Journal articles on the topic 'Ballarat Fine Art Gallery'
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1
Honoris, Robby, and Andalucia . "Design of North Sumatera Paradise Gallery in Medan City (Metaphor Architecture)." International Journal of Architecture and Urbanism 1, no. 1 (November 15, 2017): 91–99. http://dx.doi.org/10.32734/ijau.v1i1.266.
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The purpose of this Art Gallery designing is for giving space for the local artist to place and promote their art products. It’s because Medan city has not decent gallery according to the national standard. The surplus of this art gallery out of showing fine art is giving room experience impression to support fine art showcase. The theme of the building is a metaphor of water ripple to represent Babura river, so the art installation to the building is using water concept that gives unique aspect to building and can be art identity of Medan city. This gallery building is hoped to fulfill gallery estimation which is decent in national and international rank because Medan is the third biggest town in Indonesia where been visited by so many foreign tourists.
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Fazra Risky Nasution and Morida Siagian. "Contemporary Art Gallery (Expressionism Architecture)." International Journal of Architecture and Urbanism 4, no. 2 (August 27, 2020): 174–80. http://dx.doi.org/10.32734/ijau.v4i2.4520.
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Some issues prove that the development of art in Medan is relatively slow and does not become a concern of the public because of the availability of minimal and inadequate space, while Medan is a multicultural city in terms of art, many artists in the city of Medan have great potential. The construction of contemporary art gallery aims to meet the needs and facilities of art activities in the city of Medan because Medan does not yet have a decent art gallery for art activities, from exhibitions, artwork making space, to fine arts training venues and also as a center for art development likeness of the City of Medan. This gallery plans to be a productive place or place to introduce and provide attractive insights or knowledge to local people and tourists and to be able to preserve and preserve the fine arts in the city of Medan. The methodology used in this project is by collecting data through from literature review and by doing a site surveys. This building design uses the theme of expressionism architecture, where this building can express the meaning of art that it can be enjoyed visually.
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Coleridge, Edward. "How to make an entrance: Piranesi comes to Ballarat." Before/Now: Journal of the collaborative Research Centre in Australian History (CRCAH) 1, no. 1 (May 3, 2019): 5–10. http://dx.doi.org/10.35843/beforenow.173284.
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"The inside front cover of this publication carries an image of CRCAH's front door, the main gateway to the former Ballarat Gaol. It is a magnificent example of nineteenth century masonry work. The massive bluestone blocks were carved and chiselled into a grand classical edifice, making a fitting southern finale in scale and significance to the great range of buildings on either side of Lydiard Street. The remarkable architectural statement of a confident gold rich city runs from the ostentatious neo-classical railway station at the northern end past the Art Gallery, the Mining Exchange, the palatial former Post Office (now housing the studios of the university Arts Academy) and on along the facades of banks, hotels, theatres and churches, in a melody of styles from palladian to gothic (with some 20th century intrusions) down to the suitably 'redbrick' buildings of the Ballarat School of Mines. Here the road swings round to the west so the range of prison buildings bookend the whole composition with a dramatic solemn coda " -From forum article
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Siwabessy, D., G. Widati, B. Erwin, and G. P. Dianty. "Application of metaphor and sustainable concepts in art gallery buildings in Jakarta." IOP Conference Series: Earth and Environmental Science 878, no. 1 (October 1, 2021): 012023. http://dx.doi.org/10.1088/1755-1315/878/1/012023.
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Abstract Indonesia is a country that has a diverse culture which is an art that has been formed by human civilization and where art is an emotion or expression of feelings towards the beauty that is seen or felt by the development of art galleries that can be exhibited or even sold by gallery artist from the country of origin. Welcome his work, and with this gallery building, art lovers can enjoy works that show beauty. Location of the buildings is an area that serves as a fine art gallery in central Jakarta, where the region can build fine art galleries. With the application of the metaphorical architecture concept on the sustainable building consideration, it would be an attraction in the modern era.
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Batinic, Bernad. "Information Strategies of Fine Art Collectors, Gallerists, and Trendsetters." Empirical Studies of the Arts 23, no. 2 (July 2005): 135–52. http://dx.doi.org/10.2190/5nk2-terb-2a4r-qmd3.
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The objective of this article is to identify the strategies and information sources used by gallery owners and people who are particularly interested in the art market to obtain information about artists and their works, and how they use this information to evaluate an artist's significance. The survey was carried out at the international art fair “Art de Cologne.” One hundred three people participated in this study, of which 25 were gallery owners. The descriptive data analysis reveals many differences between the gallery owners and people interested in the art market. In a second step, a model for trendsetting in the field of arts is proposed. According to this proposal, such a model should be able to identify significant artists of the future at an early point in their career. Key features of trendsetters are their pronounced information-seeking behavior and their intensive use of the media to inform themselves about art. They are able to categorize innovative artists into the correct existing art-trends, and furthermore they are interested in telling people in their sphere about their discoveries. The results of this study show a significant positive correlation between trendsetting and knowledge about art. Major trendsetters inform themselves about arts using specialist journals and the Internet, but reject friends and acquaintances as sources of information.
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Rohr, Doris. "Good art, bad art – what is a ‘good’ drawing?" Visual Inquiry 2, no. 1 (March 1, 2013): 11–26. http://dx.doi.org/10.1386/vi.2.1.11_1.
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The article addresses subjectivity in relation to assessment of drawing as fine art practice within higher education contexts. How can we measure the quality of a drawing in contemporary fine art? What standards can one take recourse to, or use, to define boundaries and definitions for excellence? The role of outsider art, and of art not produced or valorized within institutional norms, is an area of tension within academic contexts. Do we overly valorize rejection of norms and traditions, or to the contrary, do we create neo-conformism in the way we teach drawing within fine art? This article asks to reconsider aesthetics as a potential way of redressing the need to build overarching standards and measuring codes, independent from agents and institutions that have become interested parties and stake holders: the curatorial function of museum and gallery, market forces, Research Council and Arts Council. A more meaningful dialogue with different types of public needs to be sought, to redress criticism that contemporary arts practices are elitist and removed from the realities of everyday life.
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Ardhiati, Yuke, Ashri Prawesthi D, Diptya Anggita, Ramadhani Isna Putri, L. Edhi Prasetya, Widya Nur Intan, Muhammad Wira Abi, et al. "An Adaptive Re-use of Cultural Heritage Buildings in Jabodetabek (Greater Jakarta) as the National Gallery of Indonesia's Satellites." International Journal of Built Environment and Scientific Research 4, no. 2 (December 28, 2020): 115. http://dx.doi.org/10.24853/ijbesr.4.2.115-126.
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The Nasional Gallery of Indonesia is a reputable art gallery owned by Indonesian State. It roles as the venue for exhibitions and art events on International scale. To maintain the reputation then it employed the Independent Curators to cary out exhibitions. In recent years, the phenomenon of the proffesional Fine Art Artists show the hing spirits. To enrich their international publication then they began to realize their opportunity to exhibit at this gallery. Unfortunately, the gallery building is an adaptive reuse of the Cultural Heritage Building. The National Gallery building which has a distinctive Dutch Colonial architectural style has not been optimally utilized. So, it has existence has wide limitations and space limitation that unable to accommodate such high interests. On the other hand, Jabodetabek is stands for Jakarta-Bogor-Depok-Tangerang-Bekasi are the Greater City of Jakarta, has Cultural Heritage Buildings. There are many of architectural style of heritage buildings that has chance to be the exhibition spaces. The study is an idea to aim solutions of the availability of exhibition area in Jabodetabek to accommodate the Fine Art Artists interest of exhibiting. According to the Adaptive-Reuse of the National Gallery’s case, and by refers to the Grounded Theory Research method and Case Studies related to the Jabodetabek’s Cultural Heritage buildings. A Working Hyphotesis is Jabodetabeks’s Cultural Heritage Buildings opportunities as The National Gallery’s Satellites. The findings are the Satellite Galleries Rank, and the Properties Display recommendation based on the Cultural Heritage’s rules that can be offered to make them as the “Satellite” as well as the ICOM as the National Gallery of Indonesia’s standard.
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Schnell, Hayley. "The Technikon Natal Art Library: An overview." Art Libraries Journal 20, no. 4 (1995): 19–21. http://dx.doi.org/10.1017/s0307472200009585.
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The Fine Art Department at Technikon Natal is supported by the Library’s art section, and by the Technikon art gallery. Within the library, the art collection, which is the responsibility of a subject librarian, is an integral part of a multi-disciplinary resource. The scope of the collection is broad, but special efforts are being made to collect documentation of South African art.
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Artists, Multiple. "Crisscross." ti< 9, no. 1 (March 26, 2020): 15–28. http://dx.doi.org/10.26522/ti.v9i1.2449.
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Hammond, Catherine. "Escaping the digital black hole: e-ephemera at two Auckland art libraries." Art Libraries Journal 41, no. 2 (April 2016): 107–14. http://dx.doi.org/10.1017/alj.2016.10.
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The collections of e-ephemera of two Auckland art libraries are discussed here: the E H McCormick Research Library at Auckland Art Gallery Toi o Tāmaki, a specialist art library within one of New Zealand's major public art galleries, and the Fine Arts Library Te Herenga Toi at the University of Auckland which supports the research and teaching needs of the Elam School of Fine Arts and the Department of Art History. While there are differences in approach both institutions see the value in preserving print and e-ephemera and are looking to make this material more accessible to users, despite numerous challenges.
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Hogan, Cynthia A. "The Crucifix and the Art Gallery: An Odyssey from Religious Material Culture to Fine Art." Religions 12, no. 7 (July 15, 2021): 537. http://dx.doi.org/10.3390/rel12070537.
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This article focuses the epistemological processes through which a thirteenth-century Spanish Crucifix in less than pristine condition transformed from an obscure rural Catholic devotional into an art commodity and celebrated work of medieval art now exhibited at the Memorial Art Gallery of the University of Rochester (MAG) in Rochester, New York. By situating the Spanish Crucifix within the nascent art historical epistemology and museum movement in the late eighteenth to early twentieth century, this article offers a case study in how religious material culture becomes embedded in capitalistic systems as products or commodities, yet suggests the ways that critical religious studies approaches might enhance our understanding of religious material culture in fine arts museums.
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Gumenium, A. "From the «art gallery of Russian artists» to the Museum of Fine Art (1924-1939)." Experiment 15, no. 1 (2009): 26–40. http://dx.doi.org/10.1163/2211730x-01501007.
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Lydon, Andrea. "The right space: 150 years of housing a national gallery's library and archive collection." Art Libraries Journal 43, no. 1 (December 8, 2017): 24–30. http://dx.doi.org/10.1017/alj.2017.44.
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The National Gallery of Ireland is the country's premier art institution. It houses the nation's collection of fine art in addition to a collection of library and archive material relating to the visual arts. The library and archive collections play an invaluable role supporting the work of the gallery and are regularly consulted by external researchers. Surprisingly, for more than a century there was no dedicated library space allocated to this collection. This article explores the development of the collection and the space it has occupied within the Gallery over the last 150 years, chronicling the challenges the gallery has faced housing this growing collection. This article outlines the situation today and concludes with an outline of the gallery's future plans for the library and archive in its efforts to create a space that will be a fitting home for this remarkable collection.
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James, Paula. "How Classical is Ariadne's Parrot? Southall's Painting and Its Literary Registers." Ramus 39, no. 1 (2010): 53–72. http://dx.doi.org/10.1017/s0048671x00000539.
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In this article I suggest ways in which a gorgeously crafted, colourful, compelling 20th century painting of an abandoned Ariadne highlights both her tragic and comic presence in classical literary representations. Joseph South-all's 1925-6 work Ariadne in Naxos (tempera on linen, 83.5 × 101.6 cm), reproduced below, can be viewed in all its glory in the Birmingham City Art Gallery (bequeathed by the artist's widow, Anne Elizabeth, in 1948) but it was featured to fine effect in the 2007 exhibition The Parrot in Art: From Dürer to Elizabeth Butterworth, Barber Institute of Fine Arts, University of Birmingham. It was in this psittacine (psittaceous?) context that I first encountered Ariadne's parrot so the bird perhaps loomed larger in the painting than it might as a stand-alone Southall on its home ground in the Gallery.
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Gollapalli, Sujatha Das, See-Kiong Ng, Ying Kiat Tham, Shan Shan Chow, Jia Min Wong, and Kevin Lim. "PaintTeR: Automatic Extraction of Text Spans for Generating Art-Centered Questions." Proceedings of the AAAI Conference on Artificial Intelligence 36, no. 11 (June 28, 2022): 12503–9. http://dx.doi.org/10.1609/aaai.v36i11.21519.
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We propose PaintTeR, our Paintings TextRank algorithm for extracting art-related text spans from passages on paintings. PaintTeR combines a lexicon of painting words curated automatically through distant supervision with random walks on a large-scale word co-occurrence graph for ranking passage spans for artistic characteristics. The spans extracted with PaintTeR are used in state-of-the-art Question Generation and Reading Comprehension models for designing an interactive aid that enables gallery and museum visitors focus on the artistic elements of paintings. We provide experiments on two datasets of expert-written passages on paintings to showcase the effectiveness of PaintTeR. Evaluations by both gallery experts as well as crowdworkers indicate that our proposed algorithm can be used to select relevant and interesting art-centered questions. To the best of our knowledge, ours is the first work to effectively fine-tune question generation models using minimal supervision for a low-resource, specialized context such as gallery visits.
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Pulford, David. "The Library of the Barber Institute of Fine Arts at the University of Birmingham." Art Libraries Journal 35, no. 4 (2010): 24–28. http://dx.doi.org/10.1017/s0307472200016631.
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The Barber Institute of Fine Arts is acknowledged as one of the finest small art galleries in Europe. It has a richly resourced library which functions both as a curatorial library for the Barber’s curators and as part of the University of Birmingham’s network of site libraries. Students of art history thus benefit from the combined resources of a specialist art gallery library and a major university library. The Barber also houses a visual resources library, music library and coin study room.
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Duncan, Sam. "FINE ARTS MUSEUMS OF SAN FRANCISCO.NATIONAL GALLERY OF ART, WASHINGTON, DC.THE WHITNEY MUSEUM OF AMERICAN ART." Art Documentation: Journal of the Art Libraries Society of North America 17, no. 1 (April 1998): 51–52. http://dx.doi.org/10.1086/adx.17.1.27948941.
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Gajšek, Katja. "USING FINE ART TO TEACH PROGRAMMING." GAMTAMOKSLINIS UGDYMAS / NATURAL SCIENCE EDUCATION 19, no. 1 (October 10, 2022): 7–14. http://dx.doi.org/10.48127/gu-nse/22.19.07.
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When people enter the gallery of contemporary art, they are met with interactive projections which fill up the room, react to the observer and take them on new adventures. Programmers, animators, architects, musicians, draftsmen, graphic artists, and engineers participate in this kind of works of art as co-creators of the work. The classic notion that an artist is someone who can draw or paint beautiful is misguided in modern art. Today the so-called artists are people who use all their knowledge and skills at their disposal to convey their message or view of the world. Art has always reflected the time in which it was created. So how do we include content in art lessons that require students to develop competencies they will need in the 21st century? Animated film as a style of artistic expression is not exactly modern but is something new in the curriculum of fine arts. I tried different techniques and procedures to teach students the concepts of creating animations. From drawn animation, stop-motion animation to computer animation. The latter has many production methods and procedures, but I think combining animation and programming the students can achieve many goals and competencies necessary for their future lives or careers. The student has to understand how the animation is created, and plan how to implement the programming code to display their wishes. Programming develops logical thinking, which allows children to break down complex problems into smaller and more manageable ones which are easier to solve. My goal for the students is they learn to use construction knowledge, collaboration, communication, and ICT in art classes and additionally learn how to program. Keywords: computer animation, interactive projections, visual art, Scratch
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Dwyer, Melva J. "Fine arts libraries in British Columbia: culture on the West Coast of Canada." Art Libraries Journal 24, no. 3 (1999): 5–7. http://dx.doi.org/10.1017/s0307472200019556.
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Fine arts and culture have existed in British Columbia from the time that the First Peoples came to the North Pacific coast of Canada. Vancouver’s first fine arts library was established in 1930 at the Vancouver Public Library; significant collections have subsequently been developed at the Vancouver Art Gallery, Emily Carr Institute of Art & Design and the University of British Columbia. They serve a diverse clientele: students, artists and researchers. Outlook, a province-wide network, provides access via the Internet to library catalogues of public, college and institution libraries throughout the Province.
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Isomäki, Irmeli. "Documenting art in Finland." Art Libraries Journal 13, no. 1 (1988): 20–22. http://dx.doi.org/10.1017/s0307472200005514.
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Literature on Finnish art can be sought via the national bibliography and periodicals indexes and a bibliography of Finnish history; these bibliographies are available as databases as well as in printed form and on microfiche. A working party on art libraries is looking into ways of widening bibliographical control of art literature. The publications themselves, and unpublished information, can be found in libraries and archives of several kinds, from the Library of Helsinki University to the libraries and archives of colleges of art and architecture, museums, and artists’ associations. Many of these organisations are active in gathering and publishing information. The Fine Arts Academy of Finland administers the Art Musum of the Ateneum, Finland’s national gallery, and maintains extensive collections of visual resources, exhibition catalogues, periodicals, and press clippings.
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BROWN, CHRISTOPHER. "The Renaissance of Museums in Britain." European Review 13, no. 4 (October 2005): 617–36. http://dx.doi.org/10.1017/s1062798705000840.
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In this paper – given as a lecture at Netherlands Institute for Advanced Study in the summer of 2003 – I survey the remarkable renaissance of museums – national and regional, public and private – in Britain in recent years, largely made possible with the financial support of the Heritage Lottery Fund. I look in detail at four non-national museum projects of particular interest: the Horniman Museum in South London, a remarkable and idiosyncratic collection of anthropological, natural history and musical material which has recently been re-housed and redisplayed; secondly, the nearby Dulwich Picture Gallery, famous for its 17th- and 18th-century Old Master paintings, a masterpiece of 19th-century architecture by Sir John Soane, which has been restored, and modern museum services provided. The third is the New Art Gallery, Walsall, where the Garman Ryan collection of early 20th-century painting and sculpture form the centrepiece of a new building with fine galleries and the forum is the Manchester Art Gallery, where the former City Art Gallery and the Athenaeum have been combined in a single building in which to display the city's rich art collections. The Ashmolean Museum in Oxford, of which I am Director, is the most important museum of art and archaeology in England outside London and the greatest University Museum in the world. Its astonishingly rich collections are introduced and the transformational plan for the museum is described. In July 2005 the Heritage Lottery Fund announced a grant of £15 million and the renovation of the Museum is now underway.
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Baker, Christopher. "A marriage of high‐tech and fine art: the National Gallery's Micro Gallery Project." Program 27, no. 4 (April 1993): 341–52. http://dx.doi.org/10.1108/eb047149.
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Young, India. "Culture v. Capital: The Rebecca Belmore Case." Contemporaneity: Historical Presence in Visual Culture 3 (June 5, 2014): 77–95. http://dx.doi.org/10.5195/contemp.2014.96.
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This paper considers a civil suit between an artist and her former gallery dealer. In the case of Nadimi v. Belmore, the plaintiff and the defendant exemplify two opposing ideologies, which in turn reflect two possibilities for understanding art. This paper considers the case, and Belmore’s artworks as representative of both systems. Through a strategic defense of her art and her practice, Belmore upholds a complex understanding of the value of art. The current legal system, however, only ascribes art value as commodity product. This paper demonstrates how Belmore’s actions and artworks related to the case supersede simple categorization. Her works cannot be corralled into any one classification; they are not only fine art, nor simply First Nations art. The article exposes how her works deploy multiple socio-cultural systems simultaneously: from an Anishnabe worldview, to European-Canadian art history, from the public museum, to the commercial gallery, to the Toronto bound freeway. I contend that this strategic employment of multiple systems is recognized in newly established international law, and articulated in the United Nations Declaration of Indigenous Peoples as traditional knowledge. The Belmore case illustrates the immediate need for governmental systems to acknowledge and employ such international law to redress systemic misconceptions of Indigenous arts practices.
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der Wateren, Jan van. "The National Art Library and the Indian Collections of the Victoria & Albert Museum, London." Art Libraries Journal 18, no. 2 (1993): 20–25. http://dx.doi.org/10.1017/s0307472200008300.
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The V&A Museum possesses the largest collection of Indian art outside the Indian sub-continent, dating from the acquisition of items from the Great Exhibition and of collections acquired by the Honourable East India Company. The Nehru Gallery of Indian Art, which opened in 1990, enabled a great deal of this material to be displayed. The Indian Collection is served by its own small research library, the records of which are currently being incorporated in the catalogue of the National Art Library at the Museum, while the National Art Library itself provides scholarly material on Indian art, especially the fine and decorative arts, in the major European languages. Some sources for obtaining new publications from India are noted.
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Sauge, Birgitte. "Arkitektur og utstillinger som berører. En studie av nyere basisutstillinger i norske kunst- og kunstindustrimuseer." Nordlit, no. 36 (December 10, 2015): 293. http://dx.doi.org/10.7557/13.3695.
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<p>The intention with this article is to describe current exhibition practices at some Norwegian fine art- and design museums and to relate these practices to the visitors and their experiences, by comparing data concerning the plans and interior designs of gallery rooms and the organization of the displays.</p><p>This investigation is based on data from a survey of 19 permanent exhibitions in 12 fine arts and design museums, conducted in 2011–12; the Norwegian museum architecture and museum displays with its more than 100 year old traditions; and Charlotte Klonk’s book <em>Spaces of Experience: Art Gallery Spaces from 1800–2000</em>.</p><p>The survey shows that the purpose built museums to a large extent have kept their original layout and the organization of rooms. The non-purpose built museums tend to imitate the museums from the 1800s, within the limits of their given architecture. Different types of specially designed rooms are found in all buildings, regardless of age and purposes. Regarding the organization of displays, the most frequent principle is a combination of historically chronological types and themes. Almost as frequent are strictly historical chronological displays and thematic displays without any historical narrative.</p><p>Hence, the comparisons reveal that there are no fixed patterns regarding the historical types and the conventions concerning the relationship between the museum architecture and organization of the displays, which lead to the conclusion that today there is no general curatorial strategy in Norwegian fine art- and design museums with regard to the visitors’ experiences.</p>
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Alexis-Martin, Becky. "Creating Object-Based Learning for the Anthropocene: A Critical Reflection." International Journal of Management and Applied Research 7, no. 3 (September 4, 2020): 215–23. http://dx.doi.org/10.18646/2056.73.20-015.
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The Anthropocene is the human age. Its undeniable significance has been ascribed across disciplines from geology, to cultural studies, to fine art. Through reflective analysis, this paper explores the role and significance of creative practice, the found object, and the use of object-based adventures in teaching the Anthropocene. It also considers the role of virtual object-based learning in a digital age through a “Gallery of Late Humanity”, through the reflexive lens of a lecturer who teaches both environmental sciences and cultural geography. These methods successfully encouraged learning across and beyond the disciplinary boundaries of geography and fine art, providing creative re-imaginings, visualisations and understandings of the Anthropocene. These approaches illustrate how the quotidian materialities of home can be reconfigured as a field site for the late Anthropocene.
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Bergman, Diane. "Bernard V. Bothmer: a man of honour." Art Libraries Journal 38, no. 4 (2013): 50–56. http://dx.doi.org/10.1017/s0307472200018800.
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Bernard V. Bothmer left his mark on the world of Egyptology in three of the United States’ great art institutions: the Museum of Fine Arts in Boston, the Brooklyn Museum and the Institute of Fine Arts, New York University. He created gallery displays, developed library collections and founded image collections that continue to influence scholars worldwide. One can wonder how the course of American Egyptology would have developed if circumstances had not driven him out of his native Germany. Despite hardship, fear and a career interrupted, he trained and profoundly influenced at least four generations of historians of Egyptian art. BVB, as he was affectionately known to those close to him, inspired all who worked with him to the highest level of achievement, a standard which came to be known as “Brooklyn Quality”.
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Mironova, Tatiana. "Institutional Aspects of Development of Contemporary Ukrainian Art." Artistic Culture. Topical Issues, no. 17(1) (June 8, 2021): 112–17. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235228.
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The publication considers the institutional aspects of the development of Ukrainian art in the beginning of the 21st century. Understanding ofspace of artistic culture is narrower than the concept of traditional cultural space and is mostly limited to institutions, activities of which are focused on the sphere of art. The basis for the formation of the space of artistic culture isthe synergy of creative activity of the artists, managers, collectors, gallery owners, auctioneers, curators, critics, scientists, and other professionals. This space expands due to the institutional activities, analytical texts of specialists, collective performative actions of artists, as well as the processes of promotion (management), interpretation, museum storage, auction and gallery sales, exhibition at the biennial, fairs, exhibitions, distribution of photos and texts on the Internet. Thus, art practices in their activities today are transformed into an established non-subordinate cultural industry of active cooperation of all these entities. The demarcation of the boundaries between the fine arts and “free locations” not only creates a special sphere of culture that exists between art and life, but also opens contemporary art to the public, as both trained spectators and casual witnesses are involved in the work. Exposition practices, evolving in the process of general development of culture, choose the ways of their development in accordance with the requirements of the time, and their formation and style are based on the main trends and criteria of contemporary art.
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Grishchenko, Anton Borisovich. "Features of Fixing the Architectural Heritage in the Belarusian Fine Arts (on the Example of the Exhibition «My Minsk – My Inspiration»." Ethnic Culture 4, no. 3 (September 27, 2022): 18–22. http://dx.doi.org/10.31483/r-103090.
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The exhibition titled «My Minsk – My Inspiration» was organized at the Museum of the History of Minsk and the Belarusian Union of Artists and held in 2021 from September 9 to 26 at the Mikhail Savitsky Art Gallery. This exhibition brought together fine arts and cinema: along with pictorial and graphic works, a number of documentaries in Minsk were presented for viewing, as well as feature films shot especially in Minsk. The purpose of the article is to evaluate paintings and graphic works from the collection of the Belarusian Union of artists presented at the exhibition «My Minsk – my inspiration» in the art gallery of Mikhail Savitsky in Minsk. Created between 1945 and 2018, the mentioned works reflect buildings and streets, valuable in terms of urban development. Paintings have historical and artistic value. The article provides the author's definition of the term «artistic reflection». Based on the method of typing the essence of three artistic reflections of the architectural heritage is revealed: «mirror reflection of artistic heritage», «reflection with the phenomena of artistic reflection» and «fiction in the reflection of the architectural heritage», as well as the identification of works to identify signs of artistic reflection.
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Kats, L. M. "Приморская государственная картинная галерея как центр художественного пространства Дальнего Востока." Iskusstvo Evrazii [The Art of Eurasia], no. 4(19) (December 30, 2020): 68–83. http://dx.doi.org/10.46748/arteuras.2020.04.006.
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The article is devoted to the last decade of exposition and exhibition activity of the Primorye State Art Gallery. The focus is on art projects that have become the result of increasingly strong inter-Museum contacts: “guest”, exchange and joint exhibitions. They are born as a result of searches for interested partners and sponsors, agreements with the heads of various institutions at forums and seminars. The patronage of Central museums is of great importance: the State Hermitage Museum, the state Tretyakov Gallery, the State Russian Museum, and others. The Primorye State Art Gallery organizes international exhibitions in order to promote Far Eastern fine art in the countries of the Asia-Pacific region, to open new names for these territories in the artistic sphere of the region and the district. The experience of the the Primorye State Art Gallery can be useful for museum workers in the Far Eastern and Siberian regions, and the information obtained can become an incentive for establishing new inter-museum contacts. The Primorye State Art Gallery is a relatively young museum formed in 1966 on the basis of the art collection of the Primorsky Regional Museum of Local Lore (now the Museum of the History of the Far East named after V. K. Arsenyev). Over five and a half decades, the gallery's funds have grown immeasurably, and it has become a methodological center for art museums in the Far East: the State Hermitage Museum has held six master classes on restoration and conservation of works of art in the gallery, and specialists from the State Russian Museum have been conducting scientific and practical seminars for the Far Eastern Federal district in recent years here. Статья посвящена последнему десятилетию экспозиционно-выставочной деятельности Приморской государственной картинной галереи. В центре внимания — арт-проекты, ставшие результатом все более крепнущих межмузейных контактов: «гостевые», обменные и совместные выставки. Рождаются они как итог поисков заинтересованных партнеров и спонсоров, договоренностей с руководителями различных институций на форумах и семинарах. Большое значение имеет шефское внимание центральных музеев: Государственного Эрмитажа, Государственной Третьяковской галереи, Государственного Русского музея и других. Международные выставки Приморская картинная галерея организует с целью продвижения дальневосточного изобразительного искусства в страны Азиатско-Тихоокеанского региона, открытия для этих территорий новых имен в художественной сфере края и округа. Опыт Приморской государственной картинной галереи может быть полезным для музейных работников Дальневосточного и Сибирского регионов, а полученная информация — стать побудительным импульсом для установления новых межмузейных контактов. Приморская государственная картинная галерея — сравнительно молодой музей, образовавшийся в 1966 году на основе художественной коллекции Приморского краевого краеведческого музея им. В.К. Арсеньева (ныне Музей истории Дальнего Востока им. В.К. Арсеньева). За пять с половиной десятилетий неизмеримо выросли фонды галереи, она превратилась в методический центр для художественных музеев Дальнего Востока: Государственный Эрмитаж провел в стенах картинной галереи Владивостока шесть мастер-классов по реставрации и консервации произведений искусства, специалисты Государственного Русского музея в последние годы выезжают с научно-практическими семинарами для зоны Дальневосточного федерального округа.
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Canby, Sheila R. "Elizabeth Sgalitzer Ettinghausen 1918–2016." Review of Middle East Studies 50, no. 2 (August 2016): 231–32. http://dx.doi.org/10.1017/rms.2016.137.
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Born in Austria in 1918, Elizabeth spent the World War II years in Istanbul where her father was professor of medicine at Istanbul University. This resulted not only in her learning Turkish but also in developing an interest in Byzantine art and archaeology, leading to a dissertation on Byzantine ceramics. In 1945 she married Richard Ettinghausen, who had recently joined the Freer Gallery of Art and was also lecturing at Princeton University. That marked the beginning of Elizabeth's ties with the town where she lived for many years. In 1966 Richard became Hagop Kevorkian Professor of Islamic Art at the Institute of Fine Arts and in 1969 he was appointed Consultative Chairman of the Department of Islamic Art at the Metropolitan Museum of Art. Meanwhile, in addition to pursuing her art–historical interests, Elizabeth was bringing up their two sons in Princeton. Today, the elder son teaches and practices medicine in Rochester, NY, and the younger is in international finance in Abu Dhabi.
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Cleere, Eileen. "Dirty Pictures: John Ruskin, Modern Painters, and the Victorian Sanitation of Fine Art." Representations 78, no. 1 (2002): 116–39. http://dx.doi.org/10.1525/rep.2002.78.1.116.
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WHILE MY PROJECT IS BROADLY INTERESTED in the interdisciplinary work of what I will call sanitary art in nineteenth-century Britain, this essay is primarily concerned with a watershed moment in the production of that interdisciplinarity. In 1842, Edwin Chadwick published his Report on the Sanitary Condition of the Labouring Population; the following year, John Ruskin published the first volume of Modern Painters. Incomparable in subject, genre, and style, these texts would nonetheless participate in the same cultural project, producing between them a discourse of ''dirty'' art that challenged and eventually redefined nineteenth-century aesthetic standards. This essay argues that Ruskin employed the discourse and ideological necessity of sanitary reform from his earliest work, enforcing through his celebration of modern painters an aesthetic preference for the bright, clean colors of J.M.W. Turner and the Pre-Raphaelites over the pestilential tones and dark obscurity of the Renaissance Old Masters. Moreover, Ruskin's sophisticated preferences were circulated and popularized by a cultural event more generally accessible than Modern Painters. Isolating a mid-Victorian moment when the agitation for urban cleanliness began to dominate a variety of social discourses, this essay will also argue that Chadwick's powerful sanitary idea was channeled through a public controversy in the mid-forties about the aesthetic status of ''picture cleaning'' in the National Gallery at Trafalgar Square. When the dust from this debate finally settled, it was swept away along with the dirty aesthetic theories that had accumulated over previous centuries. Left in its place was the thesis of Modern Painters, and a new standard of aesthetic hygiene for Victorian art.
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Beaucar, Barbara, Adrienne Pruitt, and Katy Rawdon. "‘Art is no trivial matter’: the Barnes Foundation Archives and Library." Art Libraries Journal 33, no. 1 (2008): 22–27. http://dx.doi.org/10.1017/s0307472200015182.
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The Barnes Foundation is an educational institution located near Philadelphia, Pennsylvania. The Foundation’s world-renowned art collection and its twelve-acre arboretum serve its mission to promote the advancement of education and the appreciation of fine arts and horticulture, through classes and workshops held in the Gallery and the Arboretum. The staff of the Foundation’s long-neglected archives and library is in the process of organizing and cataloguing its collections, and has recently completed a major grant-funded project to create finding aids for several of them.‘[A]rt is no trivial matter, no device for the entertainment of dilettantes, or upholstery for the houses of the wealthy, but a source of insight into the world, for which there is and can be no substitute, and in which all persons who have the necessary insight may share.’ – Albert C. Barnes, Preface to Art and education (Merion, Pennsylvania: The Barnes Foundation Press, 1929), vi.
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Rusakov, Serhii. "Establishment of the Art Market in the Context of Ukrainian Historical and Cultural Tradition." Studia Warmińskie 59 (December 31, 2022): 111–24. http://dx.doi.org/10.31648/sw.8330.
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The origins of the art market in Ukraine are analyzed on the basis of the life of artists, art exhibitions, art salons and creative circles of the 17th - early 20th centuries. The author researches the socio-cultural processes of different periods of Ukrainian culture that influenced the phenomenon of the art market, in particular its educational and commercial aspects. The peculiarity of the art market in Ukraine is connected with the popularization of young Ukrainian artists, the creation of favorable conditions for the realization of their talent, the unification of artistic forces from different Ukrainian regions and on. The art market is considered as a value-semantic space, where works of art are circulated, thanks to which new ideas emerge in the Ukrainian cultural space. The author uses the cultural-historical method, which allows to analyze, describe and generalize the patterns of origin, formation and development of the art market as an important component of socio-cultural evolution of Ukrainian culture. The important role of patronage, which contributed to the development of the Ukrainian art market, is considered. The origin and development of art exhibitions, which gained popularity in the 19th century, despite the long-standing tradition of exhibition activities in Ukraine, are studied. Mobile art exhibitions became a unique phenomenon, which determined the main trend in the fine arts of the last third of the 19th century. The activities of the Taras Shevchenko Scientific Society, which contributed to the creation of a portrait gallery – the largest project related to the fine arts, headed by M. Hrushevsky – are reviewed separately. The author emphasizes that the activities of progressive Ukrainian of art contributed to the creation of many artistic associations, which played an important role in promoting the works of Ukrainian artists, awakening public interest in art.
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Krasnoslobodtsev, Constantine V. "EXHIBITION OF MODERN FRENCH ART IN MOSCOW (1928) ON THE MATERIALS OF RGALI AND THE ARCHIVE OF THE PUSHKIN STATE MUSEUM OF FINE ARTS." History and Archives, no. 3 (2022): 52–62. http://dx.doi.org/10.28995/2658-6541-2022-3-52-62.
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The cooperation of the new Soviet art and the artists of Russian emigration is a subject of particular interest. The period of the 1920s became a unique in the history of art when the new Soviet avant-garde artists, as well as artists who remained at home and those who decided to leave and not return, got along at international exhibitions within the Russian section. Russian art was still perceived as a single whole, geographical boundaries did not play a role, and the abyss of “non-return” had not yet opened between the creators themselves. The last chords in that still general composition were some art exhibitions that have become iconic. One of them was the exhibition of modern French art in Moscow (September – November 1928), which is the focus of the article. The organization of the exhibition brought together efforts of highranking officials of the USSR and France (A.V. Lunacharsky, E. Herriot), major cultural institutions (State Museum of New Western Art, Tretyakov Gallery, State Academy of Art Sciences), private French galleries and art dealers, as well as individual artists. On the basis of archival documents from the funds of the RGALI and the Archive of the Pushkin State Museum of Fine Arts, the author restores the events associated with the preparation, organization, negotiations and participation in the exhibition of emigrant artists.
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Hudson-Miles, Richard, and Andy Broadey. "‘Messy Democracy’: Democratic pedagogy and its discontents." Research in Education 104, no. 1 (April 16, 2019): 56–76. http://dx.doi.org/10.1177/0034523719842296.
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This paper reflects on a recent participatory installation by the artists’ collective @.ac, entitled Messy Democracy, as a case study to raise questions concerning the ‘distribution of the sensible’ within the neoliberal art school. The project set up a quasi-autonomous artists’ space within Hanover Project gallery 9 April–3 May, 2018 at University of Central Lancashire, Preston. This exhibition functioned as a space of collective pedagogy, co-labour and ‘dissensus’ situated in relation to the wider operation of the department of Fine Art. It also sought to operate as a critical alternative to contemporary models of the art school, rooted in notions of usefulness and romantic self-realisation, but re-structured in the service of ‘commodification’ and ‘financialisation’ in wake of the Browne Report (2010). Most importantly, Messy Democracy represented a ‘theatocractic’ ‘undercommons’ for alternate and counter-hegemonic subjectivities to emerge. However, hierarchical logics, resulting from the hegemonic ‘distribution of the sensible’ stubbornly persisted even within this nascent pedagogic democracy.
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Et.al, Harozila Ramli. "Creative and Innovative Thinking in the Holistic Development of Students’ Potentials through ‘Sekolah Bitara’ Visual Art Program." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 3 (April 10, 2021): 406–17. http://dx.doi.org/10.17762/turcomat.v12i3.745.
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UPSI-Sekolah Bitara Visual Art Program was a smart, collaborative project involving Universiti Pendidikan Sultan Idris (UPSI) and SekolahKebangsaanDato’ Kamaruddin, BehrangStesen, Perak. The UPSI’s Sekolah Bitara Visual Art Program was a smart collaborative project held at the SekolahKebangsaanDato’ Kamaruddin, BehrangStesen, Perak. This program was implemented based on the concept of sharing and exchange of the knowledge of visual art involving several teachers and students, aged 8-12. This ‘visual art expression’ program was carried out in several series, which began in 2014 and ended in 2018, consisting of six (6) visual art projects as follows: batik craft, print art, ceramic art, fine metal art, wall murals, and textile art.The program involving art appreciation, textile art, and legacy of art helped exposed students and provided a rich experience for such participants in learning visual art through activities that enhanced their higher-order thinking skills. This six-series project produced 180 visual art works in various disciplines of art, which were put on display at the UPSI’s Art Gallery. In addition, students’ creative wall murals were displayed on the walls of the school building. Surely, such accomplishments signify their innovative and creative thinking that can help develop students holistically with strong intellectual, emotional, spiritual, and physical attributes, which are in line with the aspirations of the National Education Philosophy. Surely, more efforts of similar nature are required in the future to further enhance such a program to develop students who are highly creative, innovative, and competitive.
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Świtek, Gabriela. "Architecture as politics." SAJ - Serbian Architectural Journal 6, no. 1 (2014): 63–74. http://dx.doi.org/10.5937/saj1401063q.
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The paper presents a comment on Jacques Rancière's thinking on architecture as traced in The Politics of Aesthetics and juxtaposed with a case study - 1st Exhibition of Architecture of the People's Poland. The exhibition organized in the era of Stalinism (1953) and shown in the Central Bureau for Artistic Exhibitions (nowadays the Zachęta - National Gallery of Art in Warsaw) is seen as a manifestation of 'artistic regimes' of the period and as aesthetisation of architecture which is commonly considered the most 'political' of all the (fine) arts. Architecture does not seem to be the main concern of The Politics of Aesthetics; most translators and (Polish) commentators of Rancière's philosophical writings draw our attention to the importance of his aesthetics for the relational aspects of contemporary art in public spaces. The article aims at emphasizing the architectural moments in Rancière's project of aesthetics as politics; it also elaborates a couple of notions poiēsis/mimēsis - as discussed by Rancière - in relation to architectural theory and history of architectural exhibitions.
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Armand, Barton Levi St. "Fine Fitnesses: Dickinson, Higginson, and Literary Luminism." Prospects 14 (October 1989): 141–73. http://dx.doi.org/10.1017/s0361233300005731.
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As American Studies extends its interdisciplinary mandate to the pictorial arts, a manifest destiny that might be seen by some as but a new form of cultural imperialism, it behooves us to stop this juggernaut for a moment and consider the increasingly important question of historicism. An historicism strictly applied can provide us with a rubric rooted in fact rather than in speculation, chastening a self-reflexive presentism with documentary and contextual integrity. Nowhere is this discipline of the interdisciplinary more needed than in considering the application of a problematical term like “Luminism,” itself an ex-post-facto construct of American art history that, like a typical Baby Boomer, was born in the mid-fifties, came of age in the seventies, and now is an establishment figure of the late eighties. First conceived by John I.H. Baur, Luminism was nurtured by Barbara Novak in her magisterial American Painting of the Nineteenth Century, and all but beatified in the post-Bicentennial extravaganza of John Wilmerding's American Light exhibit at the National Gallery. With the acceptance of Luminism as a viable aesthetic category, American Romantic painting itself, so long international Modernism's stepchild and poor relation, came of age and was invested with the Toga Virilis of academic respectability. In looking backwards, Americanists once anxious about vindicating their attraction to a supposedly secondhand and second-rate pictorial tradition could proudly point out that the nation had always possessed a legitimate school of artists who responded in a unified yet creative way to the idiomatic qualities of the American scene.
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Moura, Anabela, and Raquel Moreira. "Arts-Based Service Learning: A Vehicle for Development and Sustainability of Communities." Advances in Social Sciences Research Journal 9, no. 8 (August 31, 2022): 538–52. http://dx.doi.org/10.14738/assrj.98.12919.
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Through this qualitative study we intend to show how an Arts-Based Service-Learning Program was implemented with Fine Arts Students, in a Higher School of Education of a Portuguese Polytechnic Institution, Portugal, in collaboration with some local communities and how this Program helped to understand such pedagogical tool as a way of integrating arts-based service in the community with learning that enriches the participants' experience, strengthening community relationships, bringing about change in their environments and presenting the students and community views on the approval and involvement of a sustainable program. We also try to point out the importance of the involvement and collaboration of an art gallery in this process, presenting a brief description of one student’s project as an example of a pedagogical resource of our service-learning practices.
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Wilsher, Mark. "The phantom ‘practice-only thesis’." Journal of Writing in Creative Practice 13, no. 2 (February 1, 2020): 219–27. http://dx.doi.org/10.1386/jwcp_00005_1.
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As universities become accustomed to the complexities of their art and design faculties, a body of literature has emerged that explores some of the possibilities of a doctorate in the creative arts. In the area of fine art in particular, although not exclusively, there has been a drive towards a purely practice-based thesis. This article argues that the notion of the practice-only thesis is not only an unrealistic illusion that puts pressure on students, but also does not reflect contemporary professional practices. For an art practice to communicate any sort of specific knowledge it must be embedded in a pre-existing and continuously evolving flux of discourse produced through written and spoken language. The American artist Trisha Donnelly’s 2014 Serpentine Gallery exhibition is taken as an example. Critical writing in the art press produces an accepted interpretation, and this is what the artist ‘Trisha Donnelly’ comes to stand for. So artwork that might appear to be producing its meaning autonomously should be seen as a collaborative practice involving the artist together with their professional interpreters. Research students are required to produce a self-contained project which would seem to preclude the incorporation of writing or academic interpretation by others. But it is fundamentally unfair to demand a thesis without any written component since it does not exist in an expanded notion of the contemporary art world.
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Loftus, Belinda. "Northern Ireland 1968–1988: Enter an Art Historian in Search of a Useful Theory." Sociological Review 35, no. 1_suppl (May 1987): 99–133. http://dx.doi.org/10.1111/j.1467-954x.1987.tb00084.x.
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Publications and museum or art-gallery displays have tended to separate the visual images related to the Northern Ireland troubles into illustrations of history, works of art and media imagery. These distinct categories to some degree reflect the growing specialisation of art workers in Europe from the late eighteenth century onwards. But in the context of the Northern Ireland conflict visual images patently cut across such distinctions. Fine art works have direct political and therefore historical impact; media images use and are used by the producers of popular emblems; visual styles are held in common by all categories of imagery. The perpetuation of the separate history illustration/artwork/media picture categories when dealing with Northern Ireland imagery is therefore attributed to the formal and informal training of British and Irish historians and art historians. An alternative theoretical basis for examining the images related to the Northern Ireland conflict is suggested, in which those images are seen as parts of visual language codes, whose constant use and re-use simultaneously adds further layers of meaning to them, ensures their real impact on social, political, economic and religious developments, and modifies the overall visual language of their producers/users. This approach is related to the work of German and Austrian art-historians and their successors, American media studies focusing on the links between institutional organisation and visual style, anthropological analyses of ritual symbols and recent sociological use of linguistic theory.
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Akhmetova, Dina I. "Kazan art exhibitions of the 19th – 20th centuries as sources of formation of the city’s museum collections." Historical Ethnology 5, no. 3 (November 27, 2020): 373–87. http://dx.doi.org/10.22378/he.2020-5-3.373-387.
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The creation of an art school in 1895 under the patronage of the Academy of Arts is an important milestone in the life of the Kazan Province center. As a result, Kazan combines various vectors of cultural activities: getting an art education, organizing exhibitions, and uniting the local creative intelligentsia. For the first time, rare but already regular exhibitions are held in the city. Initially, these were exhibitions of the academic school masters of the capital. Later, united by the school, Kazan artists felt up to the task of organizing their own exhibitions. The result of these events is the formation of the school’s museum, as well as the development of the city’s private collections. The City Museum also acquired works of art for its own funds. Artist A. Kandaurov laid the foundation of the school museum and presented two of his paintings in 1896. Afterwards it became a tradition – artists donated their works to the school museum. As a result, in 1902, the school petitioned the Academy “to create a museum and a gallery in the new school building using the stock of the Academy of Arts”. Many of the works purchased at such exhibitions were included in the collection of the Republic of Tatarstan State Museum of Fine Arts. The organization of art exhibitions made Kazan a part of the all-Russian cultural space of those years.
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Gracheva, Svetlana M. "Portrait in Contemporary Russian Painting in the Context of World Art: A Typology of the Genre." Vestnik of Saint Petersburg University. Arts 11, no. 4 (2021): 636–48. http://dx.doi.org/10.21638/spbu15.2021.404.
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In Russian fine art, portrait painting has been traditionally distinguished by extraordinary variety and depth, reflecting the figurative and stylistic searches of artists of different periods. Russian art historians have comprehensively studied the portrait genre in the history of art. At the same time, the well-established classification of genres does not allow to take into account completely the variety of trends and approaches to the depiction of a person in contemporary art. The understanding of the portrait genre’s boundaries in contemporary art is extremely blurred. Sometimes it means either any image of a person, or even the absence of one at all. It appears essential and important to consider the work of Russian artists in the context of international visual art practices to compose a more holistic picture connected with general cultural development. The article proposes to expand the established typology of the portrait genre adopted in Russian art. The already well-known typology of portrait painting can be updated with other types of portrait based on the semantic and semiotic analysis of artistic works of the late 20th — 21st century. It is important to study contemporary Russian portrait painting from the perspective of a variety of typological models, and to use the new language of contemporary art history to understand the processes taking place in Russian painting of the late 20th — 21st century, in order to facilitate the entry of Russian art into the international cultural context. An idea has been matured to create a National Portrait Gallery in Russia which would collect portraits and self-portraits of the greatest personalities of our era in a real and virtual space.
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Archer, Anita, and David M. Challis. "‘The Lucky Country’: How the COVID-19 Pandemic Revitalised Australia’s Lethargic Art Market." Arts 11, no. 2 (April 5, 2022): 49. http://dx.doi.org/10.3390/arts11020049.
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Since its publication in 1964, Australians have used the title of Donald Horne’s book, The Lucky Country, as a term of self-reflective endearment to express the social and economic benefits afforded to the population by the country’s wealth of geographical and environmental advantages. These same advantages, combined with strict border closures, have proven invaluable in protecting Australia from the ravages of the global COVID-19 pandemic, in comparison to many other countries. However, elements of Australia’s arts sector have not been so fortunate. The financial damage of pandemic-driven closures of exhibitions, art events, museums, and art businesses has been compounded by complex government stimulus packages that have excluded many contracted arts workers. Contrarily, a booming fine art auction market and commercial gallery sector driven by stay-at-home local collectors demonstrated remarkable resilience considering the extraordinary circumstances. Nonetheless, this resilience must be contextualised against a decade of underperformance in the Australian art market, fed by the negative impact of national taxation policies and a dearth of Federal government support for the visual arts sector. This paper examines the complex and contradictory landscape of the art market in Australia during the global pandemic, including the extension of pre-pandemic trends towards digitalisation and internationalisation. Drawing on qualitative and quantitative analysis, the paper concludes that Australia is indeed a ‘lucky country’, and that whilst lockdowns have driven stay-at-home collectors to kick-start the local art market, an overdue digital pivot also offers future opportunities in the aftermath of the pandemic for national and international growth.
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Griffin, Isla. "Binding Matters." idea journal 17, no. 01 (October 21, 2020): 94–106. http://dx.doi.org/10.37113/ij.v17i01.382.
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This visual essay introduces and critically reflects on a creative research project entitled ‘Spectra on the edge of embodiment,’ undertaken as part of my Master of Fine Art study in 2017 at the College of Creative Arts, Massey University, Wellington, New Zealand. The project was motivated by several questions and concerns: What is the being that is human? How does it interact with the space it occupies? Through a work of art, is it possible to convey to a viewer the metacognitive perceptions I have propagated in connecting to my interiority and how it interfaces with the world? The work took the form of an immersive spatial installation including multiple video projections accompanied by a sound loop. Occupying a darkened room within a gallery setting, it animated uniform wall surfaces and corner spaces. The video imagery originated from textural surfaces, detritus, fluids and other such flotsam and jetsam reminiscent of interior anatomies, compelling viewers to linger and wonder what the body might look like from the inside. Such a detailed imaginary view of the body’s interior environment stems from extensive cadaver studies that I undertook as part of my training as a physiotherapist.
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Maуstrenko-Vakulenko, Yuliya. "YULII MYKOLAIOVYCH YATCHENKO (1928–2020). MEMORIES OF THE ARTIST [publication of the document]." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 30 (December 9, 2021): 66–76. http://dx.doi.org/10.33838/naoma.30.2021.66-76.
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Abstract. The article is a publication of the memories of Yulii Mykolaiovych Yatchenko, a Ukrainian painter, graduate of the Kyiv State Art Institute (KSAI), student of S. Hryhoriev, M. Sharonov, H. Melikhov, and K. Ieleva. Yulii Yatchenko dedicated almost his entire life to pedagogical and organizational work: Director of the Republican Art Secondary School named after T.H. Shevchenko, Professor of the Department of Drawing and Vice-Rector for scientific work of the KSAI, as well as he headed the Directorate of Art Exhibitions of the Ministry of Culture of the USSR. The manuscript work «Memories of the Artist» of Yulii Mykolaiovych Yatchenko was prepared by him for printing in 2014. The manuscript contains two parts: «Memories of the Artist. The Story» and «Work on the Images of Princes and Kings». Now the first part is published, in which the author recalls both his training at the KSAI (now — «the NAFAA») and the methods of work and education of the teachers; describes moments of the creative process over the painting «With the Dream of Peace. Rescuing Works of Dresden Art Gallery by Soviet Troops in 1945» (1959) and other major paintings; revives in memories trips to Dresden and communication with the management of the Dresden Gallery, visits of the Ukrainian delegation for culture to Portugal, creative trips to Lithuania and Latvia, stay in Sedniv and Kanev; as if relives the pleasant moments associated with personal exhibitions in the halls of the National Academy of Fine Arts and Architecture. Yulii Yatchenko also draws attention to the issues of pedagogy, drawing teaching methods, reflects on the needs of creative youth. Finally, the author dives into his childhood memories, verbally describing his family and his ancestors. The feature of «Memories of the Artist» of Yulii Yatchenko is the absence of a rigid chronology and informality of presentation; the artist wrote down his own memories in the sequence in which they surfaced in his memory. After reading the «Memories», there is a feeling of personal communication with Yulii Mykolaiovych Yatchenko. The publication is a unique original testimony of the artist, a representative of that generation, whose creative path began in the difficult postwar period, in times of severe ideological constraints. The material of his memories is useful for teachers, graduate and undergraduate students, as well as connoisseurs of art in general and the creativity of Yulii Mykolaiovych Yatchenko in particular.
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Edward, Mark. "Council House Movie Star: Que(e)rying the Costume." Scene 2, no. 1 (October 1, 2014): 147–53. http://dx.doi.org/10.1386/scene.2.1-2.147_1.
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Council House Movie Star (2012) originally started as a film enquiry exploring what happens when drag queens age, both off stage and onstage. The research expanded to include two further practice projects: an immersive gallery installation of a life-size council house and a fine art exhibition of the naked and costumed drag body. This article examines the quotidian experiences of a white working-class drag hero/ine and the costumed genderqueered skin. It discusses the queer costume of drag queens, including make-up and wigs. The article also explores the position of memory within the formation of costume for performance as a major theme within the creative processes and design of this project. This visual essay narrates the positioning of drag queens within the social realities of working-class life, thus producing an interesting contrast between the costume of chavs, B-boys and contemporary youth, against the queer and camp drag costume.
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Aslan qızı Məmmədova, Ləman. "Portrait treasury of great Azerbaijan female artists." SCIENTIFIC WORK 78, no. 5 (May 17, 2022): 31–37. http://dx.doi.org/10.36719/2663-4619/78/31-37.
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Məqalədə Maral Rəhmanzadə, Vəcihə Səmədova, Elmira Şahtaxstinskaya kimi görkəmli Azərbaycan rəssamlarının bəzi əsərləri təhlil edilmişdir. Maral Rəhmanzadənin, mahir fırça ustasının portret əsərləri incəsənətimizin tarixinə boyakarlığın qiymətli nümunələri kimi daxil olmuşdur. Böyük rəssamın portret janrında yüksək sənətkarlıq nümunəsi sayılan əsərləri son dərəcə özünəməxsusluğu ilə səciyyələnir. Maral Rəhmanzadənin yaradıcılığında başlıca xüsusiyyətlərdən biri Azərbaycan qadınına xas gözəlliyin, zərifliyin, məğrurluğun və zəngin mənəvi aləmin parlaq vəhdətidir. Azərbaycanın görkəmli rəssamı Vəcihə Səmədovanın tablolarında isə biz maraqlı rəng çalarları, milli kolorit, kompozisiyanın dinamikliyini və böyük ustalıq görürük. Görkəmli rəssamın belə xüsusiyyətləri ilə seçilən tabloları dünya muzeylərində layiqli yer tutur. Elmira Şaxtaxtinskaya isə daha çox plakat və dəzgah rəsmlərinin müəllifi kimi şöhrət tapmışdır. Rəssamın Azərbaycanın elm, ədəbiyyat və incəsənət xadimlərinin portretlər qalereyası yüksək sənətkarlığı ilə fərqlənir: Üzeyir Hacıbəyovun portreti, Hüseyn Cavidin portreti, Qara Qarayevin portreti, Əcəmi Naxçıvaninin portreti, Sultan Məhəmmədin portreti, Məhəmməd Füzulinin portreti, Məhsəti Gəncəvinin portreti və b. Açar sözlər: qadın rəssam, portret, XX əsr təsviri sənəti, rəssam, rəngkarlıq, bədii obraz, rəsm qalereyası Leman Aslan Mamedova Portrait treasury of great Azerbaijan female artists Abstract The article analyzes some of the works of such outstanding Azerbaijan artists as Maral Rahmanzade, Vajiha Samadova, Elmira Shahtakhstinskaya. The portraits of the great master of the brush Maral Rahmanzade entered the history of our art as valuable examples of painting. The works of the great artis, considered an example of high skill in the genre of portraiture, are distinguished by high originality. One of the main features of Maral Rahmanzade’s creativity is a bright unity of beauty, fragility, pride and rich spiritual world of Azerbaijan women. In the paintings of the outstanding Azerbaijan artist Vajiha Samadova, we see interesting shades of colour, national color, dynamism of composition and great skill. The painting s of the famous artist, characterized by such features, a worthy place in museums around the world. Elmira Shahtakhstinskaya is best known as the author of posters and picturesque paintings. Elmira Shahtakhstinskaya has created a portrait gallery of Azerbaijan culture and science figures, which is distinguished by high skill of execution: portrait of Uzeyir Hajibeyov, portrait of Huseyn Javid, portrait of Gara Garayev, portrait of Ajami Nakhchivani, portrait of Sultan Muhammad, portrait of Muhammad Fizuli, portrait of Mehseti Ganjavi, etc. Key words: artist, portrait, 20th century fine art, artist, painting, artistic image, art gallery
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., I. Nym Putra Purbawa, Dr I. Ketut Sudita, M. Si ., and I. Wayan Sudiarta, S. Pd ,. M. Si . "EKSISTENSI KOMUNITAS STREET ART DJAMUR DENPASAR." Jurnal Pendidikan Seni Rupa Undiksha 8, no. 1 (March 21, 2018): 1. http://dx.doi.org/10.23887/jjpsp.v8i1.13360.
Full textAbstract:
Penelitian ini bertujuan untuk memperoleh informasi tentang: (1) Awal terbentuk komunitas Street Art Djamur Denpasar. (2) Jenis karya dan Tema karya komunitas Street Art Djamur Denpasar. (3) Pola komunikasi seniman dalam bekerja karya kolektif komunitas Street Art Djamur Denpasar. (4) Respon masyarakat terhadap karya Komunitas Street Art Djamur Denpasar. Penelitian ini merupakan penelitian deskriptif dengan pendekatan kualitatif. Subjek penelitian ini adalah komunitas Street Art Djamur. Pengumpulan data dalam penelitian ini dilakukan dengan teknik (1) observasi, (2) wawancara,(3) dokumentasi, dan (4) kepustakaan. Instrumen yang digunakan adalah (1) instrumen observasi, instrumen wawancara, instrumen dokumentasi dan instrumen kepustakaan. Analisis data yang digunakan adalah analisa interaktif. Hasil penelitian ini adalah: (1) terbentuknya komunitas Street art Djamur Denpasar berawal dari kegelisahan dan kejenuhan sejumlah seniman muda pada medan sosial seni rupa yang saat itu terpusat pada galeri. (2) jenis karya yang dibuat meliputi mural, grafiti, stensil, wheate paste, dan instalasi. Kebanyakan yang dibuat karya mural. Tema yang diangkat biasanya yang sedang menjadi perbincangan di masysarakat. (3) pola kerjasama dimulai dari merundingkan tema, proses pembuatan desain, desain yang sudah jadi disaat di lapangan ada saja penambahan dari anggota. 4) respon masyarakat terhadap karya komunitas Street Art Djamur Denpasar dilihat dari kondisi mural yang sudah pudar tentu masyarakat tidak menyukai. Namun karya mural yang masih bagus masyarakat masih bisa menikmatinya.Kata Kunci : eksistensi, komunitas, street art This study aimed to gain information about: (1) history of Djamur street art community Denpasar, (2) types and themes of work produced by the community, (3) communication pattern of artists in working collectively, (4) response from society towards existence of the community. This is a kind descriptive qualitative research. The subject of the study is Djamur street art community Denpasar. The data were obtained through techniques namely, (1) observation, (2) interview, (3) documentation, and (4) library reseach. The instruments are observation sheet, interview guideline, documentation instrument, and library instrument. The data were analyzed using interactive analysis. The result of the study shows that, (1) the community is formed based on anxiety and boredom of youth artist towards gallery based fine, (2) types of the work are mural, grafiti, stencil, wheate paste, and installation. However mostly is mural. Themes of work are taken from society, (3) communication pattern is started by discussing the theme, designing, and improving work by other member, (4) society respects the well-designed mural but mostly dislike the mural which color is dull. keyword : existence, community , street art.