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Journal articles on the topic 'Contemporary art production'
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1
Kolotaev, Vladimir A., and Alexander V. Markov. "TOPOLOGY OF CONTEMPORARY ART PRODUCTION: NEW APPROACHES." Articult, no. 1 (2021): 43–48. http://dx.doi.org/10.28995/2227-6165-2021-1-43-48.
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The article examines the applicability of new interdisciplinary methods to the artistic process in Russia using the example of three new books exploring the problems of contemporary art. These books prove the applicability of the achievements of intellectual magazine criticism (Kira Dolinina), institutional criticism (Stanislav Savitsky), and gender criticism (Olesya Avramenko) to the local artistic life of recent decades. What unites these books is criticism of criticism: an articulated metaposition to the critical strategies that have developed in the art community. Each of the three books is written by a professional and addresses several audiences at once: artists, art researchers, and the general public. Although all three books differ in genre and way of presentation, they have a lot in common: way from works or examples of artistic activity familiar to the public to problematization of the institutional side of contemporary Russian art. We consider in detail the context of the origin of these books, presentation features, correlation with academic research. We made a general conclusion about the importance of institutional research for the further development of Russian art criticism.
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W. Mohd Apandi, Wan Nurhasyimah, and Ahmad Rashdi Yan Ibrahim. "Metaphors in Contemporary Art." Idealogy Journal 3, no. 2 (September 7, 2018): 235–40. http://dx.doi.org/10.24191/idealogy.v3i2.69.
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The use of metaphors in producing contemporary works of art is often used by artists to convey current ideas and issues in the era of contemporary visual art. The metaphor used is as a symbol for the meaning of a work in conveying the ideas and narrative of the story more creatively. In addition, the use of metaphors should be in line with the selection of subjects and meanings to be used and conveyed more accurately and effectively in the production of works to be seen and studied by art critics.
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Matuscak, Melissa. "Redefining Production-Contemporary Art Museums in Post-Industrial Spaces: The Massachusetts Museum of Contemporary Art." International Journal of the Arts in Society: Annual Review 3, no. 3 (2008): 55–66. http://dx.doi.org/10.18848/1833-1866/cgp/v03i03/35479.
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Firstenberg, Lauri, and Sidney Littlefield Kasfir. "Negotiating the Taxonomy. Contemporary African Art: Production, Exhibition, Commodification." Art Journal 59, no. 3 (2000): 108. http://dx.doi.org/10.2307/778033.
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A’Bear, Luke, James Curtis Hayward, and Meredith Root-Bernstein. "Conservation Science and Contemporary Art: Thinking about Tenerife." Leonardo 50, no. 1 (February 2017): 27–30. http://dx.doi.org/10.1162/leon_a_01153.
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Art has long been seen as a way to illustrate conservation science for public outreach, especially to children. However, art has a greater role to play as a partner in interdisciplinary practice. Here we explore four examples where early-career conservationists have used the production of artwork inspired by contemporary art movements to engage critically and emotionally through the formalisms of art with conservation issues on the island of Tenerife. The authors suggest that the production of art by conservationists and as conservation (and vice versa) is key to learning to translate between art and science, leading to broader interdisciplinarity.
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Esposito, Claudia. "Traces of Souffles: on cultural production in contemporary Morocco." Contemporary French Civilization 45, no. 3-4 (December 1, 2020): 305–15. http://dx.doi.org/10.3828/cfc.2020.18.
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This article examines contemporary cultural production in Morocco and focuses in particular on how poet-artist Abdellatif Laâbi, founder of the journal Souffles, and writer-artist Mahi Binebine display ties of filiation. Bringing to light the artistic and social collaborations that these two cultural actors nurture in Morocco, the article traces a filial genealogy between Laâbi and Binebine and examines the post-independence years to reveal the spirit of combat that lies at the origin of the current artistic scene in Morocco. Questioning the link between art and the public, the article concludes by acknowledging the tension between art and market-driven concerns inherent in an increasingly competitive art business.
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Popov, Denis Aleksandrovich. "Structuralism and contemporary mass art." Культура и искусство, no. 8 (August 2020): 48–55. http://dx.doi.org/10.7256/2454-0625.2020.8.32542.
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The subject of this research is the impact of structuralism as a scientific direction upon mass art. Stable invariant structures discovered by the structuralists in multiple artworks can be observed in mass art. Structuring, which initially was a method of research, turned into one of the practical recommendations on reating new works in mass art. The goal consists in the analysis of susceptibility factors of mass culture to the ideas of structuralism and results of using methodology of structuralism in mass artistic production. The initial methodological focus of this work lied in the concept of juxtaposition of craft and art, which goes back to I. Kant and is applied in modern aesthetics. The author leans on the methods of structuring and comparative structural analysis, as well as the elements of functional analysis. The main conclusion of consists in the statement that susceptibility of mass culture to the ideas of structuralism is substantiated by its economic goals, need to possess reliable and scientifically proven tools that would ensure commercial success of the artworks. However, the patterned application of structuring methods in mass art is capable of creating only craft products, rather than actual art.
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Đorđević, Marko. "Između proizvoda i dela: estetski fetišizam i finansijalizacija umetnosti." Život umjetnosti, no. 104 (July 2019): 86–99. http://dx.doi.org/10.31664/zu.2019.104.05.
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This paper focuses on the ideological transformation of modernistic aesthetic fetishism into what Professor Rastko Močnik has termed “aesthetic imperialism” in contemporary art. Our hypothesis is that this transformation is an effect of the overdetermination of artistic production to fictitious capital. In order to examine this hypothesis, we shall explore the transformation of the simple, modernist work of art into the twofold, contemporary work of art (which must first be a claim to aesthetic evaluation and only then a work of art). We do not suggest that modernism did not know the term “artwork,” as applying to those art products that were not recognized as works of art, but rather that there was a change in the very process of aesthetic evaluation. We believe that, unlike the unitary modernist recognition of products as works by the institution of art, there is twofold recognition in the contemporary age. Here the claim to aesthetic evaluation is allowed to every product, but confirmed only to those that successfully reproduce the ruling “aesthetic imperialism.” Even though ideologists of contemporary art present this change as a result of progressivism that is inherent to the institution of art, we would like to argue that it is an effect of the abovementioned overdetermination of artistic production by fictitious capital, that is, its effects in aesthetic and legal fetishism. This hypothesis will be examined in two relatively autonomous instances: economic and ideological (artistic).
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Hassan, Salah M. "Contemporary African Art as a Paradox." Nka Journal of Contemporary African Art 2020, no. 46 (May 1, 2020): 8–26. http://dx.doi.org/10.1215/10757163-8308138.
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The field of contemporary African and African diaspora art and culture is currently riddled by two paradoxes. First, in Africa and its diaspora, we are witnessing a burgeoning of creative energy and an increasing visibility of artists in the international arts arena. Yet, this energy and visibility has not been matched by a parallel regime of art criticism that lives up to the levels of their work. Second, we find a rising interest in exhibiting and collecting works by contemporary African and diaspora artists among Western museums as well as private and public collections. This growing interest, however, has been taking place within an extremely xenophobic environment of anti-immigration legislation, the closing of borders to the West, and a callous disregard for African and non-Western people’s lives. Hence, this essay addresses the need for an innovative framework that is capable of critically unpacking these paradoxes and that offers a critical analysis of contemporary African and African diaspora artistic and cultural production. In doing so, the author asserts the importance of movement, mobility, and transiency in addressing issues of contemporary African artistic and cultural production. This article focuses on the use of the term Afropolitan, which has made its way into African artistic and literary criticism as a crossover from the fashion and popular culture arenas. In thinking about the usefulness of “Afropolitanism,” the author revisits the notion of cosmopolitanism in relationship to the entanglement of Africa and the West and its reconfiguration at the intersection of modernity and postcoloniality.
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Al-Amri, Mohammed. "Contemporary trends in art education." Journal of Arts and Social Sciences [JASS] 6, no. 2 (January 1, 2016): 221. http://dx.doi.org/10.24200/jass.vol7iss1pp221-241.
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This research aims to present the most important contemporary trends in Art Education focusing on the analysis of the relationship between these trends and their related concepts. It also aims to revive some traditions of art education that are based on a scientific approach, with the aim of improving current practices to achieve quality in both art teaching and art production. The aim is also to offer recommendations for developing the teaching of art in accordance with the most recent approaches in the field. The researcher used the descriptive analytical approach to review and analyze these trends. The study shows that there are a number of trends which can be adopted to improve the quality of the input, the process and the output of teaching of art. These include quality assurance standards in art education, cultural diversity in art education, making use of professional artists in schools, creating partnerships with art museums and teacher education colleges and other educational institutions, using new technologies in teaching art, and assessing students’ performance using the “art portfolio” method. Most of these techniques and approaches have proved successful in developed countries. Thus, the researcher recommends that these trends be encouraged in order to improve the curriculum and instruction of Art Education in the Arab countries.
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Enxuto, João, and Erica Love. "The Institute for Southern Contemporary Art (ISCA)." Finance and Society 2, no. 2 (December 19, 2016): 173–74. http://dx.doi.org/10.2218/finsoc.v2i2.1730.
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The Institute for Southern Contemporary Art (ISCA) was founded in 2016 to advance a meaningful alternative to the problem of contemporary art production and its political economy. While technology is intensifying the soft power of speculation, reputation, and the hype of networks, recent changes in technical infrastructure have done very little to shake the narrowly-defined and limited objectives of contemporary art. Technological change alone hasn’t curtailed an art field defined by individualism and competition, despite counter-claims made by progressive artists and collectives. Following a long-century of escapist fantasies projected as utopian horizons, there is little to offer up as a functional alternative to an art market spiralling toward ever more comprehensive financialization. At a time when disdain for contemporary art is proliferating, undoing this system accelerating toward stagnation cannot be left to the ‘inevitable’ unravelling of its internal contradictions. ISCA offers another option by rerouting capital from the contemporary art market to fund a path to working otherwise, culminating in a think-tank and independent program to promote new terms for art production.
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Skiba, Stefan. "Some Thoughts on Contemporary Graphic Print." Journal of Arts and Humanities 5, no. 9 (September 29, 2016): 84. http://dx.doi.org/10.18533/journal.v5i9.1010.
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<p align="center">The production requirements of original graphic works of art have changed since 1980. The development of digital printing using lightfast colors now rivals traditional techniques such as wood cut, screen print, lithography, etching etc. Today, with respect to artistic legitimacy, original graphics using traditional printing techniques compete with original graphics produced by digital printing techniques on the art market. What criteria distinguish traditional printing techniques from those of digital printing in the production and acquisition of original graphics? What consequences is the serious artist faced with when deciding to implement digital print production? How does digital print change original graphic acquisition decisions?</p>
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Ulfstjerne, Michael Alexander. "The Wasteland of Creative Production: A Case Study of Contemporary Chinese Art." Copenhagen Journal of Asian Studies 29, no. 1 (February 28, 2013): 17–38. http://dx.doi.org/10.22439/cjas.v29i1.4019.
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With the new magnitude for the relatively unhindered production and circulation of artworks, galleries and contemporary art museums are burgeoning across the larger cities of China. This article provides an empirical example of how contemporary and avant-garde art is produced and valuated in the art communities that thrive on the recent international recognition of Chinese artworks. It addresses some of the effects that occur when art production becomes mediated by cultural entrepreneurs and propelled by resourceful investors. Challenging notions of autonomy and independence in the sphere of aesthetics and contemporary art, the article addresses some of the ways in which art becomes co-opted, not only by commercial agents, but also by official ambitions. The commercialization of the cultural sphere reveals a paradigmatic shift, giving a stronger emphasis to the intangible notion of creativity as a new driving force for economic development in China.
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Zhong, Wen Jing. "Network of Visual Arts and Contemporary Art Pattern Reorganization." Applied Mechanics and Materials 321-324 (June 2013): 1102–6. http://dx.doi.org/10.4028/www.scientific.net/amm.321-324.1102.
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This article, based on changes in the pattern of study of contemporary art network of visual arts, contemporary art in the space environment of the network visual arts, visual arts language of visual media, interactive cyberspace realm of art, information and digital communication art platform for contemporary art pattern the basic structure of the reorganization. Through integration of the modern network multi-media production technology and visual vision production method, the traditional art like Painting, Architecture art and Dace could form a new form of art performance and visual language, and enriched the modern context of art dialogue and culture space, which is the new construction of network visual art to the modern art pattern. Compared with the real world, it is virtual and transcendent, however, Network of Visual art provided a real situation of visual experience and psychological experience to a expanding real situation. By the use of network visual space and various visual information, the thinking way and expression platform of modern digital art creation have been extended and expanded.
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Jana, I. Made, I. Wayan Sujana, and I. Ketut Muka. "Drawing Pattern On Novels In Contemporary Art." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 2, no. 1 (July 30, 2019): 40–47. http://dx.doi.org/10.31091/lekesan.v2i1.751.
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This study is prompted by the concern over stagnant rates of creation in producing contemporary statues in Bali, both in the northern and southern regions, by using stone, wood, and metal mediums. The technology of using gips (plaster of Paris) is easier in statue production, however dismisses innovation in the process. The researcher took interest in I Wayan Sujana’s 10 years long research (2007-2017) on transferring of the unconscious onto art from novels (books). Based on that research I Wayan Sujana produced thousands of drawings with rich periodicity patterns. Those patterns are reviewed and selected to be made as contemporary statues. The production method for the contemporary statues, using Drawing Pattern on Novel, was participatory, involving traditional art carving experts. User Participation Method, an approach with user involvement in the art, judgment and creation methods by SP Gustami, was employed to conduct this study. The data was gathered with interviews, observation, documentation, and then exploration, planning and embodiment. This study aimed to create innovation of the fine arts, based on research, using Drawing Pattern on Novels, and can be recognized as part of Indonesian fine arts development. Indonesian contemporary fine arts focuses on local genius as the spirit of its creation. This research generated innovative statutes from stone with Indonesian national culture’s aesthetic motifs.
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Roslan, Aimi Atikah, and Syed Alwi Syed Abu Bakar. "Contemporary Colors in Artworks." Idealogy Journal 4, no. 2 (September 28, 2019): 20–27. http://dx.doi.org/10.24191/idealogy.v4i2.143.
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The purpose of this study is to discuss on contemporary colours in artwork. Contemporary colours have developed a bridge between theory and practice, particularly in the production of works of art. While other studies have been conducted on colours solely, this one focuses on the relationship between artwork and contemporary colours. This teaches the reader that contemporary colours are an integral component of the world of painting and design art. The study of contemporary colours employs artwork to address the subject about the significance of modern colours. As a result, the significance of modern colours has become significant that it has evolved into a movement within the context of contemporary art. This writing is an attempt to convey information about colours using a common language
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Hakim, Salima. "You Selfie, Therefore We Are: Indonesian Contemporary Art Consumption, Production and It's Dynamics." International Journal of Creative and Arts Studies 4, no. 2 (March 9, 2018): 75–90. http://dx.doi.org/10.24821/ijcas.v4i2.1967.
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There has been a significant growth of enthusiasm and audience in the contemporary art events in Indonesia for the past ten years. Technology today plays a big role in creating complex yet dynamic relations between the audience, the artwork and the artist. It is widely recognized that nowadays, selfies are a common ritual also seen in art exhibitions and is often at the core of how the audience consumes and interacts with the artwork and the artist. This research will seek to examine how selfie as method of art consumption changes the function, relation as well as dynamics between the audience and the artwork as a mean of identity construction. Furthermore, this article will also try to investigate how selfie, as method of contemporary art consumption, to a certain extend influence or even determine the production aspect of the artwork done by contemporary artists, particularly in the Jakarta Art Scene.
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Rusin, R. M. "POSTMODERNISM: AESTHETICS AND THE ART OF VIRTUALITY." UKRAINIAN CULTURAL STUDIES, no. 1 (4) (2019): 67–69. http://dx.doi.org/10.17721/ucs.2019.1(4).13.
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At the end of the 20 and the beginning of the 21 century as a result of the changes that took place in art, there was a need for a theoretical re- thinking of artistic practices. This task was assumed by artists, art critics, art critics and other agents of the artistic world, trying to clarify the pos- sibility of a new vision of art, give it an objective assessment. Obviously, understanding the specifics of contemporary art is not so much in the assessment itself, but in clarifying the fundamentals of a different understanding of such concepts as "classical art", "contemporary art," "virtual art." If classical art received a thorough understanding of the history of art, art history and aesthetics for centuries, virtual art, as a specific form of contemporary art, needs to be thoroughly investigated. Contemporary art is experiencing significant transformations in the context of post-industrial culture. Increasingly important are computational methods for the production of virtual artefacts. The report notes that contemporary virtual art is a new space dynamically captured by the postmod- ernist practices of contemporary art. In modern practices of postmodernism in the field of virtual art with the rapid development of computer tech- nology sharply decreases the fate of human presence in the process of creativity. Machine modelling as a product of collective creativity allows you to create a new virtual image, regardless of its existence in the real world. In modern practices in the field of virtual art, the idea of artificial ("synthetic imagination") is used, which is a machine imagination with the use of artificial modelling of man's imagination. Artificial imagination with the help of interactive search allows you to synthesize images from the data- base and create a new virtual image, regardless of its existence in the real world. Thus, the rapid development of computer technology is increasingly reducing the fate of human presence in the field of virtual art. Postmodern experiments stimulate the erosion of the boundaries between traditional forms and genres of art. The perfection and availability of technical means of production, the development of computer technology practically led to the disappearance of original creativity as an act of indi- vidual creation.
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Dholakia, Ruby Roy, Jingyi Duan, and Nikhilesh Dholakia. "Production and marketing of art in China." Arts and the Market 5, no. 1 (May 5, 2015): 25–44. http://dx.doi.org/10.1108/am-10-2013-0023.
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Purpose – The purpose of this paper is to explore how art production and marketing in China is attempting to move up the value chain as increasing number of Chinese replica-selling galleries seek to break free from the image of Chinese art towns as skilled but imitative centres of art production. Design/methodology/approach – In-depth interviews were conducted among seven gallery owners in Wushipu art village over three weeks to discover how art production in China has evolved and to chart its future growth. Findings – In the Chinese setting with its distinctive cultural patterns, tensions between the emergent national pride in original art and the facile and commercial moneymaking potential of simply selling industrially produced art are revealed. Practical implications – The changing dynamics of arts markets in China provide marketers and researchers a glimpse into a parallel trend: the gradual but rising shift to innovation, originality and luxury occurring in the China-based manufacturing centres of material goods. Social implications – The attempts to break from the imitative mass production of art and strike a balance between creating and meeting the art needs of the Chinese consumer indicate how domestic market priorities and economic growth are likely to serve as the new fuel for contemporary China’s socioeconomic development. Originality/value – Via an interpretive look at contemporary Chinese modes of arts production and marketing, the paper revisits the antagonism between the creation of original art and the production of industrial art in a context not well-known in the west, the massive art production centres of China.
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Haifa Ali Alhedaithy, Haifa Ali Alhedaithy. "Al-Qatt Al-Asiri Art as an Experimental approach to produce a contemporary sculpture works based on the light art: فن القَطْ العسيري كمدخل تجريبي لإنتاج أعمال نحتية معاصرة قائمة على فن الضوء." مجلة العلوم الإنسانية و الإجتماعية 6, no. 4 (April 29, 2022): 118–35. http://dx.doi.org/10.26389/ajsrp.s281121.
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The study aimed to identify the art of Al-Qatt Al-Asiri, identify the concept of contemporary sculpture, and clarify the art of light, in addition to employing the art of Al-Qatt Al-Asiri as an experimental approach to the production of contemporary sculptural works based on the art of light. To achieve this, the descriptive analytical method was used, by addressing the art of Al-Qatt Al-Asiri, contemporary sculpture, and the art of light. And also, the use of the experimental method in the study through the researcher’s implementation of a number of contemporary sculptural works inspired by the structural basics of Al-Qatt Al-Asiri art using the light technology in its various forms, which helps to verify the hypothesis of the research. The study reached many results, namely that the structural factors of Al-Qatt Al-Asiri’s art showed flexibility in adapting its vocabulary by creating light sculptural models in a way that matches the data of the times. The majority of Al-Qatt Al-Asiri’s sculptural designs relied on abstraction as an essential element to show the contemporary aesthetic side. The field of contemporary sculptural works preserves the creative content of the artwork in the diversity of its plastic formulations, without adhering to the traditional concept of sculpture. And also, to identify the characteristics of the art of light and its concept as one of the contemporary artistic trends related to technology. As light has an important role in emphasizing the importance of the technological techniques used in the production of sculptural works and making formal changes to them. In addition to the possibility of employing Al-Qatt Al-Asiri art as an experimental approach to the production of contemporary sculptural works based on the art of light. The study reached several recommendations, represented in conducting more studies on the art of Al-Qatt Al-Asiri. To show its aesthetics and preserve it from extinction. Interest in studying contemporary artistic trends, and raising awareness of them. And also, the establishment of a virtual museum to document the contemporary Saudi heritage and the possibility of reaching the largest possible number of audiences and disseminating it around the world.
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Tam, Isabella. "Canton Express: Urbanization and contemporary Chinese art." Journal of Contemporary Chinese Art 7, no. 2-3 (December 1, 2020): 241–60. http://dx.doi.org/10.1386/jcca_00028_1.
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Canton Express was a project situated within the larger exhibition Zone of Urgency in the Venice Biennale in 2003. It was the first comprehensive exhibition focusing on the relationship of urbanization and cultural landscape in the Pearl River Delta and presented on an international platform. Since the open-door policy in 1979, the Pearl River Delta played a pioneering role in China’s economic reform and urbanization throughout the 1980s and 1990s. This was resulted with unprecedent transformation of the cityscape and inhabitants’ lifestyle. More importantly, it defined the artistic context and character of the southern region uniquely from other parts of China, providing an opportunity for an alternative narrative in the discourse of contemporary Chinese art. Taking Canton Express as a case to reflect the uncanny observations and immediate responses among the fourteen participating artists and collectives on the new reality brought by urbanization and economic development which may, however, conflicted with the socialist-communist political ideology. And such tension nevertheless triggered a collective consciousness in the artistic community and their traits of flexibility, openness and self-autonomy to seek for an artistic identity independent from the existing narrative of contemporary Chinese art legitimized by the officials for biennales held inside and outside China. On this note, the essay will point out Canton Express proposed an interdisciplinary curatorial methodology for positioning ‘urbanism’ in the discourse. It will also provide examples of how it was instituted into the official system, expanding the multiplicity of contemporary Chinese art other than the market and political symbols, and shifted attention to art productions from a local perspective with global resonance. Through Canton Express and curatorial projects held afterwards, this essay attempts to prompt future research and discussion on qualities and conditions for artistic production and circulation of Chinese art in a world emerging from the COVID-19.
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Beris, Yeter, and Ismail Erim Gulacti. "Effects of fine art print artworks on the art viewer in contemporary art presentation." Journal of graphic engineering and design 13, no. 2 (June 2022): 21–28. http://dx.doi.org/10.24867/jged-2022-2-021.
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The social and cultural changes brought about by industrialization and the Industrial Revolution highlighted the value of printmaking as a new means of expression in artistic presentation. The innovative mechanical production methods influenced their artistic production through the interest and experimentation of many artists, whose numbers should not be underestimated. On the other hand, the transfer of examples of traditional Japanese printmaking (Ukiyo-e) to Europe in 1700-1900 caused profound effects on Western art, beginning with Impressionism, one of the modern art movements. Especially in the last two decades, rapidly digitalizing technology has also provided radical changes in many social-cultural and economic fields. As a reflection of this, it has caused a change in the presentation of contemporary art and caused the formation of an innovative attitude that transforms-triggers the perception of the audience. Two effective factors are emphasized in the context of the effect of fine art print works on the phenomenon of art. One is the artist of the time, who uses all the media tools of his time with pure intuition to transform his artistic expression, his dreams into reality, and another is the audience of the artwork, who accepts only a part of his artistic presentation, which is helped by all technological tools, by discussing, and few of which will be praised by future generations. In this context, digital technology promises a free space to thousands of artists who produce screen presentations or artistic prints on many different media, enabling us to see them everywhere. It has indisputable that digital technologies are a new tool with a different line for artists, apart from the usual art presentation of contemporary art, which is in different quests with an innovative attitude in every period. From this point of view, in addition to the dynamic visual presentations in different places and platforms where the art audience can be involved and integrated into the contemporary art environment, the innovative attitude that fine art print artworks brings to the effect and behavior of the audience should also be considered. The purpose of this paper is to investigate how digital print technology and print works influence audience perception. The survey data analysis is interpreted in this article through excerpts from the dissertation titled “Effects of fine art printmaking on phenomenon of the art” which is still in progress.
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KARTSEVA, EKATERINA A. "SCREEN FORMS AT BIENNIALS OF CONTEMPORARY ART." Art and Science of Television 16, no. 3 (2020): 11–30. http://dx.doi.org/10.30628/1994-9529-2020-16.3-11-30.
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Video today is a popular tool for artists of postmodern, poststructuralist, post-conceptual orientations. These practices have not yet developed their economic model and have spread mainly through biennials and festivals of contemporary art, as the main form of their comprehension and display. At the same time, “video art”, “video installations”, “video sculptures”, “video performances”, “films” at the exhibitions are far from an exhaustive list of strategies, stating a cinematic turn in contemporary art, where videos are considered among the basic tools of a contemporary artist and curator. It gets increasingly difficult to imagine exhibitions that resonate with the public and critics without video. From an avant-garde countercultural practice, video has become the mainstream of contemporary exhibition projects and is presented in exhibitions in many variations. The article analyzes the strategies for including video in the expositions of national pavilions at the 58th Venice Biennale, among which the production of video content in the genre of documentary filming, investigative journalism, artistic mystification, and interactive installation can be distinguished. Artists both create their own content and use footage content from the Internet. The main awards of the Biennale are won by large—scale projects that dialogize fine art with cinema and theater. For the implementation of artistic ideas curators of biennial projects attract professional directors, screenwriters, sound and light specialists. The biennials of contemporary art, by analogy with the term screen culture, can be attributed to the large format in contemporary art. At them, video goes beyond the small screens with the help of full-screen interactive installations, projections on buildings, films timed to exhibitions are broadcast on YouTube and Netflix. As the coronavirus pandemic has shown, the search for new tactics using screen forms is sometimes the only way out for a large exhibition practice in a situation where it is impossible to conduct international projects and comply with new regulations. The Riga Biennale of Contemporary Art, Steirischer herbst in Graz, followed this path. The exhibition is moving closer to film production. New optical and bodily models are being formed. The contemplative essence of art is being replaced by new ways of human perception of information, space and time, built on the convergence of communication means—video, music, dance, the interpenetration of objective and virtual realities.
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Zhang, Yue. "Governing Art Districts: State Control and Cultural Production in Contemporary China." China Quarterly 219 (July 24, 2014): 827–48. http://dx.doi.org/10.1017/s0305741014000708.
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AbstractContemporary Chinese artists have long been marginalized in China as their ideas conflict with the mainstream political ideology. In Beijing, artists often live on the fringe of society in “artist villages,” where they almost always face the threat of being displaced owing to political decisions or urban renewal. However, in the past decade, the Chinese government began to foster the growth of contemporary Chinese arts and designated underground artist villages as art districts. This article explores the profound change in the political decisions about the art community. It argues that, despite the pluralization of Chinese society and the inroads of globalization, the government maintains control over the art community through a series of innovative mechanisms. These mechanisms create a globalization firewall, which facilitates the Chinese state in global image-building and simultaneously mitigates the impact of global forces on domestic governance. The article illuminates how the authoritarian state has adopted more sophisticated methods of governance in response to the challenges of a more sophisticated society.
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Jeon, Hye Sook. "The Relation of Contemporary Art and Knowledge Production in Ecological Era." Trans-Humanities 12, no. 2 (October 31, 2019): 113–19. http://dx.doi.org/10.35651/th.2019.10.12.2.113.
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Scalissi, Nicole, Alison Langmead, Terry Smith, Dan Byers, and Cynthia Morton. "Curatorial Practice as Production of Visual & Spatial Knowledge: Panel Discussion, October 4, 2014." Contemporaneity: Historical Presence in Visual Culture 4 (August 3, 2015): 143–57. http://dx.doi.org/10.5195/contemp.2015.151.
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The following is a transcription of a conversation between curators of art, science, and digital data about how their practice creates knowledge in their respective fields. Drawn from Pittsburgh’s rich institutional resources, the panelists include Dan Byers, (then) Richard Armstrong Curator of Contemporary Art, Carnegie Museum of Art; Dr. Alison Langmead, Director, Visual Media Workshop, Department of History of Art and Architecture, and Assistant Professor, School of Information Scienes, University of Pittsburgh; Dr. Cynthia Morton, Associate Curator of Botany, Carnegie Museum of Natural History; and Dr. Terry Smith, Andrew W. Mellon Professor of Contemporary Art History and Theory, University of Pittsburgh. Moderated by Nicole Scalissi, PhD candidate, Department of History of Art and Architecture, University of Pittsburgh. The panel took place as a part of Debating Visual Knowledge, a symposium organized by graduate students in Information Science and History of Art and Architecture at the University of Pittsburgh, October 3-5, 2014. The transcription has been edited for clarity.Curatorial Practice as Production of Visual & Spatial Knowledge
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Kosut, Mary, and Lisa Jean Moore. "Bees Making Art." Humanimalia 5, no. 2 (February 2, 2014): 1–25. http://dx.doi.org/10.52537/humanimalia.9949.
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In many cultural fields honeybees reveal themselves as a highly generative species; one that humans have become dependent on. Within the backdrop of Colony Collapse Disorder, this essay examines how live bees are used in the production of art works. Historically, bees have been an absent presence in art as artists have relied upon bees for the raw material they create (wax, honeycomb) and for their metaphorical value. Most recently, bees themselves have become art by being transformed into sculptural objects or employed in collaborative insect/human performances that depend upon their embodied labor and participation. Using a bee-centric approach, we track the bees’ path across human art worlds, attentive to the complex ecological, agricultural, and cultural systems they co-create. These interspecies exchanges testify not only to trends in contemporary art, but larger ideas about animal/human boundaries and contemporary environmental issues.
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Howard, Jay R., and John M. Streck. "The splintered art world of Contemporary Christian Music." Popular Music 15, no. 1 (January 1996): 37–53. http://dx.doi.org/10.1017/s0261143000007959.
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For many, art is a product: the painting to be observed and contemplated, the concert to be heard and enjoyed. There is, however, another conception of art – art as activity – and it is in this context that Howard Becker (1984) develops his concept of art worlds. Art worlds, Becker argues, include more than the artists who create the work which the public commonly defines as art. Any given art world will consist of the network of people whose co-operative activity produces that art world's certain type of artistic product (Becker 1984, p. x). Organised according to their knowledge of the art world's goals and conventions for achieving those goals, the art world includes five basic categories of people: the artists who actually create and produce the art; the producers who provide the funds and support for the production of the art; the distributors who bring the art to the audience; the audience who purchases and collects the art; and finally, the critics, aestheticians and philosophers who create and maintain the rationales according to which all these other activities make sense and have value. These rationales, however, are not merely descriptive but prescriptive. For despite the efforts of those who would keep an art world static in its products and function, art worlds are dynamic. Changes in the art world are often made in response to changes in the rationales - i.e., the philosophical justifications for an art world's art - which identify the art world's product as ‘good’ art and explain how that art fills a particular need for people and society (Becker 1984, p. 4).
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Mondloch, Katie. "A Symphony of Sensations in the Spectator: Le Corbusier's Poème électronique and the Historicization of New Media Arts." Leonardo 37, no. 1 (February 2004): 57–62. http://dx.doi.org/10.1162/002409404772828148.
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This essay seeks to historicize the technological production of artistic virtual space, which is often misconstrued as having originated with contemporary new media art production. The author critically investigates Le Corbusier's Poème électronique, a 1958 automated multimedia performance commissioned by the Philips Corporation for its pavilion at the World's Fair in Belgium, as a paradigmatic example of much earlier attempts to create a spatialized, virtual experience in the spectator. The author argues that the highly disciplined spectatorship conditions of the Poème électronique have many suggestive parallels with those of contemporary artistic production in new media, thus offering a theoretical and historical foundation for art-historical discourse regarding the proliferation of immersive multimedia artworks in contemporary practice
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DEMIDOVA, OLGA, and VLADISLAV REZEN’KOV. "CONTEMPORARY POP CULTURE: PHENOMENOLOGY, AXIOLOGY, AESTHETICS." Studia Humanitatis 12, no. 1 (June 2019): 24–29. http://dx.doi.org/10.15393/j12.art.2019.3363.
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The article discusses pop culture as a modern phenomenon, the authors analyz-ing the notion of pop culture, its connection with «the mass», the axiological sys-tem of the young technological age generation as well as with the technical pro-gress as the basis of the epoch under discussion. Besides, comparing mass culture works (artefacts) with and juxtaposing them to those of classical culture, the au-thors explore pop culture structure and its connection with mass production conditioning the consumer society standards. Among of the foci of attention are the role of cinema in the formation, development, and functioning of pop culture and cinema product as its apex. One of the problems under consideration is that of pop culture as the sphere of different cultures interrelationships causing the least number of conflicts and thus acting as an instrument of the (seeming) cul-tural convergence of the peoples.
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Foxwell, Chelsea. "The Painting of Sadness? The Ends of Nihonga, Then and Now." ARTMargins 4, no. 1 (February 2015): 27–60. http://dx.doi.org/10.1162/artm_a_00104.
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Nihonga (literally “Japanese painting”) is a term that arose in 1880s Japan in order to distinguish existing forms of painting from newly popularized oil painting, and even today it is a category of artistic production apart from contemporary art at large. In this sense, nihonga is the oldest form of a broader worldwide category of “tradition-based contemporary art.” While nihonga was supposed to encompass any form of “traditional” painting, however, in practice it was held together by a recognizable style. When nihonga stopped fulfilling certain material or stylistic criteria, it ceased to be distinguishable from the rest of artistic production. This led to a conundrum in which nihonga, constituted in an age of Orientalism by Western and Japanese fears about the loss of a truly “Japanese” form of painting, has been obliged to reaffirm and reiterate what Kitazawa Noriaki has called its “sad history” of segregation in order to avoid extinction. By examining a series of paintings and written statements that blur the line between nihonga and the rest of modern-contemporary artistic production, I question the practicality and the benefits of continuing to uphold nihonga and tradition-based contemporary as discrete categories of contemporary art.
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Macrae, Graeme. "Negotiating Architecture Worlds in Indonesia: The Work of Eko Prawoto." Copenhagen Journal of Asian Studies 29, no. 1 (February 28, 2013): 92–119. http://dx.doi.org/10.22439/cjas.v29i1.4022.
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The notion of 'art worlds' is useful for thinking about meetings of meaning in art, and by implication architecture, across boundaries of nation, culture and identity. Because architecture is less easily separated than some other arts from the conditions of its material production, it inevitably sits, often uneasily, between these material conditions and its status as 'art'. The aim of this article, which began life as an exploration of the relationship between contemporary architecture and national identity in Indonesia, is to adapt the notion of 'art worlds' to architecture and to use it to consider the production of contemporary architecture in Indonesia, especially by reference to the approach of one architect who explicitly thinks and speaks of his work in terms both of 'art' and 'worlds'.
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ÇOLAK, Erdem. "CONTEMPORARY ART AND THE CRITIQUE OF EVERYDAY NATIONALISM." Moment Journal 9, no. 2 (December 31, 2022): 370–92. http://dx.doi.org/10.17572/mj2022.2.370-392.
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In discussions of everyday nationalism, bottom-up readings of nationalism that take into account human activities have brought a remarkable dynamism to the study of both nationalism and everyday life. However, since most of the studies on everyday nationalism focus on how ordinary people construct their national identities in everyday life, they do not sufficiently address the relations of production and distribution of critiques of nationalism produced in everyday life. This paper will discuss some artworks created by different artists from different countries around the world by intervening in national symbols and the critical perspectives they bring to national identity, national history, and national policies of states. I argue that artworks produced in this way disrupt the rhythm of everyday life and make controversial interventions into ethical, aesthetic, legal, and political spheres.
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Fadeeva, T. E. ""UNION" OF AN ARTIST WITH A NON-HUMAN AGENT: UTOPIA OR A WORKING MODEL OF ARTISTIC PRODUCTION?" Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 25, no. 88 (2023): 108–15. http://dx.doi.org/10.37313/2413-9645-2023-25-88-108-115.
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The subject of the article: works of contemporary art created by non-human agents, on the example of which one can analyze the ways of interaction of contemporary artists with non-trivial media (algorithms, robots, "half-life artists", etc.). The object of the article: the impact of technological innovations on contemporary art production, as well as the need, in connection with the artist's appeal to science and the latest technologies, to rethink the goals and objectives of communication through images and the very concept of art. The purpose of the project: to update the information for the scientific world about the strategies of interaction between a human artist and a non-human agent, as well as about the nature of this interaction. Results of the work: the study showed that the creation of a work of art (both physical and as part of a post-production strategy, as a re-significance) – despite the criticism of anthropocentrism by representatives of the Actor-Network Theory and individual media theorists, should still be understood as purposeful activity inherent in a human, but not in a non-human agent. Appeal to non-human agents can be considered within the framework of the paradigm of "assistive technologies" and "chimerical" actor. Scope of the results: expanding the boundaries of the application of art history methodology and related disciplines, which contributes to the development of a language for describing the phenomena of contemporary art in the interdisciplinary field of modern media, in particular, in the dynamically developing field of art & science. Conclusion: Based on the results of this study, key trends were identified that determine the nature of our interaction with the other in the process of creating a work of art and interacting with it.
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Tagore-Erwin, Eimi. "Contemporary Japanese art: between globalization and localization." Arts and the Market 8, no. 2 (October 1, 2018): 137–51. http://dx.doi.org/10.1108/aam-04-2017-0008.
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Purpose The purpose of this paper is to identify and analyze the influence that globalization has had on the development of the contemporary Japanese art production. The study also aims to expand the global narrative of Japanese art by introducing concepts behind festivals for revitalization that have been occurring in Japan in recent years. Design/methodology/approach Guided by Culture Theorist Nira Yuval-Davies’ approach to the politics of belonging, the paper is situated within cultural studies and considers the development of contemporary art in Japan in relation to the power structures present within the global art market. This analysis draws heavily from the research of art historians Reiko Tomii, Adrian Favell, and Gennifer Weisenfeld, and is complemented by investigative research into the life of Art Director Kitagawa Fram, as well as observational analyses formed by on-site study of the Setouchi Triennale in 2015 and 2016. Findings The paper provides historical insight to the ways that the politics of belonging to the western world has created a limited benchmark for critical discussion about contemporary Japanese art. It suggests that festivals for revitalization in Japan not only are a good source of diversification, but also evidences criticism therein. Research limitations/implications Due to the brevity of this text, readers are encouraged to further investigate the source material for more in-depth understanding of the topics. Practical implications The paper implies that art historiography should take a multilateral approach to avoid a western hegemony in the field. Originality/value This paper fulfills a need to reflect on the limited global reception to Japanese art, while also identifying one movement that art historians and theorists may take into account in the future when considering a Japanese art discourse.
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Syed Abu Bakar, Syed Alwi, Azian Tahir, and Ishak Ramli. "The Ecological Model of Visual Artists in the Malaysian Contemporary Visual Arts Industry: A Framework Proposal." Idealogy Journal 3, no. 2 (September 7, 2018): 69–74. http://dx.doi.org/10.24191/idealogy.v3i2.71.
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The increasingly challenging and competitive artwork production environment has prompted visual artists to have an arrangement of state-of-the-art art production practices. Currently, the system of production and marketing of works does not have a clear guideline in the industry that can help in the survival of professional visual artists in Malaysia. Therefore, this study is designed to get clear feedback from those who are already active in this industry related to the challenges faced and the marketability of the works of visual artists to continue to compete in the local and international art production stage. This paper aims to identify the non -technical practices required for the successful implementation and marketing of works of art in Malaysia. The results of this study will provide a detailed study of the practices of visual artists in the implementation and marketing that need to be considered by those who will venture into the arena of professional production. Through this paper, a framework has been developed through a comprehensive review from the point of view of literature as well as practical practice. Keywords: Non -technical practice, production of works, visual artists, visuals, art work.
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Kraner, Kaja. "The Aesthetics of Relations: The Modernist, Contemporary and Post-Contemporary General Conceptualizations of Art." AM Journal of Art and Media Studies, no. 19 (September 15, 2019): 119. http://dx.doi.org/10.25038/am.v0i19.312.
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The article will juxtapose the modernist, contemporary and post-contemporary general conceptualization of art and aesthetic appearance of an artwork. Even though all three conceptualizations can be understood as intertwined because they are largely established in mutual relations, for our purpose they will be analyzed in terms of the basic epistemological terrain on which art enters the Western tradition of knowledge and power: the terrain of aesthetic education. The conceptualization of modernist art/artwork will mainly draw from its link with the autopoietic image of artwork/artistic creativity that can be traced to Romanticism as well as the tradition of the so-called aesthetics of form at the beginning of the 20th century, while conceptualization of contemporary art will be primarily reconstructed on the ground of cultural studies and its reception theory that focused on the analysis of social mediation of cultural texts where the text itself loses the status of an exclusive source of meaning. On the one hand, this article attempts to expose the difference between the two by focusing on conceptualizations of their modes of production of meaning (modernist autopoiesis as producing the artwork’s meaning by, through and of itself versus contextually determined meaning of the artwork within conceptualizations of contemporary art), while on the other, it will expose a general aesthetic appearance of the two based on the differentiation of avant-garde and dialogical aesthetics. From there on, the article will focus on conceptualizations of post-contemporary art in the last ten years that also offered a critique of how contemporary art has been (self)limited to aesthetic experience and by it the present time. In the final part, post-contemporary art will be compared with modernism, for instance in terms of the modernist aim for the transcendent standpoint and its methods of aesthetic alienation in contrast to the post-contemporary aim to eliminate aesthetic experience as such and demonstrate that there can be knowledge without aesthetic experience, or the modernist media research to the post-contemporary media archaeology. Article received: April 30, 2019; Article accepted: June 23, 2019; Published online: September 15, 2019; Review articleHow to cite this article: Kraner, Kaja. "The Aesthetics of Relations: The Modernist, Contemporary and Post-Contemporary General Conceptualizations of Art." AM Journal of Art and Media Studies 19 (2019): 119-126. doi: 10.25038/am.v0i19.312
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Dal Lago, Francesca. "The “Global” Contemporary Art Canon and the Case of China." ARTMargins 3, no. 3 (October 2014): 77–97. http://dx.doi.org/10.1162/artm_r_00095.
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This essay reviews the book Contemporary Chinese Art: Primary Documents edited by Wu Hung and published by the New York Museum of Modern Art in 2010, as part of an ongoing series aiming to introduce art critical texts produced in non-mainstream art locales to an English-speaking audience. Gathering a large number of translated critical essays, the book outlines the production of Chinese Contemporary Art since what is normally accepted as its onset in the late 1970s. This essay argues that this process of definition, legitimized by the prominent publisher of this book, amounts to a form of canonization performed at the expenses of other contemporaneous artistic forms—ink and academic painting—whose culturally and historically specific nature de facto excludes them from a concept of art globalization still largely determined and rooted by Euro-American modernism.
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Blades, Hetty. "Work(s) and (non)production in contemporary movement practices." Performance Philosophy 2, no. 1 (July 29, 2016): 35. http://dx.doi.org/10.21476/pp.2016.21105.
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This paper considers how the presentation of movement practices in performance contexts blurs the distinction between making and performance, raising questions about the nature of dance ‘works’. I examine the way that practice is foregrounded in the work of UK dance artists Katye Coe and Charlie Morrissey, and American choreographer Deborah Hay, troubling distinctions between the internal and external aspects of performance. In response to this, I examine the applicability of the work–concept (Goehr 1992), to current dance practices, suggesting that the concept is an open one and refers not solely to stable art objects, but also indicates open-ended entities, which are formed through a confluence of practice and performance.
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Sassatelli, Monica. "Symbolic Production in the Art Biennial: Making Worlds." Theory, Culture & Society 34, no. 4 (October 4, 2016): 89–113. http://dx.doi.org/10.1177/0263276416667199.
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Biennials – periodic, independent and international exhibitions surveying trends in visual art – have with startling speed become key nodes in linking production, distribution and consumption of contemporary art. Cultural production and consumption have been typically separated in research, neglecting phenomena, like biennials, sitting in between. Biennials have become, however, key sites of both the production of art’s discourse and where that discourse translates into practices of display and contexts of appreciation. They are, this article argues, key sites of art’s symbolic production. Symbolic production is what makes a work, an artist, or even a genre visible and relevant, providing its sense in a system of classifications and, in an exhibition like a biennial, literally giving it a place in the scene. This article proposes a cultural analysis of biennials, focusing on the Venice Biennale, founded in 1895 and the first of the genre, through which we can trace biennials’ rise and transformations.
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Konstantinou, Katerina, and Aris Anagnostopoulos. "Interweaving Contemporary Art and “Traditional” Crafts in Ethnographic Research." Art/Research International: A Transdisciplinary Journal 4, no. 1 (February 27, 2019): 58–82. http://dx.doi.org/10.18432/ari29420.
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This article presents a fieldwork collaboration between contemporary art, “traditional” craft, and ethnographic research in which community engagement plays a key role. Two decades after the abandonment of weaving in a depopulated mountainous village of Crete, Greece, a group of researchers invite an artist to turn the village’s old school into a weaving studio. Aiming at the active participation of the local community in weaving heritage interpretation, and the interdisciplinary collaboration of art and anthropology, the weaving studio experience provides a fertile ground for discussing the relationships between disciplines, the difficulties of crossing the boundaries of these disciplines and the challenges of community participation in managing knowledge production. Here we discuss our experience working with an artist in a project between art and research, including various observations, different approaches, and challenges.
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Gorelov, Oleg S. "Media as a desire in contemporary poetic production." Philological Sciences. Scientific Essays of Higher Education, no. 5 (September 2020): 62–69. http://dx.doi.org/10.20339/phs.5-20.062.
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The article analyzes the principles of surrealism shown in the modern media environment and contemporary poetry: the discovery or production of the paradoxality of the surrounding reality; the overcoming the binary nature of subject-object relationships (this may concern the boundary between intimate and social); as well as the working with the concept of desire and its specific realizations. With the example of V. Bannikov’s poetic project, options for representing the media as desires are considered. In particular, digital media, like the art world itself, are not sterile, but bodily, emitting erotic energy. Bannikov’s subject lives in media, letting in “chaos of thickets”, sensuality and imperfection. Constant search (changes of poetic style), constant desire becomes one of the variants of the isomorphism of Bannikov’s poetic text with the media environment. The innovative poetics of contemporary poetry is faced with the demand of the new in media and FoMO syndrome; the satisfaction of this desire remains the only constant. The medial nature of Bannikov’s language machine of desire is also manifested in the interpretation of his poems as recordings of dreams, oneiric reports on the events of the day. Dream poems offer fragmentary recollection and a secondary processing of reality.
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Parsley, Connal. "Contemporary Art in the Aftermath of Legal Positivism: The ‘Other’ Contract Art as Material Jurisprudence." Pólemos 16, no. 2 (August 8, 2022): 247–70. http://dx.doi.org/10.1515/pol-2022-2016.
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Abstract A growing movement in contemporary art takes legal forms and materials as its subject matter. In this article, I argue that a key strand of this ‘legal turn’ should be historicised in two entwined ways. It can be seen as an extension and re-formalisation of some central concerns of late twentieth-century contemporary art; namely relational and participatory aesthetics, and the dematerialisation of the art object. But the artworks considered here can also be analysed as a fragmentary site of ‘juristic subjectivity’ in the aftermath of legal positivism. According to Carl Schmitt, the positivisation that took hold in the nineteenth century exiled the jurist from their role in formally elaborating the substantive law created by social praxis—turning the jurist into a “mere scholar” in relation to law. In this sense, the separation of juristic thought from law is the aftermath of this destructive event. Yet the etymology of aftermath also links it to a secondary growth that re-emerges after a mowing or harvest. Similarly, the ‘contract artists’ analysed here evidence a ‘regrowth’ of juristic thought that relies precisely on its position outside of law ‘properly so-called’, and inside the conditions of contemporary artistic production and consumption. Analysing contract artworks by artists Adrian Piper and A Constructed World, this article suggests that they differ markedly from the contract art, usually connected to the Siegelaub-Projansky agreement, that has received the majority of academic attention. Whereas that so-called “legal moment in artistic production” prioritises the author function, the abstraction of value, and the commodification of social relations, through the above double historicization I will argue that this ‘other’ contract art repurposes legal forms to institute a lived experience of juristic social relations, presenting a new kind of material jurisprudence.
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Tsiara, Syrago. "Contemporary Greek Art in Times of Crisis: Cuts and Changes." Journal of Visual Culture 14, no. 2 (August 2015): 176–81. http://dx.doi.org/10.1177/1470412915595587.
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This essay addresses the issue of cuts in the cultural sector in Greece during the last five years and its consequences on the sustainability of artistic production, institutional survival and emerging forms of collaboration, self-management and art in public space. It describes new practices and strategies of cultural institutions and the relationship between the private and public spheres. Long-term artistic projects, such as the Athens and Thessaloniki Biennale, public museums like the State Museum of Contemporary Art, private organizations and artist initiatives are discussed in the context of crisis.
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Gregory, Helen. "Un-Natural Histories: The Specimen as Site of Knowledge Production in Contemporary Art." Leonardo 50, no. 5 (October 2017): 532. http://dx.doi.org/10.1162/leon_a_01492.
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Maaruf, Siti Zuraida, Ezzah Md Zain, and Nabilah Abdullah. "SUSTAINING LOCAL HERITAGE: FIBRE ART AS A NEW PARADIGM TO UPLIFT MALAYSIAN CRAFT PRODUCTION." Malaysian Journal of Sustainable Environment 7, no. 2 (August 4, 2020): 119. http://dx.doi.org/10.24191/myse.v7i2.10268.
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By putting forward contemporary fibre art as a new paradigm in Malaysian craft production, this study aims to uncover how it is applied involving selection of material, utilization of technique right up to the appraisal of resultant product. The underlying rationale is to ensure incessant appreciation of Malaysian crafts by the society, especially the younger generation. This research utilized the Design Development Research (DDR) that consisted of three (3) phases. Selection of research participants used purposive sampling based on the respondents' expertise in the area. In Phase 1, Needs Analysis was carried out using semi-structured interviews with three (3) textile experts. In Phase 2: Design and Development, the researcher used ADDIE model to develop crafts using fibre art material for Malaysia craft production. In the third and final phase, Implementation and Evaluation, sixty young people from Shah Alam community took part in an assessment of their acceptance of craft using fibre art. However, discussion on this study focuses on the first phase which is the needs analysis. The findings suggest that contemporary fibre art as a new paradigm to Malaysian craft production is relevant and has the potential to be implemented in Malaysia.
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Żyniewicz, Karolina. "Junk art: The art that needs to be understood – Autoethnographic perspective." Technoetic Arts 18, no. 2-3 (October 1, 2020): 113–24. http://dx.doi.org/10.1386/tear_00031_1.
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Thierry Bardini, in his book titled Junkware, proposed that the apt name for contemporary art would be junk art. He stressed the significant change taking place in art: that the narration and explanatory discourse run by an artist is more important than the visual outcome of the project. According to the knowledge from STS (especially Bruno Latour’s writing), knowledge production is based on multilevel translations. Art based on science can be seen as a kind of translation as well. The production of biological knowledge and bio art creation looks pretty similar, being based on the same laboratory protocols. However, something interesting is happening regarding bio art’s presentations in galleries or museums. The audience is usually unfamiliar with the laboratory work process, which results in something akin to getting just one layer of that translation cake. What is the role of an institution in making junk art readable? What does being lost in translation mean in this context? To work on the questions, I use my autoethnographic notes from the performative killing of my cells (immortalized B lymphocytes), which took place at the opening of an exhibition titled Beyond Borders: Processed Body – Expanded Brain – Distributed Agency at Gallery Łaźnia in Gdańsk (18 December 2019).
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Filimowicz, Michael. "A mixed framework for new media art reception." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 4, no. 1 (December 15, 2014): 41–65. http://dx.doi.org/10.7146/se.v4i1.20482.
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In this essay I propose a theoretical assemblage integrating several discursive perspectives towards audience reception in the context of new media art creation, with a focus on sonic works. After reviewing the historical origins of reception theory in reader response and its later appropriation by communication and cultural studies, I argue that a mixed discursive perspective offers a potential refinement of contemporary reception theory as applicable to new media production, in which technological abstractions and complexities may be rich for purposes of production, but fall short in appreciation and communicative value for an audience
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Davidts, Wouter. "Art Factories: Museums of Contemporary Art and the Promise of Artistic Production, from Centre Pompidou to Tate Modern." Fabrications 16, no. 1 (June 2006): 23–42. http://dx.doi.org/10.1080/10331867.2006.10539578.
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Ijisakin, Eyitayo Tolulope. "Of print and scholarship: deconstructing the literature on printmaking in contemporary Nigerian art." Global Journal of Arts, Humanities and Social Sciences 10, no. 9 (August 15, 2022): 44–59. http://dx.doi.org/10.37745/gjahss.2013/vol10n94459.
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Printmaking has long been in use, especially among indigenous art practitioners in Nigeria, it is also very popular among contemporary Nigerian artists who use it as a medium of aesthetic expression. The foundation for scholarship on printmaking was laid by notable scholars; however, writing from their cultural context, a sizable number of these scholars follow the perspectives that confined contemporary printmaking to the Western world and Asian countries. Considering the prolific production of printmaking in Nigeria, this study deconstructs the literature to understand the state of scholarship on printmaking, especially in contemporary Nigerian art. Data collected from published journal articles, books, exhibition catalogues, and Internet sources were subjected to critical analysis. The study concludes that printmaking in Nigeria is so unique that it would continue to attract the attention of art enthusiasts around the globe; hence, it deserves more attention from African art historical scholars.