which did not have their own premises, not to mention the rest of the creative associations. The building of the Writers ‘Union, consisting of five or six small rooms, housed five blocks: two magazines, a literary fund, a copyright office, and all departments of the Writers’ Union. Even in the fiftieth, this issue was acute on the agenda. And the Union of Composers did not even have such premises. The house of composers was built only in 1969. This circumstance was also characteristic of the Union of Architects, Filmmakers, Journalists and Artists. The difficult social and material situation of the artistic intelligentsia of Kazakhstan was due to the lack of independent publishing houses, their own printing houses and a fair assessment of the work of the artistic intelligentsia. And also, it is shown the role of other factors affecting the socio-material status of the artistic intelligentsia.
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Anak Michael, Valerie, Khairul Aidil Azlin Abd Rahman, Shureen Faris Abdul Shukor, and Noor Azizi Mohd Ali. "Artistic Knowledge and Practices of Hybrid Art based on the Analysis of Malaysian Artists’ Artworks." Environment-Behaviour Proceedings Journal 5, SI1 (2020): 111–17. http://dx.doi.org/10.21834/ebpj.v5isi1.2305.
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The objective of this paper is to identify the artistic knowledge and practices of hybrid art among Malaysian artist’s artworks. The purpose is to analyze the artistic knowledge through Malaysian artist’s artworks. Ten selected artworks from the multidisciplinary artists had been choose. The researchers applied observation method to select the artworks that have the element of hybrid art and Kawakita Jiro method for the purpose of clustering the attributes for the artistic knowledge and practices of hybrid art. The finding shows that the advancement of technology, and freedom in exploring the material have affected the creation of hybrid artworks production. Keywords: Artists’ practices, Hybrid art practice, integration, cross disciplines. eISSN: 2398-4287 © 2020. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v5iSI1.2305
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Fraser, Benjamin. "Las ciudades que somos (‘The cities we are’): A review of three Latin American comics by women creators." Journal of Urban Cultural Studies 9, no. 2 (2022): 285–94. http://dx.doi.org/10.1386/jucs_00059_1.
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This short-form article reviews three texts by women comics artists published with publishing house Sexto Piso. María Luque’s graphic novel, titled Casa transparente (‘Transparent house’) (2017), won the first Premio Novela Gráfica Ciudades Iberoamericanas (Ibero-American Cities Graphic Novel Prize) and captures her travels to Bariloche, Rosario, Buenos Aires, Cusco and Mexico City. The volume Las ciudades que somos (‘The cities we are’) (2018), authored by Chicks on Comics, won the second Premio Novela Gráfica Ciudades Iberoamericanas (Ibero-American Cities Graphic Novel Prize). It contains comics in Spanish by an international collective of seven creators from Argentina, Colombia, Holland, Latvia and Singapore (Bas, Caro Chinaski, Clara Lagos, Delius, Power Paola, Weng Pixin and Zane Zlemeša). The third text discussed is Power Paola’s graphic novel Virus tropical (2018), a Künstlerroman or autobiographical portrait of the artist covering her adolescence and family connections to both Ecuador and Colombia.
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Fomin, Dmitry V. "Methods of Graphic Design of the Collected Editions: from the Experience of Soviet Artists of the 1920s." Bibliotekovedenie [Library and Information Science (Russia)] 67, no. 6 (2018): 645–54. http://dx.doi.org/10.25281/0869-608x-2018-67-6-645-654.
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For the first time, there is presented the comprehensive analysis of the works of Soviet artists of book of the second half of the 1920s, engaged in the book design of the collected works. The flood of the book market with multi-volumes of fiction can be considered a kind of revenge of “big forms”, reaction to the previous stage of book culture, where brochure played the leading role. In the second half of the 1920s, the collected works were most often published in soft-covers. Each volume could be issued as a separate book, strikingly different from the other volumes. This gave the artists a certain freedom of manoeuvre and allowed to break the ingrained stereotypes. There was widely used a spectacular technique: the cover drawing was the same for all volumes, but the colouring of each volume varied.The aim of the article is to expand the established ideas about the book design of the 1920s, to consider and introduce into scientific circulation the forgotten works of known artists. The author carried out the comparative analysis of the multi-volumes issued by the leading publishing houses of those years, using the complex of complementary methods: bibliological, art historical and general historical.Gosizdat was the undisputed leader in the quantitative indicators of publications of the collected works, but its artistic policy in that area was characterized by old-fashioned conservatism tended to minimize the visual elements. The famous publishing house “Academia” in those years published the collected works quite rarely, but enriched the art of book with graphic cycles of such outstanding masters as V.A. Favorsky and N.P. Akimov. The book designers of the publishing house “Zemlya i Fabrika” were particularly successful and consistent in updating the appearance of the collected works: their works had a broad stylistic range and tendency to experiment. Creative search of artists of the 1920s deserves the attention of book historians, designers, illustrators, publishers, because it can give them productive creative ideas.
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Pertiwi, Aula Sekar Arum, Damayanti Asikin, and Lisa Dwi Wulandari. "Tipologi Ruang Rumah Usaha Pengrajin Kain Sasirangan." Review of Urbanism and Architectural Studies 21, no. 2 (2023): 11–20. http://dx.doi.org/10.21776/ub.ruas.2023.021.02.2.
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Sasirangan fabric artisans carry out the production process in their respective houses. The house not only functions as a living space but also as a production space. Sasirangan fabric is a typical craft from Sasirangan Village, Banjarmasin, which is a source of livelihood for the community. The local government has designated Sasirangan Village as a riverfront area so that the existence and uniqueness of artisans's houses are in danger of being lost. The purpose of this case study research on the spatial typology of artists' business houses is to identify the different types of business houses based on the stage of production and space utilization patterns. The analysis was conducted by arranging categories based on function, spatial relationship patterns, and spatial organization. The research results show that six spatial typologies of business houses were found based on their space utilization patterns.
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Kotuła, Dominika. "The Fall of the House of Users. The Bread Resolution’s Narrative Shifts." Tekstualia 1, no. 4 (2018): 109–24. http://dx.doi.org/10.5604/01.3001.0013.5155.
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The article concerns an evolution of interests and views of the members of the Bread Resolution Publishing Hub. The Hub was a Polish online publishing collective, created by Leszek Onak, Piotr Puldzian Płucienniczak and Łukasz Podgórni, which existed from 2011 to 2018. This text traces and analyses the ways in which artistic representations of their ideas and opinions evolved in the light of contemporary theories related to electronic literature. First, the article describes the artists’ initial fascination with the seemingly endless possibilities offered by electronic literature and the Internet, which the Hub’s authors saw as potential sources of a perceptional revolution. Then, an important narrative shift is distinguished – the second part of the text is devoted to the turning point which significantly changed the Bread Resolution’s message. Following this the artists have started to find inspiration in the feeling of being entangled in the socio-economic reality of Poland.
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Lyubchenko, Irina. "What is Art?" Interactive Film & Media Journal 2, no. 3 (2022): 174–90. http://dx.doi.org/10.32920/ifmj.v2i3.1532.
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This paper investigates non-fungible tokens, or NFTs, and examines their place within art historical canon. Crypto-art and crypto-collectibles have flooded digital markets, offering unique art. Recently, Beeple’s Everydays—The First 5000 Days, the first digital artwork fitted with a non-fungible token offered by the major auction house Christie’s, sold for $69,346,250 on March 11, 2021. It is the third most expensive artwork sold by a living artist, following Jeff Koon’s sculpture Rabbit (1986) and David Hockney’s painting Portrait of an Artist (Pool with Two Figures) (1972). While Jeff Koons and David Hockney are the artists, whose theoretical perspectives are well known and have a secured place in an art historical canon, Beeple’s work and works of other digital NFT artists have not been fully investigated to be positioned in relation to art history, seemingly existing in a theoretical vacuum. The absence of artistic statements that usually accompany artworks contributes to this effect. Is it possible to think of the 21st century NFT-backed digital artists as the avant-gardes, who, like their 20th -century predecessors, confronted and condemned the art historical tradition? Using the case study of Beeple’s Everydays, this paper proposes an answer to the puzzling question of how a mosaic of everyday sketches produced by “pooping something out in 45 minutes,” using Beeple’s own words, was claimed to be “the next chapter in art history.” Using historical and textual analyses, this essay provides a critical response to the recent digital artworld trends driven by the decentralized networks and currencies existing in fully digital ecosystems.
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Levchenkov, Aleksandr Mihajlovich. "The art of portraiture. Introductory conversation with students." Secreta Artis 5, no. 4 (2023): 53–61. http://dx.doi.org/10.51236/2618-7140-2022-5-4-53-61.
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The author of the article, shares unique materials for teaching portraiture, which are grounded in his family history and include previously unpublished archival documents. They belong to the family of Y. I. Skorikov (1924–1994), Merited Artist of the RSFSR, creative director of Artist House under the Union of Artists located in the city of Goryachy Klyuch, Krasnodar region. There Skorikov read a 300-hour lecture course on the theory of painting and held numerous workshops. Great number of artists from different parts of the USSR had the opportunity to attend these lectures. Owing to Skorikov efforts, Goryachy Klyuch has become a kind of Barbizon for artists of the Kuban region.Artworks produced by the realistic school of painting in the south of Russia are to this day distinguished by its high quality. However, there have not been published any thorough studies devoted to the original theoretical concepts of Y. I. Skorikov, which still have not lost its relevance in this day and age. The present article, therefore, bridges that gap, significantly enriching our perception of the Russian Soviet school of painting in the second half of the 20th century. The artistic principles of Y. I. Skorikov have been successfully applied by the author of the article in his teaching of portraiture at the Sergey Andriaka Academy of Watercolor and Fine Arts. He combines the aforementioned practices and ideas of Skorikov with the knowledge previously obtained at the Ilya Glazunov Russian Academy of Painting, Sculpture and Architecture, in addition to his personal creative and pedagogical experience.
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Gornick, Vivian. "The House of Elder Artists: The Challenge of Making a Daydream into Reality." Women's Review of Books 20, no. 10/11 (2003): 4. http://dx.doi.org/10.2307/4024231.
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Gorce, Jérôme De La. "Jean II Berain's Costume Designs for the Ballet Les Plaisirs de la Paix (1715)." Dance Research 25, no. 2 (2007): 167–87. http://dx.doi.org/10.3366/drs.2007.25.2.167.
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In the late seventeenth century, the Swedish ambassador and architect Nicodemus Tessin the Younger used his sojourn in Paris to frequent the opera house and to build up collections of theatre designs which are now housed in the Nationalmuseum in Stockholm. He developed links with French artists and, in particular, with the Berain dynasty encouraging his son to continue the association. The son eagerly followed his advice compiling an inventory of the theatrical designs which his father had collected, an inventory which serves to identify those costume drawings for the Ballet Les Plaisirs de la Paix (1715) which are analysed in this essay and published here for the first time.
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Akhmedova, Zaripat Abdullaevna. "FEATURES OF THE INDUSTRIAL THEME DEVELOPMENT IN THE CREATIVITY OF DAGESTAN ARTISTS." Herald of the G. Tsadasa Institute of Language, Literature and Art, no. 22 (June 15, 2020): 92–96. http://dx.doi.org/10.31029/vestiyali22/13.
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The author of the article considers the industrial theme as one of the important themes in the genre of house-hold paintings in the visual arts of Dagestan. The analyzed works reveal the peculiarities and diversity in the development of the theme during its formation, and in the post-war period. The scientific turnover includes previously unexplored works, which are of particular interest for a more complete study of genre (household) paintings in Dagestan fine art.
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Platt, Christopher, Alan Pert, and Gordon Murray. "Coastal conditions." Architectural Research Quarterly 15, no. 4 (2011): 312–26. http://dx.doi.org/10.1017/s1359135512000085.
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Houses are fascinating because they seem to occupy a pivotal position in the spectrum of human construction. They are, perhaps, located right on the watershed between what is generally understood as ‘architecture’ and what is considered as just ‘building’. They allow us to probe the very definition of what architecture is perceived to be. Using the typology of the dwelling - and three examples from three architectural practices - we examine differing responses to context, climate and the vernacular, documenting and evaluating commonalities and differentials in design approaches. The examples are a holiday home in Dungeness by NORD, an artists’ residence and studio on Loch Fyne by GMA and a house on the Isle of Lewis by studioKAP.
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Van Minh, Nguyen. "Overview of the history of painting and lacquer art in Vietnam." Arts & Humanities Open Access Journal 5, no. 1 (2023): 47–53. http://dx.doi.org/10.15406/ahoaj.2023.05.00185.
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Traditional Vietnamese lacquer is recognized through professional and historical forms. First of all, decorative painted relics, associated with religious beliefs, have served in spiritual life through worshiping items in pagodas, temples, communal houses, and palaces. Architectural columns and horizontal lacquered board are applied in hammocks, couplets, animism, four holy creatures, flowers of the four seasons, eight precious items of Buddhism, Baguio, palanquin, hammock, long communal house, worshipping paintings, decorative paintings... Especially Vietnamese lacquer painting through actual labor, practical works, research, and application of traditional techniques in the artistic creation of artists, has formed the appearance of traditional Vietnamese lacquer art in the past over the course of more than two thousand years of history.
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Adamiak, Włodzimierz. "The meaning of activities in Okolice Sztuki – much went on at Strych." Acta Universitatis Lodziensis. Folia Litteraria Polonica 58, no. 3 (2020): 261–86. http://dx.doi.org/10.18778/1505-9057.58.15.
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The text is a commentary to the phenomena in Polish modern art in the final years of the 20th century. It constitutes a “first-hand” account by a participant of the events and the host of the location. The location was the author’s private workshop in the attic of a Łódź tenement house in the very centre of the city, in the circles of artists creating situations, meetings, events and objects, which established Kultura Zrzuty [the Whip-round Culture], a phenomenon which described the activities of artists independent of state institutions and officials patrons in the 1980s. The analysis of the events within the area of independent Okolice Sztuki inspired the author to discuss the form of other artists and his own, who created art in Strych [literally: attic] in an unchanging conflict between physical and social existence and freedom in art.
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Juszczyk, Aleksandra. "Wczesny okres twórczości Hanny Żuławskiej. Warszawa–Paryż–Gdynia." Porta Aurea, no. 20 (December 21, 2021): 148–73. http://dx.doi.org/10.26881/porta.2021.20.07.
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Hanna Żuławska (1908–1988) was one of the most prominent artists associated with the Tri -City, and dealing with many fields of art: easel and polychrome painting, architectural mosaic, sgraffito, ceramics and small architecture. Her husband was a painter known on the coast: Jacek Żuławski. She is known primarily for her mature work in the 1950s and 60s; it was then that she showed true individuality. From post - -war times, Żuławska was also teacher and professor at the State Higher School of Fine Arts in Gdańsk and the manager of the Kadyny Ceramics Works. Little, if anything, is known of Hanna Żuławska’s work in the interwar period.
 In 1930–1934, Żuławska studied at the Warsaw School of Fine Arts, among others in the studios of Professors Felicjan Szczęsny Kowarski, Leonard Pękalski and Tadeusz Pruszkowski. It seems that Kowarski’s work in the fields of painting and monumental mosaics had a great influence on Żuławska›s later artistic activity. In the 1930s, Żuławska took part in exhibitions at IPS (Art Propaganda Institute).
 At that time, the artist experienced a period of fascination with the works of the members of the Paris Committee and Pierre Bonnard and Paul Cèzanne, which resulted in the pair of the artists, Hanna and Jacek, leaving for Paris on a scholarship in 1935. In Paris, the artist studied in the painting studio of Józef Pankiewicz, painted still lifes, city views and quite standard landscapes; she also visited museums and led a lively social life. In May 1938, the works of Hanna and five other Polish painters were presented at the prestigious Bernheim Jeune gallery in Paris. The exhibition was well received by critics in Poland.
 Hanna and her husband returned to Poland and settled in Gdynia in the autumn of 1938, where Żuławska established contacts with the artistic community of the city. In 1938, the artists joined the Gdynia branch of the Trade Union of Polish Artists and Designers, and actively participated in its exhibitions until the outbreak of World War II. In recognition of their contribution to the development of art in Gdynia, the Żuławskis also received state orders for a monumental painting decoration of the barracks’ common room at Redłowo, for the creation of paintings for the Chapel of the Hospital of the Sisters of Mercy at Kaszubski Square, and for the polychrome entitled ‘Apotheosis of Gdynia’ in the building of the Government Commissariat (designs not preserved).
 During the Nazi occupation, the Żuławskis were in Warsaw; in November 1944, the artist came to Łańcut near Lublin, where she stayed at an artistic house. In the autumn of 1945, Hanna and Jacek Żuławski together with other residents of the manor house, e.g.: Juliusz Studnicki, Krystyna Łada -Studnicka, Janusz Strzałecki, Józefa and Marian Wnuk, established the State Institute of Fine Arts in Sopot, transformed into the State Higher School of Fine Arts in Gdańsk.
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Ambegaonkar, Jatin P., and Shane V. Caswell. "Development and implementation of an in-house healthcare program for university-level performing artists." Work 40, no. 3 (2011): 261–68. http://dx.doi.org/10.3233/wor-2011-1228.
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Amsterdam, Lauren. "All the Eagles and the Ravens in the House Say Yeah: (Ab)original Hip-Hop, Heritage, and Love." American Indian Culture and Research Journal 37, no. 2 (2013): 53–72. http://dx.doi.org/10.17953/aicr.37.2.ckk76874gj573863.
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This paper explores how hip-hop artists mobilize sound and style to manage loss, build new futures, and create resilient communities. Embracing an "untraditional" medium, young people contest settler violence and hegemonies of shame by expressing unique, politicized possibilities of being Indigenous, or what I am calling (ab)originality: a style of being first, fresh, and foremost. Heritage is an act of reverent rebellion: an individual honors continuity, but defies the trappings of tradition, which shackle Indigeneity to the geography and the customs of the past. Through love and creativity, artists claim visibility, voice, and everywhere.
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Koter, Darja. "The Impact of Russian Emigration on the Ljubljana Opera House between the Two World Wars." Monitor ISH 18, no. 1 (2016): 47–68. http://dx.doi.org/10.33700/1580-7118.18.1.47-68(2016).
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One of the consequences of the socio-political situation in Russia between 1917 and 1921 was the heavy emigration of artists. Some of them sought employment at the Ljubljana and Maribor opera houses, where most of the artists hailed from Belgrade. The article describes the dynamics and extent of Russian emigration as well as the variety of artistic profiles and individuals employed at the Ljubljana Opera, focusing primarily on the opera singers. Although the vast majority worked in Ljubljana only for a season or two, rarely longer, the Russian arrivals played the leading roles in opera performances and made a significant contribution to the Opera’s artistic development. The article suggests further possible studies on the history of performance at the Ljubljana Opera and its dependence on general cultural, and in particular Russian, emigration between the two World Wars.
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U., Nnyagu, Ugwuafia A.O., Onunkwo B.N., and Ike P. "Depravity in Ifeanyi Ajaegbo's Sarah House." International Journal of Literature, Language and Linguistics 6, no. 2 (2023): 102–13. http://dx.doi.org/10.52589/ijlll-ahsgkrue.
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As living conditions in societies get harder on a daily basis with no hope in sight as to the remedies, people in different parts of societies indulge in forms of immoral acts for survival. Young people, against their wishes, are trafficked for the purpose of prostitution and other ignominious reasons. The depravity that societies are thrown into seriously affects their economic and moral development negatively. It is pathetic that mainly, prominent politicians elected into strategic positions abet the immoralities for their selfish reasons. The kingpins of the shady deals see themselves as the owners of the society; hence, they give impetus to their stooges who operate without fear. Concerned creative writers and other artists decry this ugly trend by mirroring the ill activities in their works in a way that the effects on societies are made obvious. This paper thus aims to x-ray the various forms of depravity as mirrored by Ifeanyi Ajaegbo in Sarah House, expose those involved in the nefarious acts and, as well, explore the consequent effects on societies.
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Chivers, Sally. "Reimagining care: images of aging and creativity in House Calls and Year at Sherbrooke." International Journal of Ageing and Later Life 7, no. 2 (2013): 53–71. http://dx.doi.org/10.3384/ijal.1652-8670.1272a3.
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This article looks at the relationship between the esthetic and documentary commentaries offered by two National Film Board of Canada (NFB) productions, chosen because they use the documentary form to interpret aging and care in Canada for Canadians, offering a Canadian example of an issue that is of international importance. The first film, House Calls (Ian McLeod 2004), follows the work of Mark Nowaczynski, a physician who photographs his elderly patients to illustrate their dignity amidst what he perceives to be their fragility and vulnerability. The second, A Year at Sherbrooke (Thomas Hale 2009), follows artists Thelma Pepper and Jeff Nachtigall who work with residents of a Saskatoon long-term care facility - Pepper continues her longer term practice of photographing the residents and Nachtigall takes on a new role of artist-in-residence in which he mentors them in their own creative development. Analyzing the role of photography in each film, the article shows that, together, the films demonstrate that images of aging beyond mere decline may play a role in reimagining how care for older adults takes place.
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Fomin, Dmitriy. "Brothers Grimm’ fairy tales in illustrations by russian artists." Children's Readings: Studies in Children's Literature 19, no. 1 (2021): 235–67. http://dx.doi.org/10.31860/2304-5817-2021-1-19-235-267.
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The article provides a brief overview of the most interesting illustrative cycles of brothers Grimm’ fairy tales, created by Russian artists in the XX and early XXI centuries, and examines different approaches to visual interpretation of German folklore. Although some successful graphic interpretations of Grimm’ subjects began to appear early in post-revolutionary years, for a number of reasons this valuable literary material long remained outside of attention sphere of the most significant artists of children’s books. The period of the second half of the 1970s-1980s became the happiest and most fruitful in the publishing fate of fairy tales, when such remarkable masters as N. I. Zeitlin, E. G. Monin, M. S. Mayofis, G. A. V. Traugot, N. G. Golts, B. A. Diodorov, etc. took up the illustration. The second part of the article compares graphic interpretations of the most famous fairy tales of brothers Grimm: “The pot of porridge”, “The gingerbread house”, “The Bremen town musicians”, “The brave little tailor”. The author traces how the interpretations of textbook subjects change and become more complex over time, and what artistic means prove their relevance.
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Vasilyeva, Nina Mikhailovna. "Participation of Miriskusnik Artists in the Book Projects of the Publisher Z. Grzhebin (1917-1922)." Pan-Art 3, no. 2 (2023): 154–61. http://dx.doi.org/10.30853/pa20230014.
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The paper is devoted to the study of the printed heritage of famous artists belonging to the “Mir iskusstva” (World of Art) society. The research aims to shed light on the history of participation of Miriskusnik artists (members of the “Mir iskusstva” society) in the book projects of the publisher Z. Grzhebin (1917-1922). A new chapter is opened, i.e. the printed works of Miriskusniks in children’s books, a completely new side of activities for graphic artists of the late XIX – early XX century. The paper presents the search in the design and creation of children’s books – richly illustrated books, providing insight into the dramatic plot through drawings, having an educational impact. The research is novel in that it determines various creative search options chosen by Miriskusnik artists when working on illustrations: the predominance of the drawing over the text, change of capital letters and inscriptions, introduction of a jobbing font set, which promoted a new interpretation of book images. As a result, it has been substantiated that the publishing house of Zinovii Isaevich Grzhebin remained a stronghold of high aesthetic taste, compliance with the demands of an intelligent public and a laboratory of creativity for artists and the publisher.