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1
Franklin, Adrian. "Where "Art Meets Life"." Journal of Festive Studies 1, no. 1 (May 13, 2019): 106–27. http://dx.doi.org/10.33823/jfs.2019.1.1.27.
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In Hobart, a litany of winter festivals flopped and failed until the arrival of Mona (Museum of Old and New Art), a private museum owned by mathematician, successful online gambler, and autodidact David Walsh. Since 2013, its new festival, Dark Mofo, not only has reignited long-somnolent traditions of midwinter festival imaginaries among its postcolonial society but also has proved to be an effective vehicle for galvanizing an all-of-community form of urban activation, engagement, and regeneration. It has also completely overwhelmed the city with visitors keen to participate in a no-holds-barred ritual week with major global artists and musicians keen to be on its carnivalesque platforms. While Mona has explored grotesque realism themes of sex, death, and the body in its darkened, labyrinthine and subterranean levels, Dark Mofo has permitted their mix of carnivalesque and Dionysian metaphors and embodied practices/politics to take over the entire city in a week of programmatic mischief and misrule at midwinter. Research by an Australian Research Council–funded study of Mona and its festive register will be used to account for its origins and innovation as well as its social, cultural, and economic composition and impact.
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Connor, John T. "Fanfrolico and After: The Lindsay Aesthetic in the Cultural Cold War." Modernist Cultures 15, no. 3 (August 2020): 276–94. http://dx.doi.org/10.3366/mod.2020.0297.
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This article follows Jack Lindsay (1900–1990) in his transformation from an Australian anti-modernist to a British-based Communist and cultural Cold Warrior. Lindsay was the driving force behind a cluster of initiatives in 1920s Sydney and London to propagate the art and ideas of his father, the painter Norman Lindsay. These included the deluxe limited edition Fanfrolico Press and the little magazines Vision and The London Aphrodite. The article reconstructs the terms of Lindsay's anti-modernist polemics and the paradoxically modernist forms they took, but it also attends to his change of heart. In the two decades after the Second World War, Lindsay found himself defending modernism against both its Cold War co-optation as the in-house aesthetic of the capitalist ‘Free World’ and its reflex denigration within Soviet and international Communist aesthetics. Against the elevation of modernism in the Anglo-American academy and its cultural-diplomatic deployment by agencies of the state, against the uncritical celebration of realism and its Soviet-sphere derivatives, Lindsay proposed a subaltern tradition of experimental art characterised by its utopian symbolism and national-popular inflection. For Lindsay, this tradition reached back to Elizabethan times, but it included modernism as one of its moments. From the vantage of the Cold War, Lindsay now identified the Fanfrolico project as itself an ‘Australian modernism,’ elements of which might yet fuse to form a more perfect socialist realism.
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Cox, Christopher James, and Mirko Guaralda. "Public Space for Street-Scape Theatrics. Guerrilla Spatial Tactics and Methods of Urban Hacking in Brisbane, Australia." Journal of Public Space 1, no. 1 (October 18, 2016): 113. http://dx.doi.org/10.5204/jps.v1i1.14.
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It could be argued that architecture has an inherent social responsibility to enrich the urban and spatial environments for the city’s occupants. However, how we define quality, and how ‘places’ can be designed to be fair and equitable, catering for individuals on a humanistic and psychological level, is often not clearly addressed. Lefebvre discusses the idea of the ‘right to the city’; the belief that public space design should facilitate freedom of expression and incite a sense of spatial ownership for its occupants in public/commercial precincts. Lefebvre also points out the importance of sensory experience in the urban environment. “Street-scape theatrics” are performative activities that summarise these two concepts, advocating the ‘right to the city’ by way of art as well as providing sensual engagement for city users. Literature discusses the importance of Street-scape Theatrics however few sources attempt to discuss this topic in terms of how to design these spaces/places to enhance the city on both a sensory and political level. This research, grounded in political theory, investigates the case of street music, in particular busking, in the city of Brisbane, Australia. Street culture is a notion that already exists in Brisbane, but it is heavily controlled especially in central locations. This study discusses how sensory experience of the urban environment in Brisbane can be enriched through the design for busking; multiple case studies, interviews, observations and thematic mappings provide data to gather an understanding of how street performers see and understand the built form. Results are sometime surprisingly incongruous with general assumptions in regards to street artist as well as the established political and ideological framework, supporting the idea that the best and most effective way of urban hacking is working within the system. Ultimately, it was found that the Central Business District in Brisbane, Australia, could adopt certain political and design tactics which attempt to reconcile systematic quality control with freedom of expression into the public/commercial sphere, realism upheld. This can bridge the gap between the micro scale of the body and the macro of the political economy through freedom of expression, thus celebrating the idiosyncratic nature of the city.
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Eastwood, John, Lynn Kemp, and Bin Jalaludin. "Each Is in Different Circumstances Anyway." SAGE Open 6, no. 4 (October 2016): 215824401667686. http://dx.doi.org/10.1177/2158244016676863.
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We present here a realist multilevel situational analysis of maternal depression. We use situational analysis to identify the interaction of mothers with social structures and the possible causal influence of those social structures on her well-being. The analysis moves from an emergent empirical approach toward the more reflexive and abductive approach of situational analysis, thus better informing our abductive reasoning and the generation of theory. Critical realism and symbolic interactionism provide the methodological underpinning for the study. The setting was South Western Sydney, Australia. Interviews of mothers and practitioners were analyzed using open coding to enable maximum emergence. Situational analysis was then undertaken using situational and social worlds/arena maps. Home and neighborhood situational analysis mapping and analysis of relations identified the following concepts: (a) expectations and dreams, (b) marginalization and being alone, (c) loss or absence of power and control, and (d) support and nurturing. The neighborhood and macro-arena situational analysis mapping and analysis of relations identified the following concepts: (a) social support networks, social cohesion and social capital; (b) services planning and delivery and social policy; and (c) global economy, business, and media. Emerging was the centrality of being alone and expectations lost as possible triggers of stress and depression within circumstances where media portrays expectations of motherhood that are shattered by reality and social marginalization. We further observe that powerful global economic and political forces are having an impact on the local situations. The challenge for policy and practice is to support families within this adverse regional and global economic context.
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Klonowska, Barbara. "Counterspaces of Resistance: Peter Carey’s Bliss." Anglica. An International Journal of English Studies, no. 30/1 (September 1, 2021): 67–78. http://dx.doi.org/10.7311/0860-5734.30.1.05.
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The article discusses how Peter Carey’s 1980 novel Bliss constructs and exam- ines various counterspaces both in and beyond the text. First, it shows how the plot jux- taposes the consumerist middle-class suburban model of life with an alternative lifestyle, presenting the attractions and limitations of both, yet preferring rather the latter. Secondly, at the level of literary convention, the text activates the strategies of comic social realism only to juxtapose them with elements of fantasy, fairy tale and myth, thus undermining the representational powers of the former and hinting at other possibilities of representation. Finally, the film adaptation of the novel shows how even rebellious or critical texts may become ‘domesticated’ or absorbed by the dominating logic of cultural production, thus once again demonstrating the ambivalent position of works of art in general, and this nov- el in particular. The article argues that the ambivalence engrained in the text is an intrinsic feature, not only of Australian culture or heterotopias but of most cultural products and practices inevitably entangled in the double logic of conforming and resistance.
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Law, R. M., T. Ziehn, R. J. Matear, A. Lenton, M. A. Chamberlain, L. E. Stevens, Y. P. Wang, et al. "The carbon cycle in the Australian Community Climate and Earth System Simulator (ACCESS-ESM1) – Part 1: Model description and pre-industrial simulation." Geoscientific Model Development Discussions 8, no. 9 (September 18, 2015): 8063–116. http://dx.doi.org/10.5194/gmdd-8-8063-2015.
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Abstract. Earth System Models (ESMs) that incorporate carbon-climate feedbacks represent the present state of the art in climate modelling. Here, we describe the Australian Community Climate and Earth System Simulator (ACCESS)-ESM1 that combines existing ocean and land carbon models into the physical climate model to simulate exchanges of carbon between the land, atmosphere and ocean. The land carbon model can optionally include both nitrogen and phosphorous limitation on the land carbon uptake. The ocean carbon model simulates the evolution of nitrate, oxygen, dissolved inorganic carbon, alkalinity and iron with one class of phytoplankton and zooplankton. From two multi-centennial simulations of the pre-industrial period with different land carbon model configurations, we evaluate the equilibration of the carbon cycle and present the spatial and temporal variability in key carbon exchanges. For the land carbon cycle, leaf area index is simulated reasonably, and seasonal carbon exchange is well represented. Interannual variations of land carbon exchange are relatively large, driven by variability in precipitation and temperature. We find that the response of the ocean carbon cycle shows reasonable agreement with observations and very good agreement with existing Coupled Model Intercomparison Project (CMIP5) models. While our model over estimates surface nitrate values, the primary productivity agrees well with observations. Our analysis highlights some deficiencies inherent in the carbon models and where the carbon simulation is negatively impacted by known biases in the underlying physical model. We conclude the study with a brief discussion of key developments required to further improve the realism of our model simulation.
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Lockart, Natalie, Garry Willgoose, George Kuczera, Anthony S. Kiem, AFM Kamal Chowdhury, Nadeeka Parana Manage, Lanying Zhang, and Callum Twomey. "Case study on the use of dynamically downscaled climate model data for assessing water security in the Lower Hunter region of the eastern seaboard of Australia." Journal of Southern Hemisphere Earth Systems Science 66, no. 2 (2016): 177. http://dx.doi.org/10.1071/es16015.
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A key aim of the Eastern Seaboard Climate Change Initiative (ESCCI) is under-standing the effect of climate change on the eastern seaboard of Australia, and the implications for climate change adaptation in this area. The New South Wales (NSW) / Australian Capital Territory (ACT) Regional Climate Modelling project (NARCliM) has produced three dynamically downscaled reanalysis climate datasets along with 12 downscaled general circulation model (GCM) projections of current (1990–2009) and future climate. It is expected that the NARCliM dataset will be used for many climate change impact studies including water security assessment. Therefore, in this study we perform a case study investigation into the usefulness and limitations of using NARCliM data for water security assessment, using the Lower Hunter urban water supply system managed by Hunter Water Corporation. We compare streamflow and reservoir levels simulated using NARCliM rainfall and a gridded historical rainfall dataset (AWAP) and focus our analysis on the differences in the simulated streamflow and reservoir levels. We show that when raw (i.e. not bias-corrected) NARCliM rainfall and potential evapotranspiration (PET) data is used to simulate streamflow and reservoir storage levels, some of the NARCliM datasets produce unrealistic results when compared with the simulations using AWAP; for example, some NARCliM datasets simulate reservoirs at or near empty while the AWAP reservoir simulations rarely drop below 60%. The bias-corrected NARCliM rainfall (corrected to AWAP) produces estimates of streamflow and reservoir levels that have a closer, but still inconsistent, match with the streamflow and reservoir levels simulated using AWAP directly. The inconsistency between the simulations using bias-corrected rainfall and historical AWAP rainfall is potentially because while bias-correction reduces systematic deviations it does not fix temporal rainfall sequencing issues. Additionally, the NARCliM PET is not bias-corrected and using bias-corrected rainfall with uncorrected PET in hydrological models results in physical inconsistencies in the rainfall-PET relationship and simulated streamflow. We demonstrate that rainfall plays a large role in the streamflow simulations, while PET seems to play a large role in the reasonableness of the simulated reservoir dynamics by determining the evaporation losses from the reservoirs. The downscaled GCM datasets that simulate the greatest average PET for 1990–2009 show reservoirs often (unrealistically) near empty. This study highlights the need to assess the validity of all climate data for the applications required, with a focus on long-term statistics for reservoir modelling and ensuring realism and coherence across all projected variables.
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Law, Rachel M., Tilo Ziehn, Richard J. Matear, Andrew Lenton, Matthew A. Chamberlain, Lauren E. Stevens, Ying-Ping Wang, et al. "The carbon cycle in the Australian Community Climate and Earth System Simulator (ACCESS-ESM1) – Part 1: Model description and pre-industrial simulation." Geoscientific Model Development 10, no. 7 (July 6, 2017): 2567–90. http://dx.doi.org/10.5194/gmd-10-2567-2017.
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Abstract. Earth system models (ESMs) that incorporate carbon–climate feedbacks represent the present state of the art in climate modelling. Here, we describe the Australian Community Climate and Earth System Simulator (ACCESS)-ESM1, which comprises atmosphere (UM7.3), land (CABLE), ocean (MOM4p1), and sea-ice (CICE4.1) components with OASIS-MCT coupling, to which ocean and land carbon modules have been added. The land carbon model (as part of CABLE) can optionally include both nitrogen and phosphorous limitation on the land carbon uptake. The ocean carbon model (WOMBAT, added to MOM) simulates the evolution of phosphate, oxygen, dissolved inorganic carbon, alkalinity and iron with one class of phytoplankton and zooplankton. We perform multi-centennial pre-industrial simulations with a fixed atmospheric CO2 concentration and different land carbon model configurations (prescribed or prognostic leaf area index). We evaluate the equilibration of the carbon cycle and present the spatial and temporal variability in key carbon exchanges. Simulating leaf area index results in a slight warming of the atmosphere relative to the prescribed leaf area index case. Seasonal and interannual variations in land carbon exchange are sensitive to whether leaf area index is simulated, with interannual variations driven by variability in precipitation and temperature. We find that the response of the ocean carbon cycle shows reasonable agreement with observations. While our model overestimates surface phosphate values, the global primary productivity agrees well with observations. Our analysis highlights some deficiencies inherent in the carbon models and where the carbon simulation is negatively impacted by known biases in the underlying physical model and consequent limits on the applicability of this model version. We conclude the study with a brief discussion of key developments required to further improve the realism of our model simulation.
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Bryan-Wilson, Julia. "Occupational Realism." TDR/The Drama Review 56, no. 4 (December 2012): 32–48. http://dx.doi.org/10.1162/dram_a_00212.
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Since the 1970s, some artists have self-consciously inhabited their workaday jobs as art; this “occupational realism” invokes questions about the performance of labor and the value of art-making. What does it mean to be (emotionally, physically, mentally) “occupied” by one's work? And what does it mean to “occupy” labor as a strategic artistic operation?
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Steyn, Juliet. "Realism versus Realism in British Art of the 1950s." Third Text 22, no. 2 (March 2008): 145–56. http://dx.doi.org/10.1080/09528820802012737.
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Cass, S. "Electronic realism [art and technology]." IEEE Spectrum 38, no. 3 (March 2001): 68–73. http://dx.doi.org/10.1109/6.908875.
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Boardman, Frank. "Realism about Film and Realism in Films." Film and Philosophy 24 (2020): 43–62. http://dx.doi.org/10.5840/filmphil2020244.
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Realism has a significant place in the history of film theory. The claim that film is essentially a realistic art form has been employed to justify the art-status of films as well as the distinctness of film as a form. André Bazin and others once used realist ontologies of film to try to establish realist teleologies and universal critical standards. I briefly sketch this history before considering the prospects for various versions of realism: Bazin’s, as well as Kendall Walton’s and Gregory Currie’s less ambitious but more plausible accounts. I argue that these theories, though they are the best cases we have for realism, are not adequate ontologies of film. However, while prior realist philosophers and critics were wrong to think that realism can provide a critical standard for all films, realism is nonetheless a praiseworthy filmic achievement - one that the opponent of ontological realism should not dismiss.
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Khoo, Olivia. "Cinemas of value: multicultural realism in Asian Australian cinema." Studies in Australasian Cinema 2, no. 2 (January 2008): 141–56. http://dx.doi.org/10.1386/sac.2.2.141_1.
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Kurniawan, Iwan Jaconiah. "Intercultural Interaction: Indonesia and Soviet Society in the Sphere of Art Paintings in the Second Half of the XXth Century." Contemporary problems of social work 6, no. 2 (June 29, 2020): 65–71. http://dx.doi.org/10.17922/2412-5466-2020-6-2-65-71.
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the paper studies the problem of defining an intercultural interaction. The authors analyzed scientific works to identify and classify the Indonesian social realism art painting. In the second half of the XXth century, Indonesian artists had a close relationship with the Soviet Society in the sphere of fine art. The true influence can be found in the social-realism art movement between 1950–1965s in Indonesia during the first President Soekarno era. But the social-realism art movement was no longer because of the horizontal political conflict on September 30, 1965 as well-known as revolution. During the President Soeharto regime (1965–1999), all social realism fine art was destroyed. Socialist and communist ideology was banned in Indonesia. That’s why they represented socialism and communism style not growing freely until now. However, some paintings can be saved abroad by Russian scientists and art collectors. Since 2016, more than 30 Indonesian social-realism paintings were conserved, served, and shown into a historical exhibition in the State Museum of Moscow Oriental Art. These paintings became important in Indonesian social realism art history
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Stork, David G. "Optics and Realism in Renaissance Art." Scientific American 291, no. 6 (December 2004): 76–83. http://dx.doi.org/10.1038/scientificamerican1204-76.
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Jorgensen, Darren. "On the realism of Aboriginal art." Journal of Australian Studies 31, no. 90 (January 2007): 99–106. http://dx.doi.org/10.1080/14443050709388113.
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Lane, Tora. "Totalitarism, realism och historisk ängslighet." Tidskrift för litteraturvetenskap 49, no. 2-3 (January 1, 2019): 8–17. http://dx.doi.org/10.54797/tfl.v49i2-3.6646.
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Totalitarianism, Realism and the Anxiety of History
This essay examines the problem of totalitarian art and totalitarianism by studying the relationship between art, society and history in realism, both as a historical literary practice and as an aesthetic doctrine that is till dominant today. Because the understanding of the development of society and art in Nazi Germany tends to dominate the understanding of totalitarianism, scholarly and popular discussions of ideology in totalitarian art has been dominated by a problematization of myth and utopia. However, this paper takes its starting point in Socialist Realism in order to trace the tendency towards a totalizing explanation of the world in terms of social and historical reality in realism. It also discusses the implications of the impact of realism on art in late modernity to further our understanding of the possible return of totalitarianism and fascism today.
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Miller, Dan J., and Rory Stubbings-Laverty. "Does Pornography Misinform Consumers? The Association between Pornography Use and Porn-Congruent Sexual Health Beliefs." Sexes 3, no. 4 (November 28, 2022): 578–92. http://dx.doi.org/10.3390/sexes3040042.
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Pornography may contribute to sexual health illiteracy due to its often fantastical and unrealistic depictions of sex. This cross-sectional study investigated whether pornography use was associated with holding porn-congruent sexual health beliefs among a sample of 276 Australian and Singaporean university students (Mage = 23.03, SDage = 7.06, 67.9% female, 47.8% Australian). The majority of participants (95.5% of males and 58.9% of females) reported viewing pornography in the past six months. Perceived realism of pornography and prior sexual experience were tested as potential moderators of the relationship between pornography use frequency and sexual health beliefs. Pornography use frequency showed no zero-order association with sexual health beliefs in the overall sample (although a significant zero-order association was observed among female participants). However, a significant positive association between porn use and porn-congruent sexual health beliefs was found in the overall sample, after controlling for demographic variables. Neither perceived realism nor sexual experience were found to act as moderators. Interestingly, prior sexual experience showed a significant zero-order association with sexual health beliefs, such that prior sexual experience was associated with holding porn-congruent beliefs. Perceived realism was unrelated to porn-congruent sexual health beliefs. The study provides some preliminary support for pornography having a misinformation effect on the sexual health knowledge of consumers.
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Yoon, Min-Kyung. "Visualizing History: Truthfulness in North Korean Art." Journal of Korean Studies 25, no. 1 (March 1, 2020): 175–201. http://dx.doi.org/10.1215/07311613-7932298.
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Abstract In North Korean paintings, history is mobilized to legitimate the North Korean system and its leaders. Utilizing the mode of socialist realism, North Korean paintings give visual form to a socialist world, a utopian vision full of unremitting heroism, harvest, and happiness centered on the ruling Kim family. In these paintings, positive heroes such as laborers, workers, farmers, and children are depicted in historically correct scenes that always propel the North Korean revolution forward. After adopting socialist realism from the Soviet Union, North Korea localized this creative method to meet its specific political needs through medium and content. Through this process, socialist realism came to reflect the ideals of juche, the state ideology of North Korea. Informed by North Korean theoretical writings on art and art reviews, this article examines how history is visually mobilized in three paintings created in 1985 and 2000 through the language of juche realism.
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McDonald, Melanie. "Critical Realism, Meta-Reality and Making Art." Journal of Critical Realism 7, no. 1 (May 5, 2008): 29–56. http://dx.doi.org/10.1558/jocr.v7i1.29.
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Balandin, V. S. "ESTHETIK REALISM IN ART OF V. BALANDIN." Tworshestvo i sovremennost 1, no. 14 (2021): 50–53. http://dx.doi.org/10.37909/978-5-89170-278-3-2021-1008.
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Brown, Neil C. M. "Aesthetic Description and Realism in Art Education." Studies in Art Education 30, no. 4 (1989): 212. http://dx.doi.org/10.2307/1320258.
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Childs, William A. P. "The Classic as Realism in Greek Art." Art Journal 47, no. 1 (1988): 10. http://dx.doi.org/10.2307/776899.
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Stieber, Mary. "Aeschylus' Theoroi and Realism in Greek Art." Transactions of the American Philological Association (1974-) 124 (1994): 85. http://dx.doi.org/10.2307/284287.
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Childs, William A. P. "The Classic as Realism in Greek Art." Art Journal 47, no. 1 (March 1988): 10–14. http://dx.doi.org/10.1080/00043249.1988.10792386.
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FROLOVA-WALKER, MARINA. "Stalin and the Art of Boredom." Twentieth-Century Music 1, no. 1 (March 2004): 101–24. http://dx.doi.org/10.1017/s1478572204000088.
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Socialist Realist ceremonial art has generally been viewed in the West as a form of high art, because of its air of monumentality and references to classics. Judged by high-art standards, such works are invariably failures, and Western commentators have accordingly treated Socialist Realism as something exotic or inexplicable. This approach is inadequate: firstly, because it does not examine Stalin-era art on its own terms, and secondly, because it refuses to acknowledge any similarities in Western culture.Socialist Realism was a discipline placed upon artists to provide a suitably dignified backdrop to state ritual. In this sense, it was a species of religious art, in which blandness, anonymity and tedium were by no means vices. This article compares the relatively smooth passage of Myaskovsky into Socialist Realism with the troubled homecoming of Prokofiev, who only mastered the discipline just before the end of his life.
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Beech, Amanda. "Realism + Its Discontents: Determinism Noir." ARTMargins 7, no. 1 (February 2018): 100–114. http://dx.doi.org/10.1162/artm_a_00202.
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This short comic based narrative depicts the challenges to and climate of an alternative form of realism in the art-world as a new project for art's politics and construction. Determinism Noir, Realism and Its Discontents calls upon the classic genre of noir narratives to situate themes of agency, mastery, rationalism and metaphysics. These ideas and images are generated in the nihilistic climate of alienation, itself borne out through the machinic, technological and capitalistic forces of the Twentieth Century. The comic presents three parts: first we see the formation of a project base to insinuate a rational determinism: A world of cause that is unpredictable but nevertheless, a pragmatic working environment; second we see a report, based on real life events, showing arguments from politics and the art-world that continue to voice the fear that it is representation itself that has blighted art's real political purchase. The comic criticizes these arguments as having left art with either a naive commitment to an abstract and essential mythology of present-ness or an antirealist self-contortion that dispossesses it of power. The third part of this narrative re-joins the work of the epistemological detective work that is the exercise for this new realist project. Beech's abstract story gels painterly construction, philosophical argument and political diatribe to extend her ongoing work. Here she argues that art must surpass the egotistic self-consciousness that have wrongly subtended claims to realism, whilst condemning those that aspire to exit realism altogether.
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Isto, Raino. "“I Lived without Seeing These Art Works”: (Albanian) Socialist Realism and/against Contemporary Art." ARTMargins 10, no. 2 (June 2021): 29–49. http://dx.doi.org/10.1162/artm_a_00291.
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Abstract This article looks closely at the inclusion of Albanian Socialist Realism in one of renowned Swiss curator Harald Szeemann's last exhibitions, Blood & Honey: The Future's in the Balkans (Essl Museum, Vienna, 2003). In this exhibition, Szeemann installed a group of around 40 busts created during the socialist era in Albania, which he had seen installed at the National Gallery of Arts in Tirana. This installation of sculptures was part of an exhibition entitled Homo Socialisticus, curated by Gëzim Qëndro, and Szeemann deployed it as a generalized foil for “subversive” postsocialist contemporary art included in Blood & Honey. The Homo Socialisticus sculptures occupied a prominent place in the exhibition both spatially and rhetorically, and this article examines how we might read Blood & Honey—and the socialist past in general—through Szeemann's problematic incorporation of this collection of works in one of the key Balkans-oriented exhibitions staged in the early 2000s. The article argues that understanding how Szeemann misread—and discursively oversimplified—Albanian Socialist Realism can help us see not only the continued provincialization of Albania in the contemporary global art world, but more importantly the fundamental misunderstanding of Socialist Realism as a historical phenomenon and a precursor to contemporary geopolitical cultural configurations
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Parrott, June. "Art Education in Australia." Journal of Aesthetic Education 21, no. 3 (1987): 114. http://dx.doi.org/10.2307/3332877.
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Hornshaw, B. L. "Primitive Art in Australia." Mankind 1, no. 1 (February 10, 2009): 21–22. http://dx.doi.org/10.1111/j.1835-9310.1931.tb00841.x.
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Kiaer, Christina. "Lyrical Socialist Realism." October 147 (January 2014): 56–77. http://dx.doi.org/10.1162/octo_a_00166.
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The thirty-three-year-old artist Aleksandr Deineka was given a large piece of wall space at the exhibition 15 Years of Artists of the RSFSR at the Russian Museum in Leningrad in 1932. At the center of the wall hung his most acclaimed painting, The Defense of Petrograd of 1928, a civil-war-themed canvas showing marching Bolshevik citizens, defending against the incursions of the White armies on their city, arrayed in flattened, geometric patterns across an undifferentiated white ground. The massive 15 Years exhibition attempted to sum up the achievements of Russian Soviet art since the revolution as well as point toward the future, and Deineka, in spite of his past association with “leftist” (read: avant-garde) artistic groups such as OST (the Society of Easel Painters) and October, was among those younger artists who were anointed by exhibition organizers as leading the way forward toward Socialist Realist art—a concept that was being formulated through both the planning of and critical response to this very display of so many divergent Soviet artists. Known for his magazine illustrations and posters, Deineka had also established himself at a young age as a major practitioner of monumental painting in a severe graphic style that addressed socialist themes, such as revolutionary history (e.g., Petrograd), and, as his other works displayed at the Leningrad exhibition demonstrate, proletarian sport (Women's Cross-Country Race and Skiers, both 1931) the ills of capitalism (Unemployed in Berlin, 1932), and the construction of the new Soviet everyday life (Who Will Beat Whom?, 1932).
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Cobley, Paul. "The reactionary art of murder: Contemporary crime fiction, criticism and verisimilitude." Language and Literature: International Journal of Stylistics 21, no. 3 (July 24, 2012): 286–98. http://dx.doi.org/10.1177/0963947012444218.
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One way in which specific crime fiction texts achieve prominence is through critical discourses which promote those texts’ ‘superior’ realism, valorizing the texts and setting them apart from neighbouring generic narratives. This article goes back to the 1921 analysis by Roman Jakobson which identifies a small number of strategies by which arguments about realism proceed. Particularly important for crime fiction criticism is that approach to realism, described by Jakobson, which focuses on contiguous details in narrative. In contrast to the claims of realism is the analytic concept of verisimilitude, based on the ‘rules of the genre’ and ‘public opinion’ or doxa. Verisimilitude, it is argued, has the capacity to address the important issue of generic stagnation, an example of which in crime fiction is the increasing reliance on murder (serial, single or repeated) to propel a narrative. Amidst the conformity in the genre, the article identifies complicity in the promotion of realism and the catalytic occurrence of murder as the key constituents of crime fiction. It also points to some exceptions to this tendency.
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Gultyaeva, Galina S. "Realistic Painting of the 20th Century China in the Context of Cultural Visualization." Observatory of Culture 18, no. 1 (May 24, 2021): 32–43. http://dx.doi.org/10.25281/2072-3156-2021-18-1-32-43.
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This article examines the phenomenon of Chinese realism, as well as the prerequisites and factors that influenced the processes of reception in modern Chinese art. At the beginning of the 20th century, under the influence of Western academic realism and the artistic system of social realism, a new direction and artistic method was formed — realism, which became mainstream in the art of China of the mid-20th century. According to its aesthetic and ideological motifs, Chinese realism is an object of social realism reception, which was determined by cultural and historical factors, and the development of political, economic and cultural ties with the USSR. Studying the realistic painting, which reflects the atmosphere of the era, the worldview, and the dialogue of cultures, is relevant for both Chinese and Russian contemporary art studies. The article examines the role of realism in the development of Chinese art culture of the 20th century, including its socio-political components, as well as the dynamics of artistic and expressive means and the iconographic system in the context of the historical and cultural situation. In the 1980s and 1990s, as a result of the liberalization of economic and political life, the artistic consciousness formed new concepts of realistic painting — neorealism and cynical realism, associated with a critical rethinking of the historical heritage. The neorealism and cynical realism, which would significantly enrich realistic painting with new forms and content, adopted Western postmodern concepts of pop art, and debunked, in a grotesque and satirical form, the political stereotypes of the past. The analysis of realistic painting of the 1990s demonstrates how the transformation of past painting canons reflects the desire of society to free itself from the pressure of totalitarian ideology and to rethink the value orientations of the previous era.The novelty of this study lies in the fact that it applies a systematic and holistic approach to the analysis of realism in Chinese painting, reveals the diversity of its forms and directions, and gives ground for the specifics of its evolution in the context of the artistic culture of the 20th century China. There are almost no comprehensive studies of this issue in modern art history, so this work is an attempt to create a scientific approach to the study of this artistic phenomenon and the formation of ideas about how the artistic consciousness of an entire epoch was changing.
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Langkjær, Birger. "Realism as a third film practice." MedieKultur: Journal of media and communication research 27, no. 51 (August 23, 2011): 15. http://dx.doi.org/10.7146/mediekultur.v27i51.4078.
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<p>The concept of realism may owe much of its success to its vague definition. This article suggests that it can be useful as a term that covers a central, mainstream film practice in European and other national cinemas, located somewhere in between genre films and art films. The concept refers to a serious kind of film that does not obey classical genre rules, but nevertheless tells its stories in an accessible and often engaging form that, generally speaking, creates a more popular (yet serious) film than the art film. As a film practice, it cuts across well known but often vaguely defined sub-categories, such as social realism and psychological realism. Finally, it is argued that the dichotomy between Hollywood genre films and European art cinema ignores both national variants of basic genres and a tradition of realism as a mainstream film practice.</p>
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Scallen, Catherine B., and Wayne Franits. "Looking at Seventeenth-Century Dutch Art: Realism Reconsidered." Sixteenth Century Journal 29, no. 3 (1998): 811. http://dx.doi.org/10.2307/2543702.
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Andreev, A. L. "Socialist Realism and the Traditions of Soviet Art." Soviet Studies in Philosophy 28, no. 4 (April 1990): 71–78. http://dx.doi.org/10.2753/rsp1061-1967280471.
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Regan, Lisa, and Alastair Fowler. "Renaissance Realism: Narrative Images in Literature and Art." Sixteenth Century Journal 35, no. 4 (December 1, 2004): 1210. http://dx.doi.org/10.2307/20477207.
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Bartelik, Marek, Matthew Cullerne Bown, Thomas Lahusen, Evgeny Dobrenko, JoAnn Wypijewski, and Alla Rosenfeld. "Concerning Socialist Realism: Recent Publications on Russian Art." Art Journal 58, no. 4 (1999): 90. http://dx.doi.org/10.2307/777916.
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Jungen, Bettina. "Vera Mukhina: Art Between Modernism and Socialist Realism." Third Text 23, no. 1 (January 2009): 35–43. http://dx.doi.org/10.1080/09528820902786651.
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Tuan, Yi-Fu. "Realism and Fantasy in Art, History, and Geography." Annals of the Association of American Geographers 80, no. 3 (September 1990): 435–46. http://dx.doi.org/10.1111/j.1467-8306.1990.tb00306.x.
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Kronberger, Alisa, and Lisa Krall. "Agential realism meets feminist art. A diffractive dialogue between writers, theories and art." Matter: Journal of New Materialist Research 2, no. 2 (July 26, 2021): 25–49. http://dx.doi.org/10.1344/jnmr.v2i2.35889.
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This article invites readers to follow our diffractive dialogue, which reflects on our interdisciplinary collaboration in thinking and writing with Karen Barad. Working with Barad’s diffractive methodology, we bring her agential realism, insights from quantum physics and feminist theories to contemporary feminist art. The aesthetic practices of three art works are discussed, and we argue that these call for an understanding of eco-, capitalist-, colonialist- and feminist critique as interrelated phenomena in the sense of agential realism. This is because it is not only the art works themselves that create encounter-moments of being-entangled with the bodies and discourses that surround them. From a methodological perspective, we are also interested in marking diffractive moments of encounter with the art works and between us, given our different disciplinary backgrounds. So, we intend to open up a space of encounters between Barad’s work, the work of the three artists and the work of ourselves as writers.
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Mühleisen, Wencke. "Realism of Convention and Realism of Queering: Sexual Violence in two European Art Films." NORA - Nordic Journal of Feminist and Gender Research 13, no. 2 (November 2005): 115–25. http://dx.doi.org/10.1080/08038740500353792.
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Streng, Toos. "Het 'realisme' van de oud-Nederlandse schilderschool. Opkomst en ontwikkeling van de term 'realisme' in Nederland tussen 1850 en 1875." Oud Holland - Quarterly for Dutch Art History 108, no. 4 (1994): 236–50. http://dx.doi.org/10.1163/187501794x00288.
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AbstractThe term 'realism' first cropped up in the jargon of art criticism around the mid-nineteenth century, but the course of its integration did not run smoothly. In Holland, Tobias van Westrheene Wz. is credited with having introduced the term for Netherlandish seventeenth-century painting in Jan Steen, Étude sur l'art en Hollande (1856). By 'realism' he meant a manner of painting which one might call 'the realistic method', and which consisted of two components: the naturalistic aspect, meaning that the artist painted what he saw, rejecting any form of tradition, and the individualistic aspect, meaning that he sought to express the individual, characteristic traits of a subject or situation instead of general, timeless ideals. This neutrally descriptive use of the term 'realism' did not catch on immediately. According to traditionally minded critics such as Joh. Zimmerman and J. A. Bakker, Dutch art was 'realistic' in that it depicted only the outward appearance of objects - that which could be perceived with the senses - and not their ideal quality, which could not be seen but only imagined. Other critics, too, including such pundits as C. Vosmaer, P. J. Veth and C. Busken Huet, decided that the term 'realism' expressed this negative judgment; however, because they had a higher opinion of seventeenth-century Dutch art than Bakker and Zimmerman, they did not think that 'realism' was suitable as a general epithet for it. Between 1850 and 1875, references to the 'realism' of seventeenth-century Dutch art usually meant that artists who worked in this manner regarded their own observation as important and rejected tradition. Seeking to compare the specific nature of old Dutch realism with other schools that turned away from tradition, such as the Caravaggi of the seventeenth century or the modern realists, critics preferred to speak of 'true realism'. What distinguished the old Dutch painter was that he did more than merely observe: he observed lovingly. By virtue of this 'true realism' he was held up as a model to nineteenth-century painters. Used in this manner, the term 'realism' gradually lost its negative connotations and became more widely acceptable. By and large, then, there were three reasons for speaking of 'realism' in seventeenth-century Dutch painting. For Zimmerman and Bakker it was the absence of the idealistic aspect, for Van Westrheene and others it was the importance of the artist's perception and his rejection of all traditions, religious constraints or conventions, and lastly it was the loving gaze, which enabled the Dutch painter to reveal the ideal even in daily life. In the first case a new term ('realism') was linked with an older notion rooted in a dualistic aesthetic which was in turn composed of elements going back to the sixteenth century (or even further: to Plato). In the second case the new term 'realism' was equated with 'naturalism' in the way that art critics had used the term since the seventeenth century for painters working in the Caravaggian tradition. And in the last case 'realism' was linked with a new notion of art and the nature of the ideal.
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Potolsky, Matthew. "Decadence and Realism." Victorian Literature and Culture 49, no. 4 (2021): 563–82. http://dx.doi.org/10.1017/s1060150320000248.
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This essay proposes a new understanding of the widely recognized disdain for realism and the realist novel among decadent writers, a disdain most critics have interpreted as a protomodernist celebration of artifice. Focusing on Oscar Wilde's dialogue “The Decay of Lying,” the essay argues instead that decadent antirealism is antimodern, embodying a repudiation of contemporary society. Decadent writers regard realism not as hidebound and traditional, as twentieth-century theorists would have it, but as terrifyingly modern. Wilde looks back to neoclassical theories of mimesis and classical Republican political theory to imagine a different, older world, one in which art improves upon brute reality and in which the artist stands apart from the social forces that realist novels make central to their literary universes.
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Kamnev, Vladimir M., and Lolita S. Kamneva. "Mikhail Lifshits, György Lukács and theory of aesthetic reflection." Vestnik of Saint Petersburg University. Philosophy and Conflict Studies 36, no. 4 (2020): 721–30. http://dx.doi.org/10.21638/spbu17.2020.410.
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Mikhail Lifshits and György Lukács are known as authors of an absolutely original concept of the cognitive force power of art. The theory of reflection which had a reputation of as one of the most inert rigid and dogmatic aspects of the philosophy of Marxism in general was the cornerstone of this concept. Quite often such a negative reputation of the theory of reflection affects also the general negative relation to an attitude towards the aesthetics of Lifshits and Lukács. However, actually this theory was uniquely interpreted by received from Lifshits and Lukács very original interpretation. First, they always emphasized the fact that the theory of reflection is not a Marxist invention, and thatbut is the it represents a result of a long development of the classical tradition of philosophical and aesthetic thinking. Secondly, reflection itself cannot be understood as a photographic copying of reality at all. Of great importance is the Very important is the circumstance that the theory of aesthetic reflection is justification of the objective nature of art, justification of realism as the highest artistic method of for the knowledge of reality. At the same time, the theory of reflection acts as the methodological tool of for criticism of modernism in art. Attentive Carefully studying of the theory of aesthetic reflection by of Lifshits and Lukács allows makes it possible to reveal identify certain investigations consequences, which owing for to various reasons remained only implied in their texts. FSo, for example, the statement assertion that the realism is the highest method of art istic cognitionknowledge, allows to us to understand the negative relation attitude of Lifshits and Lukács to the art of socialist realism. The Historical and aesthetic reconstruction of the qualification of such a phenomenon of art of the 20 th century art as magical realism, and its dispositions in the opposition of realism and modernism which is key essential for an the aesthetics of Mikh Lifshits and G. Lukács, opposition of realism and modernism can appearmay turn out to be very interesting.
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Casini, Silvia. "Beyond the Neuro-Realism Fallacy." Nuncius 32, no. 2 (2017): 440–71. http://dx.doi.org/10.1163/18253911-03202005.
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This article examines visual practices inside the laboratory and in the arts, highlighting a problem of reductionism in the transformation from data to images and in the visual incarnation of the neuro-realism fallacy, that is the extreme images of brain scan. Neurosciences are not inherently reductionist. John R. Mallard’s work around data visualisation problems in the development of biomedical imaging shows how scientists themselves can be attentive to the construction of visual practices and their meaning. If neuro-realism is a fallacy within the neurosciences, are art-neuroscience collaborative projects reproducing this fallacy at visual level? The article analysis how neuroscience-art projects can enable us (or not) to foster and maintain a stereoscopic vision in the way in which we approach the conundrum of what it is like to be both a biological organism made up of molecules, neurons, cells, and an entity equipped with intentionality, desires, thoughts, values.
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Zagidullina, Daniya. "Tatar literature at the turn of the XX–XXI centuries: transformation of realism." Przegląd Wschodnioeuropejski 9, no. 1 (June 1, 2018): 309–20. http://dx.doi.org/10.31648/pw.3441.
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The scientific novelty of work consists in the appeal to modern Tatar literary process which remains almost not investigated. The choice for the analysis of works of the Tatar literature has been caused, first of all, by the novelty of their esthetic concept. Relevant texts of the Tatar prose writers in the development plan for national art of literature are considered, the main vectors of the movement of historico-literary process are traced. As a result of the conducted research, the art and esthetic nature of the realism in modern Tatar prose incorporating elements of other art systems is established. Content and volume of the concepts ‘literary direction’, ‘current’, ‘post-realism’, ‘post-colonial literature’, ‘classical realism’ are specified in relation to the modern national historico-literary process.
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Gamble, Clive. "Brilliant — rock art and art rock in Australia." Nature 351, no. 6328 (June 1991): 608. http://dx.doi.org/10.1038/351608a0.
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Tribe, Rachel. "Mental health of refugees and asylum-seekers." Advances in Psychiatric Treatment 8, no. 4 (July 2002): 240–47. http://dx.doi.org/10.1192/apt.8.4.240.
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Refugees are not a recent phenomenon. Since the time of the Roman Empire there have been many examples of people fleeing persecution and seeking refuge and protection in other countries. Refugees flee war, internal unrest and persecution by their own governments because of their ethnic origin or their political, religious or social activities. Estimates of the number of refugees and displaced people worldwide range from about 23 million to about 50 million, this latter figure including those who are not officially registered. It is perhaps pertinent to realise that this number is larger than the entire population of Australia and almost the same as the number of refugees resulting from the Second World War. Refugees represent a variety of cultures, races and nations from all over the world. Summerfield (2000) claims that nearly 1% of the people in the world are refugees or displaced persons resulting from about 40 current violent conflicts.
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Weiner, Andrew Stefan. "Stoffbilder: On Capitalist Realisms." ARTMargins 4, no. 3 (October 2015): 81–102. http://dx.doi.org/10.1162/artm_r_00124.
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This essay critically examines the exhibition Leben mit Pop: Eine Reproduktion des Kapitalistischen Realismus, which was first staged in 2013 at the Kunsthalle Düsseldorf. This exhibition surveyed the emergence of Capitalist Realism as a regional form of Pop Art in West Germany during the 1960s. The article evaluates Leben mit Pop as a modification of established art historical scholarship and as an intervention within ongoing debates in curatorial practices and critical cultural theory. It aims to resituate Capitalist Realism relative to the consolidation of the North Atlantic art market, arguing that this allows for a more incisive account of its relevance to contemporary art.