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Journal articles on the topic 'Culture and art'

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Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

BAYRAK, Tekin, and Tolga ŞENOL. "TÜRK KÜLTÜRÜNE AİT BİRER KÜLTÜREL MİRAS OLAN SEMBOLLERİN TÜRKİYE’DE MODERN SANAT VE SONRASI DÖNEMDE RESİM SANATINDA KULLANILMASI." SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, no. 33 (September 15, 2022): 57–69. http://dx.doi.org/10.31567/ssd.725.

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It is thought that in the 20th century and later period, the paintings in which the symbols of Turkish culture are used do not take place sufficiently in the literature. In this context, it is important to support the production of works within the relevant framework and to increase the recognition of existing ones. The aim of this study; To explore, understand and interpret the use of symbols, which have an important place in Turkish culture, in modern art and post-painting art in Turkey in terms of form-meaning relationship. The study was carried out according to the hermeneutic pattern in line with the purpose. Three works by Bedri Rahmi Eyüboğlu, Erol Akyavaş, Rauf Tuncer, Hüsamettin Koçan and Süleyman Saim Tekcan, one of the pioneers of Turkish painting art, formed the study group. The document method was used as a data collection tool, and the data were analyzed by concept analysis and artifact review method. It has been determined that the symbols, which are the dominant elements in the related works, are presented to the audience in different styles. The fact that the symbols of Turkish culture were successfully synthesized with the universal plastic expression in the examples of works discussed in terms of form and meaning relationship was considered important in the context of the possibility of reaching wider masses. Keywords: Bedri Rahmi Eyüboğlu, Erol Akyavaş, Rauf Tuncer, Hüsamettin Koçan, Süleyman Saim Tekcan

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2

Ibragimova, Farida. "Content, Structure, Functions Of Art Culture." American Journal of Social Science and Education Innovations 03, no. 03 (March 27, 2021): 275–80. http://dx.doi.org/10.37547/tajssei/volume03issue03-41.

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3

Almatov, Shuhrat Tolipovich. "Combination Of European Music Culture With Uzbek National Art And Culture." American Journal of Social Science and Education Innovations 02, no. 09 (September 22, 2020): 215–20. http://dx.doi.org/10.37547/tajssei/volume02issue09-33.

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4

ALEX BENSON. "Art without Culture." Qui Parle 19, no. 1 (2010): 181. http://dx.doi.org/10.5250/quiparle.19.1.0181.

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5

Keller, Howard H. "Art and Culture." Slavic and East European Journal 31 (1987): 165. http://dx.doi.org/10.2307/307985.

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6

BATCHELOR, D. "Culture & Art." Oxford Art Journal 13, no. 2 (January 1, 1990): 98–100. http://dx.doi.org/10.1093/oxartj/13.2.98.

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7

Alex Benson. "Art without Culture." Qui Parle: Critical Humanities and Social Sciences 19, no. 1 (2010): 181–92. http://dx.doi.org/10.1353/qui.2010.0010.

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8

Mellor, Larissa. "Collaged Culture." Anthropological Journal of European Cultures 26, no. 2 (September 1, 2017): 79–89. http://dx.doi.org/10.3167/ajec.2017.260206.

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This article explores the relationship between my cultural inheritance and its impact on my work as a visual artist. Questions in the work related to language and geography are tied to my lived experience. These themes led me to explore the contemporary context of German clubs in the United States. I found the art process of collage – cutting and pasting to rearrange parts on a surface – to be an apt visual for the position of the German clubs today, arriving at the term ‘collaged culture’. Similarities between visual art and life reveal that both carry histories. By investigating the relationships between these, we can better perceive the current state of the work of art.

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9

Gebauer, Gunter, Christopher Wulf, and Don Reneau. "Mimesis: Culture--Art--Society." Philosophy East and West 47, no. 2 (April 1997): 291. http://dx.doi.org/10.2307/1399889.

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10

D'Alleva, Anne, and D. C. Starzecka. "Maori Art and Culture." Journal of the Royal Anthropological Institute 5, no. 1 (March 1999): 103. http://dx.doi.org/10.2307/2660968.

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11

Roskies, D. M., and Holly S. Smith. "Aceh: Art and Culture." Journal of the American Oriental Society 119, no. 4 (October 1999): 722. http://dx.doi.org/10.2307/604875.

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12

Collins, Bradford R., Rudolf Arnheim, O. K. Werckmeister, and Suzi Gablik. "Rescuing Art and Culture." Art Journal 52, no. 2 (1993): 93. http://dx.doi.org/10.2307/777243.

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13

Winter, Irene J., and Henri Zerner. "Art and Visual Culture." Art Journal 54, no. 3 (1995): 42. http://dx.doi.org/10.2307/777582.

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14

Cherry, Deborah. "ART HISTORY VISUAL CULTURE." Art History 27, no. 4 (September 2004): 479–93. http://dx.doi.org/10.1111/j.0141-6790.2004.00434.x.

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15

Cherry, Deborah. "Art history visual culture." Art History 27, no. 4 (September 2004): 691. http://dx.doi.org/10.1111/j.0141-6790.2004.444_1_1.x.

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16

Turpin, Jennifer. "Art as political culture." Peace Review 5, no. 2 (June 1993): 139–40. http://dx.doi.org/10.1080/10402659308425706.

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17

McConeghey, Howard. "Art, Culture, and Ethnicity." Art Therapy 9, no. 3 (July 1992): 146–49. http://dx.doi.org/10.1080/07421656.1992.10758953.

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18

Brougher, Kerry. "Art and nuclear culture." Bulletin of the Atomic Scientists 69, no. 6 (November 2013): 11–18. http://dx.doi.org/10.1177/0096340213508697.

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19

Bouabdellah, Hassen, Fran Devlin, and Carolyn Bryson. "Culture, Art and Violence." College Literature 30, no. 1 (2003): 148–52. http://dx.doi.org/10.1353/lit.2003.0006.

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20

Liss, Julia E. "Biography, Art, and Culture." Reviews in American History 39, no. 1 (2011): 140–48. http://dx.doi.org/10.1353/rah.2011.0032.

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21

Foster, Kenneth J. "Art, Culture, and Administration." Journal of Aesthetic Education 28, no. 4 (1994): 62. http://dx.doi.org/10.2307/3333364.

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22

Taylor, Johanna K. "Against Art and Culture." Cultural Trends 29, no. 4 (August 7, 2020): 323–25. http://dx.doi.org/10.1080/09548963.2020.1805727.

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23

Lowish, Susan. "Tiwi: art/history/culture." Journal of Australian Studies 40, no. 1 (January 2, 2016): 122–23. http://dx.doi.org/10.1080/14443058.2016.1127127.

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24

Sliwinska, Basia. "Art and Queer Culture." Third Text 27, no. 6 (November 2013): 808–10. http://dx.doi.org/10.1080/09528822.2013.860794.

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25

Armstrong, Evelyn A. "Art Culture and Environments." Ecumenical Review 70, no. 4 (December 2018): 715–37. http://dx.doi.org/10.1111/erev.12395.

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26

Suyarkulovna, Toychieva Sayyora. "Historical-Scientific Schools Of Management Of Culture And Art." American Journal of Social Science and Education Innovations 02, no. 07 (July 30, 2020): 62–70. http://dx.doi.org/10.37547/tajssei/volume02issue07-06.

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27

UKHOV, Artem, Eleonora SIMONYAN, and Susanna MURADYAN. "Contemporary Art vs Totalitarian Art: Semiotic Analysis." WISDOM 23, no. 3 (September 25, 2022): 167–77. http://dx.doi.org/10.24234/wisdom.v23i3.821.

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The article provides a semiotic analysis of the types of totalitarian culture and its manifestation in art, both classical and modern. On the basis of totalitarian culture semiotic analyses, it is shown that mass culture (and its attributes) may be considered a modern type of totalitarian culture. Particularly, the antidogmatic and antitotalitarian essence of the contemporary art phenomenon is highlighted. Based on the semiotic methodology, a key moment of demarcation between contemporary art and the ‘totalitarian’ one has been emphasized. The conclusion about the inconsistency of signs and symbols of contemporary as compared to totalitarian art has been drawn. Contemporary art could be referred to as a tool for tracing, revealing and even combating totalitarianism in culture and life.

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28

Lewis, India. "8Visual Culture." Year's Work in Critical and Cultural Theory 27, no. 1 (2019): 141–59. http://dx.doi.org/10.1093/ywcct/mbz008.

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Abstract This chapter addresses books published in the field of visual culture in 2018 and is divided into three sections: 1. Art and the Internet; 2. Art and Society, and 3. Artists and Their Environment. The books under review cover a broad range of subjects within their specialities, but reflect general trends in contemporary writing and study in the field of visual culture. The first section explores how art critics and those in the field are continuing to deal with visual culture’s relationship with the Internet and digital media (Daniel Birnbaum, Michelle Kuo, eds. More Than Real: Art in the Digital Age; Eva Respini, ed., Art in the Age of the Internet: 1989 to Today). The second section looks at books about art in the social sphere (Kim Snepvangers and Donna Mathewson Mitchell, eds., Beyond Community Engagement: Transforming Dialogues in Art, Education, and the Cultural Sphere; Ole Marius Hylland and Erling Bjurström, eds., Aesthetics and Politics: A Nordic Perspective on How Cultural Policy Negotiates the Agency of Music and Arts; Gary Alan Fine, Talking Art: The Culture of Practice and the Practice of Culture in MFA Education). The third and final section looks at how artists negotiate their environment, responding to and altering their surroundings (Sarah Lowndes, Contemporary Artists Working Outside the City: Creative Retreat; Gabriel N. Gee and Alison Vogelaar, eds., Changing Representations of Nature and the City: The 1960s–1970s and Their Legacies).

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29

Delacruz, Elizabeth Manley. "Folk Art as Communal Culture and Art Proper." Art Education 52, no. 4 (July 1, 1999): 23–35. http://dx.doi.org/10.1080/00043125.1999.11650866.

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30

Delacruz, Elizabeth Manley. "Folk Art as Communal Culture and Art Proper." Art Education 52, no. 4 (July 1999): 23. http://dx.doi.org/10.2307/3193770.

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31

Serbin, V. A. "Glitch art: critical practices of digital culture." Gumanitarnaya informatika, no. 9 (June 1, 2015): 88–97. http://dx.doi.org/10.17223/23046082/9/7.

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32

Miller, Thomas R. "Hair in African Art and Culture:Hair in African Art and Culture.;Hair in African Art and Culture." American Anthropologist 103, no. 1 (March 2001): 182–88. http://dx.doi.org/10.1525/aa.2001.103.1.182.

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33

Carter, Curtis. "Globalization and Cultural Identity of Art Works." Monitor ISH 19, no. 2 (December 4, 2017): 81–110. http://dx.doi.org/10.33700/1580-7118.19.2.81-110(2017).

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Works of art are properly characterized as cultural objects, as opposed to being merely physical or perceptual objects. As cultural objects, works of art can be embodied in physical objects, but they require properties that physical objects do not necessarily possess, such as being intentionally composed in some artistic medium in a particular historic context informed by ideas, values, and technical skills and means offered by the culture. Works of art retain their identity in important respects, but may also undergo change when transferred from one culture to another. The identity of a work may be enriched and expanded to incorporate features acquired as a result of its being interpreted in a new cultural setting. An expanded and clarified account of culture is required to give a fuller characterization of the cultural properties that comprise works of art and to support the view that cultural identity in some sense transcends a culture of origin. Culture is a multi-phased concept involving at least three related elements. First, there are the particular art cultures consisting of art-making and their attending strategies of interpretation found in the art worlds of various societies. Secondly, the culture of a people consists of the broader societal, political, economic, religious, ideological, and other practices that define a culture. An additional element is world or global culture consisting of the features of art that enable people from diverse cultures to interpret and appreciate art from other cultures. Within these frameworks, the identity of art works is open and cumulative, with the result that they continuously acquire new properties over the duration of their existence.

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34

Swenson, Kristine. "Hothouse Victorians: Art and Agency in Freshwater." Open Cultural Studies 1, no. 1 (October 26, 2017): 183–93. http://dx.doi.org/10.1515/culture-2017-0017.

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Abstract The Victorian artistic community that grew up on the Isle of Wight around Tennyson and Julia Margaret Cameron has been reimagined in Virginia Woolf's play, Freshwater (1923, 1935), and more recently in Lynn Truss's novel, Tennyson's Gift (1996). Whereas Freshwater should be read as modernist or post- Victorian, Tennyson's Gift is neo-Victorian and postmodern in its form and attitude. Integral to both are the discontent of women and the disruption of gender norms. Therefore, this essay looks particularly at the question of female agency in a Victorian world envisioned in 1923-35 and one of 1996. In Freshwater, one sees a serious exploration of generational change and the desire for artistic freedom, especially through the character of Ellen Terry. Freshwater is a dress rehearsal for To the Lighthouse. Truss reimagines Freshwater by adding to Woolf's cast the unstable Charles Dodgson, whose Alice in Wonderland becomes the familiarizing scaffolding for readers in a Victorian world that seems as strange as Wonderland did to Alice. Here, female agency is elusive - too-knowing little girls hold sway and adult women use their power, rather pathetically, to win and hold the undeserving men they love.

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35

Umarova, Gulshan Omonovana. "On The Culture Of Music And Singing." American Journal of Social Science and Education Innovations 02, no. 12 (December 17, 2020): 83–87. http://dx.doi.org/10.37547/tajssei/volume02issue12-15.

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In the current era of the influence of the information flow, blindly mastering the art of others, they put Uzbek words in their music and perform melodic performances. This article discusses the development of one of the vocal genres - traditional singing, the perfect study of the status of our classical art by students and the further enrichment and preservation of the treasures of our national musical heritage to future generations. In the current era of rapid development, under the influence of music and songs coming from abroad, the minds of our young people are changing and becoming indifferent to their art. It is useful for any nation to learn the art of its own national music first and then master the art of others.

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36

Muydinov, Qodirjon. "Speech art and speech culture." ACADEMICIA: An International Multidisciplinary Research Journal 12, no. 5 (2022): 355–57. http://dx.doi.org/10.5958/2249-7137.2022.00444.x.

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37

Irgin, Suleyman. "CULTURE AND POOR ART LANGUAGE." Idil Journal of Art and Language 6, no. 33 (June 20, 2017): 1503–11. http://dx.doi.org/10.7816/idil-06-33-04.

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38

Makhlina, SVETLANA TEVELEVNA. "Immersiveness in modern art culture." Клио, no. 5 (2022): 118–28. http://dx.doi.org/10.51676/2070-9773_2022_05_118.

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39

Beilharz, Peter. "Book review: Culture and Art." Thesis Eleven 169, no. 1 (March 29, 2022): 122–23. http://dx.doi.org/10.1177/07255136221089128.

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40

HRYTSAN, ANATOLII. "SERVING UKRAINIAN CULTURE AND ART." Journal of Vasyl Stefanyk Precarpathian National University 6, no. 2 (June 20, 2019): 138–41. http://dx.doi.org/10.15330/jpnu.6.2.138-141.

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The article highlights the main achievements of the Educational and Scientific Institute of Arts of Vasyl Stefanyk Precarpathian National University in educational, scientific, artistic and performative spheres.

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41

Duncum, Paul. "Clarifying Visual Culture Art Education." Art Education 55, no. 3 (May 2002): 6. http://dx.doi.org/10.2307/3193995.

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42

Popelard, Marie-Hélène. "Culture artistique et art contemporain." Journal of French and Francophone Philosophy 5, no. 2-3 (March 3, 1993): 80–95. http://dx.doi.org/10.5195/jffp.1993.77.

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43

Makhlina, Svetlana T. "Heterotopy in contemporary art culture." Vestnik of Saint Petersburg State University of Culture, no. 3 (40) (2019): 75–78. http://dx.doi.org/10.30725/2619-0303-2019-3-75-78.

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44

Kim, Young Mi. "Traditional Culture Experience Art Research." KOREA SCIENCE & ART FORUM 17 (September 30, 2014): 95. http://dx.doi.org/10.17548/ksaf.2014.09.17.95.

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45

Bernaud, Jean-Yves, Michel Brière, and Jacques Lochard. "Art, science et culture scientifique." La Lettre de l’OCIM, no. 127 (January 1, 2010): 5–13. http://dx.doi.org/10.4000/ocim.182.

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46

Pine, Julia. "Modern art culture: A reader." Visual Studies 25, no. 1 (March 23, 2010): 105–7. http://dx.doi.org/10.1080/14725861003607082.

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47

Han Long Dominique Chen. "Overriding Art through Free Culture." Journal of The Institute of Image Information and Television Engineers 66, no. 9 (2012): 780–84. http://dx.doi.org/10.3169/itej.66.780.

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48

Abbott, Roselyn. "Film and culture: art works." Journal of Analytical Psychology 61, no. 5 (October 20, 2016): 706–7. http://dx.doi.org/10.1111/1468-5922.12265.

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49

CUTHBERT, D. "Aboriginal Identity, Culture and Art." Year's Work in Critical and Cultural Theory 4, no. 1 (January 1, 1994): 281–316. http://dx.doi.org/10.1093/ywcct/4.1.281.

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50

GROSSMAN, M. "Aboriginal Identity, Art and Culture." Year's Work in Critical and Cultural Theory 5, no. 1 (January 1, 1995): 304–68. http://dx.doi.org/10.1093/ywcct/5.1.304.

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