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Journal articles on the topic 'Modern art'

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Published: 4 June 2021
Last updated: 30 July 2024

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1

Brown, Arthur. "Modern Art." Janus Head 19, no. 1 (2021): 135–36. http://dx.doi.org/10.5840/jh202119115.

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2

Adlin, Jane. "Modern Art." Metropolitan Museum of Art Bulletin 59, no. 1 (2001): 60. http://dx.doi.org/10.2307/3269174.

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McIntosh, John, and Walter Hopps. "Modern Art." Grand Street, no. 37 (1991): 55. http://dx.doi.org/10.2307/25007427.

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4

Sonenscher, M. "Modern Art." Oxford Art Journal 21, no. 2 (January 1, 1998): 209–11. http://dx.doi.org/10.1093/oxartj/21.2.209.

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5

Williams, Christopher. "Modern Art Theories." Journal of Aesthetics and Art Criticism 56, no. 4 (1998): 377. http://dx.doi.org/10.2307/432128.

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6

Gaber, Tammy. "Modern Arab Art." American Journal of Islam and Society 26, no. 1 (January 1, 2009): 114–17. http://dx.doi.org/10.35632/ajis.v26i1.1422.

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This book endeavors to define a specific term for modern Arab art, which ismost often considered a continuation of Islamic or ethnic art or a subordinatecopy of western trends. This academic text, which targets audiences interestedin contemporary art or the Arab world, or both, is divided into threeparts: “Background and Definitions,” “Modern Arab Aesthetics,” and “The Arabic Letter in Art.” It contains forty images within the text and thirty-twoplates of contemporary works of art by Arabs ...
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7

Soltes, Ori Z. "Modern Jewish Art." Brill Research Perspectives in Religion and the Arts 2, no. 2 (December 26, 2018): 1–107. http://dx.doi.org/10.1163/24688878-12340004.

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AbstractIn Modern Jewish Art: Definitions, Problems, and Opportunities, Ori Z. Soltes considers both the emerging and evolving discussion on and the expanding array of practitioners of ‘Jewish art’ in the past two hundred years. He notes the developing problem of how to define ‘Judaism’ in the 19th century—as a religion, a culture, a race, a nation, a people—and thus the complications for placing ‘Jewish art’ under the extended umbrella of ‘religion and the arts.’ The fluidity with which one must engage the subject is reflected in the broadening conceptual and visual vocabulary, the extended range of subject foci and media, and the increasingly rich analytical approaches to the subject that have surfaced particularly in the past fifty years. Well-known and little-known artists are included in a far-ranging discussion of painting, sculpture, photography, video, installation art, ceremonial objects, and works that blur the boundaries between categories.
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8

Burki, Talha Khan. "Modern art stinks." Lancet Respiratory Medicine 6, no. 6 (June 2018): 416. http://dx.doi.org/10.1016/s2213-2600(18)30179-6.

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9

WILLIAMS, CHRISTOPHER. "Modern Art Theories." Journal of Aesthetics and Art Criticism 56, no. 4 (September 1, 1998): 377–90. http://dx.doi.org/10.1111/1540_6245.jaac56.4.0377.

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10

Horner, Alice E. "Integrative Art of Modern Thailand.:Integrative Art of Modern Thailand." Museum Anthropology 16, no. 2 (June 1992): 49–52. http://dx.doi.org/10.1525/mua.1992.16.2.49.

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11

Sevastyanov, Aleksandr Nikitich. "Modern art market: art, economics, marketing." Uchenyy Sovet (Academic Council), no. 1 (January 1, 2021): 19–27. http://dx.doi.org/10.33920/nik-02-2101-02.

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The article is devoted to the analysis of the market mechanism in the field of art, as well as the influence of the market on the development of mass taste and aesthetic mainstream. The author demonstrates that the market price for works of art is an indicator in which all the numerous factors of the art market, both aesthetic and economic, including the current situation, are collected and embodied in a concentrated form. That is, the price accumulates all the social connections of art. By spreading, auction catalogs like nothing else make the art market global, serving as a single information base for all its participants. The wide publicity of the auction results forms the fashion in art, raises the prestige of a particular direction, and makes it the main one. The material of the article is of interest in the disciplines "History of Art" and "Modern Art Market".
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12

Bandrovska, Olha T. "THE AESTHETIC REGIME IN THE MODERN ERA: ART AND DISCOURSE ON ART." Alfred Nobel University Journal of Philology 2, no. 26/1 (December 20, 2023): 9–21. http://dx.doi.org/10.32342/2523-4463-2023-2-26/1-1.

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The article traces the changes in the aesthetic conventions of Modern art in accordance with the dynamics of literary development in Great Britain. The study focuses on three key areas: the impact of “the ancients and moderns” quarrel on European philosophical and literary thought; the nuances of critical and literary discourse in Enlightenment-era Great Britain; and the reception of the Enlightenment aesthetic values and novelties in Victorian criticism, linking them to the emergence of twentieth-century modernism. The subject involves the evolution of Enlightenment aesthetics and poetics in Great Britain, particularly the departure from classical art and literature models, and the emergence of concepts like imagination, novelty, and the reader’s subjective experience of art. Seminal literary-critical essays of the eighteenth century, including works by Joseph Addison, Henry Home, Richard Hurd, and Leslie Stephen’s monograph ‘History of English Thought in the Eighteenth Century”, are analyzed. The paper also examines philosophical texts by Michel de Montaigne, Francis Bacon, René Descartes, and Marquis de Condorcet to understand the oscillatory nature of philosophical thought before and during the Age of Enlightenment. The study contextualizes “the ancients and moderns” debate on models for literary excellence and accentuates its role in shaping the discourse of aesthetics and artistic creativity. Contributions by Enlightenment figures such as Addison, Home, and Hurd are explored, emphasizing how they reshaped the discourse of aesthetics by redefining the nature of beauty, the sublime, and the principles of artistic criticism, thereby influencing the literary and artistic productions of their time and beyond. Particular attention is paid to the critical views of Stephen who wrote about the “fluctuating mode” of the literature of the second half of the eighteenth century, illustrating his peculiar subjectivism as an exponent of the Victorian worldview (Stephen saw Sterne’s novels as a serious moral threat), and simultaneously reflecting the normative aesthetic views of the second half of the nineteenth century. The paper also demonstrates how the antinomianism in aesthetic thinking, which challenged traditional norms and values as seen in “the ancients and moderns” quarrel, was further evolved in the works of Friedrich Schiller and Friedrich Schlegel, the latter articulating the antinomy of “classic versus romantic”. This tradition of antinomian thinking, coupled with the rejection of the idea of linear progression in cultural evolution, a call for a reassessment of values amidst a paradigm shift in culture and the breakdown of traditional ethic and aesthetic systems, finds a notable and unique expression in Friedrich Nietzsche’s works, that significantly influenced the transition from Modernity to Postmodernity. In summary, it is argued that the Modern Age was the time of the emergence of a new aesthetic sensibility, and its aesthetic pluralism and anti-classical literary ideas were pivotal in redefining concepts of progress, novelty, and human consciousness in art and literature. This laid the groundwork for modernist art and literature, characterized by a departure from tradition and a quest for new artistic expressions of human experience.
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13

Zalman, Sandra. "Modern Art, Inc.: The Museum of Modern Art v. Huntington Hartford." Grey Room 53 (October 2013): 32–59. http://dx.doi.org/10.1162/grey_a_00126.

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14

Jang, Bum Soon. "Art Therapy Through Modern Art : A Case Study." Journal of The Korean Society of Illustration Research 51 (June 30, 2017): 59–68. http://dx.doi.org/10.37379/jksir.2017.51.6.

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15

Berman, Marshall. "Marx in China: Modern Art, Modern Conflicts, Modern Workers." Dissent 53, no. 2 (2006): 18–21. http://dx.doi.org/10.1353/dss.2006.0018.

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16

Matthews, John. "Introduction: Modern and Post-Modern Arthurian Literature." Arthuriana 9, no. 1 (1999): 3–4. http://dx.doi.org/10.1353/art.1999.0033.

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17

Kwak, Young-Yoon. "Adorno and Modern Art." Journal of Aesthetics & Science of Art 62 (February 28, 2021): 144–64. http://dx.doi.org/10.17527/jasa.62.0.06.

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18

GIRENOK, F. I. "Malevich and modern art." Personality.Culture.Society 20, no. 1-2 (2018): 141–49. http://dx.doi.org/10.30936/1606-951x-2018-20-1/2-141-149.

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19

Krupat, Kitty Weiss. "Modern Art/Ancient Wages." New Labor Forum 31, no. 1 (December 4, 2021): 26–27. http://dx.doi.org/10.1177/10957960211062149.

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20

Eickhorst, William S. "Research Explains Modern Art!" Art Education 38, no. 1 (January 1985): 48. http://dx.doi.org/10.2307/3192911.

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21

Hodge, Sam, Ijsbrand Hummelen, and Dionne Sille. "Modern Art: Who Cares?" Studies in Conservation 46, no. 3 (2001): 222. http://dx.doi.org/10.2307/1506813.

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22

Bennett, Ciarán, and Dorothy Walker. "Modern Art in Ireland." Circa, no. 83 (1998): 50. http://dx.doi.org/10.2307/25563250.

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23

Rhodes, Colin. "Primitivism and Modern Art." Art Book 2, no. 1 (January 1994): 30. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00389.x.

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24

Rhodes, Colin. "Primitivism and Modern Art." Art Book 2, no. 1 (January 1995): 30. http://dx.doi.org/10.1111/j.1467-8357.1995.tb00389.x.

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25

Foster, Hal. "Archives of Modern Art." October 99 (January 2002): 81–95. http://dx.doi.org/10.1162/016228702317274648.

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26

Povey, John, Robert Goldwater, and Katia Samaltanos. "Primitivism in Modern Art." African Arts 20, no. 3 (May 1987): 14. http://dx.doi.org/10.2307/3336470.

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27

Lee. "Skepticism about Modern Art." Journal of Aesthetic Education 54, no. 1 (2020): 35. http://dx.doi.org/10.5406/jaesteduc.54.1.0035.

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28

TSIURIAK, Iryna, and Anna CHERNYSHOVA. "CHORAL ART – MODERN CHALLENGES." Humanities science current issues 2, no. 74 (2024): 142–47. http://dx.doi.org/10.24919/2308-4863/74-2-22.

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29

Lears, Jackson. "Uneasy Courtship: Modern Art and Modern Advertising." American Quarterly 39, no. 1 (1987): 133. http://dx.doi.org/10.2307/2712634.

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30

Ivanova, Nataliya, and Olga Ryzhchenko. "Fantasy as a developing phenomenon of modern art." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 12, no. 20 (2019): 58–64. http://dx.doi.org/10.34079/2226-3055-2019-12-20-58-64.

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31

Maynard, Patrick, and Kirk Varnedoe. "A Fine Disregard: What Makes Modern Art Modern." Journal of Aesthetics and Art Criticism 49, no. 4 (1991): 390. http://dx.doi.org/10.2307/431046.

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32

Shmeleva, Natalia V. "About criteria of modern art: cultural approach." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 45 (2022): 172–83. http://dx.doi.org/10.17223/22220836/45/16.

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XX century introduced significant adjustments in the understanding of art. Art lost its special “aura” (V. Benjamin) with the development of visual practices, the growing role of science and the recipient in the design of artistic reality, which led to a change in the notion of the criteria of art up to the denial of its existence. The scientific novelty is determined by the change in the status of art in modern culture. The changes that took place in the art of the 19th century expanded the range of artistic value by recognizing new values and involving the figure of the recipient in the process of creating art. The acceleration of the development of culture in the 20th century led to a further change in the perception of art, which began to rely more on a rethinking of a tradition that had been enriched by the discovery of previously little-known cultures. In this regard, the criteria of art, representing the artwork as a cultural text aimed at understanding the experience of previous cultural eras, are changed. Purpose of the study describe the changes in the role of art in human life, which were reflected primarily in the rethinking of art criteria. In the twentieth century, there is a large number of contradictory phenomena called to be called culture and going beyond the framework of art, which requires their mastering. Visual mass culture, which does not have the signs of a new one, has trained the viewer to pay attention to the already realized reality, presented in a new shell from a different angle. Herewith the recipient ascribes traditional values and meanings to the mastered reality. Thus, the replicability and reproducibility of works of art change the person's idea of the subject of art. Methods: The analysis of art, through the lens of its criteria, took a cultural approach, which allowed to consider art in the context of the cultural text. To represent the specificities of contemporary art, descriptive and comparative methods were used to fit contemporary art into the cultural context and to identify its main criteria. The concepts of “art” and “culture” become largely synonymous in the consciousness of modern man. Peculiarities of the perception of a work of art are associated with the fusion of the concepts “work of art” and “cultural text”, when culture began to substitute for itself art, so people in the assessments of art are guided by the same concepts that apply to culture. Recognition of the conscious, as the main criterion of the art of mass consciousness, translates the work of art into the rank of a cultural text, for which other values and aesthetic criteria already act. We can draw a conclusion on the basis of the perception of the cultural text, that the toolkit for evaluating the cultural text passes to art, and therefore the main criteria are not the aesthetic, but the anthropological, associated with the creative activity of the recipient and his participation in the creation of a work of art.
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33

Scott, David A. "Modern Antiquities: The Looted and the Faked." International Journal of Cultural Property 20, no. 1 (February 2013): 49–75. http://dx.doi.org/10.1017/s0940739112000471.

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AbstractThis article discusses some of the issues regarding the acquisition of art and the different philosophical views of some of the main protagonists regarding the reclaiming of art by nation-states, following American museums' acceptance of the 1970 UNESCO Convention, using examples from the Getty Museum and the Metropolitan Museum of Art. The mediation of Native American Graves Protection and Repatriation Act (NAGPRA) claims by conservators is often an important component of the dialogue between museums and native communities. The philosophical and art-historical opinions regarding the value of copies and reproductions of works of art have oscillated from promulgation in the 1860s to outright rejection by the 1920s. In a modernist sense, points of view are once again open to reevaluation as host nations demand back more originals than ever before. Arguments against the claims of nationalist-retentionist countries and those advanced in favor of the claims of nation-states regarding the repatriation of their art are discussed. The problems created by looted art in association with the ever-increasing number of fakes is highlighted, with examples of the issues surrounding pre-Columbian art and some classical antiquities. The utility of copies in relation to the protective value of the authentic piece is discussed in the context of museum examples in which the concept of the utilization of copies for museum display has been accepted in certain cases as desirable.
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34

Mironova, Tatiana. "Plurality the types of art in contemporary art: specifics of media art." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 139–48. http://dx.doi.org/10.32461/2226-3209.2.2021.239992.

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The purpose of the article is to study the types of artistic creativity in modern fine arts, taking into account the specifics of media arts. The methodology is the cultural-semiotic analysis of the forms of manifestation of visualization of modern art culture. The application of a systematic approach allowed us to study semiotic systems that contribute to the comprehensive disclosure of the problem of the semantics of modern forms of visualization. The scientific novelty of the work is to understand the specifics of the new media arts, taking into account their interactivity, network communication, and virtuality. Conclusions. The interaction of visual art forms and interactive technologies is a combination of artistic manifestations with visualization and programming, so, unlike the processes of classical education, this art practice, in addition to the artist, requires group work of specialists in various fields. Artists working in new forms of visual art play the role of "director" of the project, embodying their own artistic ideas in collaboration with other participants. The actualization of the art of new media is manifested primarily through the expansion of artistic creativity and the creation of multimedia projects that combine VR, AR technology, animation, and traditional shaping and drawing. Therefore, modern visual arts are becoming a powerful tool and communicative tool of modern culture. Today, Ukrainian artists are actively using visual images as central elements of visual culture. Since modern cultural communication significantly influences the formation, providing the composition and translation of cultural values, with the help of visual images artists are able to more accurately express the idea of the work, to make it understandable to the maximum number of viewers.
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35

ŞTEFĂNESCU, Daniel-Cornel, and Alina PAPOI. "HYBRID WAR AS A MODERN INSTRUMENT OF MILITARY ART." SCIENTIFIC RESEARCH AND EDUCATION IN THE AIR FORCE 20 (June 18, 2018): 507–12. http://dx.doi.org/10.19062/2247-3173.2018.20.69.

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36

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

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37

Guyer, Paul. "Kant’s Theory of Modern Art?" Kantian Review 26, no. 4 (December 2021): 619–34. http://dx.doi.org/10.1017/s1369415421000492.

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Abstract Can Kant’s theory of fine art serve as a theory of modern art? It all depends on what ‘modern’ means. The word can mean current or contemporary, indexed to the time of use, and in that sense the answer is yes: Kant’s theory of genius implies that successful art is always to some extent novel, so there should always be something that counts as contemporary art on his theory. But ‘modern’ can also be used adjectively, perhaps more properly as ‘modernist’, to refer to art of a particular moment, in some cases superseded by postmodern art. Kant’s theory is not a theory of modernist art in at least one prominent form, the formalism of Clement Greenberg. But other theories, such as those of George Dickie and Arthur Danto, although triggered by particular works of modernist art and meant to accommodate them, were meant to be theories of what art was always doing, and Kant’s is too. In that sense it can be considered a modern theory of art but not a theory of modern art.
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38

Loughery, John. "Subject Matter in Modern Art." Hudson Review 51, no. 2 (1998): 386. http://dx.doi.org/10.2307/3853074.

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39

Burkalo, Nataliia. "ART THERAPY IN MODERN PSYCHOLOGY." Psychological journal 5, no. 9 (September 30, 2019): 189–204. http://dx.doi.org/10.31108/1.2019.5.9.13.

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40

O'Donovan, Conn, and Gesa E. Thiessen. "Theology and Modern Irish Art." Circa, no. 91 (2000): 52. http://dx.doi.org/10.2307/25563558.

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41

Cooper, John W., and Norbert Lynton. "The Story of Modern Art." Leonardo 23, no. 4 (1990): 455. http://dx.doi.org/10.2307/1575364.

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42

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

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43

Bohm-Duchen, Monica. "Jewish Art: A Modern History." Journal of Modern Jewish Studies 12, no. 3 (November 2013): 533–34. http://dx.doi.org/10.1080/14725886.2013.856178.

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44

Snavely, Loanne. "ART INDEX.ARTBIBLIOGRAPHIES MODERN ON DISC." Art Documentation: Journal of the Art Libraries Society of North America 13, no. 2 (July 1994): 102–3. http://dx.doi.org/10.1086/adx.13.2.27948639.

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45

QUEENAN, JOHN T., and GAIL WHIMAN-ELIA. "An Appreciation of Modern ART." Clinical Obstetrics and Gynecology 43, no. 4 (December 2000): 942–57. http://dx.doi.org/10.1097/00003081-200012000-00023.

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46

Bradley, Spencer. "The Face of Modern Art." Philosophy in the Contemporary World 22, no. 1 (2015): 80–90. http://dx.doi.org/10.5840/pcw20152217.

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47

Ullan, Ana M., and Manuel H. Belver. "The Meanings of Modern Art." Empirical Studies of the Arts 17, no. 1 (January 1999): 25–35. http://dx.doi.org/10.2190/ck2m-dy80-4xpj-ccgc.

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48

Fong, Wen C. "The Modern Chinese Art Debate." Artibus Asiae 53, no. 1/2 (1993): 290. http://dx.doi.org/10.2307/3250520.

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49

Noe, A. "Scientist's guide to modern art." Science 353, no. 6305 (September 15, 2016): 1215. http://dx.doi.org/10.1126/science.aah3441.

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50

Clark, John. "‘Tradition’ in Thai Modern Art." Southeast of Now: Directions in Contemporary and Modern Art in Asia 4, no. 2 (2020): 39–89. http://dx.doi.org/10.1353/sen.2020.0007.

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