Academic literature on the topic 'Sculpture, modern – 21st century – exhibitions'
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Journal articles on the topic "Sculpture, modern – 21st century – exhibitions"
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Yan, Keyu. "Modernizing Sculpture: Print Culture and the New Discourse on Sculpture in China, circa 1880–1929." East Asian Publishing and Society 13, no. 2 (September 8, 2023): 133–69. http://dx.doi.org/10.1163/22106286-12341378.
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Abstract Much of the current scholarship on the art of China in the 1910s and 1920s focuses on artworks, art academies, and art groups that were associated either with traditional Chinese painting (guohua 國畫) or with oil painting (youhua 油畫). By contrast, other mediums such as sculpture have rarely been discussed by scholars of modern Chinese art. Similar to guohua, the association of which with lofty literati values and imperial eras was hotly debated at the beginning of the Republic of China (1912–1949), the art of sculpture – a category that has long been considered as funerary art, craft, or decorative art – and its relevance to modern China was also discussed by artists and intellectuals at that time. In early twentieth-century China, sculpture eventually gained a new status within the fine arts. This article argues that one important factor that promoted the changing perception of sculpture in the public sphere was the blossoming print culture and its connections with photography and exhibitions in Republican China. Print materials such as newspapers, newspaper supplements, pictorial magazines, and exhibition catalogs/pamphlets promoted the process of modernizing sculpture.
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Rosso, Aluminé. "The cinefication of museums: from exhibitions to films. The case of Tate Modern." Digital Age in Semiotics & Communication 5 (December 30, 2022): 35–61. http://dx.doi.org/10.33919/dasc.22.5.3.
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Since the end of the 20th century, museum institutions have been adopting the logic of communication, promotion, and administration typical of cultural industries, mainly Cinema. In 1994, Andreas Huyssen argued that the museum, as an elitist place of preservation of canon and high culture, gave way to the museum as a mass medium. Cinema became the paradigm of contemporary cultural activities whose new exhibition practices respond to the changing expectations of the public and their constant search for stellar events.Since the end of the 20th century, museum institutions have been adopting the logic of communication, promotion, and administration typical of cultural industries, mainly Cinema. In 1994, Andreas Huyssen argued that the museum, as an elitist place of preservation of canon and high culture, gave way to the museum as a mass medium. Cinema became the paradigm of contemporary cultural activities whose new exhibition practices respond to the changing expectations of the public and their constant search for stellar events. This process is evident in the increasing use of banners, marquees, and all manner of resources aimed at promoting the temporary exhibitions gaining their place as the main attractions of art museums. Moreover, with the advent of social media, the phenomenon of cinefication of the museum has accelerated. Exhibitions are now titled, conceived, promoted, and distributed as films, while artists, adorned by the figure of the genius, are presented as parts of the art history star system. In order to highlight this phenomenon, we present an analysis of the programming and promotion of temporary exhibitions at Tate Modern, the paradigm of 21st-century museums. This institution not only titles its exhibitions in a cinematographic manner but also produces trailers and posts them on its website and social media. Our work focuses on one exhibition in particular: Picasso 1932, Love, Fame, Tragedy. To this end we observed both the curatorial discourse and the communication strategies applied by Tate. This paper is part of a research project that includes MoMA, Malba, Centre Pompidou, and Reina Sofia. The study of this phenomenon will provide an overview of the epochal style of modern art museums in the conception and communication of modern and contemporary art exhibitions.
This process is evident in the increasing use of banners, marquees, and all manner of resources aimed at promoting the temporary exhibitions gaining their place as the main attractions of art museums. Moreover, with the advent of social media, the phenomenon of cinefication of the museum has accelerated. Exhibitions are now titled, conceived, promoted, and distributed as films, while artists, adorned by the figure of the genius, are presented as parts of the art history star system.
In order to highlight this phenomenon, we present an analysis of the programming and promotion of temporary exhibitions at Tate Modern, the paradigm of 21st-century museums. This institution not only titles its exhibitions in a cinematographic manner but also produces trailers and posts them on its website and social media. Our work focuses on one exhibition in particular: Picasso 1932, Love, Fame, Tragedy. To this end we observed both the curatorial discourse and the communication strategies applied by Tate.
This paper is part of a research project that includes MoMA, Malba, Centre Pompidou, and Reina Sofia. The study of this phenomenon will provide an overview of the epochal style of modern art museums in the conception and communication of modern and contemporary art exhibitions.
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Palkovljević-Bugarski, Tijana, and Lolita Pejović. "Activities of the gallery of Matica Srpska in the service of cultural diplomacy." Kultura, no. 173 (2021): 113–24. http://dx.doi.org/10.5937/kultura2173113p.
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Within the framework of rich and diverse activities of museums, which include exhibitions, publishing, educational and conservation / restoration activities, a special place is given to international cooperation programs which, if well designed, can play an important role in the cultural diplomacy system of each country. In the process of transformation from a traditional to a modern museum of the 21st century, the Gallery of Matica Srpska has directed an important part of its activities towards international cooperation and thus cultural diplomacy. These activities are realized through hosting of exhibitions of foreign institutions, visiting exhibitions of the Gallery in European museums, organization of joint exhibitions with museums in the region, cooperation with foreign cultural centers and through protocol visits. Well-designed themes and programs that promote national art, connections with other cultures and the culture of other nations, museum activities - exhibitions and publications - become an important tool for better international relations and a foundation for active cooperation among museum institutions throughout Europe.
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Fang, Zhiyu. "CONTEMPORARY CHINESE SCULPTURE OVERVIEW." Scientific and analytical journal Burganov House. The space of culture 19, no. 3 (June 10, 2023): 49–59. http://dx.doi.org/10.36340/2071-6818-2023-19-3-49-59.
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In the past century, China has experienced significant cultural and societal transformations, transitioning from a culturally isolated and largely illiterate nation to one that is actively developing alongside the rest of the world and presents a unique blend of cultural tradition and modern civilization. Over the years China has seen several generations of sculptors who have been both actively and passively influenced by various schools of sculpture and ideas from France, the Soviet Union, Europe, and the US. In other words, the development of contemporary Chinese sculpture is closely tied to the ideological and cultural progress of China in the 20th century, resulting in a unique and distinctive presence within the global art scene in the 21st century. Unlike other cultural fields, Chinese contemporary sculpture has expanded beyond the boundaries of the art world and the academy. It not only focuses on developing a realistic sculpture system but also incorporates Western contemporary art concepts into its creative process while preserving traditional Chinese sculpture. Contemporary sculpture is currently being developed in a balanced manner through various mainstream routes, including the realistic art tradition of the West, the contemporary art concepts of Europe and America, and the Chinese cultural codes. The formation of this situation has complex reasons, which can be attributed to the multiple changes in the development route of Chinese sculpture throughout the 20th century. This has resulted in several trends of contemporary Chinese sculpture and culture. Additionally, the development trends of Chinese culture throughout the 20th century, as well as the semi-planned and semi-market-oriented economic system implemented in China after the Reform era, have also contributed to this situation. This article provides an overview of the overall development context, explores the issue of the delayed development of contemporary Chinese sculpture, and reviews sculpture genres and styles, offering insights into the formation and genesis of contemporary Chinese sculpture.
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Fürlinger, Ernst. "“Look, You Machame You Dog”: The Story of an Anti-Islamic Inscription on St. Stephen’s Cathedral in Vienna." BORDER CROSSING 6, no. 2 (October 7, 2016): 337–41. http://dx.doi.org/10.33182/bc.v6i2.498.
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After the 1683 Siege of Vienna, an anti-Islamic inscription and sculpture – possibly representing the head of Muhammad – were affixed onto the tower of St. Stephen’s cathedral in Vienna. In the 21st century, this story highlights the difficulties that arise when the collective memory of the former Catholic empire or nation collides with human rights norms of the modern constitutional republic as well with the norms of religious dialogue in the Catholic Church.
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Biedermann, Anna Maria, and Anna Januchta Szostak. "The characteristics of Great Cultural Projects and their impact on architectural and urban heritage (1850–2012)." Arte, Individuo y Sociedad 33, no. 4 (July 12, 2021): 1291–310. http://dx.doi.org/10.5209/aris.71624.
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This study examines Great Cultural Projects (GCPs) as an element of the developmental process of cities. For this study, GCPs are regarded as a global phenomenon rather than cases that must be analyzed independently. The study focused on four types of GCPs: world and international exhibitions, horticultural exhibitions, Olympic Games, and the European Capitals of Culture. The research sample comprised 183 GCPs globally, organized between the middle of the 19th century to the beginning of the 21st century. The study analyzed the influence of different GCPs on city structure and urban heritage and focused on the distinctive development of each GCP type. The study’s novelty lies in recognition of the four main types of GCPs’ potential for multidimensional urban development and their diversified impact on the transformation of modern cities, along with the identification of potential threats, benefits, and development opportunities related to different GCP types.
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Morozova, Elena Ivanovna. "Entertainment as an attributive feature of modern culture." Uchenyy Sovet (Academic Council), no. 2 (January 25, 2024): 71–80. http://dx.doi.org/10.33920/nik-02-2402-01.
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Entertainment culture becomes a structural and typological unit of festive/everyday culture, which uses it every day in the “loop” mode: television show programs, presentations of new boutiques in shopping centers, city fairs, art exhibitions, performances at concert venues, calendars with the slogan “Every day is a holiday”, computer games (as the advertisement says, “The best anti-stress game of all time!”), and so on. Certainly, in this entertainment cycle, a person’s acute perception of festivity becomes dulled, and fatigue from constant heightened emotionality appears. A person gets tired of both entertainment and games. In this sense, “Homo ludens” is not just a concept, but a problem identified and outlined by J. Huizinga, which became obvious in the 20s of the 21st century. The article examines the features of modern culture as a screen, visual culture, directly related to such an attribute as entertainment.
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Titenkov, Yehor. "Application of eco-technologies in modern sculpture and land-art objects." Bulletin of Lviv National Academy of Arts, no. 40 (July 1, 2019): 83–88. http://dx.doi.org/10.37131/2524-0943-2019-40-11.
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Topical issues of the development of environmental technologies and it’s application in contemporary art have been explored, with particular emphasis on sculptural practices and land-art objects. In fact, it has been found that the Ukrainian scientists have addressed rather indirectly to the problem of environmental trends in the context of contemporary art objects. It should be noted that the vast majority of research is limited to the generic characteristics of eco-design and does not focus on the artistic and stylistic features of this phenomenon in general and in art in particular. The historical aspect of the interconnections of scientific and technological progress, exacerbation of environmental issues and the evolution of artistic practices of twentieth century art is revealed. It was found out that these processes were consonant and synthesized. Representative contemporary art projects that can be attributed to environmental art were outlined, their characteristic artistic features were clarified and the main directions of eco-art were determined. The influence of the latest technologies on enhanced dynamics and the adoption of eco-style as a kind of counteraction to the processes of digitalization of modern culture as a whole are analyzed. In particular, it has been traced how environmental technologies are used today in three-dimensional art objects, and how well-known artists work with the most actual issues of the 21st century. Two main vectors of eco-sculpture have been identified: complex objects using technology and land-art projects, which are mainly focused on philosophical concepts and issues of human harmony with nature. However, it has been proved that these two areas are of equal value and extremely relevant in the dynamic artistic processes of today, and also have considerable potential and prospects for further development in view of the increasing aggravation of environmental problems in the modern world.
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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.
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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.
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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.
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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.
Dissertations / Theses on the topic "Sculpture, modern – 21st century – exhibitions"
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van, der Walt Jonathan Petra. "Craftsmanship in contemporary art: an exposition of selected artists’ practical non-involvement." Thesis, Nelson Mandela Metropolitan University, 2017. http://hdl.handle.net/10948/21285.
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Craftsmanship in contemporary art production is the main area of focus for this visual arts based research. An exploration into the artistic production processes of selected contemporary artists’ work, reveals a tendency of physical non-involvement on the part of the artist, who takes up the role of art director. The research enquiry attempts to provide an answer as to whether credit should be given to the craftsman as well as to the artist in this artist/craftsman relationship. The use of a practice-led research strategy allows the researcher’s art-making practice to become an integral part of the cycles of research, as the development of the researcher’s practical understanding, techniques and execution are crucial in the practical component, but also conceptually as a stance in opposition to the selected artists’ lack of practical involvement. The researcher has identified and analysed the following five factors that have contributed to this current state of art production in contemporary art: Kitsch as an influence on the subject matter and content of art, Marcel Duchamp and his idea of the ‘readymade’ and issues of authorship, Andy Warhol and his ideas on art and business, the Conceptual Art movement and, the act and product of craft being perceived as being inferior to the fine arts In addition, an exploration of the production processes involved in the creation of the artworks of Jeff Koons, Damien Hirst, Maurizio Cattelan and Takashi Murakami highlights the craftspeople, fabricators and foundries that are responsible for these artists’ highly crafted aesthetics. As practice is crucial in developing a new understanding and meaning in visual-arts based research, the practical component describes the researcher’s core practical themes as being the following:the creation of naturalistic figurative small-scale sculptures in resin and bronze, placing the characters explored in the theoretical component as the subject matter.The advantages and disadvantages of the collaborative experience with Sculpture Casting Services (fine art foundry) and eNtsa (a Technology Innovation agency), especially the implementation of 3D technologies in both experiences; and the technical development and understanding in order to improve the researcher’s artistic practice Collaboration is an important underlying theme throughout this research undertaking. It is crucial in the production of most contemporary art, and assists in identifying the artist’s role within the production of his/her work. Finally, it relates to the researcher’s collaborative experience expanded upon in the practical component and its benefits as a production method. In concluding, the researcher finds that craftspeople do receive credit for the work they do in the form of money, business and marketing. They provide a service that a great number of artists generously support. Foundries and fabricators also place a mark on the work they do, much like the artist’s signature, as a symbol of pride and recognition. It is ultimately the artist’s technical abilities, workload and artist identity or brand that will determine the extent to which he or she will contribute to the collaboration, whether that be a simple idea, a sketch, a maquette or a large-scale sculpture ready for installation. However, in a rapidly advancing technological society, it is the idea of the artist as craftsman, both thinker and maker, that demands more respect.
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Dawson, Louisa Art College of Fine Arts UNSW. "Moving house: the renovation of the everyday." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43084.
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This paper describes my research project and body of work, which investigates social inequalities through the different language and functions of everyday objects. The research moves on from my previous Honours research project on the dou ble nature of caravan parks in NSW and looked at the changing demographics of these locations. I noted the increase of semi-permanent, residential 'homes' for low income earners and the unemployed, in these holiday locations. This paper examines broader social issues of homelessness and social inequalities within our society. I look at the complexities in the definitions of homelessness and the ways in which people find themselves in the position where they rely on welfare agencies and government support. I also investigate different representations of homelessness by artists and other social commentators, ranging from the hopeless victim to the vagrant. This section locates my social concerns with the context of theoretical debate and artistic representation. I have used everyday and mundane objects in my artworks to discuss these social concerns. Everyday objects posses a language and commonality that is familiar to all members of society. This language is developed from the different historical, cultural and functional qualities that everyday objects possess. I discus this in relation to the development of the everyday object in artistic practices from the early 20th century to today. Of specifically importance to my practice is the influence of contemporary German artists and their manipulation of objects to make works with political and social content. Throughout this paper I have discussed individual art works which illustrate my social concerns and the practicalities of the everyday. Revealing how I juxtapose certain objects to question the uneven nature of travel and home, with regards to possessions and mobility. Additionally I challenge the normal functions of objects to reveal new absurd possibilities of use.
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Kühn, Carol. "Digital sculpture : conceptually motivated sculptural models through the application of three-dimensional computer-aided design and additive fabrication technologies." Thesis, [Bloemfontein] : Central University of Technology, Free State, 2009. http://hdl.handle.net/11462/50.
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Wasserman, Minke. "'Becoming animal': motifs of hybridity and liminality in fairy tales and selected contemporary artworks." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1019759.
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‘Becoming Animal’: Motifs of Hybridity and Liminality in Fairy Tales and Selected Contemporary Artworks serves as a theoretical examination of the concept of the hybrid. My research unpacks the liminal aspect of hybridity, locating the hybrid in the imaginative world of popular fairy tales, folk lore and mythology. In my accompanying MFA exhibition, Becoming(s), I explore these motifs through an installation of mixed-media sculptures which are based on the hybrid creatures that populated the fantasy world of my childhood. The written component of my MFA submission will relate directly to my professional art practise, developing it further and situating it within a relevant context. In my mini-thesis I will consider the liminal in relation to the ‘animal turn’ in contemporary art, with a particular focus on relevant artists working with the motifs of hybridity, such as Nandipha Mntambo, Jane Alexander and Kiki Smith. The ‘animal turn’ is a term used by Kari Weil (2010: 3) to describe a contemporary interest in issues of the nonhuman, and in the ways that the relationship between humans and nonhumans is marked by “difference, otherness and power”. Of key concern to my research will be Giles Deleuze and Felix Guattari’s concept of ‘becoming animal’. Rather than describing a transition from one stable state to another, ‘becoming animal’ suggests a radical dissolution of boundaries – not just between species (such as ‘human’ and ‘animal’) but between any essentialising binaries. As such, ‘becoming animal’ suggests a conception of identity as being fluid and mutable, rather than stable and fixed.
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Hoyne, Hanna. "Commitment, devotion and belonging in the world with particular reference to the work of two Indian contemporary artists." Phd thesis, 2009. http://hdl.handle.net/1885/150148.
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Commitment, Devotion and Belonging in the World with Reference to Indian Contemporary Art: Research into the ethical and political concerns in the work of two urban contemporary artists from Bombay/ Mumbai, Shilpa Gupta and Tushar Joag. The descriptive analysis of artworks explores the motivations evidenced in their strategic uses of audience interactivity, masquerade and social activism. The artists' quest for an ethical identity is framed in the greater theoretical context of Indian and global contemporary art. A study taking the form of an exhibition of sculpture exhibited at the ANU Bergman College Multidenominational Prayer space from August 24 to 29, 2009 which comprises the outcome of the Studio Practice component, together with the Exegesis which documents the nature of the course of study undertaken, and the Dissertation, which comprises 33% (or 66%) of the Thesis.v.1 Text -- v.2. Exegesis
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Wepener, Daneille. "Conflicting conventions: space as a medium in the works of Gerhard Richter and Serge Nitegeka." Thesis, 2017. https://hdl.handle.net/10539/24581.
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A dissertation submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the degree of Masters of Arts in Fine Arts (MAFA) Johannesburg, 2017This dissertation aims to examine Gerhard Richter and Serge Nitegeka’s artistic practices, in order to understand and identify how artists can potentially use space as a medium and contextualise my own practice within this realm. I position the conventions and principles of space through reference to French theorists’ Henri Lefebvre, Michel de Certeau and Michel Foucault. The thesis begins with a brief overview of the window as a painterly motif and spatially familiar everyday device in the introduction. In the first chapter, I explore the surface and reflection of the medium of glass, the colour gray, the monochrome, as well as the pictorial, in Gerhard Richter’s Eight Gray (2002). The second chapter examines the role of the frame or line in Serge Nitegeka’s Black Lines (2012), as an environment of experience that relies on painted diagrams and the illusion of perspectival space. The third chapter observes a shift in the manner in which Richter and Nitegeka experiment and extend their practices through an engagement with the mirror and the door, respectively, as ways of exploring the threshold. Finally, I discuss my own practice and reflect on the exhibition Through the Extent (2015), which was submitted as the practical component of this research.
XL2018
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Trapani, Alex. "Bruce Nauman : the true artist is an absurd fountain." Diss., 2017. http://hdl.handle.net/10500/23276.
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Link to dataset: https://doi.org/10.25399/UnisaData.14152106.v1The work of Bruce Nauman can be understood as an enquiry into the absurd. His work is a critique of art, the artist and society, and is in part viewed as a mediation of stereotypical ‘truth’. The absurd is defined and analysed to elucidate the nature of art and human behaviour by means of literary comparison, in particular of Camus, Sartre and Wittgenstein. This research focusses on Nauman’s subversive performance- based work and analyses how he simulates a particular work of Duchamp. I propose that Nauman espouses human activity into the functionality of objects, such as fountains. My artworks expand on Nauman’s interrogation of the concept of a ‘true artist’ by embodying an absurd fountain as a Sisyphean construct. In contextualising my work in relation to incessant duty, insecurity and double negatives, I offer a regenerative vigour against idolisation of success through contemplation of the artist’s doubt and the absurd.
Art History, Visual Arts and Musicology
M.A. (Visual Arts)
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Willemse, Emma Wilhelmina. "The phenomenon of displacement in contemporary society and its manifestation in contemporary visual art." Diss., 2010. http://hdl.handle.net/10500/4343.
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As an alternative to existing research which states that the phenomenon of displacement resists theorisation because of its complex nature, this study conducts a Phenomenological examination of the nature of displacement in which the interlinked losses in the key concepts of the consciousness of the displaced, namely Memory, Land and home and Identity, are navigated. It is shown that the current consciousness of society mimics these losses with the effect of displacement being experienced as a state of mind by contemporary society. By comparing selected artworks of artists Rachel Whiteread and Cornelia Parker, it is established that although manifested in diverse ways, contemporary artworks reflect displacement according to a set of broadly defined visual signifiers. The visual documentation of a site of displacement in the North West Province of South Africa and subsequently produced artworks underline these findings and highlight the elusive attributes of loss inherent in the displacement phenomenon.Art History, Visual Arts & Musicology
M.A. (Visual Arts)
Books on the topic "Sculpture, modern – 21st century – exhibitions"
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1943-, Flood Richard, and New Museum (New York, N.Y.), eds. Unmonumental: The object in the 21st century. London: Phaidon in association with New Museum, 2007.
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1935-2012, Price Kenneth, Los Angeles County Museum of Art, Nasher Sculpture Center, and Metropolitan Museum of Art (New York, N.Y.), eds. Ken Price Sculpture: A Retrospective. Los Angeles: Los Angeles County Museum of Art, 2012.
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Kracht, Christian. Anthony James, Morphic fields: In conjunction with the Exhibition "Anthony James: Morphic Fields - Skulpturen", Walter Storms Galerie, Munich, February 28 - April 26, 2014. Ostfildern: Hatje Cantz, 2014.
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Deborah, Horowitz, Smithsonian Institution, and Hirshhorn Museum and Sculpture Garden., eds. The uncertainty of objects and ideas: Recent sculpture. Washington, D.C: Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, 2006.
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Kunc, Milan. Milan Kunc: Peinlicher Realismus, Ost-Pop (1974-1979) : Verfeinerte Malerei (1986-1992) = Embarassing realism, Ost-Pop (1974-1979) : Refined painting (1986-1992). [Stuttgart]: Cantz, 1992.
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Ulrich, Obrist Hans, Herbert Martin 1973-, and Hauser & Wirth London, eds. Subodh Gupta, common man: Ām ādmi. Zurich: JRP/Ringier, 2009.
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Kunc, Milan. Milan Kunc: Paintings & drawings. London: Edward Totah Gallery, 1989.
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Kunc, Milan. Milan Kunc. New York, N.Y: Pat Hearn Gallery, 1986.
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Baker, George, 1931 January 23-, Calder Alexander 1898-1976, Museum of Contemporary Art (Chicago, Ill.), Nasher Sculpture Center, Orange County Museum of Art (Calif.), and Nasher Museum of Art at Duke University, eds. Alexander Calder and contemporary art: Form, balance, joy. London: Thames & Hudson, 2010.
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1946-, Weiss David, Curiger Bice 1948-, Tate Modern (Gallery), Musée d'art moderne de la ville de Paris., Kunsthaus Zürich, and Deichtorhallen Hamburg, eds. Fischli Weiss: Flowers & questions : a retrospective. London: Tate, 2006.
Find full textBook chapters on the topic "Sculpture, modern – 21st century – exhibitions"
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Skorokhodov, Maxim. "THE ESTATE WORLD OF GRIBOEDOV AND ITS RECEPTION IN THE LITERARY SPACE OF KHMELITA." In Aleksandr Griboedov and His Epoch: Khmelitsky Sbornik (Khmelita Proceedings) No. 18, 305–20. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3672.khmelita-18/305-320.
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Russian estate space has surrounded A.S. Griboedov since his early childhood and throughout his life thanks to the summer residence in the family estate Khmelita in Smolensk province and his numerous travels during which he stayed in the estates of his friends and acquaintances. A Russian estate as a centre of cultural life and a place of socialising was important to the playwright and diplomat. His attention to the world of the estate - the main house, church, outbuildings, gardens, alleys, ponds etc. - was reflected in his travel sketches, letters and other texts. Revived by the architect V.E. Kulakov and his associates, Khmelita, currently called the State Historical and Cultural Museum-Reserve of Aleksandr Griboedov, is developing at the beginning of the 21st century as a modern literary estate, preserving the memory not only of the great playwright, but the entire culture of the estate. Permanent exhibitions and projects reveal the specifics of estate life. Just as in the XIX century Khmelita is a hospitable home, a place where you can meet artists and writers and view the exhibits telling about the key characters of Russian culture.
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Bobilewicz, Grażyna. "Obraz Afryki w malarstwie rosyjskim XX i początku XXI wieku." In Afryka i (post)kolonializm. Wydawnictwo Uniwersytetu Łódzkiego, 2016. http://dx.doi.org/10.18778/8088-260-7.07.
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The research on Russian painting of the 20th and the beginning of the 21st century in the context of early and modern African culture/art belongs to the realm of theoretical reflection within such disciplines as cultural geography, anthropology of place and space, cultural and existential experience, geocriticism (painterly depictions of natural and urban space), geopoetics (painterly topography), and is interdisciplinary in nature. The analysis of Russian-African interdisciplinary dialogue in visual representations of Africa, as an aspect of the Russians’ awareness and idea of this continent, requires an answer to the following questions: what attracted Russian artists to Africa and how did it influence Russian culture/art? And the other way round – what did Russians, especially those travelling through Africa, bring to African culture? In Russian painting, which is diverse in terms of genres (landscape, portrait, still life), Africa functions as a nationally, culturally and socially heterogeneous continent. The early and modern African aesthetics/ art is the source of inspiration for iconographic and formal innovations. In iconic texts, visual translation, representation and interpretation of Africa manifests itself at the imagination-related levels: at thematic and motivic, narrative and compositional levels, at the level of a painterly code and in the conceptualization of artistic language. The painterly depiction of Africa, to which each of the Russian artists contributes their own representation types, artefacts, poetics and semantics, is usually created on the basis of the observation of real space, which, transformed in the iconic text, functions in an artistic, aesthetic, ideological and emotional projection. The reflection focuses on the painterly depictions and various representations of Africa which include motifs referring to African culture/art – the effect of ethnographic and artistic travels to various regions of the Dark Continent. The exemplary material selected from albums, Internet exhibitions of Russian paintings and artists’ professional websites has been analysed in terms of iconography (identification of the elements of the represented world and the relations between them), the connection between the title of the work and the visual representation, the formal determinants of the painterly depiction of Africa, and the poetics of reception.
Conference papers on the topic "Sculpture, modern – 21st century – exhibitions"
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Афиногенова, Н. Н., and О. В. Ковалева. "SCULPTURE FELT AS A NEW MATERIAL IN THE PLASTIC ARTS OF THE 21ST CENTURY. ARTISTIC EXPERIMENTS." In КОДЫ. ИСТОРИИ В ТЕКСТИЛЕ. Crossref, 2024. http://dx.doi.org/10.54874/9785605162971.2024.3.02.
Full textAbstract:
Декоративный войлок — вид художественного нетканого текстиля. Имеет глубокие исторические корни в материальной культуре человечества. В ХХI веке войлок окончательно оформился в самостоятельное направление современного искусства. В настоящей статье проанализирован феномен скульптурной пластичности войлока как материала, позволяющего создавать трехмерные арт-формы и композиции, актуальные в современной объемнопространственной среде. Рассмотрены примеры объектов «мягкой скульптуры» из войлока c художественной и технологической точек зрения. Decorative felt is a type of artistic non-woven textile. It has deep historical roots in the material culture of humanity. In the 21st century, felt finally emerged as an independent movement of contemporary art. This article analyzes the phenomenon of sculptural plasticity of felt as a material that allows you to create three-dimensional art forms and compositions that are relevant in the modern three-dimensional environment. Examples of objects of “soft sculpture” made of felt are considered from artistic and technological points of view.
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Boda, Gherghina. "Romanian national heritage at the universal exhibition in Barcelona (1929)." In Simpozion internațional de etnologie: Tradiții și procese etnice, Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841733.05.
Full textAbstract:
Since the 18th century, universal exhibitions have undergone a wide development, each aiming to bring to the public’s attention not only the most special and innovative exhibits but, at the organizational level, the most varied and unique attractions, usually the latest technical innovations or using what is already known in a whole new way. Romania was one of the participating countries, the inauguration of the Romanian Pavilion in Barcelona, on an area of 400 square meters, taking place on October 4, 1929, in the presence of King Alfonso XIII of Spain. Th e layout of the Pavilion provided for two major groups: a cultural one and an economic one, with sections dedicated to peasant art, modern painting and sculpture, decorative art, household industries. Following the judging, the products on display, received 62 Grand Prix, 51 honorary diplomas, 49 gold medals, 14 silver medals, 8 bronze medals and 21 collaborator diplomas. Th is shows the special value of the exhibits, as well as the international recognition of the national art and economy.