Journal articles on the topic 'Artists in the 21st century'
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Klāsone, Inta, and Solvita Spirģe-Sēne. "Dialogs ar vizuālo mākslu: mākslinieks un mākslas darbs." Sabiedrība un kultūra: rakstu krājums = Society and Culture: conference proceedings, no. XXII (January 6, 2021): 183–91. http://dx.doi.org/10.37384/sk.2020.22.183.
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Nowadays, various forms of visual art have brought closer people’s daily lives to the processes that occur in the society. At the same time, the visually fulfilled environment has created favourable conditions for misunderstanding the contexts and meanings of artworks. This article draws attention to the fact that dialogue with visual art can be an important tool for developing personal values and promoting the spiritual understanding of a cultural environment. The topicality of the issue is supported by the educational trends of the 21st century – to educate comprehensive people who are capable of doing a wide range of tasks, constantly continuing their learning and development. Art plays an initiator’s role in social life and it encompasses all spiritual realms of humanity, which cannot be accomplished by other forms of public consciousness. A work of art can be viewed as a multi-layered expression of thoughts in an artistic form of images and symbols. The artist's work means producing a coded text or message. This article includes insights of scholars and artists developing an understanding of the artist’s work and artworks in a cultural and historical context to enrich the individual's competence base, and examples of the work and beliefs of particular artists of the 21st century.
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PACKER, RANDALL. "The Pavilion: Into the 21st Century: a space for reflection." Organised Sound 9, no. 3 (December 2004): 251–59. http://dx.doi.org/10.1017/s1355771804000445.
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In this paper, I describe the Pavilion: Into the 21st Century project, a multimedia instrument based on the spherical mirror created for the Pepsi Pavilion – a visionary work of art and architecture originally created by E.A.T. (Experiments in Art & Technology) for Expo '70 in Osaka, Japan. The Pavilion is being returned to contemporary artists and audiences in order to extend the experience of the original to the Internet. The project draws from the fundamental notion of interdisciplinary collaboration and social interaction that was integral to the original concept – encouraging a freer, more participatory experience that breaks down the traditional distinction between artist, audience and artwork.
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Ox, Jack. "A 21st-Century Pedagogical Plan for Artists: How Should We Be Training Artists for Today?" Leonardo 43, no. 1 (February 2010): 2. http://dx.doi.org/10.1162/leon.2010.43.1.2.
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박미경. "What is a 21st Century Artist?" Music and Culture ll, no. 38 (March 2018): 5–30. http://dx.doi.org/10.17091/kswm.2018..38.5.
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Kravchenko, Marta. "Artistic peculiarities of jewellery in Ukraine at the beginning of the 21st century. Concepts of morphogenesis." Text and Image: Essential Problems in Art History, no. 1 (2019): 77–89. http://dx.doi.org/10.17721/2519-4801.2019.1.05.
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The article reveals the tendencies in development of contemporary art jewelry in Ukraine in 2000-2015. The feature of jewelry art of the last third of XX - beginning of XXI century in Ukraine is a parallel activity of three generations of artists, which apply to different materials, imaginative solutions in decorations. During 2000-2015, modern Ukrainian decorative applied art reached a new level, there was a galaxy of young artists who interpret a new jewelry and possess strong position in the European artistic space. Alternative or avant-garde thinking was closer to the young generation of jewelry artists 2000-2015 years, in their works away from the trend of creating independent objects and materials for jewelry. On the example of creativity of young leading artists (O. Ivasuta, O. Buyvidt, M. Kotelnytska, O. Savchuk, A. Bolukh and other) here is an analysis of the main conceptual foundations, common and distinctive features in the work of masters. In the article is given the conditions for the formation of art jewelry in Ukraine with the obligatory focus on the concepts of classic jewelry and new art jewelry with using of alternative materials. New generation of artists is working with alterantive material in jewellery. Experiments in jewellery bring new forms and view in this art. The peculiarities of formation environments emergence jewelry not precious alternative materials and their relationship with fine and decorative art. The attention in the article is focused on the properties of alternative materials in modern jewelry in the works of leading artists.
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Dane, William J. "Public art libraries and artists and designers: a symbiotic scheme for success." Art Libraries Journal 12, no. 3 (1987): 29–34. http://dx.doi.org/10.1017/s0307472200005277.
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The inter-relationship between art librarians and artists/designers in the public library sector in America has been a reality since the early 20th century when libraries were organized into subject departments. This specialized clientele is eclectic and ranges from novices to the most accomplished artists and includes architects, art directors, illustrators, calligraphers, craftspeople and photographers in addition to painters, sculptors and graphic artists. Materials and services in public art libraries are highly diversified and the literature of other disciplines is also readily available. The increase in art exhibitions and special collections is noted in addition to a new focus on information for career opportunities, art law and the handicapped. Current developments set the stage for the continuing symbiotic relationship between public art librarians and artists/designers into the 21st century.
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Царева, Н. С. "Andrey Arestov — Altai impressionist of the 21st century." Iskusstvo Evrazii [The Art of Eurasia], no. 1(24) (March 30, 2022): 18–31. http://dx.doi.org/10.46748/arteuras.2022.01.002.
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Статья посвящена одному из ведущих алтайских живописцев Андрею Васильевичу Арестову (1956–2021), который всем своим творчеством продолжал традиции русского импрессионизма, зародившегося в России на рубеже XIX–XX веков. Художник выработал свою индивидуальную, узнаваемую манеру и снискал любовь многочисленных зрителей. Его работы, посвященные Алтаю, Санкт-Петербургу, Парижу, находятся в собрании Государственного художественного музея Алтайского края и в частной коллекции Андрея Ковалёва (г. Новосибирск). The article is devoted to one of the leading Altai painters Andrei Vasilievich Arestov (1956–2021), the artist, who continued the traditions of Russian impressionism, which originated in Russia at the turn of the 20th century. The artist developed his own individual, recognizable style and earned the love of numerous viewers. The artist's works dedicated to Altai, St. Petersburg, Paris are in the collection of the State Art Museum of Altai Krai and the private collection of Andrey Kovalev (Novosibirsk).
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Kyselova, Kateryna, Olha Shandrenko, and Alina Shcherbak. "STAGE IMAGES OF ROCK MUSICIANS AND THEIR INFLUENCE ON THE FORMATION OF MODERN TRENDS IN CLOTHING DESIGN." CULTURE AND ARTS IN THE MODERN WORLD, no. 22 (June 30, 2021): 199–211. http://dx.doi.org/10.31866/2410-1915.22.2021.235914.
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The purpose of the article is to reveal the influence of stage images of rock musicians on fashion design trends formation. Research methodology: the authors of the article use methods of source study analysis to determine the level of scientific development of the issue, comparative historical analysis to identify the characteristic features of images of musicians and catwalk models of clothing collections of famous designers, and theoretical generalization to draw conclusions. The scientific novelty of the work is to highlight the influence of stage images of musicians on the formation of modern trends in fashion design. The analysis of genre affiliation reveals stylistic differences of the stage costume of popular musicians of the USA and Europe. Some stylistic characteristics of the artists’ stage clothing could be traced in the collections of famous fashion brands of the 21st century, such as Balenciaga, Philipp Plein, Vetements, Alexander Wang, Alexander McQueen, and others. Conclusions. The research reveals the main stylistic features of the stage costume of hard rock and heavy metal musicians. Stage images of artists were innovative and widely used in fashion design of the 20th and early 21st century. The active influence of musicians on fashion trends began in the 60s and 70s of the twentieth century, which coincided with the development of stage costume design and the significant spread of media technology. Hard rock and heavy metal performers created and popularized such a style direction as “grunge”, which is one of the leading musical trends in 2020–2021. Designers of the 21st century borrowed many details, visual and stylistic features, and even concepts for brands from popular hard and heavy artists of the 1970s–1990s. Stage images of rock musicians have a significant impact on the development of fashion and design.
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Townsend, Anthony. "Locative-Media Artists in the Contested-Aware City." Leonardo 39, no. 4 (August 2006): 345–47. http://dx.doi.org/10.1162/leon.2006.39.4.345.
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The adoption of mobile devices as the computers of the 21st century marks a shift away from the fixed terminals that dominated the first 50 years of computing. Associated with this shift will be a new emphasis on context-aware computing. This article examines design approaches to context-aware computing and argues that the evolution of this technology will be characterized by an interplay between top-down systems for command and control and bottom-up systems for collective action. This process will lead to the emergence of “contested-aware cities,” in which power struggles are waged in public spaces with the assistance of context-aware systems.
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Usanova, A. L. "Праздник в натюрмортах наивных художников: выставочный опыт начала ХХI века." Iskusstvo Evrazii [The Art of Eurasia], no. 1(20) (March 31, 2021): 24–31. http://dx.doi.org/10.46748/arteuras.2021.01.002.
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The article is devoted to the study of the works of naive Altai artists — paintings in the genre of still life, selected during the expedition trips of 2000–2002. The author reviewed the expedition materials, performed an analysis of the works included in the exposition of the 2002 exhibition “Naive Still Life”, revealed and presented the peculiarities of the pictorial language and semantic retranslation of the holiday theme in the still lifes of the Altai naïve artists. The article describes the technical details and methods of work of amateur painters, the reasons and circumstances of the authors' appeal to artistic creation, the specifics of the worldview of naive artists and its reflection in the context of the painting. Статья посвящена исследованию произведений алтайских наивных художников — картин в жанре натюрморта, отобранных в ходе экспедиционных поездок 2000–2002 годов. Автором сделан обзор экспедиционных материалов, выполнен анализ работ, вошедших в экспозицию выставки 2002 года «Наивный натюрморт», выявлены и представлены особенности изобразительного языка и смысловой ретрансляции темы праздника в натюрмортах алтайских наивов. Описаны технические приемы работы живописцев-любителей, причины и обстоятельства обращения авторов к художественному творчеству, специфика мироощущения наивного художника и его отражения в контексте картины.
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Woets, Rhoda. "“Young Artists Can Try Out Everything”: Redefining Contemporary Ghanaian Art in the 21st century." Critical Interventions 13, no. 1 (January 2, 2019): 4–20. http://dx.doi.org/10.1080/19301944.2020.1760054.
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Senior, David. "Page as alternative space redux: artists’ magazines in the 21 st century." Art Libraries Journal 38, no. 3 (2013): 10–17. http://dx.doi.org/10.1017/s0307472200018630.
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In the past few years, several new publications and exhibitions have presented surveys of the genre of artists’ magazines. This recent research has explored the publication histories of individual titles and articulated the significance of this genre within contemporary art history. Millennium magazines was a 2012 exhibition at the Museum of Modern Art that traced the artists’ magazine into the 21st century. The organizers, Rachael Morrison and David Senior of MoMA Library, assembled a selection of 115 international tides published since 2000 for visitors to browse during the run of the exhibition and created a website as a continuing resource for information about the selected tides. The exhibition served as an introduction to the medium for new audiences and a summary of the active community of international artists, designers and publishers that still utilize the format in innovative ways. As these projects experiment with both print and digital media in their production and distribution of content, art libraries are faced with new challenges in digital preservation in order to continue to document experimental publishing practices in contemporary art and design.
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Adler, Nancy J. "The Arts & Leadership: Now That We Can Do Anything, What Will We Do?" LEARNing Landscapes 1, no. 2 (January 2, 2008): 187–213. http://dx.doi.org/10.36510/learnland.v1i2.266.
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Given the dramatic changes taking place in society, the economy, and technology, 21st century organizations need to engage in new, more spontaneous, and more innovative ways of managing. I investigate why an increasing number of companies are including artists and artistic processes in their approaches to strategic and day-to-day management and leadership.
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Radu-Giurgiu, Cristina. "A Perspective on the Opera Audience of the 21st Century." Studia Universitatis Babeş-Bolyai Musica 67, no. 1 (June 30, 2022): 119–37. http://dx.doi.org/10.24193/subbmusica.2022.1.08.
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"When it comes to contemporary audience of the opera, we have in mind a multitude of individuals with extremely diverse and heterogeneous cultural backgrounds, very different tastes and expectations related to the show and to the artists who perform on stage. Perhaps the famous Italian loggionisti who once made up the dreaded galleries, although still present, are no longer as influential as in the past centuries; and the splendid euphoria of the opera lovers from the 1950s and 1960s has faded. The extremely refined and knowledgeable elite is also becoming less numerous. But Opera still incites the interest of the public and arouses passions at the same time. Who is today's audience and what makes them attend and influence the Opera show? What are the managerial strategies for attracting new audience to the auditorium? The social distancing and the restricted access of the public in the performance halls during the recent coronavirus pandemic is also highlighted in the article. Keywords: Opera Audience, 21st Century, communication, audience reception "
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Pauli, Dorothee. "Seeing Red and Feeling Blue: Social Commentary and Protest in the Work of Michael Reed." Back Story Journal of New Zealand Art, Media & Design History, no. 9 (July 1, 2021): 69–93. http://dx.doi.org/10.24135/backstory.vi9.65.
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Accounts of politically inspired art occupy the margins of New Zealand art history. The career of Michael Reed (born 1950, Christchurch) offers an opportunity to discuss how a New Zealand artist has responded to shifts in 20th and early 21st century global debates regarding social justice, economic exploitation, cultural domination and war. He works across a range of mainly print-based techniques but has also found international recognition for his technically innovative ‘medals of dishonor.’ Through his frequent involvement in collaborative projects, Reed has become part of national and international networks of artists who attempt to speak for the many victims of geo-political power struggles.
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Welsh, Anne. "‘For the bibliographers at UCL’: A humument and the lessons it teaches 21st century librarians." Art Libraries Journal 41, no. 4 (September 20, 2016): 209–23. http://dx.doi.org/10.1017/alj.2016.26.
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Object-based learning lies at the heart of teaching in both historical bibliography and cataloguing classes on the MA Library and Information Studies at UCL. Tom Phillips's work A humument and the novel he chose to use as his canvas, W.H. Mallock's A human document provide memorable ‘object lessons’ with scope for students to synthesize and evaluate their pre-existing learning from inside and outside the modules. It is important that the examples used in class are simple enough to illustrate the strengths of any conceptual model yet complex enough to highlight its limits. It is also ideal if examples can be beautiful as well as useful. A humument fulfills all these criteria and, for students with no background in art or art librarianship, also introduces the artists' book as a genre and artists themselves as an important and interesting user group within information services.
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Pokrovskaya, Natalia V. "Valeryan Sergin and the development of the Siberian landscape painting at the turn of 21st century: to the study of the artist`s works." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 62 (2021): 310–24. http://dx.doi.org/10.37816/2073-9567-2021-62-310-324.
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The subject of research is an artistic practice of V. A. Sergin, a national artist of Russia, a full member of the Petrovskiy Academy of Sciences and Arts, an academician of the Russian Academy of Arts, a participant in more than 180 exhibitions, including 25 national and international projects, more than 20 personal exhibitions. The paper explores artist’s creative biography in the context of Russian and Siberian traditions and analyzes bright stages of the formation and flowering of the “Siberian school” of Russia, the Krasnoyarsk organization of the Union of Artists, with regional, regional, personal exhibitions and specific works of Sergin highlighted. The author addresses artistic originality of the national tradition of the Siberian region, allowing to holistically present a wide panorama of the development of the Siberian and Russian schools. The paper consistently attempts to discover the artist’s creative laboratory and to identify the “formula” of his inspiration. The basis of the study is a set of principles and techniques of work that have been carried out in practice by the artist from the late 1950s to the present day, and takes into account the creative work of V. A. Sergin, which solves specifically pictorial issues. The creative strategy of modern artist is perceived as a universal cultural environment, a territory for the formation of artistic meanings. The creative environment in the workshop, in the open air and during travels creates the conditions for implementing the art program and reveals those processes that help demonstrate and provide the continuity of artistic traditions.
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Wang, Jing. "Considering the Politics of Sound Art in China in the 21st Century." Leonardo Music Journal 25 (December 2015): 73–78. http://dx.doi.org/10.1162/lmj_a_00939.
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In 21st-century China, “being political” can mean many things, particularly as discourses on the global economy, environmental pollution, consumerism, sensual perceptions and gender politics become increasingly concrete at local levels. Contemporary Chinese sound artists go beyond the mere use of the language of propaganda and instead make works that play different sociopolitical roles—heroic, observant or participatory—to address sociocultural, sensual and spiritual issues. The author shows that the political statement made by a sound work in China depends to a great degree on the sociopolitical contexts in which the work is exhibited and performed, as well as the sociopolitical identity of its creator.
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Lyubchenko, Irina. "What is Art?" Interactive Film & Media Journal 2, no. 3 (June 23, 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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Romanenkova, Julia V. "The Bookplate in the Artistic Culture of Ukraine at the Turn of the 21st Century." Tekst. Kniga. Knigoizdanie, no. 25 (2021): 122–43. http://dx.doi.org/10.17223/23062061/25/7.
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The object of research in this article is the ex-libris sphere of Ukraine in the period from the beginning of the 1990s to the present day. Ukrainian ex-libris actually began to exist in 1991, when it became possible to speak about the Ukrainian bookplate as a phenomenon of art rather than about it as a segment of Soviet graphic art. It has headily changed its character and started a different transformation since the early 1990s. Over the past 20 to 25 years, the Ukrainian bookplate not only has come out of the shadows, turning into a valuable work of art, but also has received several new roles, inheriting the stages of transformation that took place in other countries. If earlier the book plate mainly served as an identifier of the owner, had mainly an informative function and was hidden from the eyes of the public, now it has become not just a work of graphic art, but an art object that, due to its typological diversity and specific artistic qualities, quickly acquired the status of not only an exhibited work of mini-print, but also a collectible. Ex-libris is more often exhibited, it is collected by artists, graphic artists, bibliophiles, and patrons. It has become a kind of an instrument for intercultural dialogue, promoting international communication. The change in the functional charac-teristics of ex-libris, the expansion of the circle of customers, the rapid growth of inter-est in the bookplate, and the increase in demand for it provoked a change in the status of the bookplate among artists themselves. If earlier the book platewas only one of the pages of the creative biography of a number of artists, now there are many masters who specialize in it, who have turned it into the main object of their professional interest. The commercialization of the phenomenon has developed: EL has become a kind of a pass to the international art space for young artists. The Ukrainian cultural field re-ceived its center of popularization of the bookplate as a self-valuable work of art of small-form graphics in 1993, when the Ukrainian ex-libris club was created in Kyiv. In the winter of 1993/94, the first international exhibition Woman in Ex-Libris” was held in the Ukrainian capital. In 1994, the international ex-libris competition Many Reli-gions – God Is One was organized. Since the beginning of the 1990s, there has been a clear tendency to separate several leading schools. The most original, with characteristic stylistic features, schools of the modern Ukrainian bookplate became Lviv, Odessa, Kyiv, Kharkiv. There are also several hotbeds of ex-libris popularization in Ukraine, with great professionals in the field of mini-print, but they are few to speak about inde-pendent schools: Luhansk, Mukachevo, Severodonetsk, Sumy, Chernihiv, Chernivtsi. In today’s art space of the country, the bookplate owes its survival primarily to collec-tors and patrons, and its main, perhaps, the only, way to preserve it in the art world is to transform it into an instrument of intercultural dialogue, integration into the internation-al field, without losing its national identity.
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Foden-Lenahan, Erica, Gustavo Grandal Montero, and Ana Paula Hirata Tanaka. "Defending the aesthetic: the conservation of an artists’ book." Art Libraries Journal 38, no. 1 (2013): 32–37. http://dx.doi.org/10.1017/s0307472200017855.
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Modern and contemporary books, easily replaceable in the internet age, are weeded from collections and disposed of because of their poor quality materials and construction. For an art library, where obsolescence is rarely an issue, the 20th- and 21st-century book can be a problem. Rare and seminal works in our collections are crumbling because they are acidic or perhaps they just cannot withstand the handling (and photocopying). We have become alert to the conservation of books from the hand-press period, but do not always know what to do with recent publications, or we cannot afford to undertake the measures necessary. As the artist’s book as an art form reaches its 50th birthday, we highlight the conservation of one such volume, in hopes of opening up discussion about the care of our contemporary treasures.
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Barashkov, Viktor V. "THE MAIN TRENDS OF AESTHETICAL MODERNIZATION OF CHRISTIAN RELIGIOUS IMAGES IN EUROPE AT THE BEGINNING OF THE 21ST CENTURY." Study of Religion, no. 2 (2018): 122–30. http://dx.doi.org/10.22250/2072-8662.2018.2.122-130.
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The article deals with the problem of dialogue between the church and contemporary art in Europe on the example of art installations in church space. The author analyses works of three contemporary artists: Christian Boltanski (“Na” - Old church in Amsterdam, 2017-2018), Bill Viola (“Martyrs”, 2014-, and “Mary”, 2016-, St. Paul Cathedral in London) and Stefan Knor (“Himmelwerd’s”, Cathedral in Bamberg, Germany, 2012). Christian Boltanski uses the fundamental theme of human obliteration for his art, strengthened by the space of the cathedral, functioned a long time as a crypt. Bill Viola gives a new interpretation of traditional Christian images of martyrs and Holy Virgin. The technique of video-art makes images dynamic, so spectator can “live” in that space. Stefan Knor aims by the means of contemporary art to actualize the fundamental theological ideas, for example, the idea of stairway to heaven. For the best acceptance of his works he collaborates with church members. The author claims that these artists become the religious owing to such characteristics as depth and sincerity in the interpretation of fundamental anthropological problems and the absence of irony (which is frequent for contemporary art). The article’s author shows that the interiors of the churches can harmoniously accept the works of contemporary artists, provided that the artists have to respect the religious traditions and sacred space of these churches.
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Tarasova, M. V., A. A. Sitnikova, and M. G. Smolina. "Laszlo Moholy-Nagy: the directions of creative work and the influence on the development of art of the 20th century." Siberian Journal of Anthropology 4, no. 4 (2020): 248–68. http://dx.doi.org/10.31804/2542-1816-2020-4-4-248-268.
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The creative work of the Hungarian theoretician and artist Laszlo Moholy-Nagy has recently become an object of reevaluation and scrutinous investigation. Laszlo Moholy-Nagy is also considered one of the forerunners of conceptual art. In a way, he also foresaw the "visual turn" of culture, which she made at the beginning of the 21st century, and he viewed his works in part as "exercises" in vision for a person of the future. Although today it is obvious that the art of L. Moholy-Nagy had a significant impact on the work of contemporary artists, a detailed analysis and understanding of the essence of this influence still remains insufficiently studied. In the development of his artistic method, L. Moholy-Nagy constantly evolved, moving from painting to photography and further to film works. The research explores the representatives of certain types of art in the work of Mohoy-Nagy. A detailed philosophical and art history analysis of the artist's photograms – works created in painting with light (light painting) is carried out in the research. Although the connection between Moholy-Nagy’s art and the artistic practice of the present day has been acknowledged the detailed analysis of the influence of Moholy-Nagy’s ideas on contemporary artists is still in great demand. The aim of our research is to understand the intermedial concept of Moholy-Nagy’s creative activities by means of the analysis of paintings, photographs, photograms and films produced by the artist. Our research is based on the modern theory of art as a mode of communication. The methods of our research include the conceptual, hermeneutic and comparative analysis. The methodological foundations of the research include the conception of the philosophical and art historical analysis, developed and proposed by V. I. Zhukovsky and N. P. Koptseva, which involves the appication of general scientific methods (measurement, analysis, synthesis, interpretation, analogy, etc.) to understanding the meanings of art works. As a result of our research we have revealed the meanings of Moholy-Nagy’s works of art and described their influence on the American, Hungarian and Russian artists of the twentieth and the twenty-first centuries.
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Mishchenko, Iryna. "Nature and image: a city in the art of Chernivtsi of the 20th – the beginning of the 21st century." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 149–53. http://dx.doi.org/10.32461/2226-3209.2.2021.239994.
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The purpose of this article is to consider the peculiarities of the reflection of the city – its architecture and inhabitants – in the works of Chernivtsi artists of the 20th and early 21st century, to analyze the differences between their views on the reproduction of urban motifs. The methodology consists in the application of the historical-chronological method, art analysis, and generalization, comparative and systematic approach. The scientific novelty lies in the introduction into scientific circulation of works by artists of the specified time, in understanding the evolution in the reflection of the city in the works of authors with various artistic orientations. Conclusions. In the paintings and graphics of the 20th – 21st centuries, several options for solving urban landscapes can be defined, among which the most common is a careful reflection of existing architectural monuments. In the 19th century in European art, in particular in Impressionist painting, the desire to convey not only the appearance but above all the spirit of the city became noticeable, depicting the townspeople, emphasizing the bustle or poetry of squares and streets. At the turn of the 20th-21st centuries the artists are no longer limited to the usual fixation of what is seen, but try to create a conceptual image of the city, to tell a story through iconic images and symbols, reveal their own position in particular and to preserve the authenticity of an object or the city in general. Such a variety of approaches for creating an urban landscape is partly due to differences in preferences formed during studies in art institutions and is also characteristic for the art of Chernivtsi – a city where people of many nationalities with different cultural traditions have lived side by side for centuries. Ultimately, the artists who worked here in the 20th century were often graduates not only of Ukrainian schools or universities, but also of well-known European institutions, including Vienna, Munich, Florentine, Berlin, Kraków, or Bucharest academies. While in the second half of the 19th – early 20th century the city often appears as the sum of certain architectural structures in the works of artists of Bukovina and visiting masters (F. Emery, R. Bernt, J. Shubirs), in the second half of the 19th – first third of the 20th century the artists mostly try to recreate the dynamics of urban life instead, sometimes depicted with a touch of irony, using the grotesque in the image of the inhabitants (lithography and watercolors by F.-K. Knapp, O. Laske and G. Löwendal). Subsequently, we meet emphasized mood images, in which the author's subjective perception of a particular motive, which he seeks to reproduce in a work full of emotions, is important (L. Kopelman, G. Gorbaty). A peculiar historical retrospection is present in the exquisite graphics of O. Kryvoruchko and in the distilled-finished sheets of O. Lyubkivsky, and the lyrical watercolors and sketches of N. Yarmolchuk represent the non-festive side of the city center. In O. Litvinov's paintings Chernivtsi surprises with desolation and restraint, and in M. Rybachuk's paintings it is distinguished by an unexpected riot of colors. Therefore, each of the artists creates his own image of Chernivtsi, which landscapes often become only a stimulus for the author's imagination, allowing him to depict a completely individual sense of space and life of the city.
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Gabryelczak-Paprocka, Marta. "The Image of a Solo Instrument Player as a Media Celebrity in the 21st Century." Notes Muzyczny 2, no. 14 (December 10, 2020): 9–28. http://dx.doi.org/10.5604/01.3001.0014.5746.
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In the article entitled The Image of a Solo Instrument Player as a Media Celebrity in the 21st Century, the author analyses the profiles of three musicians promoted by the contemporary media. These artists are: Lola Astanova, Stjepan Hauser and David Garrett. All of them, apart from the fact they are technically skilful performers, are also media personalities. They combine classical playing style with pop-culture image and visual setting of their performances. The author attempts to uncover the sources of their popularity and explain the mechanisms how the demand for the artistic activity of instrumentalists creating art (both music interpretation and the widely understood setting of a performance) synthetising tradition and innovativeness is generated. The described phenomena include the topics related to: the specificity of the images of celebrity instrument players and their function in the society, the homogenous culture of the 21st century, the widely-understood media coverage, consumerism, etc. The article has two parts. The first part is theoretical and it is based on the analysis and description of academic literature connected with the chosen subject matter referring to sociological topics and modern tendencies connected with culture. Another point in this section of the article is the presentation of the profiles of the selected artists. The second part is the report from the academic study conducted by the author of the article. It is a description of interviews with responders who wanted to share their opinions about the recordings of Astanova, Hauser and Garrett which were presented to them. The interviews were conducted by means of the social media and phone. The studies showed how different the impressions related to the same recordings might be even in a small group of respondents. These conclusions might serve as an inspiration for the development of research studying the influence of transformations taking place in modern culture on the tastes of audiences and the actual demand for artists who are well-adjusted to the requirements of modern audiences in terms of their image.
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Ortega, José Luis. "Is Taylor Swift leading a new Pop revolution? A cross-generation analysis of Pop/Rock cover songs." F1000Research 11 (November 8, 2022): 1273. http://dx.doi.org/10.12688/f1000research.125676.1.
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Background: The aim of this paper is to find evidence of a changing pattern in cover songs by 21st-century artists. To this end, over 76,000 covers performed by artists who grew up in the 2000s were quantitatively analyzed. Methods: SecondHandSongs.com was crawled to extract the cover relationships, and Allmusic.com to obtain the genre and starting decade of each performer. Results: The results show that the current music panorama is dominated by Pop/Rock music and, for the first time since the 1960s, artists from the 2010s generation prefer to cover more songs by contemporary artists than by classic figures from the 1960s. Pop and Dance are the emerging sub-genres with the largest proportion of covered musicians, while Taylor Swift, Justin Bieber and Ed Sheeran are responsible for this changing trend. Conclusions: These results provide an interesting opportunity to introduce quantitative studies in cultural studies about music, cinema and arts.
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Ortega, José Luis. "Is Taylor Swift leading a new Pop revolution? A cross-generation analysis of Pop/Rock cover songs." F1000Research 11 (January 27, 2023): 1273. http://dx.doi.org/10.12688/f1000research.125676.2.
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Background: The aim of this paper is to find evidence of a changing pattern in cover songs by 21st-century artists. To this end, over 76,000 covers performed by artists who grew up in the 2000s were quantitatively analyzed. Methods: SecondHandSongs.com was crawled to extract the cover relationships, and Allmusic.com to obtain the genre and starting decade of each performer. Results: The results show that the current music panorama is dominated by Pop/Rock music and, for the first time since the 1960s, artists from the 2010s generation prefer to cover more songs by contemporary artists than by classic figures from the 1960s. Pop and Dance are the emerging sub-genres with the largest proportion of covered musicians, while Taylor Swift, Justin Bieber and Ed Sheeran are responsible for this changing trend. Conclusions: These results provide an interesting opportunity to introduce quantitative studies in cultural studies about music, cinema and arts.
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Lopatkina, Katarina. "A REVIEW OF THE BOOK THE MOSCOW UNION OF ARTISTS. A PERSPECTIVE FROM THE 21ST CENTURY. BOOK TWO BY B. IOGANSON (MOSCOW: BOOKSMART, 2021)." Scientific and analytical journal Burganov House. The space of culture 18, no. 2 (May 10, 2022): 93–100. http://dx.doi.org/10.36340/2071-6818-2022-18-2-93-100.
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A monograph by Boris Ioganson, The Moscow Union of Artists. A Perspective from the 21st Century. Book Two, is a continuation of his fundamental text on the history of the Moscow Union of Artists from 1932 to 1962, published in 2019 1. The second volume (or Book Two) covers the period from 1962 to the end of the 1980s, the late Soviet period when cultural life was full of contradictions, and the Moscow Union of Artists, in the most bizarre way, combined the features of a large bureaucratic institution and a creative organisation. Fairly pointing out that “the history of the Moscow Union of Artists is practically not covered in the scientific literature except for a biased approach to assessing the formation of the Union of Artists itself, which many regarded only as the intention of the authorities to control the artistic life of the country,” Ioganson emphasises that “the activities of this organisation, starting from the 1960s, is even less analysed and is associated mainly with the opposition to the new nonconformist art, which was widespread after the events of 1962 in the Manezh, and with N.Khrushchev’s visit of the anniversary exhibition dedicated to the 30th anniversary of the Moscow Union of Artists. In this way, he announced the titanic work he had done - he analysed archival materials practically untouched by researchers, structured and presented the portrait of the Moscow Union of Artists to his reader as voluminously and fully as possible. The task is truly monumental and complicated by the fact that, at present, it is generally accepted to regard the Moscow Union of Artists as a clumsy and retrograde organisation, as "the spokesman and guardian of the recruited consciousness”.2 Ioganson tries to challenge this one-sided approach throughout the book. One of his tasks is to show that the Moscow Union of Artists was very different primarily because it included different artists. For the researcher, “the presence of a unique experience accumulated in the course of the life of this multifaceted and well-coordinated organism that regulates the artistic life of Moscow and spreads its influence far beyond the capital” comes to the fore. It is important to note that in Book Two, Ioganson, in contrast to Book One, delves into the intricacies of apparatus games and pays attention to the artistic process as such and its features characteristic of the period under study. At the same time, he considers artists’ works and fates impartially.
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Garlińska, Paulina, and Magdalena Bąk. "Works by the 20th/21st century composers from Łódź for a guitar – harpsichord duo." Notes Muzyczny 2, no. 12 (December 13, 2019): 61–98. http://dx.doi.org/10.5604/01.3001.0013.7168.
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The combination of the guitar and harpsichord has inspired composers all over the world for years. Łódź is the place where the greatest number of such pieces in Poland has been written by Jerzy Bauer, Bronisław Kazimierz Przybylski, Sławomir Kaczorowski, Stanisław Mroński, Andrzej Cwojdziński, and others. The creative output of the composers listed above for instruments such as the harpsichord, which is mainly associated with early music, and the guitar, which had its rebirth after WWII, is worth discussing. Composers from Łódź have made a great contribution to the development of literature for such an unusual line-up. Almost all compositions have been written for the Stefańska – Oberbek duo who were active in Cracow in the second half of the 1980s. The present article is mainly based on the materials shared by the guitarist Jan Oberbek and the Elżbieta Chojnacka Center for Contemporary Harpsichord Music. The materials have been discussed in terms of their content, which may be of value for new performers of this music. In each of these works an instrument player faces different problems and unusual solutions for a given instrument, which gives an artist the freedom of interpretation but at the same time creates a challenge related to analysing the piece and searching for a solution for a problem. The sound idiom of the guitar and the harpsichord was the inspiration for the aforementioned composers to create the literature valuable both for artists and for audiences. Unfortunately, this repertoire is hardly ever performed.
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Mosley, Angela M. "Women Hip-Hop Artists and Womanist Theology." Religions 12, no. 12 (December 1, 2021): 1063. http://dx.doi.org/10.3390/rel12121063.
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Hip-Hop is a cultural phenomenon steeped in the conservative ideologies of individualism and capitalism. It sells a lifestyle and its most recent surge of rap music and popular culture spotlights Black women more than ever before. Although Black women have always been significant piece in Hip-Hop culture, their artistry has jolted its systemic capitalism and patriarchy to engage intersectionality through a discourse of classism, sexual orientation, and racism while upending White supremacy’s either:or binary. Applying the principles of Womanism, Black female Hip-Hop artists negotiate cultural identity politics as activists to innovatively expand thought on gender performance and produce a fusion of contemporary Blackness for the 21st century. Their artivism builds a safe environment of differences within society using conscious thought, language, and performative methods to defy the White American ethos of sexism, misogyny, and materialism. By garnering a better knowledge of their existence through Indigenous African spirituality, Black women reclaim ownership of their bodies from Western European standards, including race, and gender to challenge Christianity’s meaning of martyrdom. This act of reclamation provides a reformative tool of inclusion and being fluidity through Hip-Hop music and its culture.
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Beck, Mirja. "A Lived Experience—Immersive Multi-Sensorial Art Exhibitions as a New Kind of (Not That) ‘Cheap Images’." Arts 12, no. 1 (January 17, 2023): 16. http://dx.doi.org/10.3390/arts12010016.
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This article analyzes the phenomenon of multi-sensorial, digital, and immersive art exhibitions of popular artists, which has been widely neglected in academic research, from a historical perspective. Reflecting the significance of lived experience in art consumption, this 21st-century phenomenon can be confronted productively with early-20th-century art reproductions. The article focuses on the characteristics of both popular phenomena and on their advertisement, as well as on the discourse around them, documenting reactions from resistance to persistence and accommodation. The analysis shows noticeable similarities between the two types of popularization of high art, positioning the new immersive exhibitions in a traditional line of technical innovative art popularization. Whereas photomechanical art reproduction had an immense influence on the popular art canon, being also dependent on ‘photogenic’ conditions of artworks and thus focusing predominantly on painting, the contemporary canon is predisposed by the immersible characteristics of artists’ oeuvres.
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Wendykowska, Emilia. "Approaching Transhumanism: On How Human Beings Transform in the 21st Century." Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre 2, no. 2 (December 30, 2014): 29–38. http://dx.doi.org/10.18778/2353-6098.2.11.
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The following article is to introduce the reader into a cultural and intellectual movement whose aim is to identify the need for improvement in human life in the sphere of physicality as well as mentality with the aid of modern technologies – transhumanism. With the dramatic change in the perception of technology, transhumanist welcome the opportunity to improve cognitive skills, help to perpetuate human happiness, or increase longevity. Although the opponents of the transhumanist thought dismiss it as “the world’s most dangerous idea,” the adversaries advocate that the alternation of human form is both practical and reasonable. With the use of modern technology, enthusiasts of transhumanism try to prove that the human body needs to be re-invented in order to transcend the natural limitations. In my work I will try to tackle the problem of human body being currently subject to gradual transition from Homo Sapiens to Robo Sapiens, the process of ‘becoming’ a cyborg. By incorporating bodily augmentation, contemporary artists such as Stelarc or Neil Harbisson cast a light on the change of physical form, as well as the definition of being human. Evoking much controversy, transhumanism brings a completely new dimension to the understanding of the current human condition.
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Civantos, Christina. "The Pliable Page: Turn-of-the-21st-Century Reworkings of Villaverde’s Cecilia Valdés." Latin American Literary Review 49, no. 99 (September 9, 2022): 2–12. http://dx.doi.org/10.26824/lalr.334.
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This essay examines turn-of-the-21st-century responses to the foundational 19th-century novel by Villaverde, Cecilia Valdés, pointing to the ambivalence toward textual authority and migration as key elements in Cubans’ relationship to historical memory. The analysis of two plays, a puppet show, a novel, and works of visual and performance art, all of which have a textual element and were produced between 1994 and 2006, demonstrates the ongoing use of the Cecilia story to question key elements of Cuban historical memory. While contesting the legacy of the colonial and nation-building era, these contemporary works open a dialogue regarding narratives about Cuban migration, from the 19th century into the present. They unpack the established narratives about Cuba’s colonial period—slavery, race, socioeconomic class, and sexuality, and also contribute to new narratives about migration. The relationship between movement, authority, and textuality in these responses to Villaverde’s novel points to how 19th-century historical memory, and intertwined with that migration, are central to the ongoing renegotiation of Cuban identity. By re-working Villaverde’s novel—figuratively or literally manipulating the pages of Cecilia Valdés—Cuban writers and artists participate in a ritual of resignification that redefines lo cubano.
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Levin, Amy. "Social Justice Education and the Role of Museums." Museum and Society 18, no. 2 (July 4, 2020): 290–92. http://dx.doi.org/10.29311/mas.v18i2.3482.
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Review of three books:Gonzales, Elena, Exhibitions for Social Justice. Abingdon, Oxon.: Routledge, 2020, hardback £120, paperback £34.99, ebook £31.49, 194 pp. Kostache, Irina D., and Clare Kunny, eds. Academics, Artists, and Museums: 21st-Century Partnerships. Abingdon, Oxon.: Routledge, 2019, hardback £120, paperback £36.99, ebook £40.49, 204 pp. Quinn, Therese, about Museums, Culture, and Justice to Explore in Your Classroom, New York: Teachers College Press, 2020, hardback $75, paperback $24.95, ebook $19.96, 95 pp. [Amazon UK £81.95, £27.50, £18.68]
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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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Qin, Xiaofeng, and Natalia A. Fedorovskaya. "Specifics of Russian-Chinese Cross-Cultural Communication in the Field of Fine Art of the Second Half of the 20th — Early 21st Century." Observatory of Culture 17, no. 6 (February 10, 2021): 582–93. http://dx.doi.org/10.25281/2072-3156-2020-17-6-582-593.
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Research in the field of cross-cultural communications in the context of modern globalization processes is becoming particularly relevant. Each specific case in cross-cultural interaction has a set of specific features that require detailed study. The article discusses the features of Russian-Chinese cross-cultural communication in the field of fine art, which have been especially pronounced since the second half of the 20th century and until now. The analysis of generally accepted types of communication made it possible to show specific forms of interaction between Russia and China.There is demonstrated that these features are largely related to the fact that the process of cross-cultural interaction occurs not only at the level of communication between representatives of the two peoples, but also in the process of artistic and stylistic exchange at the level of art works perception. Thus, cross-cultural communication refers to the process of information exchange at different levels. Russian-Chinese communication features include the intrapersonal perception of Russian art, style and genre features of the Russian realistic school, that influenced the style of Chinese artists; the interaction between individual artists and students, the unique contacts between a teacher-master and a student studying individually in the art studio. In the period under review, the communications were often unilateral — Chinese students and artists adopting the traditions of the Russian realistic school of painting, both by inviting Russian artists to China and studying in Russia. The specificity is also shown in the interaction between professional creative unions of artists, joint holding of exhibitions, and organization of plein-airs, during which a multi-level exchange of cultures can happen.
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Gorzoni, Milton Luiz. "Geriatrics: Medicine of the 21st Century ?" Medicina (Ribeirao Preto. Online) 50, no. 3 (June 8, 2017): 144. http://dx.doi.org/10.11606/issn.2176-7262.v50i3p144-149.
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Modelo do estudo: estudo analítico sobre progressos ocorridos na área da Geriatria brasileira no período entre o fim do século XX e o momento atual. Objetivo: narrar fatos e dados significativos para a implementação dessa especialidade médica no cotidiano da prática clínica no Brasil. Resultados: o desenvolvimento de serviços e disciplinas de Geriatria agregados ao meio universitário promoveu concomitantemente a produção de dissertações e teses, programas de residência médica em Geriatria, aumento do número de médicos titulados em Geriatria pela Sociedade Brasileira de Geriatria e Gerontologia/Associação Médica Brasileira e publicações (livros e artigos) de boa qualidade e com as peculiaridades do cuidar do idoso no Brasil. Conclusão: O estudo e a atenção ao idoso no Brasil cresceram de forma positiva nas últimas três décadas, produzindo massa crítica e pesquisas de qualidade, tornando no Brasil a Gerontologia e a Geriatria área do conhecimento com o rosto do país.
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Baltaziuk, Iryna. "The Sacred in the Symbols of Ukrainian Painting at the Turn of the 21st Century." Roczniki Kulturoznawcze 12, no. 2 (June 17, 2021): 143–56. http://dx.doi.org/10.18290/rkult21122-9.
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Contemporary art as a measure of social consciousness becomes a reference point for finding the boundary between the sacred and the anti-sacred, the aspect that acting as a mirror becomes a reflection of reality, and only at first glance, it speaks of identity but is not true in its essence. Through the semantic key of the symbols of mirroring and reflecting, in the knowledge of the true picture, from divine emptiness to holy fullness, a dialogue of contemporary Ukrainian artists with Kazimir Malevich is formed. The most powerful example of this dialogue is created in the works of Ukrainian classics Oleksandr Dubovyk, Oleksandr Roitburd, and Oleksandr Klymenko. On this path, artists are helped by the heritage of the Ukrainian ethnos, which harmoniously combines the memory of Trypillia culture, national symbols, traditions of icon painting, the school of Mykhailo Boychuk and much more. This article focuses on the sacred in the symbols of contemporary Ukrainian painting that absorbs the most characteristic signs, codes, and ciphers of the previous centuries, transferring spirituality into the 21st century. The transformation of religious symbols into contemporary ones, in consequence of building a discourse with mass culture, generates them into a new cultural code. The semantics of mass culture gives the visual material that forms the sacredness of the 21st century, which exists on the border of the material and the spiritual, as a reflection of the myth. The works of art by Nina Murashkina, Andriy Tsoy, and Mykyta Tsoy are a striking example of that. The sacred in which the mystery of real life is concentrated can endow thinking with a true, rather than an imaginary essence and provide a tool for solving the problem of individuality, freedom, and existence, which the new century is filled with.
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Huang, Yuanpeng, Galina V. Alekseeva, and Qin Tingting. "Tibetan Culture of the Yellow River Basin in the Work of Contemporary Chinese Artists." ICONI, no. 4 (2020): 25–37. http://dx.doi.org/10.33779/2658-4824.2020.4.025-037.
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The Tibetan regions at the source of the Yellow River have recently become a new platform for painters which made it possible to convey the spirit, rituals, and national costumes of the people. Artists of the 21st century refl ect the humanistic beauty of the customs of the people of Tibet, their religious Buddhist beliefs, the values of the people living at the source of the main river of China. The authors analyze the colorful palette and other artistic means which allow such masters in China as Yang Feiyun, Lu Qinglong, Yu Xiaodong, Liu Xiaodong convey the world perception of the Tibetan people, their harmonious coexistence with the harsh nature of the region.
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Tomczok, Marta. "Literacka historia ołowiu. Rekonesans." Narracje o Zagładzie, specjalny (June 21, 2021): 109–46. http://dx.doi.org/10.31261/noz.2021.dhc.08.
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This article offers an overview and preliminary arrangements of literary texts, chosen paintings and films (most of them from the past three centuries) which feature the motif of lead. The presence of lead as a symbol has been detected in poetry which treated the problem of war and peace; occasionally this use of lead has occurred in relation to printing, typesetting, and – less frequently – children’s toys. Much more often the motif of lead has been used in literary works to introduce the topic of melancholia and to express artists’ interest in alchemy. An analysis of literary prose at the turn of the 20th century related to zinc and lead metallurgy shows that lead did not occur in the context of mining, chemistry, and medicine until the 19th century. On the basis of studies of the press, historical literature, and contemporary reportage, the article shows the toxic nature of lead and its harmful effect on people and the environment, about which artists and authors try to warn the public at the turn of the 21st century. The article shows that the parallel between melancholia and saturnism is a well-documented phenomenon.
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Ferro-Murray, Ashley. "Chameleonic Survivalism." TDR: The Drama Review 66, no. 2 (June 2022): 115–30. http://dx.doi.org/10.1017/s1054204322000132.
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Jaamil Olawale Kosoko’s work focuses on adaptability and survival. Kosoko’s April 2020 Chameleon (The Living Installments) exemplifies the importance of an individual artist’s responses to the Covid-19 moment, the historical imperative for hybrid in-person/online performance, how 21st-century liveness functions in performance, as well as political awareness of artist-centered approaches to curatorial practice.
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Sidorova, Oksana. "CLASSICAL GRAPHIC ARTISTS OF ALTAI IN COLLECTIONS OF THE STATE ART MUSEUM OF THE ALTAI KRAI (BARNAUL, RUSSIA)." Proceedings of Altai State Academy of Culture and Arts, no. 3 (2021): 52–59. http://dx.doi.org/10.32340/2414-9101-2021-3-52-59.
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The reported study was funded by Russian Fund of Basic Research according to the research project no. 19-412-220003 r_a. The paper outlines basic biographic information that reflects creative way of professional graphic artists from Altai, Russia: Fyodor Filonov (1919–2007), Andrei Vagin (1923–2006), Alexei Yugatkin (1926–2001), and Aleksandr Deriavsky (1927–2017), whose works will be in exhibition “Classical Works of Altai's Graphis Artists” of The State Art Museum of the Altai Krai (Barnaul, Russia) that will be held in 2022, after reconstruction of the institution's building. Individual artistic and aesthetic achievements of masters that followed stylistic traditions left by the first professional painters of Altai (Grigory Choros-Gurkin (1870–1923) and Andrei Nikulin (1878–1945), defined main vectors for development of professional graphics in Altai in the 2nd half of 20th century and the beginning of the 21st century. The author describes a contribution made by Vladimir Ramensky and Aleksandr Deriavsky in development of professional book graphics in Altai Krai, Vladimir Ramensky's work in developing professional artistic education in the territory.
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Buyak, Halyna. "THE FORMATION OF BOHDAN KHAVARIVSKYI AS PERSONALITY, SOCIAL, POLITICAL, CULTURAL AND EDUCATIONAL FIGURE (THE SECOND HALF OF THE 20TH CENTURY – THE BEGINNING OF THE 21ST CENTURY)." Scientific Herald of Uzhhorod University. Series: History, no. 2 (47) (December 20, 2022): 67–74. http://dx.doi.org/10.24144/2523-4498.2(47).2022.266521.
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This article attempts to investigate the development of Bohdan Khavarivskyi as a philologist, teacher, archivist, local historian, artist, personality, public-political and cultural-educational figure in the second half of the 20th century and the beginning of the 21st century. This significant list of his interests testifies to this person's uniqueness, comprehensiveness, and talent. Based on the analysis of archival materials, it was found that the formation of B. Khavarivskyi took place in the traditions of family upbringing, his parents and teachers who encouraged him to draw, write poems, recite, and sing was an example to follow in childhood. Bohdan-Roman was a comprehensively gifted individual who could realize his talents later in life. His activities were traced during his studies at the philological faculty of Chernivtsi State University. He attended the literary studio named after Stepan Budny, designed and edited its handwritten newspapers "Sunny Clarinets" and "Vesely Ostap," and gave speeches at scientific conferences. Acquaintance with famous Ukrainian science and culture figures from Chernivtsi contributed to his formation as a mature personality with an active life position and deep national convictions. It has been proven that the beginnings of his pedagogical work were connected to his teaching activities in a rural school in the Ternopil region. Over time, Bohdan Khavarivskyi worked as an educator in the dormitory of Ternopil Technical School № 2. Also, as a teacher at Ternopil Special Vocational Technical School № 3. It was found that the center of the future writer's organization, a professional center of artists, free from the restrictions of the standards of socialist realism, was formed in this educational institution. Subsequently, he was a senior researcher at the Ternopil Regional State Archives, a teacher at the Ternopil State Pedagogical Institute, the head of the public education department of the Ternopil Regional Executive Committee, the director of the State Archives of the Ternopil Region. It is known that he thoroughly mastered the subjects he taught. He practiced original modern forms and teaching methods, involved pupils and students in Ukrainian and world cultural achievements, and worked in close contact with the Ternopil Art Gallery, the Ternopil Museum of Local History, and the creative organizations of the city. He organized fine art weeks and involved artists from Ternopil and Lviv in exhibitions of paintings and graphics.
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Singh, Dr M. S. Xavier Pradheep. "Dissecting Graphic Fiction: A Study of the Hybrid Form of the 21st Century." Think India 22, no. 3 (September 19, 2019): 249–56. http://dx.doi.org/10.26643/think-india.v22i3.8189.
Full textAbstract:
“Comic art does possess the potential for the most serious and sophisticated literary and artistic expression, and we can only hope that future artists will bring the art form to full fruition” (176), prophesied Lawrence Abbott in 1986. It became true when Graphic Fiction emerged as a hybrid genre and entered into the academia. It is a meaningful interaction of words, image panels, and typography. They have a long history dating back to cave paintings and Egyptian hieroglyphics. Though there are “more genetic similarities between the comic book and the graphic novel” (Sardesai 28), Graphic Novel has a unique approach to plot, narration, and theme. This new genre combines visual and verbal rhetoric and thus offers a hybrid form of reading. The use of blank spaces between image panels provides “imaginative interactivity” (Tabachnick 25), as the reader tends to fill in these blanks, imagining a good deal of action. Text boxes, speech bubbles, and thought bubbles streamline the narration and create a sense of interactivity in a reader. This paper records the history of Graphic Novel and makes an anatomy of it. It also enlists recent Graphic novels and major techniques employed in them.
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Pawłowska, Aneta Joanna. "Visual text or "words-in-freedom" from Futurism through concrete poetry to electronic literature." Text and Image: Essential Problems in Art History, no. 1 (2019): 90–101. http://dx.doi.org/10.17721/2519-4801.2019.1.06.
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The aim of the article is to present the changes which the literary text with visual values is subjected to. As the starting point of our intellectual considerations we chose the turning-point between 19th and 20th century, when as a result of artistic actions of such avant-garde artists as Guillaume Apollinaire, Stéphane Mallarmé, dramatic changes in the perception of the semantic meaning of poety occurred, which brought about the situation in which the visual structure of the text became quite essential. In the beginning of the 20th century the need for the necessary changes within the scope of literature and visual arts, were noticed by such diverse artists connected with Futurism, as Filippo Tommaso Marinetti, who advocated in his „one-day” publications and manifestoes the slogans which were spelled out in various different languages parole in libertá – with „words-in- freedom”. In Poland a similar role was played by such artists as Brunon Jasieński (1901-1938), Stanisław Młodożeniec (1895-1959), Alexander Watt (1900-1967), Anatol Stern (1899-1968) and Tytus Czyżewski (1880-1945), who presented a multi-sensual reality, in the poetry with „mechanical instinct”. The aim of the article is to present the changes which the literary text with visual values is subjected to. As the starting point of our intellectual considerations we chose the turning-point between 19th and 20th century, when as a result of artistic actions of such avant-garde artists as Guillaume Apollinaire, Stéphane Mallarmé, dramatic changes in the perception of the semantic meaning of poety occurred, which brought about the situation in which the visual structure of the text became quite essential. In the beginning of the 20th century the need for the necessary changes within the scope of literature and visual arts, were noticed by such diverse artists connected with Futurism, as Filippo Tommaso Marinetti, who advocated in his „one-day” publications and manifestoes the slogans which were spelled out in various different languages parole in libertá – with „words-in- freedom”. In Poland a similar role was played by such artists as Brunon Jasieński (1901-1938), Stanisław Młodożeniec (1895-1959), Alexander Watt (1900-1967), Anatol Stern (1899-1968) and Tytus Czyżewski (1880-1945), who presented a multi-sensual reality, in the poetry with „mechanical instinct”. A vivid interest concerning the modern typography in the period which took place immediately after the end of the First World War and during the interwar period of the Great Avant-Garde, was shown by various artists who were closely related to Dadaism and the Polish art group called „a.r”. Here a special mention is desrved by the pioneer accomplishments in the range of lettering craft and the so-called „functional printing” of the famous artist Władysław Strzemiński (1893-1952). The next essential moment in the development of the new approach to the synesthesia of the printed text and fine arts is the period of the 1960s of the 20th century and the period of „concrete poetry” (Eugen Gomringer, brothers Augusto and Haroldo de Campos from Brazil, Öyvind Fahlström). In Poland, the undisputed leader of this movement was the artist Stanisław Dróżdż (1939-2009), the originator of the so-called „conceptual-shapes”. In the 21st century, the emanation of actions which endevour to join and link closely poetry with visual arts is the electronic literature, referred to as digital or html. Artists associated with this formation, usually produce their works only by means of a laptop or personal computer and with the intention that the computer the main carrier / medium of their work. Among the creators of such works of art, it is possibile to mention such authors of the young generation as Robert Szczerbiowski, Radosław Nowakowski, Sławomir Shuty.
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Mast, Sara, Jessica Jellison, Christopher O’Leary, Jason Bolte, Cindy Stillwell, Charles Kankelborg, Nicolás Yunes, Joey Shapiro Key, and Jessica Raley. "Black (W)hole: An Artscience and Education Collaboration." Leonardo 49, no. 1 (February 2016): 19–24. http://dx.doi.org/10.1162/leon_a_01165.
Full textAbstract:
Black (W)hole is an immersive art installation created collaboratively by artists and scientists utilizing data visualization of an extreme mass ratio inspiral (EMRI) and the sonification of its emitted gravitational waves in an experiential work of “artscience” and science education. The sensory-rich environment of the installation engages mind and body, expanding and enriching the participant’s capacity to imagine and wonder about the beauty and meaning of this highly abstract astronomical object, the black hole. The work investigates both historical and current gravitational wave astronomy, illustrating our 21st-century understanding of the cosmos.
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Fedorova, Anastasiya, and Galina Alekseeva. "Discourse of the Retention of Cultural Values by Axiological Archetypes in the Visual Art of Primorye in the 60s of the 20th Century - the Beginning of the 21st Century." Bulletin of Baikal State University 30, no. 4 (December 30, 2020): 551–59. http://dx.doi.org/10.17150/2500-2759.2020.30(4).551-559.
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This article is devoted to the problem of preserving cultural values in the fine arts of the 60s of the 20th century — the beginning of the 21st century in the Primorsky Territory in connection with the period of perestroika in Russia. The regional features of artistic life and the main plots of canvas paintings, conveying traditional archetypes in the visual arts were studied on the basis of the original works of five leading Primorye artists of the 1960s — early 2000s. It is quite predictable that a number of value archetypes in the visual arts of the 20th–21st centuries does not lose its importance; moreover, their self-development in art gives a new driving force to fine art. Among such historically formed archetypes are the Great Mother, Hero, Tree of Life, Road (Ladder) and Fish. These symbolic images are implemented in different ways in the works of famous masters of the Primorsky Territory, such as V.S. Chebotarev, K.I. Shebeko, I.V. Rybachuk, R.V. Tushkin, V.A. Goncharenko, N.P Zhogolev, I.A. Kuznetsov, A.V. Teleshov, G.A. Omelchenko. The authors of the article identify archetypes that change their appearance in a new cultural and historical environment, but are recognizable due to the constant iconographic schemes and personal characteristics of a particular master. A new working term «axiological archetype» is proposed, which is consonant with the concept of «value archetype», which is based on the mental and value attitudes of society, expressed by the artist by means of visual arts, iconographic schemes, revealed through understanding the logic of hidden meaning. The use of an interdisciplinary approach made it possible to adapt the axiological approach to art history analysis and to present the visual arts of Primorye as a value phenomenon in the historical context of the development of Russian fine arts.
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NOVODVORCHUK, OLHA. "ЖАНРОВО-ІДЕОГРАФІЧНІ ТЕНДЕНЦІЇ У ПОЕТИЦІ СУЧАСНОЇ ДИТЯЧОЇ ЛІТЕРАТУРИ." Studia Ukrainica Posnaniensia 9, no. 2 (December 31, 2021): 153–64. http://dx.doi.org/10.14746/sup.2021.9.2.12.
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The article attempts to explore the features of early 21st century Ukrainian poetry for children. The purpose of exploration is to identify the genre and ideographic features of poetry: innovation and traditionalism. Tracing the genre modifications of poetry and their common and distinctive features, the author addresses the key features of poetry for children in general: artistic and literary discourse, the functions of poetry, thematic direction, strophic structure of the poem, the existence of images, characters and others. The article proves that the basis for the renewal of poetic genres is traditional genres of folklore and poetry. There are organically updated folk genres in modern poetry for children (praise, scarecrows, fables, nonsense, counters, patter, games) and newly created genres (poetry-pictures, tricks, coloring books, checks, stumbling blocks, therapeutic poems). The search for new forms of expression of idiosyncrasies of artists leads to the emergence of original genres. These have appeared as an original phenomenon in the Ukrainian literature of the early 21st century and offer a wide scope for further research.
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Gashinsky, Emma. "An Aesthetic Pattern of Nonbelonging—Immigration and Identity in Contemporary Israeli Art." Arts 8, no. 4 (November 26, 2019): 157. http://dx.doi.org/10.3390/arts8040157.
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This research pinpoints a local pattern of migratory aesthetics recurrently employed by four Israeli artists in the early years of the 21st century. I argue that works by artists Philip Rantzer, Gary Goldstein, Haim Maor, and David Wakstein showcase a hybrid migratory self-definition that is embedded in the artistic language itself. By harnessing a collagistic language of juxtaposition and fragmentation, they frame Israeli identity as uncanny, reflecting a cultural mindset of being neither “here” nor “there”. I contend that this pattern is used by a particular generation of artists, born in the early 1950s, and reflects a reaction, in hindsight, to the Zionist ethos of collective local identity. Employing old photographs from their family albums that they transform into framed detached figures, these artists draw upon childhood memories of immigration. Their art marks an identity clash between two homelands, which is the result of intertwined aesthetic and socio-cultural characteristics. The first is evident in the prevalent use of collage in local art—in itself a language of oppositions. The second is the negation of the diaspora in the Israeli socio-cultural mentality, which constructs identity through binary thinking. To date, no other study has acknowledged this aesthetic pattern nor the common ground these artists share in their works.
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Misiak, Małgorzata. "Vilnius Alma Mater – Cultural and Scientific Link of Polish-Lithuanian History." Slavistica Vilnensis 66, no. 1 (November 18, 2021): 142–49. http://dx.doi.org/10.15388/slavviln.2021.66(1).66.
Full textAbstract:
The discussed monograph is an attempt to present Vilnius Alma Mater as a cultural and scientific link of Polish-Lithuanian history. The texts that make up the volume concern thematically Polish-Lithuanian relations from the 16th century to the present day, perceived in several aspects: historical and cultural, literary, linguistic and educational. The articles collected in the volume are arranged into specific five themes. These are: the heritage of the Polish–Lithuanian Commonwealth, the Grand Duchy of Lithuania in the works of 19th-century artists, The History of Stefan Batory University (1919–1939), The interpretation of the space of Vilnius and the Grand Duchy of Lithuania from the perspective of the 20th and 21st centuries, the study of phenomena belonging to the cultural and cultural borderland linguistic.