Artículos de revistas: "21st century art"

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Prescott-Steed, David. "Art school: propositions for the 21st century". Continuum 26, n.º 2 (abril de 2012): 325–27. http://dx.doi.org/10.1080/10304312.2011.562965.

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Lu, Lilly. "Teaching 21st-Century Art Education in aVirtualAge: Art Café @ Second Life". Art Education 63, n.º 6 (noviembre de 2010): 19–24. http://dx.doi.org/10.1080/00043125.2010.11519098.

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Canna, Scott W. y Peter A. Nigrovic. "Editorial: 21st Century Storm Chasers: Defining Macrophage Activation Syndrome". Arthritis & Rheumatology 68, n.º 3 (24 de febrero de 2016): 557–60. http://dx.doi.org/10.1002/art.39329.

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Hewett, Katherine J. E., Bethanie C. Pletcher y Guang Zeng. "The 21st-Century Classroom Gamer". Games and Culture 15, n.º 2 (11 de abril de 2018): 198–223. http://dx.doi.org/10.1177/1555412018762168.

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The 21st century has given rise to gaming industry technologies that drive a new type of learner in the classroom. This article draws data from four case studies that were conducted as part of a sequential mixed-model study. The study explored the 21st-century skills students reported learning through their video game consumption and creation of intellectual property. The qualitative data analysis led to the development of five major findings: (1) the strategist: accomplishing the mission, (2) the creator: the art of gameplay, (3) the communicator: building relationships and communities, (4) the hero: to be the hero of a great adventure, and (5) I am an “elite”: a digital native. These findings attempt to create a profile of the 21st-century classroom gamer based on the data. They represent and support research trends that explore the gaming phenomenon, gamer traits, and 21st-century skills learned through playing video games.

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Fredriksson, Malin. "Art and religion in contemporary society". Approaching Religion 6, n.º 2 (14 de diciembre de 2016): 186–88. http://dx.doi.org/10.30664/ar.67583.

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Iversen, Maura D. "Organization mentorship for the 21st century: A vision for ARHP". Arthritis Care & Research 51, n.º 3 (3 de junio de 2004): 305–6. http://dx.doi.org/10.1002/art.20408.

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Rowe, Allison. "Socially Engaged Art at the Reimagined 21st Century Museum". Marilyn Zurmuehlen Working Papers in Art Education 2018 (29 de noviembre de 2018): 1–17. http://dx.doi.org/10.17077/2326-7070.1511.

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Barashkov, Victor. "Aaron Rosen. Art & Religion in the 21st Century". Религиоведческие исследования, n.º 1 (2019): 144–54. http://dx.doi.org/10.23761/rrs2019-19.144-154.

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Sidky, Saria y Dina Adel zaki. "21ST CENTURY SKILLS: NEW ART EDUCATION PARADIGMS IN EGYPT". المجلة العلمیة لجمعیة امسیا – التربیة عن طریق الفن 4, n.º 14 (1 de abril de 2018): 161–79. http://dx.doi.org/10.21608/amesea.2018.76229.

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Bryant, Courtney. "A 21st-Century Art Room: The Remix ofCreativityand Technology". Art Education 63, n.º 2 (marzo de 2010): 43–48. http://dx.doi.org/10.1080/00043125.2010.11519061.

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Acuff, Joni Boyd. "Black Feminist Theory in 21st-Century Art Education Research". Studies in Art Education 59, n.º 3 (3 de julio de 2018): 201–14. http://dx.doi.org/10.1080/00393541.2018.1476953.

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Arshad, Noeen. "The art of moving teeth in the 21st century". American Journal of Orthodontics and Dentofacial Orthopedics 121, n.º 3 (marzo de 2002): 14A. http://dx.doi.org/10.1067/mod.2002.122858.

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Castro, Gabriela. "A dúvida de Cézanne como propedêutica da arte no século XXI". Phainomenon 18-19, n.º 1 (1 de octubre de 2009): 175–84. http://dx.doi.org/10.2478/phainomenon-2009-0010.

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Abstract Starting from the question of Émile Bernard to Cézanne: “nature and art are not different?”, and the painter’s answer: “ I would like to join them”, we thought that it would be possible to link the spirit of this sentence with the advances of the art in the 21st century. Cézanne’s attitude designs the union between the two realities: art and nature. This union, in the 21st century, has a new artistic representation called bio-art. With bio-art the dichotomy between art and nature disappears and the artistic-scientific product, as a phenomenological object, is a new substance and opens a new ontology.

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Kolesnikova, I. A. "Lifelong education in the 21st century: new research perspectives". Lifelong education: the XXI century 1, n.º 1 (junio de 2013): 2–18. http://dx.doi.org/10.15393/j5.art.2013.1941.

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Vaughan, Denis A. y Denny Sakkas. "Sperm selection methods in the 21st century". Biology of Reproduction 101, n.º 6 (25 de febrero de 2019): 1076–82. http://dx.doi.org/10.1093/biolre/ioz032.

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Abstract Natural sperm selection in humans is a rigorous process resulting in the highest quality sperm reaching, and having an opportunity to fertilize, the oocyte. Relative to other mammalian species, the human ejaculate consists of a heterogeneous pool of sperm, varying in characteristics such as shape, size, and motility. Semen preparation in assisted reproductive technologies (ART) has long been performed using either a simple swim-up method or density gradients. Both methodologies provide highly motile sperm populations; however neither replicates the complex selection processes seen in nature. A number of methods have now been developed to mimic some of the natural selection processes that exist in the female reproductive tract. These methods attempt to select a better individual, or population of, spermatozoa when compared to classical methods of preparation. Of the approaches already tested, platforms based upon sperm membrane markers, such as hyaluronan or annexin V, have been used to either select or deselect sperm with varied success. One technology that utilizes the size, motility, and other characteristics of sperm to improve both semen analysis and sperm selection is microfluidics. Here, we sought to review the efficacy of both available and emerging techniques that aim to improve the quality of the sperm pool available for use in ART.

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Pavlov, A. V. y Y. V. Erokhina. "Images of Modernity in the 21st Century: Altermodernism". Russian Journal of Philosophical Sciences 62, n.º 2 (12 de mayo de 2019): 7–25. http://dx.doi.org/10.30727/0235-1188-2019-62-2-7-25.

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The article discusses an actual problem of the contemporary social theory – a problem of post-postmodernism that is the answer to the question: what comes to replace the supposedly outdated postmodernism. Post-postmodernism in an umbrella term that brings together various concepts like digimodernism, automodernism, metamodernism, hypermodernism, supermodernism, etc. One of the replacing postmodernism theories is the French curator and art theorist Nicolas Bourriaud’s concept that was called “altermodern” or “other modernism.” In his previous books Bourriaud proposed to rewrite modernism and, as the result, developed a new theory. The concept appeared in 2009 when Bourriaud presented the exhibition in London, timed to the publication of his manifesto Altermodern, and edited and published the book of collected papers of the same title. Globalization, which opened borders for art, is a central concept of the altermodernism theory. The main terms of altermodern are heterochrony (time diversity) and viatorisation (nomadism). The main social subject of the alternodern era is a free travelling artist, who interprets the meanings of “rewritten” art for the public. They are “rewritten” because Bourriaud proposes to use phenomena and products of past ages to make them work in a new way. However Bourriaud’s concept should be considered critically, as it was formerly done by several researchers. The article proposes a critical review that answers to the question: to what extent the idea of altermodern is heuristic and therefore it could compete with other concepts that abolish postmodern. The author gives a negative answer to this question first of all because altermodern just borrows a lot of elements of the language and apparatus of postmodernism and actually does not offer anything new.

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Frayling, Christopher. "The New Bauhaus: an art education for the 21st century". Art Libraries Journal 32, n.º 1 (2007): 31–37. http://dx.doi.org/10.1017/s0307472200014838.

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I’ve called this paper ‘The New Bauhaus: an art education for the 21st century’ – and it involves an element of prediction, which is always high risk in the unpredictable worlds of art and design. Let me start, as a cautionary tale and as a curtain-raiser, with the example of a designer who thought he was rather good at looking ahead.

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Domm, Daniela Perazzo. "RoseLee Goldberg, Performance Now: Live Art for the 21st Century". Dance Research 37, n.º 2 (noviembre de 2019): 266–68. http://dx.doi.org/10.3366/drs.2019.0279.

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Kim, Sun-Young. "A Study of Up-cycling in 21st Century Fashion Art". Research Journal of the Costume Culture 20, n.º 3 (30 de junio de 2012): 295–308. http://dx.doi.org/10.7741/rjcc.2012.20.3.295.

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Bonacic, Vladimir. "A Transcendental Concept for Cybernetic Art in the 21st Century". Leonardo 22, n.º 1 (1989): 109. http://dx.doi.org/10.2307/1575148.

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Gude, Olivia. "Postmodern Principles: In Search of a 21st Century Art Education". Art Education 57, n.º 1 (enero de 2004): 6–14. http://dx.doi.org/10.1080/00043125.2004.11653528.

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Krieg, Andreas y Jean-Marc Rickli. "Surrogate warfare: the art of war in the 21st century?" Defence Studies 18, n.º 2 (21 de enero de 2018): 113–30. http://dx.doi.org/10.1080/14702436.2018.1429218.

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Dash, Paul. "Thoughts on a Relevant Art Curriculum for the 21st Century". Journal of Art & Design Education 18, n.º 1 (febrero de 1999): 123–27. http://dx.doi.org/10.1111/1468-5949.00163.

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Jung Eun Choi. "Toward 21st-Century Media: Critical Spatial Practices in Art History". Journal of History of Modern Art ll, n.º 39 (junio de 2016): 177–98. http://dx.doi.org/10.17057/kahoma.2016..39.007.

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sun young kim. "A Study of Up-cycling in 21st Century Fashion Art". Research Journal of the Costume Culture 20, n.º 3 (junio de 2012): 295–308. http://dx.doi.org/10.29049/rjcc.2012.20.3.295.

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Roberts, Allen F. "In extremis death and life in 21st-century haitian art". Material Religion 9, n.º 2 (junio de 2013): 264–66. http://dx.doi.org/10.2752/175183413x13703410896294.

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Qurban, Masuda Aalim Jalan. "Renewing Art Education Philosophy in Light of Twenty-First Century Skills". Asian Social Science 15, n.º 3 (28 de febrero de 2019): 107. http://dx.doi.org/10.5539/ass.v15n3p107.

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The problem of renewing the philosophy of teaching art education in the light of 21st century skills. Art education at the global level is facing many and many challenges as a result of the tremendous changes in the way knowledge and information are exchanged, in which technology plays a large role because of the necessity of its existence at various scientific levels. These challenges required a comprehensive review of the educational system and philosophy in general And in particular technical education, which in turn lead to the development of advanced courses and innovative work to prepare a learner is able to absorb better, in addition to it makes the educational process an interesting process for the learner and by integrating those courses study With 21st century skills and information technology, which in turn improves the outcomes of the learning process and the quality of education. Research problem: The researcher found through the study of international and international research of the 21st century skills and information technology to be applied in the curricula of different fields, because it is important for the students as it earns and trains them on life and work skills to bring out a person who is more capable of dealing smartly in life and linking them to the curriculum. As well as their application to the labor market. Therefore, the problem of this research lies in the following question: To what extent is it possible to implement a program based on the integration of information technology and art education curricula in the light of 21st century skills to bring out a learner capable of keeping pace with the labor market? Research goals: The research aims to: - Prepare a student capable of keeping pace with the labor market through the application of the skills of the 21st century by international standards in the curricula of art education. - to highlight the skills of the twenty-first century of high value that contribute to the output of a learner capable of achieving professional success in the labor market. Research importance: - keep up with information technology through integration with the curriculum of art education - Use the skills of the twenty-first century in teaching the curriculum of art education - Stimulate educational institutions to apply the skills of the twenty-first century and mechanisms to achieve the vision of the Kingdom 2030 in the field of education.

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Ferdous, Mafruha. "Reading Homer’s The Iliad in 21st Century". Advances in Language and Literary Studies 8, n.º 2 (30 de abril de 2017): 101. http://dx.doi.org/10.7575/aiac.alls.v.8n.2p.101.

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Homer's Iliad refers to an epic story written by the ancient Greek poet Homer, which makes an account of the most significant events that earmarked the very last days which defined the Trojan War and the Greek siege of the city of Troy. Troy was also known as Ilium, Ilion, or Ilois in the past. Having made to center around the events of the Trojan War, Homer’s Iliad is a work of art that paints to all of us interested in literature, what really happened in the past. The paper purposes to provide invaluable insights regarding the significance of Homer’s Iliad today and what it teaches us about poetry and the ancient culture of the Greeks.

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Veres, Bálint. "Franz Liszt and the Temple of Art". Hungarian Studies Yearbook 4, n.º 1 (1 de noviembre de 2022): 10–32. http://dx.doi.org/10.2478/hsy-2022-0002.

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Abstract Is it possible or desirable at all to establish a museum for music? The question was first posed by Franz Liszt in the 19th century. This essay will not only present the background and context of the question, but also the contradictory conclusions that emerge from the idea of the musealisation of music, and which still linger in 20th-and 21st-century music culture.

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Alamsyah y Laksono Arido. "The Craft of Relief Carving Art and Its Impact on The 21st Century Jepara Craftsmen's Economic Life". E3S Web of Conferences 73 (2018): 10023. http://dx.doi.org/10.1051/e3sconf/20187310023.

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The article on “The Craft of Relief Carving Relief Art and Its Impact on the 21st Century Jepara Craftsmen's Economic Life” describes the craft of relief carving which has an impact on the economic life of the Jepara craftsmen. The existence of Jepara relief art had been proven historiographical. Relief art has existed since the time of Queen Kalinyamat in the 16th century. The artifacts of relief carving art in Queen Kalinyamat's period are found in Mantingan Mosque in Jepara. The relief of carving craft gets its influences from various fields, including the influence of religion, local culture, Chinese culture, and others. In the 1990s to the beginning of the 21st century, relief craft increasingly innovated by enriching motifs and decorative reliefs in the form of flora, fauna and other motifs. Through various motives in the relief craft, the craftsmen get economic impact in the form of job sustainability.

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PACKER, RANDALL. "The Pavilion: Into the 21st Century: a space for reflection". Organised Sound 9, n.º 3 (diciembre de 2004): 251–59. http://dx.doi.org/10.1017/s1355771804000445.

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In this paper, I describe the Pavilion: Into the 21st Century project, a multimedia instrument based on the spherical mirror created for the Pepsi Pavilion – a visionary work of art and architecture originally created by E.A.T. (Experiments in Art & Technology) for Expo '70 in Osaka, Japan. The Pavilion is being returned to contemporary artists and audiences in order to extend the experience of the original to the Internet. The project draws from the fundamental notion of interdisciplinary collaboration and social interaction that was integral to the original concept – encouraging a freer, more participatory experience that breaks down the traditional distinction between artist, audience and artwork.

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Koot, Roman. "RKD Explore: searching for art-historical information in the 21st Century". Art Libraries Journal 40, n.º 3 (2015): 21–27. http://dx.doi.org/10.1017/s0307472200000316.

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In 2014 the RKD launched RKD Explore, a new interface for searching the collection databases. This state-of-the-art search engine provides a multitude of search possibilities. And although most of the art-historical information is still in analogue form in The Hague, RKD Explore lets users really explore the richness of the ever-growing digital content of the databases.

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Borisova, Valentina y Sergey Schaulov. "Dostoevsky at the Turn of the 21st Century: Antinomies of Interpretation". Неизвестный Достоевский 7, n.º 4 (diciembre de 2020): 5–47. http://dx.doi.org/10.15393/j10.art.2020.5021.

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The aim of the proposed article is to identify the key trends and contradictions in the study and interpretation of Dostoevsky’s work at the turn of the 21st century. Dostoevsky studies are one of the most advanced and active branches of Russian literary studies, which is confirmed by a large number of regular scientific conferences, as well as by a significant number of fundamental monographs. The search for a new interpretive basis in the Christian tradition, which has revealed a number of axiological and methodological contradictions, including the inevitable choice between literary and philosophical/theological discourses, is seen as the main methodological breakthrough in contemporary Russian literary studies (and simultaneously a challenge). Three aspects of the question of the Christian basis of Dostoevsky’s work are examined: along with “dogmatic ranting” (as defined by I. A. Esaulov), reading the writer’s works in the context of the legacy of religious philosophy of the Silver Age remains relevant. We recognize the analysis and interpretation of Dostoevsky’s texts in the spirit of historical poetics as the most productive, provided that the postulate about the Christian nature of the Russian classical tradition is accepted. The methodological search of Dostoevsky’s researchers, typical for the turn of the 21st century, has found its expression in a multitude of “research subjects”: this polemic centers on the definitions of “realism in the highest sense”/“Christian realism” and a dispute around The Idiot and the image of Prince Myshkin, caused by the receptive conflict of interpreters. In addition, the article underscores the problem of the use of Bakhtin’s legacy in Dostoevsky studies: in our opinion, the key notions of his concept in literary studies “function” either in an adjusted form, or as scientific metaphors, or as an “appeal to authority”. Therefore, it seems more productive to include Bakhtin’s heritage in Dostoevsky studies as an essential fact in the history of perception of his work, rather than as a methodological basis for studying the text. It is in this aspect that the success of Russian literature in recent years is most obvious, however, the gap between scientific excellence and mass perception of Dostoevsky is also apparent. The final conclusion states that the contradictions of interpretations generated by transcending the “spectrum of adequacy” when reading a classical text have not been overcome. Dostoevsky’s work still causes controversy and methodological arguments. This means that the history of his perception remains an ongoing, living narrative. Dostoevsky still remains a subject of contemporary culture, rather than its object.

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Vasil, Martina. "Using Popular Music Pedagogies to Foster 21st-Century Skills and Knowledge". General Music Today 33, n.º 3 (5 de febrero de 2020): 46–51. http://dx.doi.org/10.1177/1048371320902752.

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Recent changes in educational policy have placed 21st-century skills at the forefront of arts education, presenting arts educators with an opportunity to reassess instructional practices. Popular music pedagogies are approaches to learning and practicing popular music that may be useful for addressing 21st-century skills and knowledge in arts classrooms. In this article, the author describes how art and music teachers infused music, art, and technology in two related arts projects for Grades 3 to 5 that explored the artwork of Jean-Michel Basquiat, jazz music, the work of DJ Kool Herc, and a deejay application on electronic tablets. Through the use of popular music pedagogies, teachers addressed many aspects of 21st-century skills and knowledge. Furthermore, the artwork of Jean-Michel Basquiat and the music of DJ Kool Herc resonated with students due to their historical significance and the everlasting artistic themes found within their work—individuality, innovation, communication, expression, and authenticity.

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Масловская, Татьяна y Tatyana Maslovskaya. "CONSTITUTIONAL VALUES IN THE 21st CENTURY: TENDENCIES TO UNIVERSALISM OR STRENGTHENING NATIONAL INTERESTS?" Journal of Foreign Legislation and Comparative Law 4, n.º 6 (6 de febrero de 2019): 1. http://dx.doi.org/10.12737/art.2018.6.2.

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Basoeki, Olivia De H. y Wu Mingchang. "INTERNALIZATION OF ISLAMIC VALUES IN THE 21st CENTURY CONSTRUCTION ORNAMENTS". Religio Education 1, n.º 2 (24 de diciembre de 2021): 97–105. http://dx.doi.org/10.17509/re.v1i2.41345.

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This article aims to determine the concepts as well as some Islamic construction ornaments that contain Islamic values. Art and spirituality will not be complete if they do not touch on architecture, so Islamic architecture has an important meaning from the perspective of spirituality. In the 21st century, there are architectural issues in how buildings respond to the environment. Therefore, buildings including ornaments must be environmentally friendly and apply the concept of simplicity design and apply appropriate technology. The research used is library research with descriptive methods. The result of this research is that the art of decoration is one of the most important character building elements in Islamic architecture. Types of typical Middle Eastern ornaments include calligraphy, geometric ornaments, and arabesk.

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Ye, Ping, Liu Qi Wu y Duo Wang. "Landscape City: The Ideal Direction of Cities Development of 21st Century in China". Advanced Materials Research 243-249 (mayo de 2011): 6660–63. http://dx.doi.org/10.4028/www.scientific.net/amr.243-249.6660.

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Landscape city is a new concept of city construction which is proposed by Chinese famous scientist Qian Xuesen.It contains many factors such as garden、culture、art 、technology . Landscape city covers the western modern urban theory, and at the same time Chinese culture connotation, it stands for 21st century Chinese socialist urban development ideal direction. In the early of 1990s, one of the famous scientists of China, Professor Qian Xuesen proposed the concept of landscape city, and it embodies Qian’s deeply expectation that the cities in the 21st century are landscape cities. What is the landscape city? From Professor Qian’ 68 pieces of articles, letters and interviews, we can conclude a formula that is: Landscape City = Garden City + culture city + art cities + modern technology city. Our cities have different natural and geographical conditions and also have different society function. But for most of them, should set landscape city as their development goal, this should be the Chinese nation’s noble ideals of the living environment in the 21st century.

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Schachter, Ben. "Art and Religion in the 21st Century, written by Aaron Rosen". Religion and the Arts 20, n.º 1-2 (2016): 247–49. http://dx.doi.org/10.1163/15685292-02001015.

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de Leeuw, Ronald. "The History of Art between the 20th and the 21st Century". Diogenes 47, n.º 185 (marzo de 1999): 78–82. http://dx.doi.org/10.1177/039219219904718509.

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Rackham, Melinda. "Coded Cloth: A 21st-Century Revolution in Art, Fashion and Design". Leonardo 42, n.º 5 (octubre de 2009): 386–88. http://dx.doi.org/10.1162/leon.2009.42.5.386.

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Lewis-Harris, Jacquelyn A. "Not Without a Cost: Contemporary PNG Art in the 21st Century". Visual Anthropology 17, n.º 3-4 (julio de 2004): 273–92. http://dx.doi.org/10.1080/08949460490468045.

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Sandell, Renee. "Using Form+Theme+Context (FTC) for Rebalancing 21st-century Art Education". Studies in Art Education 50, n.º 3 (abril de 2009): 287–99. http://dx.doi.org/10.1080/00393541.2009.11518774.

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Lankford, E. Louis. "From Periphery to Center: Art Museum Education in the 21st Century". Studies in Art Education 51, n.º 1 (octubre de 2009): 92–95. http://dx.doi.org/10.1080/00393541.2009.11518793.

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Courpied, Jean-Pierre y Jacques Henri Caton. "Total Hip Arthroplasty, state of the art for the 21st century". International Orthopaedics 35, n.º 2 (18 de enero de 2011): 149–50. http://dx.doi.org/10.1007/s00264-011-1207-9.

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Hughes, Melissa. "The state of the art: teaching drama in the 21st century". NJ 40, n.º 1 (2 de enero de 2016): 89–91. http://dx.doi.org/10.1080/14452294.2016.1239502.

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Shenasa, Mohammad. "Learning and teaching electrocardiography in the 21st century: A neglected art". Journal of Electrocardiology 51, n.º 3 (mayo de 2018): 428–29. http://dx.doi.org/10.1016/j.jelectrocard.2018.02.007.

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Vashchenko, Olena, Oleh Kopeliuk, Ihor Sediuk, Ievgeniia Bondar y Tetiana Kornisheva. "Analysis of musical art trends in Ukraine in the 21st century". Revista Amazonia Investiga 11, n.º 56 (18 de octubre de 2022): 142–49. http://dx.doi.org/10.34069/ai/2022.56.08.15.

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Thus, the development of Ukrainian music underwent a gradual evolution until the Russian aggression began in 2022. After the fall of the Soviet Union, Ukrainian-language music was not in favor, but after 2014 and especially after February 24, 2022, it became mainstream. Among Chusach varieties of musical art in Ukraine, the most common are pop, rock, rap, jazz, etc. The new opportunities that the Network has opened up for performers also have many hidden dangers. This is primarily about piracy, which significantly reduces the profits from selling your own. At the same time, thanks to multimedia and high-speed Internet, the exchange of musical novelties became more efficient. In particular, for a long time, Ukrainian music was characterized by the same trends as in the West: song plots, rhythms, popular styles of music, etc. It should be noted that the demand for Ukrainian music increased after Russia's military aggression. The Russian product was banned. So, if similar trends unfold in the same way, Ukraine will continue to see the emergence of new talented collectives. It should be noted that pop and rock are promising directions of music development but rap also looks extremely promising.

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48

Umarova, Zarrina. "Characteristics of development of Tajik jewelry art at the turn of the 21st century". SHS Web of Conferences 50 (2018): 01226. http://dx.doi.org/10.1051/shsconf/20185001226.

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The paper identifies and analyzes the characteristic features of the development of Tajikjewelry art in the late 20th - early 21st centuries. The author believes that at this time, after a long period of oblivion, there is a marked way to restoration of many lost and nearly forgotten folk traditions in Tajik jewelry art. This period of time can be distinguished as a transitional period in the history of Tajik jewelry art development. This issue carries a significant value in the history of Tajikistan because the jewelry art in the period from the 80ies ofthe 20th century to the early 20th century was previously not subjected to a dedicated study, which results in certain gaps in the research of modern Tajik jewelry art. Studying the characteristics of the development of jewelry art at the turn of the 21st century and of the problems faced by master jewelers (zargars) at that time will aid in the future to identify the most efficient ways of developing this industry and facilitate its becoming one of the export-oriented areas, taking into account that the Republic of Tajikistan possesses all the necessary natural resources.

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49

Zemīte, Ieva. "CHALLENGES FOR A 21st CENTURY CULTURAL ORGANISATION: CULTURAL ENTREPRENEURSHIP". Culture Crossroads 7 (14 de noviembre de 2022): 86–95. http://dx.doi.org/10.55877/cc.vol7.230.

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In parallel with the development of scientific discourse, a dialogue about the making of cultural entrepreneurship offer becomes more and more significant also among practitioners because the necessity to take a risk and attract resources to the achievement of artistic goals increases. Cultural organisations, which have been state subsidised so far, are often forced to function according to business principles, hence a need arises to define new notions and analyse the specific nature of these activities. It determines the main differences between activities of classical and cultural entrepreneurship. The cultural exception principle defined in the UNESCO Convention has created preconditions which ensure that culture sector institutions and organisations are not under the free market rule, and their contents are protected. At the same time a system is created which allows leaders of organisations, relying on their special status, to demand both financial and material resources which are necessary to ensure the functioning of cultural organisations and institutions. It does not always ensure development-oriented management. The distinction of pure art, culture industry, creative industry and related industries determines the most essential breakdown of the industry into sectors, which also marks the differences in funding their activities. However, entrepreneurship also means creating new values in the context of pure art. It means taking a risk and attracting the necessary resources to achieve the goals.

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50

Царева, Н. С. "Andrey Arestov — Altai impressionist of the 21st century". Iskusstvo Evrazii [The Art of Eurasia], n.º 1(24) (30 de marzo de 2022): 18–31. http://dx.doi.org/10.46748/arteuras.2022.01.002.

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Статья посвящена одному из ведущих алтайских живописцев Андрею Васильевичу Арестову (1956–2021), который всем своим творчеством продолжал традиции русского импрессионизма, зародившегося в России на рубеже XIX–XX веков. Художник выработал свою индивидуальную, узнаваемую манеру и снискал любовь многочисленных зрителей. Его работы, посвященные Алтаю, Санкт-Петербургу, Парижу, находятся в собрании Государственного художественного музея Алтайского края и в частной коллекции Андрея Ковалёва (г. Новосибирск). The article is devoted to one of the leading Altai painters Andrei Vasilievich Arestov (1956–2021), the artist, who continued the traditions of Russian impressionism, which originated in Russia at the turn of the 20th century. The artist developed his own individual, recognizable style and earned the love of numerous viewers. The artist's works dedicated to Altai, St. Petersburg, Paris are in the collection of the State Art Museum of Altai Krai and the private collection of Andrey Kovalev (Novosibirsk).

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