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Artículos de revistas sobre el tema "Contemporary art"

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Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 27 de julio de 2024

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1

Muraz, Özlem. "BODY AS AN ART OBJECT IN CONTEMPORARY ART". E-journal of New World Sciences Academy 14, n.º 2 (29 de abril de 2019): 136–44. http://dx.doi.org/10.12739/nwsa.2019.14.2.d0232.

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2

Kesarwani, Sachin. "IN THE CONTEXT OF CONTEMPORARY INDIAN ART-CONTEMPORARY ART". International Journal of Research -GRANTHAALAYAH 7, n.º 11 (30 de noviembre de 2019): 281–84. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3755.

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English: The overall development of art is part of the historical, social process. The artist establishes new dimensions through innovative experiments. In present times, not only in India but in the whole world, experimentism can be clearly marked. As change is a continuous process that exists from time to time in which the prevailing beliefs go on being accepted by generations. But a thoughtful conscious community rejects those beliefs and leads the society towards a new direction and new values. This is where change starts, as fast as the meanings of life are changing, the art is changing as fast as possible. Hindi: कला का समग्र विकास ऐतिहासिक, सामाजिक प्रक्रिया का अंग है। कलाकार नित-नवीन प्रयोगों के माध्यम से नये आयाम स्थापित करता है। वर्तमान समय में भारत ही नहीं अपितु समस्त विश्व में प्रयोगधर्मिता को स्पष्ट रूप से चिन्हित किया जा सकता है। जैसा कि परिवर्तन एक निरन्तर प्रक्रिया है जो आदिकाल से आज तक विद्यमान है जिसमें प्रचलित मान्यताएं पीढ़ियों द्वारा स्वीकृत होती हुई आगे बढ़ती है। किन्तु एक विचारशील सजग समुदाय उन मान्यताओं को अस्वीकार करते हुए एक नवीन दिशा एवं नवीन मूल्यों की ओर समाज को ले जाता है। यहीं से परिवर्तन प्रारम्भ होता है जितनी तीव्रता से जीवन के अर्थ परिवर्तित हो रहे हैं उतनी ही तीव्रता से कला में परिवर्तन हो रहा है।
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3

Oguibe, Olu y Nicole Guez. "L'Art Africain Contemporain/Contemporary African Art: Guide". African Arts 30, n.º 1 (1997): 91. http://dx.doi.org/10.2307/3337485.

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4

Oh, Younjung. "Two Approaches to Discussing Japanese Contemporary Art : Japan’s Contemporary Art or the Art of Contemporary Japan". Journal of Korean Modern & Contemporary Art History 46 (31 de diciembre de 2023): 119–43. http://dx.doi.org/10.46834/jkmcah.2023.12.46.119.

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5

Sladkova, Hanka. "Framing Contemporary Art". International Journal of Communication and Linguistic Studies 12, n.º 2 (2015): 15–27. http://dx.doi.org/10.18848/2327-7882/cgp/v13i02/43649.

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6

Herwitz, Daniel, Stephen Bann y William Allen. "Interpreting Contemporary Art". Journal of Aesthetics and Art Criticism 50, n.º 3 (1992): 265. http://dx.doi.org/10.2307/431243.

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7

Mirfenderesky, Jamshid, Stephen Bann y William Allen. "Interpreting Contemporary Art". Circa, n.º 58 (1991): 39. http://dx.doi.org/10.2307/25557645.

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8

Belik, Eva y Matthew Cullerne Bown. "Contemporary Russian Art". Leonardo 23, n.º 4 (1990): 447. http://dx.doi.org/10.2307/1575353.

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9

Cooper, John, Stephen Bann y Willian Allen. "Interpreting Contemporary Art". Leonardo 24, n.º 5 (1991): 631. http://dx.doi.org/10.2307/1575685.

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10

Ezra, Kate y Sidney Littlefield Kasfir. "Contemporary African Art". African Arts 34, n.º 1 (2001): 11. http://dx.doi.org/10.2307/3337728.

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11

Sylla, Abdou y Mara Bertelsen. "Contemporary African Art". Diogenes 46, n.º 184 (diciembre de 1998): 51–70. http://dx.doi.org/10.1177/039219219804618406.

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12

Niemojewski, Rafal. "Contemporary Art Biennials". Cultural Politics 14, n.º 1 (1 de marzo de 2018): 135–37. http://dx.doi.org/10.1215/17432197-4313065.

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13

Owerka, Carolyn. "Contemporary African Art". African Arts 18, n.º 2 (febrero de 1985): 78. http://dx.doi.org/10.2307/3336197.

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14

Alberro, Alexander. "Periodising Contemporary Art". Australian and New Zealand Journal of Art 9, n.º 1-2 (enero de 2008): 66–73. http://dx.doi.org/10.1080/14434318.2008.11432794.

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15

Workman, Jason. "Breathing Contemporary Art". Third Text 25, n.º 5 (septiembre de 2011): 515–21. http://dx.doi.org/10.1080/09528822.2011.608953.

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16

Hibbert-Jones, Dee. "Contemporary Art from Studio to SituationandSituation(Documents of Contemporary Art series)". Public Art Dialogue 1, n.º 1 (marzo de 2011): 139–41. http://dx.doi.org/10.1080/21502552.2011.537113.

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17

Lawson, Louise y Deborah Potter. "Contemporary art, contemporary issues—conservation at Tate". Journal of the Institute of Conservation 40, n.º 2 (4 de mayo de 2017): 121–32. http://dx.doi.org/10.1080/19455224.2017.1318079.

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18

Smith. "Contemporary Art and Contemporaneity". Critical Inquiry 32, n.º 4 (2006): 681. http://dx.doi.org/10.2307/3877131.

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19

Roberto Barbanti. "Contemporary Art and Degrowth". Korean Journal of Art and Media 15, n.º 3 (agosto de 2016): 11–32. http://dx.doi.org/10.36726/cammp.2016.15.3.11.

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20

Danto, Arthur C. "Kalliphobia in Contemporary Art". Art Journal 63, n.º 2 (2004): 24. http://dx.doi.org/10.2307/4134518.

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21

Chio, Jenny. ":Contemporary Art and Anthropology". Visual Anthropology Review 22, n.º 2 (octubre de 2006): 94–95. http://dx.doi.org/10.1525/var.2006.22.2.94.

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22

W. Mohd Apandi, Wan Nurhasyimah y Ahmad Rashdi Yan Ibrahim. "Metaphors in Contemporary Art". Idealogy Journal 3, n.º 2 (7 de septiembre de 2018): 235–40. http://dx.doi.org/10.24191/idealogy.v3i2.69.

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The use of metaphors in producing contemporary works of art is often used by artists to convey current ideas and issues in the era of contemporary visual art. The metaphor used is as a symbol for the meaning of a work in conveying the ideas and narrative of the story more creatively. In addition, the use of metaphors should be in line with the selection of subjects and meanings to be used and conveyed more accurately and effectively in the production of works to be seen and studied by art critics.
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23

Neumaier, Diane. "Contemporary Russian Art Photography". Art Journal 53, n.º 2 (1994): 18. http://dx.doi.org/10.2307/777477.

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24

Kanatani, Kim. "Contemporary Art Start®". Art Education 51, n.º 2 (marzo de 1998): 33. http://dx.doi.org/10.2307/3193740.

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25

Schtein, Sergey Yu. "ONTOLOGY OF “CONTEMPORARY ART”". Articult, n.º 3 (2017): 55–72. http://dx.doi.org/10.28995/2227-6165-2017-3-55-72.

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26

Malysse, Stéphane. "Contemporary art and anthropology". Revista de Antropologia 48, n.º 2 (diciembre de 2005): 739–47. http://dx.doi.org/10.1590/s0034-77012005000200010.

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27

Fowler, Joan y Richard Hertz. "Theories of Contemporary Art". Circa, n.º 27 (1986): 40. http://dx.doi.org/10.2307/25557071.

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28

Casini, Silvia. "What is contemporary art?" Visual Studies 26, n.º 2 (junio de 2011): 182–83. http://dx.doi.org/10.1080/1472586x.2011.571915.

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29

Esanu, Octavian. "What was Contemporary Art?" ARTMargins 1, n.º 1 (febrero de 2012): 5–28. http://dx.doi.org/10.1162/artm_a_00003.

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This article contributes to a recent debate around the question “What Is Contemporary Art?” It brings into discussion certain key aspects of the activities of the Soros Centers for Contemporary Art (SCCA)—a network of contemporary art centers established by the Open Society Institute in Eastern Europe during the 1990s. The author draws upon distinctions between this new type of art institution and the Union of Artists (the organizations which represented the interests of artists under socialism), highlighting distinct artistic, aesthetic and economic characteristics of each institutional model.
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30

ARNOLD, MARION. "THEMES IN CONTEMPORARY ART". Art Book 12, n.º 4 (noviembre de 2005): 68–69. http://dx.doi.org/10.1111/j.1467-8357.2005.00621_8.x.

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31

Smith, Terry. "Contemporary Art and Contemporaneity". Critical Inquiry 32, n.º 4 (junio de 2006): 681–707. http://dx.doi.org/10.1086/508087.

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32

Jyrämä, Annukka y Anne Äyväri. "Marketing contemporary visual art". Marketing Intelligence & Planning 28, n.º 6 (21 de septiembre de 2010): 723–35. http://dx.doi.org/10.1108/02634501011078129.

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33

Williams, Drid. "Contemporary Art and Anthropology". Visual Anthropology 21, n.º 5 (16 de octubre de 2008): 429–39. http://dx.doi.org/10.1080/08949460802341894.

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34

Danto, Arthur C. "Kalliphobia in Contemporary Art". Art Journal 63, n.º 2 (junio de 2004): 24–35. http://dx.doi.org/10.1080/00043249.2004.10791123.

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35

CRAVEN, D. "Art in Contemporary Nicaragua". Oxford Art Journal 11, n.º 1 (1 de enero de 1988): 51–63. http://dx.doi.org/10.1093/oxartj/11.1.51.

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36

Langlitz, Nicolas. "Contemporary physiology of art". BioSocieties 7, n.º 2 (junio de 2012): 208. http://dx.doi.org/10.1057/biosoc.2012.2.

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37

MILLER, JAY. "Contemporary Coast Salish Art". Museum Anthropology 29, n.º 2 (septiembre de 2006): 151–53. http://dx.doi.org/10.1525/mua.2006.29.2.151.

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38

Slifkin, R. "Is Contemporary Art History?" Oxford Art Journal 35, n.º 1 (29 de enero de 2012): 111–14. http://dx.doi.org/10.1093/oxartj/kcr048.

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39

Imperato, Pascal James. "Contemporary Art in Greenland". African Arts 21, n.º 3 (mayo de 1988): 78. http://dx.doi.org/10.2307/3336459.

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40

Watson, Ruth. "Mapping and Contemporary Art". Cartographic Journal 46, n.º 4 (noviembre de 2009): 293–307. http://dx.doi.org/10.1179/000870409x12549997389709.

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41

Blakeney, Michael. "Contemporary art and patents". Queen Mary Journal of Intellectual Property 9, n.º 3 (julio de 2019): 244–61. http://dx.doi.org/10.4337/qmjip.2019.03.01.

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This article investigates whether contemporary art can or should be protected by patent law. The investigation commences with a working definition of contemporary art and then examines the way that patent law has treated fine art in the US, UK and Australia, and whether this treatment would extend to contemporary art. A number of examples of patents granted to types of contemporary art are reviewed.
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42

Papastergiadis, Nikos. "Modernism and Contemporary Art". Theory, Culture & Society 23, n.º 2-3 (mayo de 2006): 466–69. http://dx.doi.org/10.1177/026327640602300286.

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43

Wright, B. "CONTEMPORARY ART OF AFRICA". Nka Journal of Contemporary African Art 1996, n.º 5 (1 de septiembre de 1996): 70. http://dx.doi.org/10.1215/10757163-5-1-70.

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44

Li, Pi. "Chinese Contemporary Video Art". Third Text 23, n.º 3 (mayo de 2009): 303–7. http://dx.doi.org/10.1080/09528820902954937.

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45

Neumaier, Diane. "Contemporary Russian Art Photography". Art Journal 53, n.º 2 (junio de 1994): 18–21. http://dx.doi.org/10.1080/00043249.1994.10791619.

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46

Poshyananda, Apinan. "Positioning Contemporary Asian Art". Art Journal 59, n.º 1 (marzo de 2000): 10–13. http://dx.doi.org/10.1080/00043249.2000.10791975.

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47

Okolovich, Marina y Olga Gulevich-Linkova. "MARKERS OF CONTEMPORARY ART". Experience industries. Socio-Cultural Research Technologies, n.º 2 (2023): 144–61. http://dx.doi.org/10.34680/eiscrt-2023-2(3)-144-161.

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48

seid’ou, kąrî’kạchä y Raymond Silverman. "Contemporary Art in Ghana". Ghana Studies 25, n.º 1 (2022): 194–206. http://dx.doi.org/10.3368/gs.25.1.194.

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49

Zhyrov, Vasyl. "Assemblage as Art Technique in Contemporary Art". ART Space, n.º 3 (2018): 73–75. http://dx.doi.org/10.28925/2519-4135.4.2018.3.12.

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In this article the content of the notions of “collage” and “аssemblage” is covered. The characteristic to аssemblage as a style of painting is given . Stylization of an artistic image through аssemblage is analysed.
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50

UKHOV, Artem, Eleonora SIMONYAN y Susanna MURADYAN. "Contemporary Art vs Totalitarian Art: Semiotic Analysis". WISDOM 23, n.º 3 (25 de septiembre de 2022): 167–77. http://dx.doi.org/10.24234/wisdom.v23i3.821.

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The article provides a semiotic analysis of the types of totalitarian culture and its manifestation in art, both classical and modern. On the basis of totalitarian culture semiotic analyses, it is shown that mass culture (and its attributes) may be considered a modern type of totalitarian culture. Particularly, the antidogmatic and antitotalitarian essence of the contemporary art phenomenon is highlighted. Based on the semiotic methodology, a key moment of demarcation between contemporary art and the ‘totalitarian’ one has been emphasized. The conclusion about the inconsistency of signs and symbols of contemporary as compared to totalitarian art has been drawn. Contemporary art could be referred to as a tool for tracing, revealing and even combating totalitarianism in culture and life.
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