Journal articles on the topic 'Modern 20th century Exhibitions'
To see the other types of publications on this topic, follow the link: Modern 20th century Exhibitions.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Modern 20th century Exhibitions.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Nikitin, Yury, Vasiliy Goryunov, Vera Murgul, and Nikolay Vatin. "Research on Industrial Exhibitions Architecture." Applied Mechanics and Materials 680 (October 2014): 504–9. http://dx.doi.org/10.4028/www.scientific.net/amm.680.504.
Full textAbstract:
All-Russian and regional exhibition architecture in the second half of the 19th century through the early 20th century had varied distinct differences in style and design. Temporality of exhibition architecture in those days contributed to a variety of experiments made for pavilions in the context of styles and structures. There was a high demand for the Russian style to be applied for pavilions both in Russia and abroad. First search and application experience in respect to the modern art principles are connected with exhibition architecture. These experiments in the national architecture and art are of a high interest. Neo-classicism was applied in exhibition architecture in the early 20th century to a large extent. The exhibitions of the early 20th century appeared to be special ‘style workshops’. Organizers of certain exhibitions tried to keep uniformity of style of basic constructions. The major merit of exhibition architecture is that it contributed to the transition from eclecticism to a new style on the cusp of the 19th and beginning of the 20th centuries.
2
Krzysztofowicz-Kozakowska, Stefania. "„Raumkunst” autorstwa Teodora Axentowicza." Lehahayer 8 (December 19, 2021): 185–90. http://dx.doi.org/10.12797/lh.08.2021.08.06.
Full textAbstract:
Raumkunst by Teodor Axentowicz
Three exhibition arrangements analysed in the article – the halls of Polish artists on the exhibitions in St. Louis (1904), London (1906) and XI International Biennial of Art in Venice (1914) – allow us to consider Teodor Axentowicz as a precursor of the new form of organisation of the exhibition space within the Polish culture. This form was a pattern for the subsequent architects of exhibitions belonging to the Society of Polish Artists “Art”. Projects of Axentowicz perfectly fitted to the modern style of exhibition interior arrangement, which was promoted by the Viennese environment of “Secession” at the turn of the 20th century.
3
Linden, Diana L. "Modern? American? Jew? Museums and Exhibitions of Ben Shahn's Late Paintings." Prospects 30 (October 2005): 665–84. http://dx.doi.org/10.1017/s0361233300002222.
Full textAbstract:
The year 1998 marked the centennial of the birth of artist Ben Shahn (1898–1969). Coupled with the approach of the millennium, which many museums celebrated by surveying the cultural production of the 20th century, the centennial offered the perfect opportunity to mount a major exhibition of Shahn's work (the last comprehensive exhibition had taken place at the Jewish Museum in New York City in 1976). The moment was also propitious because a renewed interest in narrative, figurative art, and political art encouraged scholarly and popular appreciation of Ben Shahn, whose reputation within the history of American art had been eclipsed for many decades by the attention given to the abstract expressionists. The Jewish Museum responded in 1998 with Common Man, Mythic Vision: The Paintings of Ben Shahn, organized by the Museum's curator Susan Chevlowe, with abstract expressionism scholar Stephen Polcari (Figure 1). The exhibition traveled to the Allentown Art Museum in Pennsylvania and closed at the Detroit Institute of Arts in 1999.Smaller Shahn exhibitions then in the planning stages (although not scheduled to open during the centennial year) were to focus on selected aspects of Shahn's oeuvre: the Fogg Museum was to present his little-known New York City photographs of the 1930s in relationship to his paintings, and the Jersey City Museum intended to exhibit his career-launching series, The Passion of Sacco and Vanzetti (1931–32). Knowing this, Chevlowe smartly chose to focus on the later years of Shahn's career and on his lesser-known easel paintings of the post-World War II era. In so doing, Chevlowe challenged viewers to expand their understanding both of the artist and his place in 20th-century American art.
4
Albano, Caterina. "The Exhibition as an Experiment: An Analogy and Its Implications." Journal of Visual Culture 17, no. 1 (April 2018): 97–116. http://dx.doi.org/10.1177/1470412918763446.
Full textAbstract:
The analogy of the exhibition as an experiment suggests innovative curatorial approaches that challenge institutional practices. This analogy has however a historical precedence in modernism when it became paradigmatic of the exhibitions at the Museum of Modern Art in New York in the 1940s, defining the curatorial approach of its founding director Alfred J Barr. This article considers this early use of the analogy of the exhibition as an experiment and further reflects on its redefinition at the turn of the 20th century by examining how both the notions of the exhibition and of the experiment have changed over time. In particular, the article examines the different meanings and practices inferred by the concepts of the exhibition and the experiment in the first decades of the 20th century and in the present. It outlines how correspondences between cultural and scientific paradigms can be deployed to tease unacknowledged synergies between two modes of knowledge production (i.e. the art exhibition and the experiment) and address questions of presentness, authority and legitimacy that they imply.
5
Benetti, Alessandro. "GAIA CARAMELINO; STÉPHANIE DADOUR (a cura di): THE HOUSING PROJECT: DISCOURSES, IDEALS, MODELS, AND POLITICS IN 20TH-CENTURY EXHIBITIONS." Proyecto, Progreso, Arquitectura, no. 27 (2022): 206–7. http://dx.doi.org/10.12795/ppa.2022.i27.12.
Full textAbstract:
La casa e la mostra d’architettura sono i due oggetti di ricerca che s’incrociano in The Housing Project. Discourses Ideals, Models and Politics in 20th century exhibitions, co-curato da Gaia Caramellino e Stephanie Dadour nel 2020 per i tipi di Leuven Press. Il volume s’ispira alle discussioni del convegno On the Role of 20th Century Exhibitions in Shaping Housing Discourses (2016, ENSA Paris Malaquais e Politecnico di Milano). I dieci saggi di altrettanti autori europei e americani esplorano il ruolo delle mostre come medium in una fase cruciale di elaborazione e circolazione internazionale delle tante declinazioni della casa moderna, tra gli anni 1920 e 1970. Sono organizzati in due parti, che approfondiscono rispettivamente il ruolo delle mostre come spazi di traduzione e di mediazione. Caramellino e Dadour prendono le distanze da un approccio monografico e collocano le tante e diverse esperienze espositive in una cornice più ampia, sul piano disciplinare e geografico.
6
Majewski, Piotr. "Constructing the canon: exhibiting contemporary Polish art abroad in the Cold War era." Ikonotheka, no. 30 (May 28, 2021): 135–53. http://dx.doi.org/10.31338/2657-6015ik.30.7.
Full textAbstract:
The article focuses on the attempts of constructing and presenting the canon of Polish modern and contemporary art in the West after World War II. Initially, the leading role was played by Colourists – painters representing the tradition of Post-Impressionism. After 1956 the focus shifted towards artists who drew in their practice on tachisme and informel. However, the most enduring effects brought the consistent promotion of the interwar Polish Constructivism and its postwar followers. The article discusses the subsequent stages of this process, from the famous exhibition at the Paris Galerie Denise René in 1957, through exhibitions such as Peinture moderne polonaise. Sources et recherches (Modern Polish Painting. Sources and Experiments) from the late 1960s, up to the monumental Présences polonaises (Polish Presences) from 1983 (both in Paris), showing that these efforts contributed to securing a permanent position of Polish Constructivism within the global heritage of 20th-century art.
7
Ştefănescu, Mircea. "The Beginnings of The Modern Art." Review of Artistic Education 18, no. 1 (March 1, 2019): 255–61. http://dx.doi.org/10.2478/rae-2019-0028.
Full textAbstract:
Abstract At the beginning of the 20th century visual artists found in the art the perfect field to experiment with different materials, combinations of new shapes and proportions to create new artistic currents. But this new trend has questioned the relation of classical arts with its perennial values which can not be overlooked, however radical the desire of young artists to “break” definitively with the past. Thus, in this new artistic context, many of the old art flagship techniques have been questioned and, as is always the case for predicting the “future of art”, the new artistic tendencies are absolutized and others are considered obsolete and declared “death”. The best known example is that of Marcel Duchamp, who, along with his famous ready-made exhibitions, strongly supported the death of art. Finally, the great creators of the past century felt at one point the need to relate to established art in order to better understand the “place” occupied by the generation of new artistic revolutions.
8
Akhtamzyan, Nurlan Ildarovich, and Viktoria Viktorovna Chernenko. "Modern Technology Based Methodologies for Visitor Studies at the Museum Exposition." Общество: философия, история, культура, no. 10 (October 2020): 82–86. http://dx.doi.org/10.24158/fik.2020.10.15.
Full textAbstract:
In the second half of the 20th century, important changes took place in the relationship between the museum world and society, which led to appearance of new approaches in museum theory and practice. First of all, they affected the principles of interaction between museums and their audience. The evolve-ment of communication approach to museology, where a visitor is considered the main figure in mu-seum activity, dates back to this time. The peculiari-ties of museum audience behaviour were studied from the beginning of the 20th century. The exposi-tion is the main channel of communication between a museum and its visitors, therefore, the use of modern technical means that allow an objective as-sessment of the quality of such communication is a priority when studying the museum audience. Due to the development of technical progress by the beginning of the 21st century there is a possibility of using technological methods of qualitative and quantitative recording and analytics of main indica-tors of interrelation between museums and their target audience. The present research considers new technical means of studying specific features inher-ent to visitors behaviour at exhibitions (tracking, eye tracking, video analytics). Such studies have been carried out in some of Russian museums in recent years.
9
Dmitry, Soloviev. "Inkwell and Dates: Labor in Exhibitions “Objects of Pride and Shame” and “Gastev. How to Work”." TECHNOLOGOS, no. 3 (2022): 7–16. http://dx.doi.org/10.15593/perm.kipf/2022.3.01.
Full textAbstract:
This article investigates labor through the interpretation of modern artistic practices. Two exhibitions have been chosen as examples. The first one is the exhibition of Vladimir Arkhipov's collection of folk things; the second one is “Gastev. How to Work'' dedicated to Alexey Gastev. The exhibitions were held at the PERMM Museum of Contemporary Art in 2021. The author conducts a comparative cross-temporal study of the results of labor and the labor process focusing on the phenomenon of a folk thing investigated by artist Vladimir Arkhipov for more than two decades and idealistic reference ideas of scientifically regulated labor norms and standards developed by Alexei Gastev and the Central Institute of Labor in the 1920s. The comparative study will rely on the paradigms of re-thinking the labor in the mid-20th and early 21st centuries by scientists such as A. Honneth, Z. Bauman, M. Heidegger, G. Standing, and H. Arendt and the contemporary philosophical research on the issue of ontologies, namely the flat ones, undertaken by B. Latour and T. Morton. The methods designed during the evolution of the theoretical representation and understanding of labor in the second half of the 19th century and at the end of the 20th century allow for tracing and exploring the path from the forced labor to the free one focusing on artistic practices. This comparison will refer to the analysis of labor as a process. Contemporary approaches in the field of ontology, namely the flat ontology, have been used as a methodology for analyzing the transformation of perceiving the labor outcomes. Both the labor process and its results have been analyzed along the trajectory of the subject-object relations. The paper proposes a definition of the perception and product of labor under the modern socio-economic and sociopolitical conditions through the prism of artistic ideas.
10
Pawłowska, Aneta. "African Art: The Journey from Ethnological Collection to the Museum of Art." Muzeológia a kultúrne dedičstvo 8, no. 4 (2020): 161–76. http://dx.doi.org/10.46284/mkd.2020.8.4.10.
Full textAbstract:
This article aims to show the transformation in the way African art is displayed in museums which has taken place over the last few decades. Over the last 70 years, from the second half of the twentieth century, the field of African Art studies, as well as the forms taken by art exhibitions, have changed considerably. Since W. Rubin’s controversial exhibition Primitivism in 20th Century Art at MoMA (1984), art originating from Africa has begun to be more widely presented in museums with a strictly artistic profile, in contrast to the previous exhibitions which were mostly located in ethnographical museums. This could be the result of the changes that have occurred in the perception of the role of museums in the vein of new museology and the concept of a “curatorial turn” within museology. But on the other hand, it seems that the recognition of the artistic values of old and contemporary art from the African continent allows art dealers to make large profits from selling such works. This article also considers the evolution of the idea of African art as a commodity and the modern form of presentations of African art objects. The current breakthrough exhibition at the Bode Museum in Berlin is thoroughly analysed. This exhibition, entitled Beyond compare, presents unexpected juxtapositions of old works of European art and African objects of worship. Thus, the major purpose of this article is to present various benefits of shifting meaning from “African artefacts” to “African objects of art,” and therefore to relocate them from ethnographic museums to art museums and galleries
11
VV.AA., VV AA. "Dennis Sharp." Art and Architecture, no. 42 (2010): 120–22. http://dx.doi.org/10.52200/42.a.6r1ukft9.
Full textAbstract:
Dennis died on the 6th May after a serious illness that bothered him for several years. He leaves behind his wife Yasmin, his daughter Melani, his son Deen and many friends all over the world. He was a universal man: architect, scholar, critic, writer, teacher, bookseller, cook and walking encyclopedia. He collaborated with architects like Santiago de Calatrava. His books Modern Architecture and Expression (1966) and 20th century architecture - a visual history (1972) became classics. He made exhibitions, was the editor of the magazine World Architecture, he was professor at the Open University and for the development of docomomo he was of vital importance.
12
Weibel, Peter. "Music, Machines, Media and the Museum." Organised Sound 14, no. 3 (December 2009): 231–35. http://dx.doi.org/10.1017/s1355771809990197.
Full textAbstract:
The ZKM|Center for Art and Media in Karlsruhe is called Center because it is a museum and more than a museum. As a museum it has a classical museological function as a support and distribution system: Collection and archive, exhibitions and events. But in addition to it, the ZKM has two institutes for research, development and production (Institute for Music and Acoustics and Institute for Visual Media). The ZKM is a center for all media and for all art forms created in the 20th century. The machine based moving image has shifted the image from the classical position as space based art to time based art. Therefore the ZKM is the only museum of the world that integrated the mother of time based art, namely music, in his permanent collection and in its temporary exhibitions. This article describes the logic in the evolution of modern art, which is followed by the mission statement of the ZKM.
13
Shelach-Lavi, Gideon. "Archaeology and politics in China: Historical paradigm and identity construction in museum exhibitions." China Information 33, no. 1 (May 11, 2018): 23–45. http://dx.doi.org/10.1177/0920203x18774029.
Full textAbstract:
In China, as in many other modern and contemporary states, the past is often used to inform public opinions and legitimate the political regime. This article examines two examples of archaeological exhibitions in China: at the National Museum of China (中国国家博物馆) in Beijing and the Liaoning Provincial Museum (辽宁省博物馆) in Shenyang. It discusses the development and change over time in the content of these archaeological exhibitions, the way they were organized and presented to the public, and the explanations that accompanied the prehistoric artefacts. I argue that the way the past, and in particular the distant, prehistoric and proto-historic past, is presented in Chinese museums reveals a process of entrenchment of the standardized narrative of Chinese history, with a powerful sense of connection and continuity between the past, no matter how distant, and the present. I also argue that although the general outline of the historical trajectory of the ‘Chinese civilization’ is universally accepted, small variations in the way it is presented and the different emphases of the two exhibitions can inform us about various ways of constructing local and national identities in China during the 20th century and up to the current time.
14
Paz-Agras, Luz. "Creative processes in the Avant-Garde Movements." Estoa, no. 15 (2019): 21–30. http://dx.doi.org/10.18537/est.v008.n015.a02.
Full textAbstract:
The 20th Century Avant-Garde Movements broke with the traditional distinction of artistic disciplines in favour to an ambiguous space where limits are diffuse. Exhibition space played a relevant role in this sense as a laboratory where art object and spectator are together in interaction, getting to experiences that, in many cases, transcend from the exhibition to disciplinary Architecture. Through the analysis of the Proun Space of El Lissitzky, constructed in 1923, and some of the most relevant proposals of Neplasticist authors, focusing on the creative and experimental process, contributions from Painting to Architecture are established. Some of them, partially shaded by the hegemony of Modern Movement, have been incorporated to 20th Century architectural projects and they are a significant chapter about interdisciplinary creative processes.
15
Kušeliauskaitė, Irma, and Aistis Žalnora. "The museum of the History of Medicine of Vilnius University." Papers on Anthropology 30, no. 1 (September 29, 2021): 53–61. http://dx.doi.org/10.12697/poa.2021.30.1.04.
Full textAbstract:
The museum of medicine of Vilnius university is one of the unique museums devoted to the issues of medicine in Lithuania. It was created out of the clinical practice by Vilnius university physicians. Early museum served as a curiosity cabinet as well as a teaching museum. After the closure of Vilnius university in the mid of 19th century the museum was destroyed by Tsar’s government. In the early 20th century museum was reestablished by the Polish government. The modern collections were added with craniological and osteological specimens as well as pathology exhibition. The contemporary museum was created in the last decade of 20th century. In the last period museum servers both academic and public interest. Museum includes interwar, soviet exhibits and collection of medical books.
16
Zedda, Ilaria Maria. "The Modern Berlin Block: Spatial Evolution of a Typology through the 20th Century." Athens Journal of Architecture 8, no. 3 (April 7, 2022): 195–226. http://dx.doi.org/10.30958/aja.8-3-1.
Full textAbstract:
The urban block did not completely disappear from the practice of urban design with the turn of the 20th century and the rise of modernist avant-garde in architecture. Many blocks built in Berlin throughout the last century prove the truth of this statement. This paper retraces this modern development of the Berlin block. Firstly, it presents reformed urban blocks built between the 1890s and the 1930s. Secondly, it summarizes the major occurrences that marked a crisis of the spatiality of the Berlin block by the mid-20th century. Thirdly, it explores the most remarkable contributions to the architectural debate of the 1970s that brought about a rediscovery of the spatiality of the traditional city. Then, it takes a closer look at the outcomes of this debate by focusing on the blocks designed for the International Building Exhibition IBA Berlin 1987. Finally, this paper draws a comparison between Berlin’s reformed urban blocks and IBA blocks. In retrospect, numerous parallels can be drawn between them. For example, they both proposed similar spatial novelties and provided new relations between public and private spheres within the perimeter of the block. This paper sheds light on two important phases in Berlin’s architecture and on their analogies, which are often overlooked. These insights remain significant for the ongoing debate on the future of Berlin and of other European cities.
17
Dyadyk, Natalia. "Art of the second half of XX — early XXI centuries as visual philosophy." Socium i vlast 4 (2021): 95–106. http://dx.doi.org/10.22394/1996-0522-2021-1-95-106.
Full textAbstract:
Introduction. The article is focused on studying the area of intersection of contemporary art and philosophy, it is a continuation of the research project on conceptual art and its intersection with philosophy, which we started earlier. By conceptual art, we mean art aimed at intellectual comprehension of what has been seen, art that appeals to thinking and generates philosophical meanings. But if earlier we explored conceptual cinema and mainly visual art of the early 20th century, then in this article we want to turn to the visual art of the second half of the 20th century — the beginning of the 21st century, which is also called contemporary art by art critics. The empirical material of the study was the works of such contemporary artists as E. Warhol, D. Koons, D. Hirst, J. Ono, F. Bacon, I. Kabakov, D. Kossuth, the movement of “new realists” and photorealists, the movement of Moscow conceptualists and etc. Contemporary art is one of the ways of understanding the world, visual philosophy, which is of interest for philosophical understanding. The purpose of the article is to conduct a philosophical analysis of visual art of the second half of the 20th — early 21st I centuries in order to identify its philosophical sources and content. Methods. The author uses the following general scientific methods: analysis and synthesis, induction, deduction, abstraction. When analyzing works of conceptual art, we use hermeneutic and phenomenological methods, a semiotic approach. We also use the symbolic-contextual method of analyzing exhibition concepts, which is based on identifying the philosophical meanings and ideas of exhibitions of contemporary art. Scientific novelty of the study. We regard contemporary art as a visual philosophy. Philosophizing, in our opinion, can exist in various forms and forms from everyday practical (the so-called naive philosophizing) to artistic-figurative, that is, visual. Philosophical ideas or concepts are born not only from professional thinkers, but also from artists. The artistic concepts of contemporary artists are similar to the concepts of philosophers, since the goal of both is to cognize the world and grasp being. We find and describe the area of intersection of modern philosophy and contemporary art, each of which is in a situation of crisis separately and continuous dialogue together. Results. In the course of our research, we identify and describe the philosophical origins of visual art in the second half of the twentieth century - early twenty-first century: postmodern philosophical consciousness, conceptualism, the idea of “death of the author” and “death of art”, simulacrum, kitsch and camp, the method of deconstruction and its application in modern art. Conclusions. Visual art of the second half of the 20th century — early 21st century is a visual form of philosophical questioning about the essence of art itself, about the existence of a person and being in general. The works of contemporary artists are based on philosophical problems: meaning, speech and meaning, the ratio of the rational and the irrational, the problem of abandonment and loneliness of a person, the problem of the “death of the author” and the alienation of the creator from his work, the idea of the impossibility of objective knowledge of reality.
18
Shamraeva, Elena Yu. "The Mentality of a Museum on a Library Site: Book Exhibitions and the Representative Function." Observatory of Culture 19, no. 3 (July 5, 2022): 236–46. http://dx.doi.org/10.25281/2072-3156-2022-19-3-236-246.
Full textAbstract:
The development of digital culture has made significant changes in the field of culture and information, in particular in the field of library activities. Digitization of library collections forms a digital resource of knowledge, which requires reflection and identification of its potential, strengths and weaknesses. The strengths of the digital resource include a multiple increase in the availability of the book collections and a qualitative change in the opportunity of their research. The problematic aspects of digitalization include the issue of reliability of the digital sources and authenticity of a book unit translated into digital format. One of the verification solutions to this issue may be creating a digital information block accompanying a digital book to collect, accumulate and preserve information about the paper book unit and the history of its existence.Due to the development of digital technologies, a paper book ceases to be the only medium of information. From an information document, it turns into an object of culture with a memory value, historical and artistic features. The translation of the book into the category of a cultural object brings together the position of libraries and museums as medium socio-communicative institutions that act as a platform for the presentation of their collections, one of the most optimal forms of which are exhibitions. The article considers the issues of representativeness of book exhibits and book exhibitions in the conditions of development of the digital environment and digital technologies. There is examined the representativeness of book exhibitions using the example of thematic and artistic-mythological exposition methods.The article considers the activities of the Museum of Painting Culture (MZHK) and the Higher Art and Technical Workshops (VKHUTEMAS) and their experimental searches of the first third of the 20th century in the field of creating new museum exposition forms and exhibition formats. The author draws parallels between universal methods of working with an art object developed by MZHK and VKHUTEMAS and working with book exhibits when creating an exhibition today. The article briefly outlines the tasks solved by the curatorial and design group to strengthen the representative function of an exhibit-book. There are analyzed modern forms of real and virtual exhibitions, their interrelation and mutual influence, formats of interaction. The article notes the importance of exhibitions for the self-presentation of cultural institutions in the digital space.
19
Karpenko, Vladimir E., and Nikolay I. Shchepetkov. "Light Forms in Urban Environment." Light & Engineering, no. 04-2021 (August 2021): 6–15. http://dx.doi.org/10.33383/2021-033.
Full textAbstract:
The paper proposes a method for generalizing and understanding the achievements of modern lighting design by means of classifying light forms and their main features are specified. The variety of types and complexity of light forms are due to avant-garde experiments in the art of the early and mid 20th century and is consistent with the successive change in artistic styles. Advances in computer technology and programming have made it possible to combine lighting elements, visual, colour and optical effects in one form. The new lighting techniques were developed for illuminating the architectural environment, various buildings, structures and forms in the spaces of world exhibitions. In this paper, the following light forms of the urban environment are investigated: projection mapping, light-graphic, light-painting and installation, sculptural, media surfaces and media facades, structural and vertical, energy-saving and virtual. The classification of light forms makes it possible to identify their structure and image, their correspondence to different eras in art, to predict the possibility of their transformation in the perspective of modern visual creativity.
20
Walsh, Michael. "Happiness is Not Fun: Godard, the 20th Century, and Badiou." Journal of French and Francophone Philosophy 18, no. 2 (January 28, 2010): 29–42. http://dx.doi.org/10.5195/jffp.2010.211.
Full textAbstract:
"Godard is the most contemporary of directors, one who has never set a film in the past. Yet since the 1990s he has produced a whole cycle of works whose tones are retrospective, memorial, elegaic. These include JLG/JLG:Auto-portrait du Décembre (1995), the much-discussed Histoire(s) du Cinèma (begun in 1988, completed in 1998) 2 x 50 Years of French Cinema (commissioned by the BFI for the centennial of cinema in 1995), The Old Place (commissioned by the Museum of Modern Art in 1999), On the Origin of the Twenty-First Century (commissioned by the Cannes Film Festival for the year 2000), Dans Le Noir du Temps (a contribution to the 2002 compilation film Ten Minutes Older), and the 2006 Centre Pompidou exhibition “Travels in Utopia.” This last was a retrospective in the conventional sense (screenings of four decades worth of film and video by Godard, Godard/Gorin, Godard/Mièville, etc), but was also retrospective as an installation, divided into three spaces identified as hier, l’avant-hier, and aujourd’hui (yesterday, the day before yesterday, and today), with tomorrow notable for its absence..."
21
Leśniak, Kamila. "The Family of Man in Poland: An Exhibition as a Democratic Space?" Ikonotheka 26 (June 26, 2017): 213–38. http://dx.doi.org/10.5604/01.3001.0010.1679.
Full textAbstract:
The exhibition entitled The Family of Man, which was designed by Edward Steichen and presented for the fi rst time in 1955 at the Museum of Modern Art in New York, belongs to the most famous and most controversial photographic expositions of the 20th century. Usually perceived in the light of the anachronistic, West-centric vision of humanism, i.e. as an embodiment of Modernist views on photography, it constitutes a good example of the museum’s infl uence as a Modernist “social instrument”. However, contemporary theories in exhibition studies offer a more complex interpretation. The present work provides insight into this process by referring to the views of Mieke Bal (on the “cinematic effect” of photographic exhibitions, the narrative and relational aspect of expositions), Fred Turner (on the space of an avant-garde exhibition as the realisation of the political and social idea of a “democratic personality”) and Ariella Azoulay (on exhibition space as a “visual declaration of human rights” and the fi eld for a “photographic social contract”). The primary aim of the present article is to set The Family of Man within the framework of Polish exhibition practices. The complex origins of the American project can be traced back to avant-garde experiments with exhibition space conducted in the Bauhaus movement and in Soviet Constructivism (the psychology of perception, “photo-murals”); the analysis focuses on the political and propagandistic aspects. An analysis of the above issues provides the starting point for considering the signifi cance and probable reception of the exhibition’s spatial arrangement in the milieu of Polish architects and designers as well as its Polish variant as prepared by Stanisław Zamecznik and Wojciech Fangor. It was therefore useful to refer to Oskar Hansen and his theory of Open Form, as he cooperated with Zamecznik and Fangor at the time. Models of avant-garde and Modernist “utopian thinking” are juxtaposed, thus making it possible to perceive the process of reception in the light of its effectiveness. The article also discusses The Family of Man as a model for projects with propaganda undertones, i.e. the so-called “problem-oriented exhibitions”. It mentions attempts at adapting Steichen’s design of exhibition space to the needs of the offi cial narrative in the People’s Republic of Poland. Finally, it uncovers the ambivalent nature of the infl uence of The Family of Man and the dual status of the exhibition as both a propagandistic project and as an anti-systemic space supporting the ideal of a creative, free individual.
22
Katzounov, Valeri. "Endangered Photo Collections about the Participation of Preindustrial Bulgaria in Three Wars in the Beginning of the 20th Century." Digital Presentation and Preservation of Cultural and Scientific Heritage 6 (September 30, 2016): 255–60. http://dx.doi.org/10.55630/dipp.2016.6.27.
Full textAbstract:
The resources of the modern technology presuppose an initiative development in order to unite the efforts and activities for the collaboration in digitalization of the most important pieces of cultural and historical heritage. In a number of cases they have received the support of scientific projects for the creation of an open communication environment with a purpose of promoting the cultural values of the community. This report presents work on a research project for the conservation of cultural heritage at risk. The problem is with national priority and occupies a significant place in the European integration process. The two collections with which we apply in the British Library need special attention due to their poor structural condition even at the time of their transfer to the Bulgarian Academy of Sciences more than 50 years ago. The first collection was created by Colonel Petar Darvingov and consists of 3100 black and white old photos, maps and sketches. The second collection of Aleksandar Bozhinov contains 2050 old photos, sketches, caricatures and cartoons with pencil and ink. The documents have an exceptional historical and informational value, but their physical conditions hinders their scientific use. The creation of digital copies will enable working with them, which in turn will protect the originals from further damage. The copied documents will build a distinct insurance fund and the institution will be able to broadcast scientific information through various forms of promotion of the fund – exhibitions, presentations, etc.
23
Vukotic-Lazar, Marta, and Jasmina Djokic. "Complex history as a source of planning problems: Old Belgrade fairground." Spatium, no. 13-14 (2006): 34–40. http://dx.doi.org/10.2298/spat0614034v.
Full textAbstract:
The Old Belgrade Fairground complex is the large area in the center of Belgrade that is completely isolated from other parts of Belgrade: it is one of the most devastated city areas, populated by poor inhabitants, often by those from the marginal groups, burdened with tragic history and it represents one of hardest problems for planners to solve. It is situated on the left bank of the Sava River between two bridges and downtown New Belgrade. Opposite to it, the Sava Amphitheatre slopes down the Belgrade Ridge towards the river. The complex was built in the thirties of the 20th century across the River Sava in the area that was an unpopulated swamp - Belgrade was situated on the right Sava bank. It was meant to be modern extension of oriental city, which could represent the western tendencies of the young state (Kingdom of Yugoslavia) and its capital. Modern and monumental complex of exhibition and commercial pavilions was built, and started its life with national and international fairs and exhibitions. World War 2 changed its destiny: German occupation forces transformed the complex into the concentration camp, where thousands of people were tortured and killed. After the war, new republican government, both communist and antifascist, had double frustration regarding this space: it?s tragic (during the War) and "capitalist" (before the War) past, so complex that was absolutely ignored in the period of the postwar renewal, and the result is described at the beginning of this text. This paper discusses the possibility to conciliate historical roles of the complex, and to realize it?s potentials in the modern world. Facts of the complex?s history are presented in the first part of the paper. Further on, these facts are analyzed in the context of contemporary city development of Belgrade in particular but globally, too.. Finally, some guidelines for crossing the gap between this area and the rest of the city are presented in the third part of the paper.
24
Schleicher, Alexander. "Museum of Contemporary Art by Artists." Advanced Engineering Forum 12 (November 2014): 79–87. http://dx.doi.org/10.4028/www.scientific.net/aef.12.79.
Full textAbstract:
Museum is type of building which among architectural work occupies a special place by its distinct function of documenting existence and progress of humankind, society and their environment. This is reflected in the outstanding architecture of these buildings. 95% of museum buildings arose after World War II. This authorizes us to talk about the museum as a “20th century phenomenon“ especially of the second half of it. The unprecedented growth of museums after World War II – most of them are museums of art, especially contemporary art – entitles a question which is often discussed: What is an ideal museum like as an object serving for exhibiting art and what does an ideal exhibition space for contemporary art look like? This question had only been discussed among architects and museologists for a long time. According to the nature of contemporary art and because of the fact that alongside these two determinants the exhibiting artists who actively influence exhibition space and form the final spirit of the exhibition became an important element in creation of the museum; the question what is the artists’ vision of the ideal museum is poignant. Answer to that question can be given by concepts of the ideal museum of contemporary art from the end of the 20th century created by artists. The “Bilderbude” concept by Georg Baselitz, two projects “Ideales Museum” by Gottfried Honegger, “A Place Apart” by Marcia Hafif and also concepts of museums or opinions on a museum of contemporary art by other artists provide an idea of how the artists deal with and look on this problematic. The issue of museum of contemporary art perceived by the optics of artists definitely represents an interesting example of connecting functionality demanded by the artists, significant author’s approach and philosophical ideas concerning the ideal museum of contemporary art. Museum Concepts – Thinking about Museum Museum concepts from the beginning of existence of museum buildings (in some cases even before considering a museum an individual specialized object or an institution) provide us the notice about the main themes which the actors of this problematic were dealing with at that time. While at the beginning in the museum concepts we can trace the effort to define an individual type of a museum building, an ideal museum; then we can see searching for a form which would be adequate to the building expression. Later especially in the 20th century until nowadays there have been solved more specific problems concerning the growth of the museum collections, expanding the functional structure of the museum, shape and form of the exhibition space etc. The museum topic such important personalities as for example Étienne-Louis Boullée, Le Corbusier or Ludwig Mies van der Rohe brought their contribution. The 20th century especially the 2nd half of it, if we do not only consider the narrow present scope, brought an unseen growth of museum architecture. 95% of museums arose after the World War II. [1] A great part of museums which were built in this period are museums of art, often presenting modern or contemporary art. This fact - emerging of such an amount of museums of contemporary art together with the changed form of visual art in the 20th century – the importance of depicting and documenting function of art, which until then visual art besides the aesthetical function was satisfying started to decrease, the artist were engaged in new themes, they experimented with new methods etc. – brings increasing effort of the artists to influence the final form of the exhibition spaces in the means of their specific demands and also to influence the form of the general form of the museum building. The artists more and more actively participate at creating the museum, they influence the form of the exhibition space and the exhibition itself – unlike in the past, when the museologist, curator was creating the exhibition by choosing from the collection, which he had at disposal and the exhibition was formed by them relatively independently from the artists – authors of the exhibits. The first artistic experiments, which balance on the edge of visual art and museum, have been occurring since the 20-ties of the 20th century – let’s mention for example El Lissitzky (Proun room, 1923), Kurt Schwitters (Merbau, 1923-37) or Marcel Duchamp (Boîte-en-valise, 1935-41), and they persist until nowadays. In the 70-ties Brian O`Doherty analyses from the point of view of an art theoretician but also an active artist the key exhibition space of the 2nd half of the 20th century, which he characteristically identifies as White Cube. Donald Judd – artist and at the same time a hostile critic of contemporary museum architecture (70-ties-80-ties) formulated his uncompromising point of view to the museum architecture as follows: “Forms’ for their own sake, despite function, are ridiculous. One reason art museums are so popular with architects and so bizarre, is that they must think there is no function, the clients too, since to them art is meaningless. Museums have become an exaggerated, distorted and idle expression for their architects, most of whom are incapable of expression.“ In another text he posed the question: “Why are artists and sculptors not asked how to construct this type of building?“ [2] As we can see the artists’ opinion who seem to stay unheard in the museum and their needs stay unnoticed has full legitimacy and is very interesting for the problematic of museum and exhibition space. Beginning in the 70-ties of the 20th century these opinions are given more and more precise contours. While O’Doherty only comes with a theoretical essay on exhibition space (1976), D. Judd already presents his own idea of a museum even realised through the Marfa complex in Texas (1979/1986). Let’s mention some other artists who form their ideas of an ideal museum in form of unrealised concepts. Some authors name their proposals after a bearing idea of their concept; others call them directly ideal, in the same way as it was in the beginning of the history of museum. Contemporary Art Museum Concepts by Artists Georg Baselitz: Bilderbude.
25
Qin, Xiaofeng, and Natalia A. Fedorovskaya. "Specifics of Russian-Chinese Cross-Cultural Communication in the Field of Fine Art of the Second Half of the 20th — Early 21st Century." Observatory of Culture 17, no. 6 (February 10, 2021): 582–93. http://dx.doi.org/10.25281/2072-3156-2020-17-6-582-593.
Full textAbstract:
Research in the field of cross-cultural communications in the context of modern globalization processes is becoming particularly relevant. Each specific case in cross-cultural interaction has a set of specific features that require detailed study. The article discusses the features of Russian-Chinese cross-cultural communication in the field of fine art, which have been especially pronounced since the second half of the 20th century and until now. The analysis of generally accepted types of communication made it possible to show specific forms of interaction between Russia and China.There is demonstrated that these features are largely related to the fact that the process of cross-cultural interaction occurs not only at the level of communication between representatives of the two peoples, but also in the process of artistic and stylistic exchange at the level of art works perception. Thus, cross-cultural communication refers to the process of information exchange at different levels. Russian-Chinese communication features include the intrapersonal perception of Russian art, style and genre features of the Russian realistic school, that influenced the style of Chinese artists; the interaction between individual artists and students, the unique contacts between a teacher-master and a student studying individually in the art studio. In the period under review, the communications were often unilateral — Chinese students and artists adopting the traditions of the Russian realistic school of painting, both by inviting Russian artists to China and studying in Russia. The specificity is also shown in the interaction between professional creative unions of artists, joint holding of exhibitions, and organization of plein-airs, during which a multi-level exchange of cultures can happen.
26
Buyak, Halyna. "THE FORMATION OF BOHDAN KHAVARIVSKYI AS PERSONALITY, SOCIAL, POLITICAL, CULTURAL AND EDUCATIONAL FIGURE (THE SECOND HALF OF THE 20TH CENTURY – THE BEGINNING OF THE 21ST CENTURY)." Scientific Herald of Uzhhorod University. Series: History, no. 2 (47) (December 20, 2022): 67–74. http://dx.doi.org/10.24144/2523-4498.2(47).2022.266521.
Full textAbstract:
This article attempts to investigate the development of Bohdan Khavarivskyi as a philologist, teacher, archivist, local historian, artist, personality, public-political and cultural-educational figure in the second half of the 20th century and the beginning of the 21st century. This significant list of his interests testifies to this person's uniqueness, comprehensiveness, and talent. Based on the analysis of archival materials, it was found that the formation of B. Khavarivskyi took place in the traditions of family upbringing, his parents and teachers who encouraged him to draw, write poems, recite, and sing was an example to follow in childhood. Bohdan-Roman was a comprehensively gifted individual who could realize his talents later in life. His activities were traced during his studies at the philological faculty of Chernivtsi State University. He attended the literary studio named after Stepan Budny, designed and edited its handwritten newspapers "Sunny Clarinets" and "Vesely Ostap," and gave speeches at scientific conferences. Acquaintance with famous Ukrainian science and culture figures from Chernivtsi contributed to his formation as a mature personality with an active life position and deep national convictions. It has been proven that the beginnings of his pedagogical work were connected to his teaching activities in a rural school in the Ternopil region. Over time, Bohdan Khavarivskyi worked as an educator in the dormitory of Ternopil Technical School № 2. Also, as a teacher at Ternopil Special Vocational Technical School № 3. It was found that the center of the future writer's organization, a professional center of artists, free from the restrictions of the standards of socialist realism, was formed in this educational institution. Subsequently, he was a senior researcher at the Ternopil Regional State Archives, a teacher at the Ternopil State Pedagogical Institute, the head of the public education department of the Ternopil Regional Executive Committee, the director of the State Archives of the Ternopil Region. It is known that he thoroughly mastered the subjects he taught. He practiced original modern forms and teaching methods, involved pupils and students in Ukrainian and world cultural achievements, and worked in close contact with the Ternopil Art Gallery, the Ternopil Museum of Local History, and the creative organizations of the city. He organized fine art weeks and involved artists from Ternopil and Lviv in exhibitions of paintings and graphics.
27
Perović, Miloš, and Jean Gottmann. "An interview with Jean Gottmann on urban geography." Ekistics and The New Habitat 70, no. 420/421 (August 1, 2003): 140–46. http://dx.doi.org/10.53910/26531313-e200370420/421280.
Full textAbstract:
The author is Professor of History of Modern Architecture at the Faculty of Architecture, University of Belgrade, received his M.Sc in architecture and town-planning in Belgrade and at the Athens Center of Ekistics, Athens, Greece, and his Ph. D at the Faculty of Architecture, University of Belgrade. He is the author of many books including Computer Atlas of Belgrade (Belgrade, 1976, second edition in Serbian and English as Research into the Urban Structure of Belgrade, Belgrade, 2002), Lessons of the Past (Belgrade, 1985), four volumes on the history of modern architecture in the world 1750 to present, Serbian 20th Century Architecture: From Historicisim to Second Modernism (Belgrade, 2003), and numerous articles published in scientific and professional journals. He has had one-man exhibitions of his experimental town-planning projects in Ljubljana (1977), Zagreb(1978), Belgrade (1978), Paris (1981), Dublin (1981), and at the Gallery of the Royal Institute of British Architects in London (1986). He has lectured at New York University, the Institute of Fine Arts (New York), Princeton University, Columbia University (New York), Ohio State University (Columbus), Athens Center of Ekistics, University of Cambridge (UK), and the Royal Institute of British Architects. The text that follows was one of several interviews of Dr Perovió with selected participants in the Delos Symposia (international meetings on boardship organized by the Athens Center of Ekistics, 1963-1972) first published in the journal Sinteza (Ljubljana) and later in a separate book entitled Dialogues with the Delians in both Serbian and English, Ljublijana, 1978.
28
Silva, Luciana Bosco e. "A MUSEOGRAFIA CONTEMPORÂNEA E A EXIBIÇÃO DE INSTALAÇÕES." Pensar Acadêmico 4, no. 1 (April 16, 2019): 4–8. http://dx.doi.org/10.21576/rpa.2011v7i1.1052.
Full textAbstract:
The spectacularity of museography appears in the contemporary as an antagonÃsm of the white cube of modern age, creating special/space worlds for the exhibition of art. From that point, the curator puts himself, in a way, as co-author of the piece of art, regarding the presentation of the work of art, specially on contemporary art, being on many cases the essence of the work itself. The exhibition put itself on the categoty of an event, as the International Expos on 20th century. The exhibition as event/show appears on the end of 20th century, in special in the 90, bringing with it a severa! numbers of adepts and critics."lt's bom a new esthetics of exhibition, in witch assemble the curator take cver the rol! that is beyond the assemble of canvas, sculptures, objects or installation art. The curator conceives the exhibition as a criticai project that is shared with the artist himself (if he is still alive)". (GONÇALVES, L., 2004, p. 41). The curator puts himself on a very important roll in the way of how the visitor will interact with the art piece, he becomes responsible for this relationship, creating with this a new reality in witch the work of art will be, in a way, rediscover allowing news forms of reading of the same work of art, depending on the look or the intention of the curator.Besides the manner of the theatricality and the others effects proponent by the curator, Ãn the specific case of Installation Art, there is still the question of how the piece is assemble, in witch case it could actually change its expression, own essence depending on how it is exhibit.Â
29
Skliarenko, Halyna. "Interpretation Peculiarities of the Impressionistic Trends in Ukrainian Ar." Folk art and ethnology, no. 1 (February 28, 2022): 30–45. http://dx.doi.org/10.15407/nte2022.01.030.
Full textAbstract:
The article is dedicated to the interpretation peculiarities of the impressionistic trends in Ukrainian art. Impressionism as the first modernist style has a huge impact on world art, been marked in it both by new purely formal, plastic and also world-view features. Ukrainian art hasn’t also avoided it and attracts its experience to the search for a new artistic language of the turning point in the artistic development of the period of the late 19th – early 20th century in its own way. Although impressionism hasn’t formed a definite exact trend in Ukrainian art, its ideas, in particular, the individualization of artistic vision, subjectivity of perception, colour expressiveness mark a new stage of its development and keep their relevance for a long time. The sources of impressionistic influences in Ukrainian painting at the turn of the 19th – early 20th century, the contradictions of its interpretation by critics and artists, the peculiarities of impressionism significance in the works of avant-garde artists (D. Burliuk, O. Bohomazov, K. Malevich) are considered in the article. A great importance of a large exhibition Impressionism in Ukraine in the phenomenon representation is emphasized. The event has been held on December, 2009 – March, 2010 at the National Museum of Modern Art in Kyiv. A range of impressionistic interpretations in Ukrainian painting of the late 19th – early 20th century is submitted for the first time. An attitude to the trend during the next periods of the history of Ukrainian art, namely in the post-revolutionary 1920s, 1930s – 1950s, 1960s – 1970s, is analyzed in the article. These are the periods, when impressionism as a bourgeois artistic trend has been “deleted” from the Soviet art because of the establishment of socialist realist doctrine. It has been returned gradually into the artists’ creative practices in the following years. Impressionism has preserved its attractiveness until the 1970s due to the peculiarities of the art development in the Soviet conditions (isolation from the world experience, shortage of extensive information about Ukrainian art of the pre-Soviet times) despite its historicity and close connection with art of the turn of the 19th – 20th century.
30
Shao, Qin. "Exhibiting the Modern: The Creation of the First Chinese Museum, 1905–1930." China Quarterly 179 (September 2004): 684–702. http://dx.doi.org/10.1017/s0305741004000542.
Full textAbstract:
This study examines the birth and use of the first Chinese-sponsored museum, in Nantong county, Jiangsu province, in the context of local elites' effort to make the county an example of modern progress. It reflects on the changing notion of progress among Chinese elites since the self-strengthening movement of the 1860s, and also illustrates an often neglected dimension of modernity – exhibitory modernity, or presentation. The Nantong elites proved to be masters at manipulating exhibitory modernity to reconstruct their community. Understanding exhibitory modernity in the early 20th century sheds light on China's current modernization effort. One of the distinct marks of the new era has been the tremendous energy and resources invested in exhibitory institutions and activities, as demonstrated in the national zeal for China to host the 2008 Olympics and the 2010 World Expo. These sorts of activities are in part aimed at showing the rising status of China. By bringing the world – globally recognized symbols for power, strength, respect, modernity and cosmopolitanism such as the World Expo – to China, it wishes to remake its national image as part of that advanced world on the one hand, and boost nationalism at home on the other. This and the Nantong experience illustrate both the artificiality of national and community identity and the enduring force of modernity.
31
Zolotova, Maria B. "Attribution of Decorative Marble Papers in the Study of Russian Binding of the 18th — early 20th centuries: Problems and Solutions." Bibliotekovedenie [Russian Journal of Library Science] 70, no. 1 (June 1, 2021): 89–99. http://dx.doi.org/10.25281/0869-608x-2021-1-1-89-99.
Full textAbstract:
An important stage in the study and attribution of the Russian binding of the 18th — early 20th century is the description of the flyleaf and other elements of decorative paper. First of all, this applies to paper with marble drawings (marble paper), found in the Russian book since the 18th century. Modern researchers of Russian binding of the 18th — early 20th centuries face a number of problems related to the lack of literature on the topic, including methodological and reference, the lack of specialized collections and exhibitions of decorative paper in Russia and the lack of development in the domestic book science of the terminology for describing the binding materials. This article substantiates the need to create the nomenclature of drawings and link them to a certain chronological period. The author analyses three main groups of problems: terminological, systematization of marble drawings and their chronological correlation, problems of describing paper as a material. The first group includes different interpretations of term and unclear definition of many terms; phenomena of synonymy and polysemy when using particular names of drawings (patterns). Not only historians of the book, but also librarians, restorers, masters of individual binding, second-hand booksellers and bibliophiles have their own independently formed professional dictionary, which gives place to decorative papers. This inconsistency is reinforced by borrowing French, German and English terms, which, in turn, can also be duplicated. The author notes that systematization of decorative papers with marble drawings can be based on the methods of its colouring, but such a technological approach is not sufficient to describe a specific sample of marble paper. The article shows that various patterns periodically gained and lost popularity, then returned to bookbinding practice, but with a number of characteristic changes and additions. Correct description of the paper in binding is impossible without determining its origin (Russian/foreign), the method of production and colouring (manual/machine) and the specific properties of the material itself. At the same time, there are no methods and schemes for describing decorative paper grades. The article highlights that the development of such method will help to significantly narrow the chronological framework when attributing the binding.
32
Zolotova, Maria B. "Attribution of Decorative Marble Papers in the Study of Russian Binding of the 18th — early 20th centuries: Problems and Solutions." Bibliotekovedenie [Russian Journal of Library Science] 70, no. 1 (June 1, 2021): 89–99. http://dx.doi.org/10.25281/0869-608x-2021-70-1-89-99.
Full textAbstract:
An important stage in the study and attribution of the Russian binding of the 18th — early 20th century is the description of the flyleaf and other elements of decorative paper. First of all, this applies to paper with marble drawings (marble paper), found in the Russian book since the 18th century. Modern researchers of Russian binding of the 18th — early 20th centuries face a number of problems related to the lack of literature on the topic, including methodological and reference, the lack of specialized collections and exhibitions of decorative paper in Russia and the lack of development in the domestic book science of the terminology for describing the binding materials. This article substantiates the need to create the nomenclature of drawings and link them to a certain chronological period. The author analyses three main groups of problems: terminological, systematization of marble drawings and their chronological correlation, problems of describing paper as a material. The first group includes different interpretations of term and unclear definition of many terms; phenomena of synonymy and polysemy when using particular names of drawings (patterns). Not only historians of the book, but also librarians, restorers, masters of individual binding, second-hand booksellers and bibliophiles have their own independently formed professional dictionary, which gives place to decorative papers. This inconsistency is reinforced by borrowing French, German and English terms, which, in turn, can also be duplicated. The author notes that systematization of decorative papers with marble drawings can be based on the methods of its colouring, but such a technological approach is not sufficient to describe a specific sample of marble paper. The article shows that various patterns periodically gained and lost popularity, then returned to bookbinding practice, but with a number of characteristic changes and additions. Correct description of the paper in binding is impossible without determining its origin (Russian/foreign), the method of production and colouring (manual/machine) and the specific properties of the material itself. At the same time, there are no methods and schemes for describing decorative paper grades. The article highlights that the development of such method will help to significantly narrow the chronological framework when attributing the binding.
33
Chvyr, L. A. "The Visitor and the East West Jazz." Journal of the Institute of Oriental Studies RAS, no. 1 (11) (2020): 61–75. http://dx.doi.org/10.31696/2618-7302-2020-1-61-75.
Full textAbstract:
The article is based on the author’s impressions of the East West Jazz exhibition in the Pushkin Museum of Fine Arts in Moscow in the fall of 2019. The exhibition was quite notable, and especially attractive due to the fashionable way of exhibiting the works of art, deliberately erasing the established boundaries between genres, styles and trends. The originality of the exposition was manifested in a paradoxical comparison of two artistic traditions, standing far from each other in all respects — chronologically, territorially, ethnically, religiously, and culturally. But the main and interesting feature was the opposition of two types of arts — decorative and applied art pieces and easel painting. The first are the artifacts of folk art of Central Asia of the 19th — early 20th centuries in the form of magnificent examples of oriental silk-weaved traditional robes (from the private collection of Alexander Klyachin); the second — a number of paintings and drawings by European abstract artists of the mid-20th century (from the collections of the Jean Claude Gandur Foundation in Geneva, the Pompidou Center and the Applicat-Prazan Gallery in Paris). The samples selected on both sides, located in the exposition side by side in “pairs”, clearly demonstrated ornamental and coloristic analogies in dressing gowns and abstract paintings. However, the idea of the organizers of the exhibition (according to the catalog) was not simply to compare them, but to show different types of abstraction, equally expressing the “idea of freedom”, which in the West is often symbolized by jazz music. The author of the article develops this idea, believing that the underlying cause of these similarities is the use of the main (“jazz”) principle — improvisation within the canon, originally inherent in any sphere of both ancient, and modern “oral” pieces, not only musical, but also visual.
34
Burganova, Maria A. "Glasstress. A Transparent Border Between Mimicry and Mimesis." Scientific and analytical journal Burganov House. The space of culture 18, no. 1 (March 10, 2022): 16–36. http://dx.doi.org/10.36340/2071-6818-2022-18-1-16-36.
Full textAbstract:
The article analyses the modern artistic process that began in the middle of the 20th century within the framework of the "craft + art" concept on the example of glassworks. The author covers two periods in the development of Murano glass. The first period is associated with the names of O.Kokoschka, P.Picasso, M.Chagall, M.Ernst, Le Corbusier, A.Calder, F.Leger, L.Fontana, H.Arp, G.Braque. At that time, an attempt to master the new plastic language of modern art space was undertaken by E.Costantini, the founder of one of the Venetian glass workshops. In the late 1940s, Costantini formulated the concept of joining a new artistic idea and technology, refined over the centuries, in Venetian glass. The new image of Murano glass of the late 20th - early 21st century is associated with the Berengo Studio, founded by Adriano Berengo in 1989. He practically adopted Costantini’s concept and invited outstanding contemporary artists: Ai Weiwei, Thomas Schütte, Jaume Plensa, the Kabakovs, Cesar, and others to work in the Murano workshops. The author analyses the “glass as an object of high art” concept on the example of the Glasstress. A Window to the Future exhibition, held at the State Hermitage Museum in St. Petersburg. The author believes that some artists formally exploit Venetian glass technologies and a high presentation platform, presenting works devoid of artistic significance. In this regard, the author draws on the philosophical concepts of mimicry and mimesis, believing that mimicry, in this case, is aimed at the space of high art. It reflects innovations in the artistic image and the search for a new creative method associated with the use of new material. In turn, the author believes that in the same context, a number of works can be described as mimesis - a kind of pretence, a certain result of imitation without artistic transformation.
35
Culot, Maurice. "Les archives d’architecture privees du XXe siecle: sauvegarde et mise en valeur." Art Libraries Journal 15, no. 1 (1990): 26–32. http://dx.doi.org/10.1017/s0307472200006623.
Full textAbstract:
The architectural heritage of the 20th century is peculiarly vulnerable; partly because modern architecture broke with tradition, it is less easily recognised as being historic and worthy of preservation. Furthermore, efforts to secure public appreciation of contemporary architecture have concentrated too narrowly on the ‘International Modern’ style at the expense of the actual diversity of this century, on certain architects at the expense of others, and on the individual building, seen by itself, at the expense of the larger environment of which it is part. To see twentieth century architecture whole, it is necessary to depend on not only buildings themselves (insofar as they survive in something like their original condition), and not only on publications (which have tended to reflect the promotion of Modernism), but also on archival sources and above all, on the private archives of architects. The value of such archives derives not only from handsome architectural drawings, which institutions are always eager to acquire, but also from account books, publicity material, models, photographs, and notebooks, and from the integrity and coherence of all this material which belongs together; it is probably the challenge represented by such a range of material which accounts for the paucity of architectural archives in the public sphere. Fortunately, a new climate of interest in architecture, which has seen the establishment of several museums of architecture and the emergence of ‘l’archivisme’ – a re-interpreting of architectural styles of the past, drawing on archival sources and influencing contemporary architectural practice via exhibition design in particular – augurs well for the future of architectural archives. In France, the Institut Français d’Architecture has been responsible for archives of 20th century architecture since 1980, and since 1988 has operated an information centre for private architectural archives in Paris and the surrounding area. Other regional architectural archives are being set up; it is to be hoped that the resulting network will help to foment a spirit which will lead to the establishment of a museum of architecture in Paris, while at the same time providing a safety-net to ensure the well-being of private architectural archives.
36
Kisin, Eugenia, and Fred R. Myers. "The Anthropology of Art, After the End of Art: Contesting the Art-Culture System." Annual Review of Anthropology 48, no. 1 (October 21, 2019): 317–34. http://dx.doi.org/10.1146/annurev-anthro-102218-011331.
Full textAbstract:
We focus on the anthropology of art from the mid-1980s to the present, a period of disturbance and significant transformation in the field of anthropology. The field can be understood to be responding to the destabilization of the category of “art” itself. Inaugural moments lie in the reaction to the Museum of Modern Art's 1984 exhibition “Primitivism” in 20th Century Art, the increasing crisis of representation, the influence of “postmodernism,” and the rising tide of decolonization and globalization, marked by the 1984 Te Maori exhibition at the Metropolitan Museum in New York. Changes involve boundaries being negotiated, violated, and refigured, and not simply the boundaries between the so-called “West” and “the rest” but also those of “high” and “low,” leading to a re-evaluation of public culture. In this review, we pursue the influence of changing theories of art and engagements with what had been noncanonical art in the mainstream art world, tracing multiple intersections between art and anthropology in the contemporary moment.
37
Xiaotao, Li, and Yan Qing. "The influence of the Itinerants' creative ideas on Chinese realistic painting." World of Russian-speaking countries 2, no. 8 (2021): 87–104. http://dx.doi.org/10.20323/2658-7866-2021-2-8-87-104.
Full textAbstract:
The article analyzes the influence of the Itinerants' creative ideas on Chinese realistic painting, the development of which is inseparable from the study of the Itinerants. The article examines how the painting technique and ideology of the Association of Itinerant Art Exhibitions founded in the late 19th century are relevant to many 20th-century Chinese artists. The authors identify the ideological principles of the Itinerant movement that have influenced different generations of Chinese artists (rejection of the “art for art's sake” principle, emphasis on national characteristics of painting, responsibility for reflecting the life of people in the country, advocating the spirit of critical realism as the only true way to reflect life in art) and prove that without Russian Itinerants there would be no Chinese realism in painting and modern Chinese realistic painting. The article identifies and characterizes three stages of adopting the Itinerant creative ideas in China: the period of the Republic of China (acquaintance of the Chinese public with the Itinerants' paintings and understanding the Itinerant ideology at the time of the “Movement for New Culture”), the beginning of the PRC foundation (the period of comprehensive study of realist painting, training of talented Chinese artists in art educational institutions of the USSR as part of the cultural exchange and mastering the principles of Soviet realist art) and the first decade after the Cultural Revolution (a critical “painting of scars” reflecting the experiences and fates of people during the Cultural Revolution). The authors conclude that the study of the Itinerants' creative ideas from the point of view of cultural studies in the context of the Chinese realist art school development is important for understanding the Russian- Chinese cultural dialogue.
38
ANTYUFEEVA, Olga A. "MUSEUM AND ARCHAEOLOGICAL COMPLEXES IN THE STRUCTURE OF THE CITY AS A NEW TREND OF URBAN DEVELOPMENT." Urban construction and architecture 9, no. 2 (June 15, 2019): 40–45. http://dx.doi.org/10.17673/vestnik.2019.02.6.
Full textAbstract:
The development of museum and archaeological complexes as public spaces of modern megacities is a new trend of urban development. Beginning the second half of the 20th century, the museum architecture experienced a great transformation. Increasing the level of openness, both to society and to urban space, predetermined the formation of a new scenario for museum activities and a new planning structure. Deep penetration into the environment, a high level of interactivity of modern museums have contributed to the creation of new urban structures - museum neighborhoods and other spatial museum entities. The current trend in the development of modern museums is the increase in the number of so-called environmental museums created on the basis of museum specific monuments, which are the most visited among the total number of museums. These cultural complexes, representing the urban artistic environment, have become part of the public center of the city and set new goals for architectural and town planning development. From the architecture of the museum temple to the new look of the “museum as a city” - such is the transformation of modern museum architecture. The paper analyzes various examples of new forms of exhibiting objects of the archaeological heritage in an urban environment as part of public spaces.
39
Lavrentiev, Alexander. "Vyacheslav Koleichuk as the Engine of the Russian Kinetic Art. Imaginary dialogue at the exhibition." Scientific and analytical journal Burganov House. The space of culture 17, no. 1 (March 10, 2021): 95–117. http://dx.doi.org/10.36340/2071-6818-2021-17-1-95-117.
Full textAbstract:
The State Tretyakov Gallery hosts a significant exhibition “Laboratory of the Future. Kinetic Art in Russia”. Its significance, the influence of the artistic phenomenon of kinetic art itself on domestic art of the 20th and 21st centuries has not yet been fully determined. The exhibition emphasizes kinetic art as one of the central national trends in experimental artistic creativity of the 20th century, even as some kind of a tradition. On the one hand, the exhibition would have been impossible without the participation of the creators of the Russian avant-garde, the founders of abstract art, the creators of the first abstract sculptures and dynamic structures: V. V. Kandinsky, K.S. Malevich, El Lissitzky, V. E. Tatlin, A. M. .Rodchenko. On the other hand, recognized masters, inventors of kinetic art in the USSR in the 1960s and 1970s, creators of the synthetic works of art combining the sound, color, form, images and motion are also important: Lev Nusberg’s “Group Movement” in Moscow and “KB Prometheus” under the leadership of Bulat Galeev in Kazan, the first kinetic construction at the USSR Exhibition of Economic Achievements Francisco Infante and the dynamic installation “Atom” by Vyacheslav Koleichuk, experiments with electronic sound and acoustics of the Experimental Studio of Electronic Music of Evgeny Murzin, the Theremen Center, created by Andrei Smirnov, space projects by Vyacheslav Loktev installations with light and sound in Leningrad by August Lanin 1. One of the key figures in this artistic process was the architect, designer, researcher, inventor, constructor and teacher Vyacheslav Fomich Koleichuk (1941–2018). This imaginary dialogue is covering some of the inventions of the artist, developing the traditions of Russian kinetic art, expanding the artistic space of modern design and architecture 2.
40
Vereshchagin, Anatoly N., Nikita A. Frolov, Ksenia S. Egorova, Marina M. Seitkalieva, and Valentine P. Ananikov. "Quaternary Ammonium Compounds (QACs) and Ionic Liquids (ILs) as Biocides: From Simple Antiseptics to Tunable Antimicrobials." International Journal of Molecular Sciences 22, no. 13 (June 24, 2021): 6793. http://dx.doi.org/10.3390/ijms22136793.
Full textAbstract:
Quaternary ammonium compounds (QACs) belong to a well-known class of cationic biocides with a broad spectrum of antimicrobial activity. They are used as essential components in surfactants, personal hygiene products, cosmetics, softeners, dyes, biological dyes, antiseptics, and disinfectants. Simple but varied in their structure, QACs are divided into several subclasses: Mono-, bis-, multi-, and poly-derivatives. Since the beginning of the 20th century, a significant amount of work has been dedicated to the advancement of this class of biocides. Thus, more than 700 articles on QACs were published only in 2020, according to the modern literature. The structural variability and diverse biological activity of ionic liquids (ILs) make them highly prospective for developing new types of biocides. QACs and ILs bear a common key element in the molecular structure–quaternary positively charged nitrogen atoms within a cyclic or acyclic structural framework. The state-of-the-art research level and paramount demand in modern society recall the rapid development of a new generation of tunable antimicrobials. This review focuses on the main QACs exhibiting antimicrobial and antifungal properties, commercial products based on QACs, and the latest discoveries in QACs and ILs connected with biocide development.
41
Brocchini, Debora, Luca Deravignone, and Gianni Dellavalle. "Unveil the traces of ancient mining." Acta Geoturistica 8, no. 1 (July 1, 2017): 11–19. http://dx.doi.org/10.1515/agta-2017-0002.
Full textAbstract:
Abstract The Archaeological Mines Park of San Silvestro is part of the Campiglia mining area. It represents its most important historical core. The Park covers a surface of around 450 hectares on the mountains Calvi, Rombolo, Poggio all’Aione and along the valleys Temperino, Lanzi and Manienti. The main characteristic of the Park is the richness of mining activity traces towards copper, lead and silver. The mining activity started during the 7th century BC with the Etruscan civilization and continued until 1979, when the last mine was closed. Many karst cavities of the Campiglia are “cave-mines’: they are the result of a natural event and the action of ancient miners, who searched metalliferous minerals. In Campiglia there are traces of hundreds of Etruscan, medieval and modern mining operations, tunnels from the 19th and 20th centuries. The aim of the Archaeological and Mining park of San Silvestro is to highlight historical landscape, the result of centuries of mining activities. Some of the buildings, originally used for productive and administrative purposes, have been restored to house exhibitions and services for visitors. The impressive ruins of the medieval village of San Silvestro and two of the modern mining tunnels, have been equipped for guided tours. The accessibility of ancient mining works is however still difficult and this represents a limit in the enhancement and protection of these sites. Speleologists, archaeologists and geologists will be involved in making a project to let everyone discover the most ancient underground mines. We have three main targets: (1) produce high quality pictures of the most interesting and impressive mining traces; (2) create 3D models useful for scientific and cultural purposes; (3) equip some of the ancient shafts with light structures to allow small groups to visit them. We will describe the morphological characteristics of one of these ancient mines, giving some advice for the production of high quality picture in this contest. We will also describe the technique used for the production of a 3D model and how to equip the mine for the visit of small groups of people.
42
Pereira, Paulo Manta. "“Urbanistic Architecture” according to Raul Lino." Enquiry The ARCC Journal for Architectural Research 17, no. 1 (June 19, 2020): 1–27. http://dx.doi.org/10.17831/enq:arcc.v17i1.1064.
Full textAbstract:
Over a period of nearly one hundred years, Raul Lino (1879-1974) experienced the profound political, social and economic changes that marked the twentieth century in Portugal. Having been born during the Constitutional Monarchy (1822-1910), he lived through the First Republic (1910-1926), the Military Dictatorship (1926-1933), the Second Republic, or Estado Novo (New State, 1933-1974), and died shortly after the Carnation Revolution of 25 April 1974, at the dawning of the Third Republic. He was an architect who published prolifically in Portugal, having become known through his advocacy of the Campanha da casa Portuguesa (Portuguese House Campaign), which provoked a great deal of controversy. The debate peaked with the Polémica da casa Portuguesa (Polemic of the Portuguese house) at the Calouste Gulbenkian Foundation in 1970, after the inauguration of the retrospective exhibition on Raul Lino. He is less known for the quality of his transversal synthesis conceived between urbanism, architecture, the decorative arts, and its underlying affirmation of an idea of the city, which we conjecture from our analysis of his narrative. This analysis concentrates on eleven case studies that encompasses architectural projects, urbanistic plans and technical advice limited to the first half of the 20th century. The broad, cross-disciplinary position of Lino was defended in the same year as the First National Architecture Congress (1948), whose proposals ratified in Portugal the orthodoxy principles of modern architecture and urban planning for the new universal man-type, established in 1933 by the International Congresses of Modern Architecture (CIAM). Quoting Aristotle, Raul Lino conceived the city as the locus of happiness, shaping forms of consensus between tradition and modernity by means of an architecture at the scale of man and in proportion to his circumstance, consistently outlining a modern possibility of continuity.
43
Rasmussen, Leah. "Curating Russia: The Shchukin Collection, Nationalism, and Border Crossing from Lenin to Putin." Canadian Journal of European and Russian Studies 15, no. 1 (September 20, 2022): 43–60. http://dx.doi.org/10.22215/cjers.v15i1.3288.
Full textAbstract:
Russia’s relationship with nation is marred by contradictions that stem from its place in comparison to the West. Cultural nationalism in artistic production originated with the arrival of the Peredvizhniki [Wanderers] in the 1870s. Moscow merchant Pavel Tretyakov, in collecting Russian and European art, openly embraced a nation that encompassed Western ideas in conjunction with distinctly Russian themes. The unparalleled collecting of French modern art by Moscow merchants Sergei Shchukin and Ivan Morozov in the early 20th century continued this embrace. The nature of their collected paintings produced shockwaves in late tsarist and Soviet society and politics before being inculcated into Russian national identity in the 21st century. This article explores the life of Henri Matisse’s The Dance (1909), commissioned by Sergei Shchukin. It follows the work across time and regimes as it assumes pride of place in not only Russia’s national collections but also within its identity. Through a focus on the 2008 exhibition From Russia at the Royal Academy of Arts in London, this article examines Russia’s relations and protection of this work to understand, why even as the country seeks to define itself once more actively through its opposition to the West, their cultural diplomacy speaks to an openness built on a transnational history of the most prized works in their national collections.
44
Getashvili, Nina V. "«Eternal Images» of Antiquity: Functional Analysis in the Scope of the Late 20th – Early 21st Centuries Visual Culture." Journal of Siberian Federal University. Humanities & Social Sciences 15, no. 1 (January 2022): 09–22. http://dx.doi.org/10.17516/1997-1370-0873.
Full textAbstract:
Traced the desire of star artists from France, Italy, Spain, Great Britain, Russia, different generations and with fundamentally different worldview foundations of creativity, in recent decades to include antique motifs in their imaginative programs; moreover, making them the translators of individual artistic expressions reflecting socio-cultural reception. The portrayal of ancient images, on different aesthetic and worldview bases, are present in the experimental works of the modernism, in the postmodernism (which became a reflection of the collapse of the whole picture of the world observed in modern psychology, philosophy, history), are a means of actualization gender issues, the problems of the LDF community, a reflection of glamorous aesthetics, arise in examples of street art and arte-pover, elite and mass culture, etc. For the first time in many centuries, «antique» sculptures appear at city crossroads and squares, bearing signs of the formal vocabulary of new trends. Over the past more than half a century, the individual statements of artists, in an attempt to remain in the field of polemical discourse, in an effort to expand the boundaries of the norm, including the recently approved ones, took place within the framework of large-scale (it is important to be aware) conceptual projects, thematically completely based on the interpretation of the images of Antiquity, which takes place for the first time in the history of exhibition practice. Moreover, these projects sometimes seem to be milestones in the development of contemporary art
45
Zelko, Frank. "From Blubber and Baleen to Buddha of the Deep: The Rise of the Metaphysical Whale." Society & Animals 20, no. 1 (2012): 91–108. http://dx.doi.org/10.1163/156853012x614387.
Full textAbstract:
Abstract Human attitudes to various nonhuman animals have varied considerably across cultures and throughout time. While some of our responses are undoubtedly instinctive and universal—a visceral fear of large carnivores or the feeling of spontaneous warmth for creatures exhibiting high degrees of neoteny—it is clear that our attitude toward specific species is largely shaped by our innate anthropomorphism: that is, when we think about animals, we are also thinking about ourselves. There are few better examples of this than the shifting attitudes toward whales and dolphins throughout the 20th century, particularly among citizens of Western democracies. This article narrates the cultural history of this development and demonstrates how the current enchantment with whales and dolphins is primarily the result of two broad—and related—cultural developments: the modern entertainment complex, particularly cinema, television, and aquatic theme parks; and the 1960s counterculture, with its potent blend of holistic ecology, speculative neuroscience, and mysticism. The result was the creation of what we might think of as the “metaphysical whale,” a creature who has inspired the abolitionist stance toward whaling.
46
Niemira, Konrad. "Much Ado About Nothing? Political Contexts of the 15 Polish Painters Exhibition (MoMA, 1961)." Ikonotheka 26 (June 26, 2017): 167–91. http://dx.doi.org/10.5604/01.3001.0010.1677.
Full textAbstract:
The essay concerns 15 Polish Painters, the now slightly forgotten, but once famous exhibition of Polish contemporary art that took place at the Museum of Modern Art in New York in 1961. Initially, the exhibition was conceived as an expression of a thaw in relations between the United States and Poland, and it was organised at the diplomatic level. Organisational works began during Vice President Richard Nixon’s visit to Warsaw in August of 1959. They were coordinated by Porter McCray (who was responsible for MoMA’s touring exhibition programme) and Peter Selz (an art historian of German origin and a curator cooperating with MoMA). The Polish side withdrew from the project because of the abstract character of the works that Selz had selected and his disregard for the “offi cial” artists of the People’s Republic of Poland. The project was completed with the collaboration of American private galleries which bought the paintings in Poland and then loaned them to MoMA to be exhibited. The essay presents the behind-the-scenes history of organising the exhibition and its political context. It discusses the artistic message of the exhibition and the key used in the selection of its works. Finally, it touches upon the issue of Polish art’s reputation in the United States and the question as to why the Americans, wishing to present modern art from behind the Iron Curtain, decided, of all the countries of the Soviet bloc, to focus on none other than Poland. The aim of the essay is to fi ll the gap in the historiography, since the 15 Polish Painters exhibition is usually referred to only briefl y and has never been the subject of a scholarly enquiry. The event seems worth recalling also because it adds a nuance to the still current – as was confi rmed by Catherine Dossin’s much-talked-of book, The Rise and Fall of American Art, 2015 – and yet schematic view that in the middle of the 20th century there existed only two art centres, New York and Paris, thus completely overlooking the distinct character of the countries of the Communist bloc.
47
Budai, G., and N. D. Afanasieva. "Teaching the Russian Language in Hungary: History of Cultural Interactions." Concept: philosophy, religion, culture 5, no. 1 (April 1, 2021): 121–31. http://dx.doi.org/10.24833/2541-8831-2021-1-17-121-131.
Full textAbstract:
The paper is dedicated to outlining the main specific features of the spread and reception of Russian language in Hungary, with attention paid to the chronological perspective and the current situation. The text aims at revealing the factors, institutional and personal agents that fuel the interest to studying and teaching Russian in the atmosphere of Hungary. Russian history, culture, literature, traditions, and, consequently, the Russian language have always been of interest in Hungary. The Hungarian national culture developed in parallel with the rise of enthusiasm toward Russia — and in 1849 the Department of Slavic Philology was introduced at the University of Pest. Russian was popularized and spread in Hungary by textbooks and translations of famous oeuvres of Russian writers. The turn of the 19th century and the beginning of the 20th marked the growing interest of students to Russian, with the First World War, the October revolution in Russia and the subsequent Russian exodus intensifying mundane interactions. The Second World War, its outcomes and the split of Europe into two zones showed the clout that the Russian language acquired. In 1949, Russian became the only compulsory foreign language at school; Russian was introduced in higher educational institutions on a broader basis, including pedagogical institutes which were training Russian teachers for middle schools. After 1989, Hungary, like other Central and Eastern European countries, saw a sharp decline in the number of Russian language learners due to geopolitical reasons. The current stage of the spread of the Russian language in Hungary is characterized by positive changes: strengthening of economic relations between the countries, expansion of cultural and educational ties that is gradually leading to an increase in emphasis on the Russian language. In particular, it is owed to the liberalization of book industry and publishing of new Russian textbooks, digital promotion via Internet, construction of the Baksi nuclear power plant, and numerous exhibitions and festivals. What can be concluded is that cultural bonds connecting the Hungarians and the Russian language have a long path dependency relative to the post-1917 diaspora, the period of socialism and favourable relations with the USSR. Their effect is maintained by modern funds and associations. Economic ties that have foundation in both historical industrial cooperation and modern projects also foster attention to maintaining closer cultural interactions — and, thus, to studying Russian.
48
Pryshchenko, Svitlana, Yevhen Antonovych, and Tetyana Senchuk. "Media Design: the Research of Terminology Base and Visual Stylistics." Demiurge: Ideas, Technologies, Perspectives of Design 5, no. 2 (October 31, 2022): 243–60. http://dx.doi.org/10.31866/2617-7951.5.2.2022.266910.
Full textAbstract:
Technological changes of the late 20th and early 21st century dramatically influenced the development of the global communication space – all communication channels are rapidly changing to a digital format. The topicality of the article lies in the growing role of visual communications of various formats and computer technologies in modern society. There is an active movement toward digital presentations of the world’s cultural and artistic heritage, multimedia art museums, virtual exhibitions, and virtual tours are appearing, which also require advertising. Main objective of this study is to conduct a comparative analysis of the existing terminology and visual stylistics of the media. Methods. The research methodology is based on a multimodal approach. A number of scientific methods were used to achieve the set goal: system-structural, art historical, and comparative. The scientific novelty of this work consists in expanding and deepening ideas about the development of media as a component of design activity. The authors of the article emphasize that a fundamentally new type of communication – multi media – has acquired its own meanings, meanings and visual images. Modern visual advertising appeals should have a clear communicative structure, aesthetic level and stimulate the intellectual activity of the consumer. It is proposed to define colour graphics as a basic means of media design, and aesthetic dimensions (parameters) as cultural-aesthetic ones. Colour semantics and regional imagery are distinguished to provide the aesthetic evaluation of objects in ethnic style. Postmodernism has its own typological features: the use of any ready forms from art to utility, widespread of photography and computer special effects, deliberate violation of commensurable quantities of visual elements, borrowing the ideas from other types of art, remake, interpretation, combination, fragmentation, epatage, installation, collageness and replicability of the projects. Conclusions. The results of our comparative analysis of terminology and stylistic aspects of media resources are presented. It has been proven that visual media is not a constant, but rather a dynamic process aimed at enhancing the effectiveness of those ideas, products, services, companies, or individuals that are being promoted. Media design is defined as the design of a visual info space, an innovative stage of designing for the virtual world, and a qualitatively new stage of its development. In summary, we note that research materials allow its continuation and expansion in order to prepare a course of lectures for Masters in the specialties "Design", "Management of sociocultural activities", "Advertising and PR", "Tourism", etc.
49
ERCAN, Aşkın. "NARRATOR OF UNSHOWED ART." IEDSR Association 7, no. 20 (July 22, 2022): 134–41. http://dx.doi.org/10.46872/pj.576.
Full textAbstract:
While the 20th century avant-garde criticizes the sanctification of productivity in art, it also reopens the boundaries between the work-gallery, artist-audience with the revolution it created in the art object. Art, which has settled into a provocative attitude with the historical avant-garde, opposes all accepted methods. The practice of making art from ready-made objects, which started with Dada, turned into a process-based idea of art without a work, in the public area, in life, through the body, after the 1960s. Thus, artists approaching commodified art with a critical attitude argue that art is possible without producing an art object to be consumed. The world of show directly shapes the images and objects of art dominated by modern production conditions. In this context, the art placed in the white cube opens a new field for the gallery understanding that shows matter and commodity with the influence of the avant-garde. Yves Klein's 'Void' exhibition and Fernandez Arman's 'Fullness' exhibition can be given as examples. This research presents a critical approach to the occupation of the commodity in social life in the world of the show and includes a historical perspective towards the undisplayed art, which criticizes the idea of the finished work. This research, which was prepared by scanning the literature, opens the art understanding of commodified art, which is based on not showing, to discussion with artist productions.
50
Wagner, Keith B., and Michael A. Unger. "Photographic and cinematic appropriation of atrocity images from Cambodia: auto-genocide in Western museum culture and The Missing Picture." Visual Communication 18, no. 1 (January 3, 2018): 83–106. http://dx.doi.org/10.1177/1470357217742333.
Full textAbstract:
As a harrowing sub-discipline of English and Comparative Literature, Trauma Studies is in need of geographical expansion beyond its moorings in European genocides of the 20th century. In this article, the authors chart the institutional and cinematic appropriation of atrocity images in relation to the Khmer Rouge’s auto-genocide from 1975–1979 in Cambodia. They analyse the cultural and scholarly value of these images in conjunction with genocide studies to reveal principles often overlooked, taken for granted, or pushed to the periphery in photography studies and film studies. Through grim appropriations of archival or news footage to more experimental approaches in documentary, such as the use of dioramas, the authors examine the commercial and artistic articulations of trauma, reconciliation and testimony in two case studies: The Museum of Modern Art (MoMA) exhibition Photographs from S-21: 1975–1979 (1997) and Pithy Panh’s documentary The Missing Picture (2013). The authors first focus on the relatively obscure scholarship devoted to contextualizing images from international genocides outside the Euro-American canon for genocide study in order to build their critical formulations; they go on to explore whether these atrocity-themed still and moving images are capable of defying aspects of commodification and sensationalism to instead convey positive notions of commemoration and memory. Finally, their contribution to this debate regarding the merit of appropriating atrocity imagery is viewed from two perspectives: ‘commodified witnessing’ (a negative descriptor for the MoMA exhibition) and ‘commemorative witnessing’ (a positive term for the Cambodian film).