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1
Menshikov, Leonid A. "DECONSTRUCTION OF CINEMA IN THE NEO-DADA PROJECT: THE FLUXFILM ANTHOLOGY IN THE ANTI-AESTHETICS CONTEXT." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 39 (2020): 79–92. http://dx.doi.org/10.17223/22220836/39/8.
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Fluxus, a neodadaist group of artists, poets, and musicians is known by its multiples namely cardboard boxes containing surprising objects, editions, scores and other similar works of art. One of such works was the Fluxfilm Anthology through which the Fluxus artists were able to express their ideas. Principles of game, irony and art deconstruction were realized in that project as the main aes-thetic principles of Fluxus art. The Fluxfilm Anthology as a project involved a lot of Fluxus artists who in turn created more than 70 films. A common search for stylistic forms of avant-garde cinema was expressed in the Fluxfilms when the filmmakers refused of to shoot and to edit the film for the sake of ready-mades and assemblages. The Fluxus works in cinema are very diverse. They can be subdivided into many purpose types. The first type of films makes a deconstruction of cinema as an art form of because its authors abandon principal expressive means of cinema. The second one is represented by the films with a broken narra-tive but recreated sign structures. The third group of films includes an anthropological discourse made of a series of similar items and actions. The fourth group consists of assemblages and ready-made films which are focused on elements of human environments. More precisely, the film-assemblage is a special technique of filming any performed materials and objects. The ready-made is a mode of film-ing or showing previously used film loops. The most famous and important Fluxus films can be assigned to the first of the above types. Zen for Film by Nam June Paik is among them. The peculiarity of the film is the way of its creating at the time of the show, coinciding with the passage (and simultaneous deformation by scratching) of the film loop through the film projector. It is an example of ‘undetermined’ film as well as Paik’s thinking about the nature of the motion pictures. Another example of image experiment is Blink directed by J. Cavanaugh. It consists of white and black alternating frames whose flicker postulates the moving image as the basic principle of cinema. G. Brecht’s Entrance to exit is conceptually identical to the film mentioned before. A smooth linear transition from white, through greys to black is used for making image in it. Maciunas’s experimental films were made without camera. He upgraded the shooting process when replaced the work with the camera to work in the laboratory. It can also be said that he has turned a film into design with a film. W. Vostell’s films are illustrations to his original concept of De-collage according to which an image captured by TV should be disassembled into component parts by camera. Another representative of the Fluxus, namely J. Cale, practiced shooting flickering lights, unusually spectacular when viewed. P. Kennedy’s and M. Parr’s films are indicative for Fluxus for technical experiments with the format of a rectangular frame and its transparency. In such ways, in accordance with aesthetic views of Fluxus artists, a consistent destruction of the ‘language’ of cinema-tography carries out in the The first type of Fluxfilms.
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Robertson, Jack. "The exhibition catalog as source of artists’ primary documents." Art Libraries Journal 14, no. 2 (1989): 32–36. http://dx.doi.org/10.1017/s0307472200006210.
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Exhibition catalogs and related ‘ephemera’ frequently include statements by artists which can be regarded as primary documents. Artists’ statements which are included in catalogs of group exhibitions tend to be relatively difficult to access and so are easily overlooked, while statements included in ephemeral publications associated with group exhibitions are virtually irretrievable even when such material is retained by libraries. Some help is available from published bibliographies and online databases; more thorough cataloging procedures are also available.
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Ittu, Gudrun-Liane. "Siebenbürgisch-deutsche Künstlerinnen vom Ende des 19. und Anfang des 20. Jahrhunderts." Studia Universitatis Babeș-Bolyai Historia Artium 65, no. 1 (December 31, 2020): 127–55. http://dx.doi.org/10.24193/subbhistart.2020.07.
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"Transylvanian German women artists from the end of the 19th and beginning of the 20th century. The paper is aiming at analyzing the life and art of a group of six German women artists from Transylvania, the first ones who studied abroad, real forerunners for the next generation of female plastic artists. Emancipated ladies, determined to become artists and earn their own money, the gifted women studied in Budapest, Vienna, Munich or Paris. Only Molly Marlin did not come back home, while the others had a prodigious artistic and pedagogical activity, being present at the annual exhibitions, together with well-known male colleagues. Keywords: art academies, women artists, painters, graphic artists, art teachers, exhibitions, Sibiu, Betty Schuller, Hermine Hufnagel, Molly Marlin Horn, Anna Dörschlag, Lotte Goldschmidt, Mathilde Berner Roth "
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Wilmer, Stephen Elliot. "Maciunas." Nordic Theatre Studies 33, no. 1 (March 12, 2022): 11–23. http://dx.doi.org/10.7146/nts.v33i1.131989.
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Fluxus was an inspirational movement based in New York in the 1960s that consisted of a group of more than fifty loosely connected artists from various disciplines, who made significant experiments to develop music, conceptual art, visual art, performance art, video, and film. They participated in eclectic concerts, media, performative events, and installations in the USA and Europe. In this paper, I want to examine how George Maciunas, a Lithuanian exile and its nominal organiser, had a seminal influence on avant-garde art in America and Europe and, despite avowing an open attitude towards what could be art, he also enforced draconian ideas about what could be included and what could not. In particular I want to emphasize his influence in Scandinavia because most of the literature on Fluxus has focused on his work in the USA and Germany.
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Wilmer, Stephen Elliot. "Maciunas." Nordic Theatre Studies 33, no. 1 (March 12, 2022): 11–23. http://dx.doi.org/10.7146/nts.v33i1.131989.
Full textAbstract:
Fluxus was an inspirational movement based in New York in the 1960s that consisted of a group of more than fifty loosely connected artists from various disciplines, who made significant experiments to develop music, conceptual art, visual art, performance art, video, and film. They participated in eclectic concerts, media, performative events, and installations in the USA and Europe. In this paper, I want to examine how George Maciunas, a Lithuanian exile and its nominal organiser, had a seminal influence on avant-garde art in America and Europe and, despite avowing an open attitude towards what could be art, he also enforced draconian ideas about what could be included and what could not. In particular I want to emphasize his influence in Scandinavia because most of the literature on Fluxus has focused on his work in the USA and Germany.
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Braden, L. E. A. "Networks Created Within Exhibition: The Curators’ Effect on Historical Recognition." American Behavioral Scientist 65, no. 1 (October 15, 2018): 25–43. http://dx.doi.org/10.1177/0002764218800145.
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This research examines artist networks created by shared museum exhibition. While previous research on artistic careers assesses self-cultivated networks, historical recognition may be further influenced by connections created by important others, such as museum curators and art historians. I argue when museum exhibitions show artists together, curators are creating symbolic associations between artists that signal the artist’s import and contextualization within his or her peer group. These exhibition-created associations, in turn, influence historians who must choose a small selection of artists to exemplify a historical cohort. The research tests this idea through a cohort of 125 artists’ exhibition networks in the Museum of Modern Art, New York, from 1929 to 1968 (996 exhibitions). Individual network variables, such as number and quality of connections, are examined for impact on an artist’s recognition in current art history textbooks (2012-2014). Results indicate certain connections created by exhibition have a positive effect on historical recognition, even when controlling for individual accomplishments of the artist (such as solo exhibitions). Artists connected with prestigious artists through “strong symbolic ties” (i.e., repeated exhibition) tend to garner the most historical recognition, suggesting robust associations with historical peers may signify an artist’s exemplary status within his or her cohort, and consequent “good fit” into the historical narrative.
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Ryczkowska, Marta Aleksandra. "Redefinicja sztuki i nowe media – Fluxus." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 15, no. 2 (September 19, 2018): 49. http://dx.doi.org/10.17951/l.2017.15.2.49.
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<p>Esej jest próbą spojrzenia na grupę Fluxus jako na zjawisko, które w znaczny sposób wpłynęło na kulturę współczesną dzięki nieszablonowemu podejściu do aktywności artystycznej oraz płynnym przekraczaniu granic pomiędzy różnymi dyscyplinami sztuki a życiem. Głównym przedmiotem zainteresowania w obrębie Fluxusu jest redefinicja sztuki oraz czerpanie z technologii audiowizualnych, które przyczyniło się do rozwoju sztuki nowych mediów. W tym celu przywołany zostaje jeden z głównych reprezentantów i prekursorów wideo art Nam June Paik, amerykański artysta pochodzenia koreańskiego, który działał w kolektywie oraz tworzył indywidualnie. We wprowadzeniu do rozważań o Fluxusie nakreślony został kontekst historyczny, wskazujący na tendencje i okoliczności towarzyszące powstaniu grupy. Przy przywołaniu najważniejszych artystów i ich około-artystycznych aktywności szczególny akcent zostaje położony na postać George’a Maciunasa oraz na lewicowe wpływy, jakim ulegał konstruując program Fluxusu. Kolejnym punktem rozważań jest analiza zjawiska pod kątem wyjaśnienia jego podstawowych założeń i ich realizacji, aktualności postulatów w czasach współczesnych oraz dziedzictwa. Finalnym i kluczowym elementem tekstu jest przywołanie lat 60. Jako złotej dekady technologicznych eksperymentów, na tle której Nam June Paik ukazał się jako niezwykle kreatywny wizjoner i inicjator procesów, związanych z rozwojem sztuki nowych mediów.</p><p> </p><strong>The art redefinition and new media – Fluxus</strong><p>SUMMARY</p><p>The present essay seeks to look at the Fluxus group as a phenomenon that largely influenced contemporary culture owing to an unconventional approach to artistic activity and the smooth crossing of boundaries between different art disciplines and life. The main subject of interest within Fluxus was to redefine art and draw on audiovisual technologies, which contributed to the development of the art of new media. For this purpose, the text refers to one of the main representatives and predecessors of video art, Nam June Paik, a Korean-born American artist, who worked creatively both in a team as well as individually. The introduction to the considerations on Fluxus outlines the historical context showing the tendencies and circumstances of the origin of the group. When referring to the most important artists and their accompanying artistic activities, special emphasis was laid on the figure of George Maciunas and the left-wing influences to which he yielded while he constructed the Fluxus program. The next point of presentation is the analysis of the phenomenon from the perspective of explaining its fundamental assumptions and their implementation, the relevance of the Fluxus postulates in the contemporary period and its heritage. The final and key element of the text is the reference to the nineteensixties as a golden decade of technological experiments, in whose context Nam June Paik appeared as an extremely creative visionary and initiator of processes associated with the development of art of new media.</p>
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Reagan, Trudy Myrrh. "Ylem: Serving Artists Using Science and Technology, 1981–2009." Leonardo 51, no. 1 (February 2018): 48–52. http://dx.doi.org/10.1162/leon_a_01192.
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YLEM: Artists Using Science and Technology, a nonprofit group in the San Francisco Bay Area, was active from 1981 to 2009, publishing the YLEM Newsletter (later, the YLEM Journal). In the 1990s, it published the Directory of Artists Using Science and Technology, illustrated with members’ work, and established its website, < www.ylem.org >. YLEM’s public Forums introduced artists to science, scientists to art and the general public to new artistic and technological expression. It organized field trips to laboratories, industrial sites and artists’ studios and mounted exhibitions of members’ work. Members’ friendships mutually encouraged their work in this new arena.
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Šeparović, Ana. "Feministički iskazi u kritičkoj recepciji skupnih izložbi hrvatskih umjetnica." Ars Adriatica 8, no. 1 (December 28, 2018): 195–210. http://dx.doi.org/10.15291/ars.2762.
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This paper discusses the reception discourse related to three waves of group exhibitions by Croatian women artists in the 20th century, with a focus on feminist strategies used in advocating and empowering women’s art. The considered body of texts includes reviews of the first exhibition – the Intimate Exhibition at the Spring Salon of 1916 – the exhibitions of the Club of Women Artists held in 1928-1940, and the exhibitions celebrating Women’s Day from 1960 until 1991. Although taking place in different circumstances and socio-political contexts, all these exhibitions generated public debates on art produced by women, and although they provoked misogynous and anti-feminist statements, they also resulted in openly feminist voices of authors such as Roksana Cuvaj, Zdenka Marković, Marija Hanževački, Verena Han, Nasta Rojc, Zofka Kveder, and others. Based on historiographical sources and texts from the field of feminist theory, this analysis of the art-critical corpus has identified the main strongholds of feminist discourse: disclosure of misogyny and its sources in public opinion and prejudice, critique of the social construction of female inferiority, research on women’s art history, endorsement and praise of female art, and so on. It was these feminist statements that enhanced creative self-awareness in women artists and also slowly tamed the society by getting it used to their presence, leading to the gradual suppression of stereotypes and slow dissolution of the dominant patriarchal matrix in Croatian art during the 20th century.
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Styrna, Natasza. "Malarki, rzeźbiarki i graficzki z krakowskiego Zrzeszenia Żydowskich Artystów (1931–1939)." Studia Judaica, no. 2 (48) (2021): 407–35. http://dx.doi.org/10.4467/24500100stj.21.017.15072.
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Painters, Sculptors and Graphic Female Artists From the Kraków Association of Jewish Artists, 1931–1939 Eleven women belonged to the Kraków Association of Jewish Artists, active in the 1930s. They dealt with painting, graphic art and sculpture. Unfortunately, not much has survived from their achievements. One of the most interesting artistic personalities in this group was Henryka Kernerówna, educated in Vienna. From 1918 on, female artists younger than her could benefit from studies at the Academy of Fine Arts in Kraków. In the reviews of the exhibitions of the Association, the gender of artists was rarely mentioned, except in some cases. The artists also belonged to other non-Jewish art groups. Most of them survived the war, but none of them remained in Kraków. Three of them were killed.
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Jee, Sangbaum, and Sungah Ahn. "Analysis of Social Network and Performance of High-Income Artists." Korean Society of Culture and Convergence 45, no. 7 (July 31, 2023): 299–310. http://dx.doi.org/10.33645/cnc.2023.07.45.07.299.
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This study is the first research to derive a social network activity index based on the career factors of the top 50 artists and analyze its relationship with transaction performance. The analysis results indicate that personal network centrality among artists has the most significant impact on transaction performance, followed by the importance of group network centrality. Additionally, the study categorizes artists into three clusters based on their careers: major and awards, education and number of solo exhibitions, and whether they studied abroad and social experience. These clusters demonstrate differences in transaction performance and social network characteristics. This study validates the importance of social networks that influence the transaction performance of visual artists, particularly by examining the network characteristics more closely by distinguishing between individual networks among artists and organization networks involving artists.
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Volkogonov, Y. I. "Artists from Primorsky Krai at the New York’s exhibition facilities." Iskusstvo Evrazii [The Art of Eurasia], no. 3(18) (September 30, 2020): 105–20. http://dx.doi.org/10.46748/arteuras.2020.03.009.
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The article describes the conditions and prerequisites for the creation of the Center for Contemporary Russian Culture and the Museum of Contemporary Russian Art in Vladivostok. The chronology of personal and group exhibitions at the sites of New York and Jersey City (USA), with the participation of artists from the Primorsky Krai, is indicated. The article describes the activities of Alexander Glezer and Alexander Gorodny in organizing exhibitions in Russia and abroad. The author gives an overview of the personal exhibitions of Alexander Pyrkov, Ilyas Zinatulin, Lilia Zinatulin, Fernan Zinatulin, Evgeny Makeev, Vladimir Ganin, Valery Shapranov, Anatoly Zaugolnov. Fragments of statements by art criticism and assessments of the works of Primorye artists by the American press are given. В статье изложены условия и предпосылки создания в г. Владивостоке Центра современной русской культуры и Музея современного русского искусства. Указана хронология персональных и групповых выставок на площадках Нью-Йорка и Джерси-Сити (США) с участием художников Приморского края. Описана деятельность Александра Глезера и Александра Городнего по организации выставок в России и за рубежом. Дан обзор персональных выставок Александра Пыркова, Ильяса, Лилии и Фернана Зинатулиных, Евгения Макеева, Владимира Ганина, Валерия Шапранова, Анатолия Заугольнова. Приведены фрагменты высказываний арт-критики и оценок творчества приморских художников американской прессой.
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Bureaud, Annick, Nina Czegledy, and Christiana Galanopoulou. "The eMobiLArt Project from a Curatorial Perspective." Leonardo 43, no. 5 (October 2010): 478–79. http://dx.doi.org/10.1162/leon_a_00041.
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The three curators of the eMobiLArt project developed collaboration within the curatorial group and with other people involved including participating artists and organizers. This article is focused on how the various tasks evolved during the project process. A reflection on the outcomes (artworks and exhibitions) and the role of curators in such a collaborative experimental project is also included.
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Winestein, Anna. "Artists at Play." Experiment 25, no. 1 (September 30, 2019): 328–45. http://dx.doi.org/10.1163/2211730x-12341346.
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Abstract The exhibition of Russian folk art at the Paris “Salon d’Automne” of 1913 has been generally overlooked in scholarship on folk art, overshadowed by the “All-Russian Kustar Exhibitions” and the Moscow avant-garde gallery shows of the same year. This article examines the contributions of its curator, Natalia Erenburg, and the project’s instigator, Iakov Tugendkhold, who wrote the catalogue essay and headed the committee—both of whom were artists who became critics, historians, and collectors. The article elucidates the show’s rationale and selection of exhibits, the critical response to it and its legacy. It also discusses the artistic circles of Russian Paris in which the project originated, particularly the Académie russe. Finally, it examines the project in the context of earlier efforts to present Russian folk art in Paris, and shows how it—and Russian folk art as a source and object of collecting and display—brought together artists, collectors, and scholars from the ranks of the Mir iskusstva [World of Art] group, as well as the younger avant-gardists, and allowed them to engage Parisian and European audiences with their own ideas and artworks.
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Nijhoff, Michiel. "Optimism and enthusiasm – and doubts: from UDC towards hybrid cataloguing in the library of the Stedelijk Museum Amsterdam." Art Libraries Journal 36, no. 4 (2011): 50–52. http://dx.doi.org/10.1017/s0307472200017211.
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UDC was used in the library of the Stedelijk Museum until 1994, but initially only for a small minority of the books: those that were neither monographs nor exhibition catalogues. With the introduction of an automated system UDC was thrown overboard, books were shelved by size, and the catalogue now works with a thesaurus (more like a keyword list) loosely based on the AAT. Most questions from customers are for artists’ names, so that is the focus of the indexing effort, even for group exhibitions involving up to 30 or 40 names, while for the Stedelijk’s own catalogues, all the artists are always indexed.
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Yerday, Efrat. "To Be Black and Beautiful in Israel." Anthropology of the Middle East 14, no. 1 (June 1, 2019): 70–86. http://dx.doi.org/10.3167/ame.2019.140105.
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This article reviews works of contemporary female artists of Ethiopian origin active in the Israeli art field. I analyse the subjects in their work and argue these artists are presenting their attitudes towards the ‘white gaze’. Though constantly subjected to it by the Israeli hegemony and the Western masculine discourse, they are notably decreasing their consideration of it. They broaden the restricted field of action that seems designated for them and alter its boundaries. Drawing on theorists of gender, postcolonial theory and theory of art, I demonstrate how these artists are promoting an agenda that reflects their lives as black women in Israel. Influenced by recent socio-political changes and a decline in representations of black women on TV and in visual arts, these artworks were increasingly exhibited in solo and group exhibitions.
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Malinowski, Jerzy. "Polish Research on the Vilnius Artistic Community 1919–1939." Acta Academiae Artium Vilnensis, no. 98 (December 23, 2019): 362–70. http://dx.doi.org/10.37522/aaav.98.2020.34.
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This review of publications and exhibitions is devoted to the artis- tic community of Interwar Vilnius and the Faculty of Fine Arts at Stephen Báthory University. It includes a look at how the National Museum in Warsaw has operated since the 1960s (under the direction of Prof. Stanisław Lorentz), as well as the Institute of Art of the Polish Academy of Sciences in Warsaw, the Nicolaus Copernicus University and the District Museum in Toruń. The subject of discussion is monographic exhibitions of artists (including Ferdynand Ruszczyc, Ludomir Sleńdziński, Henryk Kuna, Tymon Niesiołowski), problematic exhibitions such as “The Vilnius Artistic Community 1919–1945” (BWA Olsztyn 1989), “Fine Arts Education in Vilnius and its Traditions” (Toruń 1996), publications by, inter alia, Prof. Józef Poklewski, Dr. Irena Jakimowicz, Jan Kotłowski and the author of the present paper. Attention is also directed toward the Jewish artistic community – in particular, the “Yung Wilne” group.
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Piątkowska, Renata. "Artystki i miłośniczki sztuki – kobiety w żydowskim życiu artystycznym międzywojennej Warszawy. W kręgu Żydowskiego Towarzystwa Krzewienia Sztuk Pięknych." Studia Judaica, no. 1 (47) (2021): 175–211. http://dx.doi.org/10.4467/24500100stj.21.007.14609.
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Artists and Art Lovers: Women in the Jewish Artistic Life of Interwar Warsaw. In the Circle of The Jewish Society for the Encouragement of Fine Arts Research on Jewish artistic life in interwar Warsaw, especially in the context of the activities of the Jewish Society for the Encouragement of Fine Arts (Żydowskie Towarzystwo Krzewienia Sztuk Pięknych), reveals active and numerousparticipation of women, both artists and art lovers (by and large a group of professionals, bourgeois, political and social activists, Jewish art collectors). In the article, special attention is paid to Tea Arciszewska and Diana Eigerowa, a collector and philanthropist, the founder of the Samuel Hirszenberg scholarship for students of the Academy of Fine Arts in Warsaw. The author, using selected examples, discusses the role of artists in the artistic community, their individual exhibitions in the Jewish Society for the Encouragement of Fine Arts (Stanisława Centnerszwerowa, Regina Mundlak), a group of young artists living in Paris (Alicja Hohermann, Zofia Bornstein, Pola Lindenfeld, Estera Karp), as well as a circle of art lovers and patrons, some of whom—such as Tea Arciszewska and Paulina Apenszlak—also dealt with art criticism.
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Kareyan, David. "Pure Creativity, 1994." ARTMargins 2, no. 1 (February 2013): 127–28. http://dx.doi.org/10.1162/artm_a_00036.
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The two texts presented here were written by members of conceptual artists' group ACT operating in Armenia in 1994–1996. The group developed affirmative artistic actions and exhibitions to support the constitution of the new state based on the principles of liberal democracy and market capitalism. Its conceptual interventions and actions, both in conventional spaces of exhibition, but also on the street and in the already dysfunctional factories, were often formally minimal and austere, but almost always prescriptive in terms of offering a model of political and aesthetic participation.
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Armenakyan, Hratch. "Post-Art Situation: Logical Syntax." ARTMargins 2, no. 1 (February 2013): 129–36. http://dx.doi.org/10.1162/artm_a_00037.
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The two texts presented here were written by members of conceptual artists' group ACT operating in Armenia in 1994–1996. The group developed affirmative artistic actions and exhibitions to support the constitution of the new state based on the principles of liberal democracy and market capitalism. Its conceptual interventions and actions, both in conventional spaces of exhibition, but also on the street and in the already dysfunctional factories, were often formally minimal and austere, but almost always prescriptive in terms of offering a model of political and aesthetic participation.
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Harutyunyan, Angela. "Introduction to David Kareyan's “Pure Creativity” and Hratch Armenakyan's “Post-Art Situation: Logical Syntax”." ARTMargins 2, no. 1 (February 2013): 120–26. http://dx.doi.org/10.1162/artm_a_00038.
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The two texts presented here were written by members of conceptual artists' group ACT operating in Armenia in 1994–1996. The group developed affirmative artistic actions and exhibitions to support the constitution of the new state based on the principles of liberal democracy and market capitalism. Its conceptual interventions and actions, both in conventional spaces of exhibition, but also on the street and in the already dysfunctional factories, were often formally minimal and austere, but almost always prescriptive in terms of offering a model of political and aesthetic participation.
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Gavin, Sergey V., and Zoya A. Tanshina. "Tapestry art in Mordovia today." Finno-Ugric World 11, no. 1 (August 12, 2019): 86–92. http://dx.doi.org/10.15507/2076-2577.011.2019.01.086-092.
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The article discussed the role of contemporary tapestry art in modern culture, the history of the formation and growth of national decorative-applied and monumental art schools in the Republics of former Soviet Union, the importance of both group and personal tapestry exhibitions organized by regional creative organizations of the Union of Artists and the Russian Union of Artists as well as the state Museum-Reserve “Tsaritsyno”. It emphasizes the importance of using richest traditions of folk art, stories and legends of the people living in multiethnic Russia. The works of teachers and graduates of the Department “Folk Art Culture and Contemporary Art” of the Institute of National Culture of Ogarev Mordovia State University have been demonstrated as an example of those who apply modern tapestry in architectural space design. The paper also defines prospects for the development of tapestry art in the works of young artists.
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Hayes, Shannan L. "Wanting More." differences 31, no. 1 (May 1, 2020): 64–97. http://dx.doi.org/10.1215/10407391-8218774.
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This essay interrogates the forms of feminist political desire and subject formation being reproduced under the heading of contemporary feminist art. The author considers two recent exhibitions, similarly organized around the theme of intersectionality, that took place over two consecutive summers in New York City: Simone Leigh’s The Waiting Room at the New Museum (2016), and the group exhibit We Wanted a Revolution at the Brooklyn Museum (2017). While both exhibitions promote the work of black women artists at the center of their institutional program-building initiatives, each exhibition forwards a notably distinct version of what counts as “revolutionary” feminist politics. Hayes argues ultimately for an interpretation of Leigh’s work as a prefigurative, utopian feminism that demands more—for example, than mere inclusion—from progressive institutions and feminist art.
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McCoy, Garnett. "The Rise and Fall of the American Artists' Congress." Prospects 13 (October 1988): 325–40. http://dx.doi.org/10.1017/s0361233300005329.
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In the fall of 1929, just after the stock market crash but before its effects were widely felt, a group of radical artists and writers in New York established the John Reed Club, named after the already legendary journalist, poet, and revolutionary activist. The founders, some of them members of the Communist Party, some loosely associated with the party's cultural magazine New Masses, were committed but restless young men in search of a focus for their political energies. Soon after the club began, the artist members created an art school, organized exhibitions, and sponsored a lecture series and discussion groups with emphasis on the practice and theory of art and art history from a Marxist point of view. As the Depression deepened, with dire consequences to artists dependent on an art market in a state of collapse, the John Reed Club's approach attracted growing attention.
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McCoy, Garnett. "The Rise and Fall of the American Artists' Congress." Prospects 13 (October 1988): 325–40. http://dx.doi.org/10.1017/s0361233300006773.
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In the fall of 1929, just after the stock market crash but before its effects were widely felt, a group of radical artists and writers in New York established the John Reed Club, named after the already legendary journalist, poet, and revolutionary activist. The founders, some of them members of the Communist Party, some loosely associated with the party's cultural magazine New Masses, were committed but restless young men in search of a focus for their political energies. Soon after the club began, the artist members created an art school, organized exhibitions, and sponsored a lecture series and discussion groups with emphasis on the practice and theory of art and art history from a Marxist point of view. As the Depression deepened, with dire consequences to artists dependent on an art market in a state of collapse, the John Reed Club's approach attracted growing attention.
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Golia, Maria. "Surrealism and Photography in Egypt." Nka Journal of Contemporary African Art 2021, no. 49 (November 1, 2021): 144–62. http://dx.doi.org/10.1215/10757163-9435751.
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Over the course of three years researching thousands of old photographs for her 2010 book Photography and Egypt (Reaktion Books), the author came across few examples of what might be termed “surrealist photography” in Egypt and little evidence for the exhibitions organized by Art and Liberty, a group of Egyptian artists and writers who resisted the Nazi and fascist risings before and after World War II. Anchored by Samir Gharib’s Surrealism in Egypt and Plastic Arts; correspondence between photographer Lee Miller, living in Cairo in the 1940s, and British artist and poet Roland Penrose; and Donald LaCoss’s work and correspondence with Roland Penrose’s son, Anthony, this article elaborates and adjusts some of the perceptions of the Art and Liberty group that appeared in Photography and Egypt. The group would eventually feel the wrath of the Anglo-Egyptian authorities for providing translations of Marxist-Leninist texts, condemnations of anti-fascist and anti-imperialist ideals and politics, and affirmations of social reform and freedom of expression. On the other hand, the author supposes that it may also be the case that only a few photographic works produced by artists associated with the Art and Liberty group can be called “surrealist” at all, as Egypt’s surrealist moment left more prominent traces in painting and literature. Nonetheless, Art and Liberty’s activities acknowledged photography as a creative medium at an early, experimental stage in its development, before it was derailed by the 1952 Officer’s Revolution and, later, pressed into the service of the state. Despite the lack of access to the photographic record of works produced for or around Art and Liberty exhibitions, the author contributes contextual details for both those shows and the practice of photography around the time the group was active, illustrated by seminal images of works by Kamel Telmisany, Hassan El-Télmissany, Idabel, Hassia, Fouad Kamel, Wadid Sirry, Lee Miller, and others.
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Pepper, Andrew. "The Gallery as a Location for Research-Informed Practice and Critical Reflection." Arts 8, no. 4 (September 27, 2019): 126. http://dx.doi.org/10.3390/arts8040126.
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Creative holography could still be considered a fringe medium or methodology, compared to mainstream art activities. Unsurprisingly, work using this technology continues to be shown together with other holographic works. This paper examines the merits of exhibiting such works alongside other media. It also explores how this can contribute to the development of a personal critical framework and a broader analytical discourse about creative holography. The perceived limitations of showing holograms in a “gallery ghetto” are explored using early critical art reviews about these group exhibitions. An international exhibition, which toured the United Kingdom (UK) and Australia, is used as a framework to expand the discussion. These exhibitions include examples of the author’s holographic work and those of artists working with other (non-holographic) media and approaches. The touring exhibition as a transient, research-informed process is investigated, as is its impact on the critical development of work using holography as a valid medium, approach, and methodology in the creative arts.
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Kharitonova, Natalya Stepanovna. "Interaction of Artistic Culture of Russia and Scandinavian Countries at the turn of the 19th-20th Centuries." Journal of Flm Arts and Film Studies 7, no. 2 (June 15, 2015): 97–104. http://dx.doi.org/10.17816/vgik7297-104.
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The author examines similarity of historical and cultural development of Russia and Scandinavian countries. Cultural ties between the two domains evolved over many centuries. The most intensive period of development of Russian-Scandinavian artistic contacts stretched from mid-1880s-1890s up to the end of the first decade of the 20th century. In 1890s Russian painters considered achievements of Scandinavian colleagues as an example of a quest for progress, a creative approach to finding ones way in development of fine arts. At the same period in Russia a number of major international art exhibitions were arranged with active northern painters participation. The Russian interest in the art of Scandinavian countries in the late 19th - early 20th c. was anything but accidental. The development of artistic culture in Nordic countries was in tune with the Russian artists quest for other ways of creative expression. Northern culture attracted sympathy of Russian painters, black-and-white artists and art critics of diverse, often opposing groups and movements. For example, among the admirers of Scandinavian fine arts were V.V. Stasov and A.N. Benoit, I.E. Repin, V.A. Serov, F.A.Malyavin, the artists of the "Mir iskusstva group, and representatives of Moscow School of Painting (K. Korovin, A. Arkhipov, V. Perepletchikov etc.). By mid-1890s relations of Russian and Scandinavian art schools had become very intense and productive. This interaction coincided with significant events that influenced further development of artistic and other forms of culture on both sides. It manifested itself in publications of works of A. Strinberg and K. Hamsun in Russian, in staging of H. Ibsens plays at the Moscow Art Theater, exhibitions (especially of A.Tsorns works), and other activities that served to cross-fertilisation of cultures of Russia and Scandinavian countries.
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Ștefănescu, Mirela. "7. The Art Galleries - Part of the Cultural and Educational Dynamics in the Contemporary Artistic Space of Iasi." Review of Artistic Education 26, no. 1 (March 1, 2023): 190–97. http://dx.doi.org/10.2478/rae-2023-0027.
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Abstract This article brings into the discussion one of the important components of the cultural and educational infrastructure - the art gallery. In the paper, we will analyze the transformations that occurred in the offer of exhibition spaces in the contemporary artistic dynamics of Iasi. Along with an radiography of the Iași art galleries and the relational dimension they exercise, we will expose some of the comments of some Iași visual artists, on the side of this topic, extracted from the interviews which I realized in my doctoral research and which I published in the book Ieșeni ai artei vizuale contemporane. In shaping a dynamic artistic context, the art galleries constitute a factor of relational consolidation between the artist and the public, an aesthetic and active environment for the promotion of local, national and international artistic values. The space where visual artists exhibit their artistic projects either in personal, group or collective exhibitions is the place where a special connection is created, an aesthetic and educational means of communication between artists, critics and viewers, from the perspective of the dynamics of new structures, styles and forms of visual expression.
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Shaw, Margaret. "AARTI: Australian Art Index." Art Libraries Journal 11, no. 1 (1986): 17–20. http://dx.doi.org/10.1017/s0307472200004454.
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The Australian Art Index, AARTI, is one of a group of data bases within the Ausinet network which will, between them, cover contemporary Australian art and architecture on a national basis. National coverage is possible because of the small size of the Australian population, the existence of people prepared to take on the task with managements to back them and the availability of a network with the flexibility to take data in a wide range of formats. AARTI contains records of four types: monographs, journal articles, exhibitions and artists’ profiles. By April 1985 it contained some 9,500 records available online with a microfiche alternative for non-Ausinet members.
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Borowska, Marta. "Wystawy Związku Plastyków Pomorskich i Grupy Plastyków Pomorskich w Muzeum Miejskim w Bydgoszczy w latach 1930–1936." Porta Aurea, no. 17 (November 27, 2018): 133–61. http://dx.doi.org/10.26881/porta.2018.17.06.
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The displays of particular artistic associations in the Municipal Museum in Bydgoszcz between 1930 and 1936 are being discussed. The history of Pomeranian artistic associations is not a well-known subject, and no dedicated monographs have been written to date. It appears commonly in the history of the regional chapter of the Polish Association of Visual Artists (Związek Polskich Artystów Plastyków) located in Bydgoszcz.
The basic sources include the Archive of the Leon Wyczółkowski District Museum in Bydgoszcz and information contained in Polish press of the period in question. There were two main goals to be achieved for the Pomeranian artists: while aspiring to equal the art represented by more important artistic centres of the country, to show a close connection with their own region and its Polish heritage.
During the interwar period, a number of artistic organisations appeared in Bydgoszcz. The most significant were the local branch of the Society for the Encouragement of the Fine Arts (Towarzystwo Zachęty Sztuk Pięknych), established in September 1921, and the Artistic and Cultural Council (Rada Artystyczno-Kulturalna), founded in December 1934.
The first exhibition of the Pomeranian Association of Visual Artists (Związek Plastyków Pomorskich) was opened in December 1930 as a summary of the Association’s achievements of that year. It comprised 92 works by 15 artists. Subsequent exhibitions in December 1931 and December 1932 served a similar purpose. The turning point in the history of Pomeranian artistic associations took place in 1933 when – as a result of an internal conflict – the Group of Pomeranian Visual Artists (Grupa Plastyków Pomorskich) was formed. The Group quickly became the leading artistic force of the region, with their first exhibition opening in December 1933.
The 4th annual exhibition of the Group of Pomeranian Visual Artists took place in December 1934, simultaneously with the founding of the Artistic and Cultural Council (Rada Artystyczno-Kulturalna) in Bydgoszcz. The Council coordinated, implemented, and documented artistic movements in specially dedicated sections for literature, music, visual arts and radio, quickly becoming an intermediary between artists and their audience. Tanks to their efforts, the first Salon Bydgoski exhibition was organised in 1936. That very year the Group of Pomeranian Visual Artists changed their name to the Group of Visual Artists of Bydgoszcz.
Both organizations lacked a well-defined artistic programme, whereas their members were mainly connected for non-artistic motivations, such as the possibility to exhibit their works in well-known institutions or prestige. All of the discussed displays were widely covered in the local press, especially by Henryk Kuminek and Marian Turwid, two leading art critics of the region.
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Saint-Raymond, Léa. "Bordeaux vs. Paris: An Alternative Market for Local and Independent Artists?" Arts 9, no. 4 (November 4, 2020): 114. http://dx.doi.org/10.3390/arts9040114.
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In 1928, some young artists living in Bordeaux decided to create a local market for contemporary art, as an alternative to the Salon des Amis des Arts of their own city, on the one hand, which they considered retrograde and conservative, and to the centralized and centripetal Parisian world on the other. They joined forces to create the group of the “Artistes indépendants bordelais” (AIB) and they organized an annual exhibition in which they could sell their works, in Bordeaux. This article aims to understand the functioning of this so-called “provincial” alternative to Paris and to measure its potential success, both as a market and as an arbiter of taste. The analysis proves that the AIB exhibitions happened to be a semi-failure, since this local initiative could not detach itself from Paris. In order to gain legitimacy, the AIB invited avant-garde painters and sculptors and they left the door open to Parisian dealers and art critics but all these actors, in turn, overshadowed the artists from Bordeaux. This economic and symbolic domination stemmed from the lack of a strong artistic identity for this group, the absence of domestic galleries specializing in contemporary art and the low demographics of Bordeaux collectors.
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Хертек, А. С. "Tuva and Mongolia: cooperation in the fine arts." Iskusstvo Evrazii [The Art of Eurasia], no. 3(22) (September 30, 2021): 116–25. http://dx.doi.org/10.46748/arteuras.2021.03.010.
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Статья посвящена культурным связям между Республикой Тыва и Монголией в связи со 100-летием российско-монгольских дипломатических отношений. Автор приводит обзор ряда фактов из истории тувинского и монгольского изобразительного искусства, совместных выставочных проектов. Так, ключевыми событиями, повлиявшими на творчество мастеров, стали первая крупная выставка тувинских художников и Нади Рушевой в Монгольской Народной Республике в 1984 году, другие выставки в Монголии, Москве и Туве, групповые обменные поездки монгольских и тувинских художников в XX–XXI веках. Важными для сотрудничества стали выставки 2017 года: рисунков Нади Рушевой в Улан-Баторе и восковых фигур «Хаан хаанов» из Музея Чингисхана (Улан-Батор) в Национальном музее имени Алдан-Маадыр Республики Тыва. The article is devoted to the issue of cultural ties between the Republic of Tyva (or Tuva) and Mongolia in view of the 100th anniversary of the Russian-Mongolian diplomatic relations. The author gives an overview of a number of facts from the history of Tuvan and Mongolian fine art, joint exhibition projects. Thus, the key events that influenced the work of the masters were the first large exhibition of Tuvan artists and Nadya Rusheva in the Mongolian People's Republic in 1984, other exhibitions in Mongolia, Moscow and Tuva, group exchange trips of Mongolian and Tuvan artists in the 20th and 21st centuries. Exhibitions of 2017 became important for the development of Tuvan-Mongolian cultural relations: drawings by Nadya Rusheva in Ulaanbaatar and wax figures “Khaan Khaans” from the Genghis Khan Museum (Ulaanbaatar) in the National Museum named after Aldan-Maadyr of the Republic of Tyva.
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Lamonova, Oksana. "Art Historians about the Works of Anna Myronova: Impressions and Contradictions." Folk art and ethnology, no. 2 (June 30, 2023): 32–38. http://dx.doi.org/10.15407/nte2023.02.032.
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The reaction of Ukrainian art critics on the works of Anna Myronova as one of the leading representatives of modern Ukrainian art is analyzed in the article. Anna Myronova is one of the most active (about twenty personal exhibitions and more than a hundred group exhibitions) and the most honored contemporary Ukrainian young artists. In particular, her name is stated in the Forbes rating (among 25 personalities) The Most Successful Representatives of Modern Ukrainian Art under the Age of Forty (2016). The press attention to the artist’s works is a separate phenomenon. Starting with Shadows of the Grass (2012), each new project of A. Myronova arouses permanently the keen interest of art critics and journalists. Articles about her are published regularly in the official edition of the National Union of the Artists of Ukraine Fine Arts, the Science and Society edition of the Knowledge of Ukraine Association, the Museum Lane magazine, on serious Internet portals, and leading researchers of contemporary art write about her. But the number of texts, their emotionality and sincerity, cannot hide some kind of confusion of the authors. After all, comments and explanations to the artist’s works are given not even different, but opposite in content. Thus, the haiku and sonnets of C. Baudelaire, the philosophy of I. Kant and M. Heidegger are used, A. Huxley and the names of great artists of the past (Leonardo da Vinci, Rembrandt, Claude Monet) are mentioned for a better understanding of her projects (such as Drought (2012–2013), Disorientations (2013), Heat (2014), Heraldry of the Poor (2014), Arms of Reminiscences (2014), Still Project (2015), Simple Actions, Simple Things (2015), Fragments? (2016), Between Touches (2017), Space (2018), Along the Current (2018), CUT (2019), Against the Light (2020), Geotexts (2021), etc.). She is considered to be free from social issues or prejudiced to them, one of the brightest representatives of eco-art in Ukraine, a peculiar but unquestionable urbanist. After all, in her projects they see a deep spiritual meaning, an original artistic meditation, a way of connecting with the forces and energies of the universe. The main ways and methods of researching A. Myronova’s works are revealed in the article, and its purpose is to confirm or refute the fruitfulness and expediency of these methods.
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Oliinyk, Viktoriia. "Transformation of the Female Image in Ukrainian Illustration from Soviet Times to the Present." Demiurge: Ideas, Technologies, Perspectives of Design 6, no. 2 (December 1, 2023): 266–78. http://dx.doi.org/10.31866/2617-7951.6.2.2023.292150.
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The purpose of the study is to investigate the corpus of creative illustration, the appearance of which was caused by the full-scale Russian invasion. To reveal the common and different in artistic practices in illustration between artists in the Ukrainian SSR and artists of the era of Independence. Research methods include theoretical, source-scientific, comparative, chronological and analytical. Scientific novelty. For the first time, the specifics of the relationship between the Ukrainian illustration of the Ukrainian SSR period and the era of Independence were investigated, with an emphasis on the period of full-scale Russian invasion, with the definition of a certain typology regarding the interpretation and presentation of female characters. Previously unresearched works from exhibitions of the war period have been introduced into scientific circulation. Conclusions. Based on the results of the research, the main thematic difference between Ukrainian Soviet illustration and works of recent times was established, which consists in the emergence of a new aspect of autobiographical works. The stylistic departure consists of the refusal of the modern artist from the long preparatory process of drawing works with the use of models and in the gravitation to the stylistics of emotional and somewhat deliberately inept children’s illustration. The process of directly creating modern illustrations is practically impossible without the use of computer technologies, in particular, graphic editors. Technologically, in the process of creating an order, the Soviet artist relied on his own work, based on academic education in higher educational art institutions, the nature of the work was exclusively commissioned (at the expense of the network of Soviet publishing houses). A modern illustrator, on the other hand, is characterized by self-conscious work for society, which confirms a high degree of social responsibility, with attempts to find funding for personal projects on crowdfunding platforms. The technical difference lies in the change in the way the illustrations are made public, since in Soviet times the book was published in thousands of editions and was exhibited at specialized exhibitions. Instead, today’s artists have received a huge resource in the form of social networks, where the cost of publication is zero, and the views can be counted in the thousands or tens of thousands, depending on how famous the author or artistic group is.
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Tingay, Steven. "Indigenous Australian artists and astrophysicists come together to communicate science and culture via art." Journal of Science Communication 17, no. 04 (December 17, 2018): C02. http://dx.doi.org/10.22323/2.17040302.
Full textAbstract:
During the International Year of Astronomy in 2009, we initiated a collaboration between astrophysicists in Western Australia working toward building the largest telescope on Earth, the Square Kilometre Array (SKA), and Indigenous artists living in the region where the SKA is to be built. We came together to explore deep traditions in Indigenous culture, including perspectives of the night sky, and the modern astrophysical understanding of the Universe. Over the course of the year, we travelled as a group and camped at the SKA site, we sat under the stars and shared stories about the constellations, and we talked about the telescopes we wanted to build and how they could sit on the Indigenous traditional country. We found lots of interesting points of connection in our discussions and both artists and astronomers found inspiration. The artists then produced <150 original works of art, curated as an exhibition called “Ilgarijiri — Things belonging to the Sky” in the language of the Wadjarri Yamatji people. This was exhibited in Geraldton, Perth, Canberra, South Africa, Brussels, the U.S.A., and Germany over the course of the next few years. In 2015, the concept went further, connecting with Indigenous artists from South Africa, resulting in the “Shared Sky” exhibition, which now tours the ten SKA member countries. The exhibitions communicate astrophysics and traditional Indigenous stories, as well as carry to the world Indigenous culture and art forms. The process behind the collaboration is an example of the Reconciliation process in Australia, successful through thoughtful and respectful engagements, built around common human experiences and points of contact (the night sky). This Commentary briefly describes the collaboration, its outcomes, and future work.
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Baia Curioni, Stefano, Marta Equi Pierazzini, and Laura Forti. "Philosophic Money. The Contemporary Art System as a Market and Cultural Agent." Arts 9, no. 4 (November 2, 2020): 110. http://dx.doi.org/10.3390/arts9040110.
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Within the contemporary art system complex, constantly-changing cultural features coexist with stratified acts of dealing. The art market operates as a collective mediation structure, developing a multiple agency: financial and economic, educational, political and social. In this article, we offer the result of an empirical test dedicated to the identification of unseen changes in the informal organizational pattern of the market. Observing the behavior of selected samples, we focused, firstly, on the networks of artists and commercial galleries at the Art Basel fair; and, secondly, on the group and solo shows organized by a relevant sample of international contemporary art museums and exhibitions spaces. These analyses offer an insight into the changes that occurred from 2005 to 2013, encompassing the quantitative growth of the art system infrastructure and the effects of the crisis of 2008.
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Bojesen, Benedicte, and Anna Johansen. "Art librarianship in Danish public libraries." Art Libraries Journal 22, no. 2 (1997): 10–14. http://dx.doi.org/10.1017/s0307472200010361.
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The 1964 Danish Public Libraries Act empowered public libraries to lend materials other than books. Subsequently a number of libraries took advantage of this to initiate loan collections of original works of art, posters, and slides, alongside and as an extension of the provision of art books and journals. In addition, art departments in public libraries began to organise exhibitions of contemporary art. In some cases, including Gladsaxe, Lyngby, and Gentofte in Greater Copenhagen, distinct art libraries were created. Artists whose work is represented in libraries can benefit from payments dispensed through the Public Lending Right scheme. Librarians responsible for art departments in public libraries formed a group within the Danish Librarians’ Union, in the 1970s. The activities of art departments have suffered during the difficult economic climate of the last decade or so, but membership of Kunstfaggruppen is now growing again.
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Schulte-Wülwer, Ulrich. "Deutsch-dänische Kunstbeziehungen 1820 bis 1920." Nordelbingen: Beiträge zur Geschichte der Kunst und Kultur, Literatur und Musik in Schleswig-Holstein, no. 89 (December 2023): 115–68. http://dx.doi.org/10.38072/2941-3362/p6.
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In the last decade of the 18th century, the Danish state experienced a period of prosperity, which was characterized by a German-Danish cultural transfer in all intellectual fields. The first clouds were cast by the rise of an artistic self-confidence. Asmus Jacob Carstens from Schleswig and Ernst Meyer from Altona, who felt disadvantaged in the awarding of medals and protested vehemently, were expelled from the art academy in Copenhagen in 1781 and 1821. Nevertheless, the Copenhagen Art Academy had a strong attraction for numerous artists from northern Germany. In this respect, Caspar David Friedrich, Philipp Otto Runge and Georg Friedrich Kersting are primarily worthy of mention. The Danish sculptor Bertel Thorvaldsen was a strong link between the Germans and Scandinavians living in Rome throughout his life. The first cracks in the good bilateral relationship came with the strengthening of the national liberal movements. In 1842, the influential teacher at the Copenhagen Art Academy, N.L. Høyen, drew up a program aimed at repressing influences from abroad, especially from Germany. Not all artists heeded Høyens call for a return to national themes of history, folk life, and nature, so that two groups confronted each other in Denmark: the nationalists and the Europeans. With the German-Danish War of 1848/51 there was a rift, and with the war of 1864 the final break. Only after twenty years did the academies of Copenhagen and Berlin resume contact. From 1883 onwards, there were reciprocal visits, which led to Danish artists once again taking part in representative exhibitions in Berlin or Munich. Conversely, however, German artists were denied participation in exhibitions in Copenhagen, an exception being the International Art Exhibition on the inauguration of the Ny Carlsberg Glyptotek in Copenhagen in 1897. A spirit freed from all academic constraints also emanated from the artist colonies in Europe. In particular, the works of the Skagen painters were enthusiastically celebrated at exhibitions in Munich and Berlin, which led to some German painters traveling to the Danish artists' colony, where they were received without prejudice. However, at no time was there a balance in the official acceptance and appreciation of the art of the respective neighbouring country. While painters such as Michael Ancher and Peder Severin Krøyer sold works to renowned collectors and museums in Germany, no Danish Museum acquired the work of a German artist during the period under study. The Berlin painter Walter Leistikow, who was married to a Danish woman, worked hard to stimulate a German-Danish art transfer and succeeded in getting the leading Danish gallery owner Valdemar Kleis to offer German painters the opportunity to exhibit in Copenhagen for the first time in 1894, most of whom belonged to the group Die XI, a precursor of the Berlin Secession. The appreciation of the Skagen painters was replaced at the turn of the century by admiration works by F.J. Willumsen and Vilhelm Hammershøj. Hammershøj filled a room of his own at the Great Berlin Art Exhibition in 1900 with 14 works, and the Schulte Gallery in Berli While German admiration for Danish art peaked between 1890 and 1900, people in Denmark continued to look past the German art scene. This was also experienced by the artists' group Die Brücke, which sought foreign members soon after its founding. When Kleis presented works by the Brücke artists in Copenhagen in 1908, they too received only negative reviews. In March 1910, the time seemed ripe for a change of mood. The Berlin gallery owner Herwarth Walden strove to make his Sturm-Galerie a rallying point for the European modernist art movements. In July 1912, he rented the exhibition building of the secessionist group Den Frie in Copenhagen and held an exhibition of Italian Futurists there. When Walden was celebrated by the Danish press as a cosmopolitan who had brought modernism to Copenhagen, he showed works by the French Henri le Fauconier and Raoul Dufy, as well as the painters Marianne von Werefkin and Gabriele Münter, but the tenor of the press was again dominated by anti-German resentment. After the outbreak of World War I, Walden allowed himself to be abused by the German propaganda department of the German Secret and Intelligence Service, which strove to correct the image of Germans abroad as cultural barbarians. Walden showed works by Kandinsky, Klee, Kokoschka, Marc, and again Gabriele Münter at the Copenhagen artists’ cabaret Edderkoppen in the fall of 1917. He also planned an exhibition of Danish avant-garde in his Sturm Gallery in Berlin, but the artists had become suspicious in the face of German propaganda, which was celebrating a last military success. The exhibition was canceled. This did not prevent Walden from organizing an exhibition at Kleis’ art shop in Copenhagen shortly before the end of the war, under the guise of internationalism. This was Walden's largest and most ambitious project in Scandinavia. Of the 133 works exhibited, almost half came from Germany. The attempt to convince the Danes of the excellence of German art failed miserably, because the basic conviction was still: Everything that comes from Germany is bad. The opening took place on November 28 and ended on December 16, 1918, by which time the war was already over.
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Lukovskа, O. "Ukrainian textile art: international cooperation." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 125–32. http://dx.doi.org/10.33838/naoma.27.2018.125-132.
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The article analyzes the aspects of international cooperation in Ukrainian textile art at the end of the XX – the beginning of the XXI century. It is observed that artists have the opportunity to travel to Europe and participate in a variety of art exhibitions, conferences, festivals, symposiums and more. Such cooperation significantly enlives artistic movements and activates creative searches and also motivates experimentation. It is proved that the integration of Ukrainian textile art into European space begins to be of particular importance. Several prominent international textile projects in Ukraine and Poland were a large group of Ukrainian authors of textiles participated were analyzed. It is analyzed that among other international textile projects in Ukraine, where professional art textile is presented, important are The Biennial Art Textile "Scythia" in Kherson, The International Youth Symposium "Arche-Thread-Novo" in Lviv. It is also a collective exhibitions were the textile works are regularly represented – "Autumn Salon", "Impressions of September", "Lviv`s Winter", "Textile Inspiration" in The Lviv Palace of Arts. Among the prestigious international events that are traditionally held abroad, in particular in Poland, is The Textile Arts Festival in Kovary, The International Biennial of Flax Fine Cloth "From krosno to Krosno " and many others. It is noted that the positive feature of projects is an attempt to attract the geography of international participants and to make a rich cultural program. The work presentation of the Ukrainian and foreign participants not only shows a wide range of creativity, but also contributes to the enrichment of national traditions. An analysis of artistic events in Ukraine and Poland demonstrates the importance of international projects. It is proved that the integration of domestic artistic textiles into European space today is very important. It is argued that the article may become a material for further study of the Ukrainian art textile tendencies and creation of artists working in this field.
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Khazindar, Mona. "Georges Henein." Nka Journal of Contemporary African Art 2021, no. 49 (November 1, 2021): 64–81. http://dx.doi.org/10.1215/10757163-9435681.
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Georges Henein (1914–73) was a Francophone Egyptian writer who introduced surrealism to the artistic and intellectual milieu of Cairo as early as 1937. The author traces Henein’s engagement with the tenets of surrealism articulated by André Breton in France and his impact introducing, interpreting, and dispersing these ideas among writers, artists, and the public in Egypt for more than two decades. He was most active in Cairo during the years surrounding the Second World War, founding in 1938 the Art and Liberty group of writers and artists, who spread their ideas through the Arabic-language magazine Al Tatawwur (Evolution) and the French-language newpaper Don Quichotte in the early 1940s. Henein also created the publishing company Éditions Masses to help build the reputation of emerging poets, organized and financed five exhibitions in Cairo of surrealist painters and sculptors, and published diverse stories, articles, and poems of his own. A communist at heart, he denounced Farouk’s regime, Hitler’s Nazism, and Stalin’s dictatorship. After openly criticizing Nasser’s authoritarianism, he was forced to leave Egypt in 1962, finally settling in Paris, where he died of cancer. This extraordinary writer, who had made of the French language an intuitive force, came to accept that he would eventually be forgotten in France, the same way he had been forgotten in Egypt.
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Moore, James, and Catherine Tite. "Lancashire’s Pioneering Impressionists: The Manchester School of Painters and its Critics, 1868-1914." Transactions of the Historic Society of Lancashire and Cheshire 171, no. 1 (January 1, 2022): 63–82. http://dx.doi.org/10.3828/transactions.171.7.
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The significance of the Manchester School of Painters has been neglected by both art historians and scholars of this region. This article explores the contribution of these artists to the history of Impressionism in Britain and demonstrates how a young group of Mancunians brought French modernism to Lancashire art exhibitions and galleries some time before it was common in London. They struggled with the local artistic establishment, local critics gave them a mixed reception, and yet they ultimately achieved recognition in the capital, with their paintings hanging in the same galleries as the work of their more celebrated French counterparts Corot, Degas and Boudin. While the Manchester School was short-lived, some of its painters continued to experiment with Impressionist techniques and influenced regional art well into the twentieth century. Their techniques were taken up by Adolphe Valette and the style of their urban subject matter was later replicated in the work of both Valette and L.S. Lowry.
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Yun, Kusuk. "Study on the “Arttainer” Phenomenon: Focusing on the Types, Characteristics, and Areas of the Artistic Activities of Entertainers." Korean Arts Association of Arts Management 68 (November 30, 2023): 33–77. http://dx.doi.org/10.52564/jamp.2023.68.33.
Full textAbstract:
The purpose of this paper is to examine the changing characteristics of the art world and popular culture in the 21st century by tracking entertainers who are also active in the arts, also known as “arttainers”. The results of this study showed that most “arttainers” are young singers or actors with no academic art background, while 24% are art majors from prestigious universities. They are mainly active in commercial venues such as art fairs and galleries in Seoul and the Seoul metropolitan area, as well as in art auctions, NFTs, and home shopping. Their works are highly popular in the market and command high prices. Most of them participate in “group art exhibitions,” which are a kind of casual art event, but some celebrities consistently introduce their works at famous galleries and well-known art spaces. In addition, celebrities declare themselves to be “artists” without having participated in any specific art activities in their their public career. On the other hand, “arttainers” also present their works in spaces with a strong artistic character, such as art museums, art centers, and biennials, and are active in various charitable activities. In addition, a significant number of established artists present their works together with celebrities, forming an intersection between the art world and the entertainment world. In this way, this paper is significant in that it examines the characteristics of the 21st century art world and popular culture by analyzing “arttainers”.
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Sandbye, Mette. "Fotografiet som dokument." Periskop – Forum for kunsthistorisk debat, no. 31 (June 13, 2024): 32–47. http://dx.doi.org/10.7146/periskop.v2024i31.146565.
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Departing from John Roberts’ notion of “the social ontology of photography”, I discuss how recent research and theories about photography in an expanded field have interacted with contemporary art’s use of photography in recent years, especially in an intersection between documentary and art, and especially among artists working with more or less political topics such as migration and the postcolonial. It is photography beyond “the politics of representation” in the sense that it is not about problematizing photography’s relationship to reality, but rather about actively using the medium as a social encounter and making hitherto unseen, sometimes personal and memory-based, material from the “archive” visible. Common to many of these recent works is that they incorporate several forms of photography and photographic archive material in an effort to convey, revitalize and possibly also criticize various historical issues, here linked to Danish colonialism and migration. Whereas Danish art institutions historically have had problems including documentary practices, they have embraced these new “mixed” forms more recently. In 2022/2023, three exhibitions at Copenhagen art institutions brought such practices into focus, and the article is based on examples of the use of photography in them: Moments in Greenland with Inuuteq Storch (with John Møller) and Teit Jørgensen at Nordatlantens Brygge, Tina Enghoff 's Displaced at the Royal Danish Library, and Vladimir Tomić’s and Ana Pavlović’s works in the group exhibition Connections — Danish artists from Ex-Yugoslavia at The National Gallery of Denmark.
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Kościuczuk, Krzysztof. "Looking Back at Looking Forward: Art Exhibitions in Poland for the 1975 AICA Congress." Ikonotheka 26 (June 26, 2017): 277–90. http://dx.doi.org/10.5604/01.3001.0010.1690.
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The above text examines the 11th Congress of the International Association of Art Critics (AICA) organised in the People’s Republic of Poland in September of 1975 upon the initiative of Professor Juliusz Starzyński, who was the head of the organisation’s Polish Section. The congress, whose offi cial theme was “Art – Science – Technology as Elements of the Development of our Epoch”, marked the second AICA event in history to be held in Poland, and while Starzyński himself did not live to see the result of his efforts, the intent to commission a number of collateral exhibitions across the country – meant to serve as surveys of Polish art – was successful. Those attending the congress had the occasion to visit the cities of Cracow, Łódź, Warsaw, and Wrocław. The text takes a closer look at two of these exhibitions: Voir et Conçevoir (Widzieć i rozumieć) which was developed for Cracow’s historic Cloth Hall, a part of the city’s National Museum, by Mieczysław Porębski in collaboration with Andrzej Pawłowski, and the exhibition that came to be known as Critics’ Picks (Krytycy sztuki proponują), which was held at the Central Bureau of Art Exhibitions, known as the Zachęta, in Warsaw. The concept of each, it is argued, was driven by a need for experiment. While the former exhibition came to be remembered as an innovative, if not radical, way of engaging the permanent museum display in which the highlights of Polish 19th-century art were juxtaposed with several new commissions by contemporary artists, the latter – the result of no less an experimental concept in which a group presentation was based on a survey conducted among local critics – remains largely forgotten – the upshot of a series of compromises, largely enforced by the political situation of the time. Exploring Voir et Conçevoir and Critics’ Picks as exhibitions in state institutions within the context of an international event, the paper seeks to shed light on the intersection of offi cial artistic practices and politics in the People’s Republic of Poland in the mid-1970s in an attempt to identify the key agents that were active in the fi eld as well as the defi ning conditions of their activity – or, in other words, to ask the question as to what kind of offi cial statements were made possible at the time and how they were motivated.
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Udris, Iryna, Oleksandr Tsugorka, and Аlla Hotsaliuk. "European Exhibition Poster of the 1890s in the Context of the Development of Art Nouveau." Demiurge: Ideas, Technologies, Perspectives of Design 5, no. 2 (October 31, 2022): 358–74. http://dx.doi.org/10.31866/2617-7951.5.2.2022.266930.
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The purpose of the study is to highlight the specific features of the European poster of the 1890s. of the time of its formation on the example of the line of exhibition posters (art posters) of the leading directions of the Art Nouveau style. Methods of research. During the writing of the study, a historical and cultural approach was applied and a systematic approach was used for art-historical, stylistic, and comparative artistic analysis. The scientific novelty consists in conducting an overview art analysis of the exhibition posters of the leading European countries (Great Britain, Germany, Austria and Poland) in comparison with the generalized regularities of the French posters of the period of the 1890s. It was determined that the posters for author’s, personal and group art exhibitions have unique features, and it was outlined all distinctive features of this type of artistic production. The work of the «Glasgow Four» (C. R. Mackintosh, J. G. McNair, the Macdonald sisters) in the field of linear direction posters and the works of other authors were considered. Features of linear organization and individual floreal elements in the posters of German-Austrian Secession artists (F. von Stuck, L. von Hoffmann, P. Behrens, G. Klimt, K. Moser, J. Olbrich and others) were identified on the occasion of various level exhibitions in Munich, Berlin, Vienna in the 1890s. The parameters of the formation of the national and romantic trend in the exhibition poster of Polish artists F. Wygzywalski, Y. Mehoffer, J. Bukowski, and T. Aksentowicz were determined. Visualization techniques were analyzed, taking into account the specifics of the poster and general stylistic trends in the art of those years. Considerable attention was paid to highlighting the regional features of poster design in the specified countries, as well as the features of the authors’ individual style within these regional models. Conclusions. In the general cultural and historical context of the time, the exhibition poster was an important component of the formation of national trends in the artistic style of the time, primarily floreal, linear, national-romantic. Reflecting the stylistic guidelines of the time, the exhibition poster, aimed at a wide audience, contributed to the formation of a holistic artistic vision as a manifestation of the cultural and artistic guidelines of the specified period.
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Carobbio, Gabriella, and Alessandra Lombardi. "Kunst kindgerecht erklärt – eine Fallstudie zu museumspädagogischen Erklärvideos." Linguistik Online 124, no. 6 (December 26, 2023): 85–111. http://dx.doi.org/10.13092/lo.124.10716.
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As young visitors represent “the museum audience of the future”, museums should be particularly committed to engaging children in museum experiences pursuing a child-oriented approach to art communication and education. The analysis of museum communication from a linguistic perspective seems thus a promising way of exploring the target-group-specificity of museum educational resources explicitly designed for addressing young audiences. Explanatory videos featured on museum websites which present the museum itself or masterpieces of its collections are examples of digital tools employed by museums to introduce children to art and encouraging them to become devoted visitors. The paper presents the findings of a case study of a sample of German and Italian museum explanatory videos for primary school children, aiming at analyzing the linguistic and multimodal strategies used by museums in order to transfer knowledge about art, artists and exhibitions in a child-centered explanatory style. Of particular interest in this context is the question of whether and to what extent these videos encourage a participatory, play-based access to art or enable an experience-oriented approach to art-related contents, as advocated by current trends in museum communication and education.
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Guest, Luise. "Translation, transformation and refiguration: The significance of Jingdezhen and the materiality of porcelain in the work of two contemporary Chinese artists1." Journal of Contemporary Chinese Art 6, no. 2 (September 1, 2019): 207–23. http://dx.doi.org/10.1386/jcca_00004_1.
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Abstract In December 2016 a group of researchers led by Professor Jiang Jiehong travelled to Jingdezhen as fieldwork for the Everyday Legend research project, funded by the Leverhulme Trust. Representing the White Rabbit Collection of Contemporary Chinese Art, Australia, I was invited to participate. This article developed from reflections on the fieldwork component of the research project, as well as the formal and informal discussions that took place, at the time and subsequently, in Shanghai, Birmingham, Groningen and London. In 2018, as a further development of this process of reflection, I conducted semi-structured interviews with two artists of different generations: the article examines how Liu Jianhua and Geng Xue approach the use of porcelain as a contemporary art material. Each has spent extensive periods of time in Jingdezhen and each is immersed in this particularly Chinese tradition. At the same time, each is identified (and identifies themselves) as practising in a global contemporary art context and participates in exhibitions and exchanges internationally. Considered in the context of current and historical discourses around global contemporaneity2 and its manifestations in twenty-first-century China, their work illuminates the key question that the Everyday Legend project was designed to examine: how can contemporary art and traditional Chinese craft practices intersect, informing and enriching each other? As representatives, respectively, of the generation who emerged into the first years of the post-Cultural Revolution Reform and Opening period, and of a younger generation educated partly outside China, they reveal how Chinese artists strategically negotiate local and global in positioning their work as contemporary reinventions of traditional forms and materiality.
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Дружинин, Алексей Александрович. "Gospel Stories in the Works of V. V. Vereshchagin." Вестник церковного искусства и археологии, no. 1(2) (June 15, 2020): 70–78. http://dx.doi.org/10.31802/2658-5111-2020-1-2-70-78.
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В наследии русских реалистов второй половины XIX в. существует большая группа произведений на евангельский сюжет, решенных по законам станковой картины, в принципах исторического жанра и предназначавшихся для светских выставок. Уникальность этого явления заключается в том, что художники, в отличие от предыдущего времени, создавали их не только по заказу, но и из внутренней потребности, по личной инициативе. Это произведения Г. Ге, В. Г. Перова, И. Н. Крамского, В. И. Сурикова, И. Е. Репина, В. Д. Поленова, В. Е. Маковского, Г. Г. Мясоедова, К. А. Савицкого и, конечно же, В. В. Верещагина. In the heritage of Russian realists of the second half of the XIX century there is a large group of works on an evangelical plot, solved according to the laws of easel painting, in the principles of historical genre and intended for secular exhibitions. The uniqueness of this phenomenon lies in the fact that artists, in contrast to the previous time, created them not only by order, but also from inner need, on personal initiative. This is the work of N. G. Ge, V. G. Perova, N. Kramskoy, V. I. Surikov, I. E. Repin, V. D. Polenova, V. E. Makovsky, G. G. Myasoedova, K. A. Savitsky and, of course, V. V. Vereshchagin.
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Kuznetsova, Irina. "Novosibirsk Contemporary Art in 2009-2019." Ideas and Ideals 13, no. 3-2 (September 30, 2021): 348–72. http://dx.doi.org/10.17212/2075-0862-2021-13.3.2-348-372.
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The work examines the contemporary art scene of Novosibirsk from 2009–2019. In the first part of the article we carry out a sociological analysis of the artistic life of the city and highlight such features as: the prevalence of self-organized forms of art presentation over institutional forms, non-publicity and “diffusivity” of a significant part of art practices. We also analyse the influence of these factors on the perception of art and discuss what kinds of methodological challenges they provoke. Further we give a brief overview of some significant exhibitions of the past decade (such as “Siberian Underground. 20 Years Later”, “Repetition of the Untrodden” etc.), examine artistic circles of the city and their transformation from 1990 to our time, discuss principles of their formation and the nature of interactions among them. We also propose a schematic representation of the artistic circles under consideration, their interactions and attractions from a historical point of view. The second part of the article examines the aesthetic features of contemporary art in Novosibirsk from 2009-2019. The transition from the art of the 00s and early 10s to the art of younger generations of the late 10s is characterized by a change in the emotional tonality: from vitality and expressivity to fragile and melancholic sensitivity, from political irony and grotesque to ethical complexity and vulnerability. When considering art of individual artists of the specified period we outline two possible ways of their analysis based on the allocation of a common motive: neo-expressionist and post-conceptual. The first of these is united by the motive of “toys” as a way of working with corporeality and doubleness (for example, in the works of Konstantin Skotnikov, the Cosmonauts art group, Denis Efremov, Alexei Grishchenko, Mayana Nasybullova, etc.). The post-conceptual line is presented through the works of such artists as: Alexander Limarev, Mikhail Karlov, the BERTOLLO art group, Irca Solza. Here we propose a unifying motive of “a game” as a dichotomy of rule systems and their failure that is viewed as an opportunity to conceive another world. In the conclusion of the article, we suggest that such an integrated approach to the analysis of regional art of the last decade is promising.