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1
WESSELING, H. L. « Editorial : the American Century in Europe ». European Review 12, no 2 (mai 2004) : 123–26. http://dx.doi.org/10.1017/s1062798704000122.
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In 1999, the Whitney Museum of American Art had a very successful exhibition called The American Century. Indeed, there were two exhibitions, The American Century, Part I about the first half of the 20th century and Part II dealing with the following 50 years. The presentation was divided up into decades, each of them having its own motto. The one for the 1950s was: ‘America takes command’. This may sound rather martial but the motto is indeed very appropriate, as one could argue that as from then on American leadership also included cultural leadership.The name of the exhibition, ‘The American Century’, was of course derived from the title of the famous article that Henry Luce, the editor/publisher of journals such as Life and Time, published in Life on 17 February 1941. Luce wanted the Americans to play a major role in the war for freedom and democracy that was in progress at that time and the building of the better world that would have to come after that. In his article Luce insisted that ‘our vision of America as a world power includes a passionate devotion to great American ideals’. The idea of America as a world power and, indeed, as the world power of the future, is, of course, much older than the concept of the 20th century as the American century. Already in 1902, the British liberal journalist and advocate of world peace through arbitration, W.T. Stead published a book with the title The Americanization of the World, or the Trend of the Twentieth Century. According to Stead, the heyday of the British Empire was over and the US was the Empire of the future. The enormous success of America was due to three things: education, production and democracy. Britain's choice was between subjugation or cooperation. Stead even proposed the merger of the two countries. In the following decade, this idea that America was Britain's successor and that the two countries should – and could – form a union because of their intimate familiarity, became popular among British writers.
2
Linden, Diana L. « Modern ? American ? Jew ? Museums and Exhibitions of Ben Shahn's Late Paintings ». Prospects 30 (octobre 2005) : 665–84. http://dx.doi.org/10.1017/s0361233300002222.
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The year 1998 marked the centennial of the birth of artist Ben Shahn (1898–1969). Coupled with the approach of the millennium, which many museums celebrated by surveying the cultural production of the 20th century, the centennial offered the perfect opportunity to mount a major exhibition of Shahn's work (the last comprehensive exhibition had taken place at the Jewish Museum in New York City in 1976). The moment was also propitious because a renewed interest in narrative, figurative art, and political art encouraged scholarly and popular appreciation of Ben Shahn, whose reputation within the history of American art had been eclipsed for many decades by the attention given to the abstract expressionists. The Jewish Museum responded in 1998 with Common Man, Mythic Vision: The Paintings of Ben Shahn, organized by the Museum's curator Susan Chevlowe, with abstract expressionism scholar Stephen Polcari (Figure 1). The exhibition traveled to the Allentown Art Museum in Pennsylvania and closed at the Detroit Institute of Arts in 1999.Smaller Shahn exhibitions then in the planning stages (although not scheduled to open during the centennial year) were to focus on selected aspects of Shahn's oeuvre: the Fogg Museum was to present his little-known New York City photographs of the 1930s in relationship to his paintings, and the Jersey City Museum intended to exhibit his career-launching series, The Passion of Sacco and Vanzetti (1931–32). Knowing this, Chevlowe smartly chose to focus on the later years of Shahn's career and on his lesser-known easel paintings of the post-World War II era. In so doing, Chevlowe challenged viewers to expand their understanding both of the artist and his place in 20th-century American art.
3
Calo, Mary Ann. « A Community Art Center for Harlem : The Cultural Politics of “Negro Art” Initiatives in the Early 20th Century ». Prospects 29 (octobre 2005) : 155–83. http://dx.doi.org/10.1017/s0361233300001721.
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During the interwar decades, African American artists grew in number and visibility, and a wide range of publications featured stories on so-called Negro art. Notices on Negro art exhibitions and educational initiatives appeared in the black press and the mainstream mass media, as well as in special interest publications ranging from Art News to the Club Candle (the newsletter of the New Rochelle Women's Club). Though small in number, collectively these events served as opportunities to measure the overall progress or pulse of the African American artist.
4
Dane, William J. « Public art libraries and artists and designers : a symbiotic scheme for success ». Art Libraries Journal 12, no 3 (1987) : 29–34. http://dx.doi.org/10.1017/s0307472200005277.
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The inter-relationship between art librarians and artists/designers in the public library sector in America has been a reality since the early 20th century when libraries were organized into subject departments. This specialized clientele is eclectic and ranges from novices to the most accomplished artists and includes architects, art directors, illustrators, calligraphers, craftspeople and photographers in addition to painters, sculptors and graphic artists. Materials and services in public art libraries are highly diversified and the literature of other disciplines is also readily available. The increase in art exhibitions and special collections is noted in addition to a new focus on information for career opportunities, art law and the handicapped. Current developments set the stage for the continuing symbiotic relationship between public art librarians and artists/designers into the 21st century.
5
Fedotova, E. D. « Серия акварелей «Campi Phlegraei» английского мецената и итальянского художника века Просвещения ». Iskusstvo Evrazii [The Art of Eurasia], no 1(20) (31 mars 2021) : 260–69. http://dx.doi.org/10.46748/arteuras.2021.01.018.
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The article is devoted to the history of a unique collection made by famous American patron and curator Peggy Guggenheim. For several decades, she has been gathering works by European Cubists, Abstractionists and Surrealists, creating the huge collection of the 20th century art. But she made the most significant contribution to the development and popularization of modernism by organizing the «Art of this Century» gallery in New York. This gallery hosted for the first time exhibitions of artists who later became known as abstract expressionists. Their work loudly declared itself on the international art scene and won worldwide recognition. Статья посвящена серии акварелей «Campi Phlegraei», исполненной итальянским художником Пьетро Де Фабрисом (годы жизни не известны) во время научной экспедиции лорда Уильяма Гамильтона (1730–1803), посланника Великобритании, к кратеру Везувия. Оба они — художник и У. Гамильтон, меценат и коллекционер, увлеченно занимавшийся вулканологией, были яркими фигурами истории и культуры века Просвещения. Их сотрудничество является подтверждением научных и художественных достижений культуры Италии в век «просвещенного абсолютизма», когда в Королевстве обеих Сицилий правила династия испанских Бурбонов.
6
Yartseva, O. A. « Коллекция Пегги Гуггенхайм ». Iskusstvo Evrazii [The Art of Eurasia], no 1(20) (31 mars 2021) : 270–79. http://dx.doi.org/10.46748/arteuras.2021.01.019.
Texte intégralRésumé :
The article is devoted to the history of a unique collection made by famous American patron and curator Peggy Guggenheim. For several decades, she has been gathering works by European Cubists, Abstractionists and Surrealists, creating the huge collection of the 20th century art. But she made the most significant contribution to the development and popularization of modernism by organizing the «Art of this Century» gallery in New York. This gallery hosted for the first time exhibitions of artists who later became known as abstract expressionists. Their work loudly declared itself on the international art scene and won worldwide recognition. В фокусе внимания автора статьи — история создания уникального собрания произведений искусства ХХ века, принадлежавшего известной американской меценатке и куратору Пегги Гуггенхайм. На протяжении нескольких десятилетий она коллекционировала картины европейских кубистов, абстракционистов и сюрреалистов. Но самый значительный вклад в развитие и популяризацию модернизма она внесла, организовав в Нью-Йорке галерею «Искусство этого века», в которой впервые были проведены выставки художников, позже ставших классиками абстрактного экспрессионизма США, магистрального направления, громко заявившего о себе на международной художественной сцене и завоевавшего всемирное признание.
7
Otdelnova, V. A. « SOVIET ART OF THE SECOND HALF OF THE 20TH CENTURY AS PART OF THE WORLD ART PROCESS : METHODOLOGICAL APPROACHES AND PERSPECTIVES FOR FUTHER STUDIES ». Вестник Пермского университета. История, no 2 (2022) : 55–71. http://dx.doi.org/10.17072/2219-3111-2022-2-55-71.
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The article examines writings on the history of art, in which artworks by Soviet artists are described not as a local phenomenon but in a global cultural context. These writings are combined into four blocks. The first block – “Socialist Internationalism” – explores papers by Soviet art historians written in the 1950s and 1960s and developed a conception of world “progressive art.” The second block – “Soviet Non-official art and Western art critic” – starts with analyzing the texts created in the 1970s – 1990s by European, American, and Soviet – émigré authors and ends with the writings by Russian curators of the 2000s. All the articles from this block represent a common idea of the universality of Western modernist and postmodern art theory. Thus, these authors selected only those artworks which could be described within this theory. In the context of contemporary European and American art trends, Soviet non-official art looks like a peripheral phenomenon. The third block – “Cold War and Global History of Art” – investigates the texts and exhibitions made during the last two decades and influenced by the ideas of global turn and critical research of the Cold War cultural policy. It is shown how art historians seek to develop new approaches and universal criteria to describe the 20th century world art. The last block – “Critical geography” – talks about the theoretical approach elaborated by Piotr Piotrowski. Within the framework of critical geography, the phenomena that have long been considered marginal come to the fore. Attention is paid to the international contacts of artists. The boundaries of art centers are shown to be different from the borders of states. Thus, the art of the Soviet artists is represented as part of the new geographic conglomerations.
8
Puerto, Cecilia. « Twentieth century Latin American women artists, discovery and record - a work in progress ». Art Libraries Journal 20, no 3 (1995) : 15–18. http://dx.doi.org/10.1017/s0307472200009457.
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The work of Latin American women artists is not adequately documented, nor is it sufficiently recognised in the major art reference works and bibliographies which thus fail to facilitate access even to documentation which is available in the USA. The author has been working towards a bibliographic apparatus that will bring together readily available sources on 20th century Latin American women artists. Much material has been found in the Art Exhibition Catalog collection in the Arts Library at the University of California at Santa Barbara. Two Cuban artists, Ana Mendieta and María Martínez-Cañas, are just two of some 200 artists from 20 countries represented in this project. (The revised text of a paper presented to the IFLA Section of Art Libraries at the IFLA General Conference at Havana, August 1995).
9
Allen, Nancy S. « History of Western sources on Japanese art ». Art Libraries Journal 11, no 4 (1986) : 8–13. http://dx.doi.org/10.1017/s0307472200004867.
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Learning about Japanese art has been difficult for Westerners. Limited access, language barriers, and cultural misunderstanding have been almost insurmountable obstacles. Knowledge of Japanese art in the West began over 150 years before the arrival of Commodore Perry in 1853. Englebert Kaempfer (1657-1716), sent to Japan as a physician for the Dutch East India Company, befriended a young assistant who provided information for a book on Japanese life and history published in 1727. By 1850, more ethnographic information had been published in Europe. Catalogs of sales of Japanese art in Europe exist prior to 1850 and collection catalogs from major museums follow in the second half of that century. After the Meiji Restoration (1867) cultural exchange was possible and organizations for that purpose were formed. Diaries of 19th century travellers and important international fairs further expanded cross-cultural information. Okakura Kakuzo, a native of Japan, published in English about Japanese art and ultimately became Curator of the important collections of the Boston Museum of Fine Arts. The advent of photography made visual images easily accessible to Westerners. Great collectors built up the holdings of major American museums. In the 20th century, materials written and published in Japan in English language have furthered understanding of Japanese culture. During the past twenty years, travelling exhibitions and scholarly catalogs have circulated in the West. Presently monographs, dissertations and translated scholarly texts are available. Unfortunately, there is little understanding in the West of the organization of Japanese art libraries and archives which contain primary source material of interest to art historians.
10
Kirking, Clayton C. « Both sides of the fence, librarian and curator : forming a Latin American library collection ». Art Libraries Journal 20, no 3 (1995) : 11–14. http://dx.doi.org/10.1017/s0307472200009445.
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The Department of Latin American Art at the Phoenix Art Museum was established on 1st January 1992, and the Librarian of the Museum accepted the additional role of Curator of the Department. Although the Museum has always collected Mexican art, the new Department is concerned with all of Latin America and especially with the 20th century. Similarly, the Library, which has long-established interests in Mexican art, is now expanding its coverage to reflect the scope of the new Department. Grant support has been forthcoming, and Library purchasing has been enhanced by the generosity of a private donor and by a strategy of using a proportion of each exhibition budget for Library acquisitions. Specialist suppliers have been identified, but it has also been necessary to travel. Better networking is needed between professionals in Latin America and the USA; exchange programs have the potential to be mutually beneficial. (The text of a paper presented to the IFLA Section of Art Libraries at the IFLA General Conference at Havana, August 1994).
11
Ian Shin, K. « The Chinese Art “Arms Race” ». Journal of American-East Asian Relations 23, no 3 (27 octobre 2016) : 229–56. http://dx.doi.org/10.1163/18765610-02303009.
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Interest in Chinese art has swelled in the United States in recent years. In 2015, the collection of the late dealer-collector Robert Hatfield Ellsworth fetched no less than $134 million at auction (much of it from Mainland Chinese buyers), while the Metropolitan Museum of Art drew over 800,000 visitors to its galleries for the blockbuster show “China: Through the Looking Glass”—the fifth most-visited exhibition in the museum’s 130-year history. The roots of this interest in Chinese art reach back to the first two decades of the 20th Century and are grounded in the geopolitical questions of those years. Drawing from records of major collectors and museums in New York and Washington, D.C., this article argues that the United States became a major international center for collecting and studying Chinese art through cosmopolitan collaboration with European partners and, paradoxically, out of a nationalist sentiment justifying hegemony over a foreign culture derived from an ideology of American exceptionalism in the Pacific. This article frames the development of Chinese art as a contested process of knowledge production between the United States, Europe, and China that places the history of collecting in productive conversation with the history of Sino-American relations and imperialism.
12
Leśniak, Kamila. « The Family of Man in Poland : An Exhibition as a Democratic Space ? » Ikonotheka 26 (26 juin 2017) : 213–38. http://dx.doi.org/10.5604/01.3001.0010.1679.
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The exhibition entitled The Family of Man, which was designed by Edward Steichen and presented for the fi rst time in 1955 at the Museum of Modern Art in New York, belongs to the most famous and most controversial photographic expositions of the 20th century. Usually perceived in the light of the anachronistic, West-centric vision of humanism, i.e. as an embodiment of Modernist views on photography, it constitutes a good example of the museum’s infl uence as a Modernist “social instrument”. However, contemporary theories in exhibition studies offer a more complex interpretation. The present work provides insight into this process by referring to the views of Mieke Bal (on the “cinematic effect” of photographic exhibitions, the narrative and relational aspect of expositions), Fred Turner (on the space of an avant-garde exhibition as the realisation of the political and social idea of a “democratic personality”) and Ariella Azoulay (on exhibition space as a “visual declaration of human rights” and the fi eld for a “photographic social contract”). The primary aim of the present article is to set The Family of Man within the framework of Polish exhibition practices. The complex origins of the American project can be traced back to avant-garde experiments with exhibition space conducted in the Bauhaus movement and in Soviet Constructivism (the psychology of perception, “photo-murals”); the analysis focuses on the political and propagandistic aspects. An analysis of the above issues provides the starting point for considering the signifi cance and probable reception of the exhibition’s spatial arrangement in the milieu of Polish architects and designers as well as its Polish variant as prepared by Stanisław Zamecznik and Wojciech Fangor. It was therefore useful to refer to Oskar Hansen and his theory of Open Form, as he cooperated with Zamecznik and Fangor at the time. Models of avant-garde and Modernist “utopian thinking” are juxtaposed, thus making it possible to perceive the process of reception in the light of its effectiveness. The article also discusses The Family of Man as a model for projects with propaganda undertones, i.e. the so-called “problem-oriented exhibitions”. It mentions attempts at adapting Steichen’s design of exhibition space to the needs of the offi cial narrative in the People’s Republic of Poland. Finally, it uncovers the ambivalent nature of the infl uence of The Family of Man and the dual status of the exhibition as both a propagandistic project and as an anti-systemic space supporting the ideal of a creative, free individual.
13
Orlova, E. V. « Из истории Людвиг Музеум – от коллекции к музею ». Iskusstvo Evrazii [The Art of Eurasia], no 1(20) (31 mars 2021) : 164–75. http://dx.doi.org/10.46748/arteuras.2021.01.012.
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The article is devoted to the founding of the Museum Ludwig in Cologne and presents an analysis of the process of building this museum of contemporary art in dynamics — from the beginning of the collection within the walls of the Wallraf-Richartz Museum to gaining the status of an independent exhibition giant. The study provides an overview of the collection and its sources, identifies individual significant works of art, accompanied by art history descriptions, and sets out the reasons and the chronicle of the separation of the Museum Ludwig from the Wallraf-Richartz Museum. The museum, established in 1976, presents German art from the first half of the 20th century, American and British pop art of the 1960s, Russian avant-garde, photorealism and contemporary art from the last third of the 20th century. It has departments of painting, sculpture, graphics and art photography. The role of the famous German patrons and collectors of Peter and Irene Ludwig in the formation and replenishment of the museum's funds is noted. Статья посвящена основанию Музея Людвига в Кёльне и представляет анализ процесса построения этого музея современного искусства в динамике — от начала формирования коллекции в стенах Музея Вальрафа-Рихарца до обретения статуса самостоятельного экспозиционного гиганта. В исследовании даны обзор коллекции и источники ее формирования, указаны отдельные крупные произведения искусства, сопровожденные искусствоведческим описанием, а также изложены причины и хроника выделения Музея Людвига из состава Музея Вальрафа-Рихарца. Вновь образованный в 1976 году музей представляет искусство Германии с первой половины XX века, американский и британский поп-арт 1960-х годов, русский авангард, фотореализм и актуальное искусство последней трети ХХ века. В нем созданы отделы живописи, скульптуры, графики и художественной фотографии. Отмечена роль известных немецких меценатов и собирателей Петера и Ирены Людвиг в формировании и пополнении фондов музея.
14
Niemira, Konrad. « Much Ado About Nothing ? Political Contexts of the 15 Polish Painters Exhibition (MoMA, 1961) ». Ikonotheka 26 (26 juin 2017) : 167–91. http://dx.doi.org/10.5604/01.3001.0010.1677.
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The essay concerns 15 Polish Painters, the now slightly forgotten, but once famous exhibition of Polish contemporary art that took place at the Museum of Modern Art in New York in 1961. Initially, the exhibition was conceived as an expression of a thaw in relations between the United States and Poland, and it was organised at the diplomatic level. Organisational works began during Vice President Richard Nixon’s visit to Warsaw in August of 1959. They were coordinated by Porter McCray (who was responsible for MoMA’s touring exhibition programme) and Peter Selz (an art historian of German origin and a curator cooperating with MoMA). The Polish side withdrew from the project because of the abstract character of the works that Selz had selected and his disregard for the “offi cial” artists of the People’s Republic of Poland. The project was completed with the collaboration of American private galleries which bought the paintings in Poland and then loaned them to MoMA to be exhibited. The essay presents the behind-the-scenes history of organising the exhibition and its political context. It discusses the artistic message of the exhibition and the key used in the selection of its works. Finally, it touches upon the issue of Polish art’s reputation in the United States and the question as to why the Americans, wishing to present modern art from behind the Iron Curtain, decided, of all the countries of the Soviet bloc, to focus on none other than Poland. The aim of the essay is to fi ll the gap in the historiography, since the 15 Polish Painters exhibition is usually referred to only briefl y and has never been the subject of a scholarly enquiry. The event seems worth recalling also because it adds a nuance to the still current – as was confi rmed by Catherine Dossin’s much-talked-of book, The Rise and Fall of American Art, 2015 – and yet schematic view that in the middle of the 20th century there existed only two art centres, New York and Paris, thus completely overlooking the distinct character of the countries of the Communist bloc.
15
Ngoei, Wen-Qing. « Exhibiting Transnationalism after Vietnam : The Alpha Gallery’s Vision of an Artistic Renaissance in Southeast Asia ». Journal of American-East Asian Relations 29, no 3 (20 septembre 2022) : 271–99. http://dx.doi.org/10.1163/18765610-29030004.
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Abstract This essay examines the Alpha Gallery, an independent artists’ cooperative that Malaysians and Singaporeans established, which staged art shows during the 1970s to spark an artistic renaissance in Southeast Asia. The cooperative’s transnational vision involved showcasing Balinese folk art as a primitive and, therefore, intrinsically Southeast Asian aesthetic, while asserting that it shared cultural connections with the Bengali Renaissance of the early 20th Century. Alpha’s leaders believed these actions might awaken indigenous artistic traditions across Southeast Asia. Their project underscores the lasting cultural impact of colonialism on Southeast Asia and the contested character of the region. Alpha’s condescending view of Balinese folk art echoed the paternalism of Euro-American colonial discourses about civilizing indigenous peoples that persisted because its key members received much of their education or training in Britain and the United States, a by-product of their countries’ pro-U.S. trajectory during the Vietnam War. Equally, Alpha’s transnationalism ran counter to Southeast Asian political elites’ fixation with pressing art toward nation-building. Indeed, the coalescing of nation-states does not define the region’s history during and after the Vietnam War. Rather, non-state actors like Alpha’s members, in imagining and pursuing their versions of Southeast Asia, contributed to the persistent contingency of the region.
16
Řičář Libánská, Anna, et Josef Řičář. « Zpráva z Humboldtova fóra v Berlíně ». Muzeum Muzejní a vlastivedná práce 60, no 1 (2022) : 89–95. http://dx.doi.org/10.37520/mmvp.2022.011.
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The Humboldt Forum was opened in Berlin in the fall of 2021. The collections of the Ethnological Museum, containing mainly exhibits from Africa, Asia, Oceania and the Americas, as well as the collections of the Museum of Asian Art, were moved from Dahlem to the newly reconstructed building of the former royal palace. Many objects on display were obtained in more or less transparent ways during the period of colonialism, in which the then German Empire also actively participated. According to the management of the museum, the curators of permanent and short-term exhibitions tried to balance the legacy of the colonial era and reflect contemporary discourse about the problematic past of the European museums. However, the authors of the text question whether the effort to come to terms with the past and to open an intercultural dialogue can be considered successful in this case, or whether the Humboldt Forum is following in the footsteps of the ethnological museums of the 19th and a large part of the 20th century, where Europeans used to go to look at “exotic” objects and where, among other things, the construction of the European colonial imagination took place.
17
Wagner, Keith B., et Michael A. Unger. « Photographic and cinematic appropriation of atrocity images from Cambodia : auto-genocide in Western museum culture and The Missing Picture ». Visual Communication 18, no 1 (3 janvier 2018) : 83–106. http://dx.doi.org/10.1177/1470357217742333.
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As a harrowing sub-discipline of English and Comparative Literature, Trauma Studies is in need of geographical expansion beyond its moorings in European genocides of the 20th century. In this article, the authors chart the institutional and cinematic appropriation of atrocity images in relation to the Khmer Rouge’s auto-genocide from 1975–1979 in Cambodia. They analyse the cultural and scholarly value of these images in conjunction with genocide studies to reveal principles often overlooked, taken for granted, or pushed to the periphery in photography studies and film studies. Through grim appropriations of archival or news footage to more experimental approaches in documentary, such as the use of dioramas, the authors examine the commercial and artistic articulations of trauma, reconciliation and testimony in two case studies: The Museum of Modern Art (MoMA) exhibition Photographs from S-21: 1975–1979 (1997) and Pithy Panh’s documentary The Missing Picture (2013). The authors first focus on the relatively obscure scholarship devoted to contextualizing images from international genocides outside the Euro-American canon for genocide study in order to build their critical formulations; they go on to explore whether these atrocity-themed still and moving images are capable of defying aspects of commodification and sensationalism to instead convey positive notions of commemoration and memory. Finally, their contribution to this debate regarding the merit of appropriating atrocity imagery is viewed from two perspectives: ‘commodified witnessing’ (a negative descriptor for the MoMA exhibition) and ‘commemorative witnessing’ (a positive term for the Cambodian film).
18
Braziūnienė, Alma, et Kotryna Rekašiūtė. « Oto fon Mauderodės spaudiniai LMA Vrublevskių bibliotekoje / Otto von Mauderode’s Publications in the Wroblewski Library of the Lithuanian Academy of Sciences ». LMA Vrublevskių bibliotekos darbai 12 (2023) : 138–48. http://dx.doi.org/10.54506/lmavb.2023.12.7.
Texte intégralRésumé :
2022 marked the 170th birth anniversary of one of the leading 19th-century Lithuanian printers, Otto von Mauderode (1852–1909). To celebrate this occasion, the Wroblewski Library of the Lithuanian Academy of Sciences, from May 30 to June 30, 2022, ran an exhibition in his honour. The exhibits consisted of publications held by the Library: books, brochures, periodicals, proclamations, and maps. Von Mauderode’s printing house left a meaningful mark in the history of Lithuanian books. It produced almost all key Lithuanian publications of Lithuania Minor as well as about 800 publications intended for Lithuania Major. One of the main publishers printing Lithuanian books in Latin script (counterfeit publications) during the press ban, von Mauderode was known for his high standards in printing quality, especially in the artistic book design. He closely cooperated with various early-20th-century Lithuanian and American Lithuanian publishing houses, editorial offices, and bookstores (for instance, Marija Šlapelienė’s Vilnius shop) and was also involved in the trade of Lithuanian books, owning a bookstore that sold not only his own, but also other publishers’ publications. The versatile activities of von Mauderode’s firm were recognized with various awards. This paper aims to discuss von Mauderode’path towards the image of “the prince among printers” and to look into his publications kept in the Library based on the materials displayed at the exhibition. The Library’s collection of several hundred publications testifies to a broad scope of production and a high quality of published matter of von Mauderode’s firm. Keywords: Otto von Mauderode; history of printing; published matter; Tilsit; Lithuania Minor; Lithuania Major; press ban; counterfeit publications; periodicals; Vydūnas; art nouveau; Adomas Brakas; Vincas Kudirka; The Wroblewski Library of the Lithuanian Academy of Sciences.
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Nikitin, Yury, Vasiliy Goryunov, Vera Murgul et Nikolay Vatin. « Research on Industrial Exhibitions Architecture ». Applied Mechanics and Materials 680 (octobre 2014) : 504–9. http://dx.doi.org/10.4028/www.scientific.net/amm.680.504.
Texte intégralRésumé :
All-Russian and regional exhibition architecture in the second half of the 19th century through the early 20th century had varied distinct differences in style and design. Temporality of exhibition architecture in those days contributed to a variety of experiments made for pavilions in the context of styles and structures. There was a high demand for the Russian style to be applied for pavilions both in Russia and abroad. First search and application experience in respect to the modern art principles are connected with exhibition architecture. These experiments in the national architecture and art are of a high interest. Neo-classicism was applied in exhibition architecture in the early 20th century to a large extent. The exhibitions of the early 20th century appeared to be special ‘style workshops’. Organizers of certain exhibitions tried to keep uniformity of style of basic constructions. The major merit of exhibition architecture is that it contributed to the transition from eclecticism to a new style on the cusp of the 19th and beginning of the 20th centuries.
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Senuliene, Jurgita. « Searching for Identity in the 20th-Century Lithuanian-American Food Exhibitions ». Loci Communes 1, no 2 (28 juin 2022) : 1–19. http://dx.doi.org/10.31261/lc.2022.02.04.
Texte intégralRésumé :
In this case the author of the article, using quantitative and qualitative analysis of the selected periodical publications, examines ethnic food fairs held in the USA in the 20th century. Focusing on the issue of food as an expression of ethnic identity, the article aims to reveal how Lithuanian emigrants, by organising and participating in ethnic food exhibitions, disseminated and aspired to maintain their ethnic and national identity. The theoretical approach of the research is based on the theories of coexistence of multicultural societies, that is the “melting pot” and a “salad bowl”. The author addresses the following questions: 1. How have world and food fairs developed in the USA? 2. What impressions did the Lithuanian diaspora leave in world and ethnic food fairs? 3. How was identity fostered at Lithuanian exhibitions of “national dishes” during World War II? and 4. What role did ethnic food exhibitions organised by the Lithuanian diaspora play in the construction of identity? The author concludes that exhibitions of “national dishes” organised by Lithuanians brings to light a certain fragmentation of the diaspora in terms of food and ethnic identity.
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Benetti, Alessandro. « GAIA CARAMELINO ; STÉPHANIE DADOUR (a cura di) : THE HOUSING PROJECT : DISCOURSES, IDEALS, MODELS, AND POLITICS IN 20TH-CENTURY EXHIBITIONS ». Proyecto, Progreso, Arquitectura, no 27 (2022) : 206–7. http://dx.doi.org/10.12795/ppa.2022.i27.12.
Texte intégralRésumé :
La casa e la mostra d’architettura sono i due oggetti di ricerca che s’incrociano in The Housing Project. Discourses Ideals, Models and Politics in 20th century exhibitions, co-curato da Gaia Caramellino e Stephanie Dadour nel 2020 per i tipi di Leuven Press. Il volume s’ispira alle discussioni del convegno On the Role of 20th Century Exhibitions in Shaping Housing Discourses (2016, ENSA Paris Malaquais e Politecnico di Milano). I dieci saggi di altrettanti autori europei e americani esplorano il ruolo delle mostre come medium in una fase cruciale di elaborazione e circolazione internazionale delle tante declinazioni della casa moderna, tra gli anni 1920 e 1970. Sono organizzati in due parti, che approfondiscono rispettivamente il ruolo delle mostre come spazi di traduzione e di mediazione. Caramellino e Dadour prendono le distanze da un approccio monografico e collocano le tante e diverse esperienze espositive in una cornice più ampia, sul piano disciplinare e geografico.
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Burganova, Maria A. « LETTER FROM THE EDITOR ». Scientific and analytical journal Burganov House. The space of culture 17, no 5 (10 décembre 2021) : 8–9. http://dx.doi.org/10.36340/2071-6818-2021-17-5-8-9.
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Dear readers, We are pleased to present to you Issue 5, 2021, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The journal traditionally opens with the Academic Interview rubric. In this issue, we present an interview with Alexander Burganov, Academician of the Russian Academy of Arts, an outstanding Russian sculptor, National Artist of Russia, Doctor of Art History, Professor, Director of the Burganov House Moscow State Museum, interviewed by Irina Sedova, the Head of the 20th Century Sculpture Department of the State Tretyakov Gallery. This dialogue became part of the sculptor’s creative evening at the State Tretyakov Gallery, which included a personal exhibition, donation of the sculptural work Letter, screening of a special film and a dialogue with the audience in the format of an interactive interview. In the article “The Apocalypse Icon from the Kremlin’s Assumption Cathedral. Dating and Historical Context”, T. Samoilova points out the similarities between some motifs of the Apocalypse iconography and the motifs of Botticelli’s illustrations to the Divine Comedy, as well as the role of a line in both artworks which testifies to the influence of the Renaissance art on icon painting of the late 15th — early 16th centuries. Studying palaeography and stylistic features of the icon, the author clarifies the dates and believes that the icon was most likely painted after 1500, in the first decade of the 16th century. P. Tsvetkova researches the features of the development of the Palladian architectural system in Italy, in the homeland of Andrea Palladio. On the examples of specific monuments, drawings and projects created during two and a half centuries, the author analyses the peculiarities of the style transformation in the work of Palladio’s followers, the continuity of tradition, deviations from canonical rules. In the article “Artistic Features of the Northern White Night Motif in the Landscapes of Alexander Borisov and Louis Apol”, I. Yenina conducts art analysis and compares the works of the Russian “artist of eternal ice”, A. Borisov, and the Dutch “winter artist”, L. Apol. They were the first to depict such a phenomenon as a white night in the Far North. V. Slepukhin studies the artworks of the first decades of the Soviet era in the article “Formation of the Image of a New Hero in Russian Art of 1920- 1930”. The author concludes that the New Hero in the plastic arts of the 1920s–1930s was formed as a reflection of social ideals. The avant-garde artists searched for the Hero’s originality in the images of aviators, peasants, women. The artists of socialist realism began to form the images of the “typical” heroes of the time — warriors, athletes, rural workers, scientists, as new “people of the Renaissance”. In the article “Dialogues of the Avant-garde”, A. N. Lavrentyev presents a comparative analysis of spatial constructions created by the Russian Avant-Garde Artist Alexander Rodchenko and the famous kinetic European and American artist Alexander Calder in the first half of the 20th century. Wei Xiao continues his analysis of contemporary art in the article “Chinese Sculpture in the New Era”. The author notes that the art of sculpture is in many ways a reflection of social change, both in terms of cultural content and practice. The author emphasises the need for cultural identity to preserve national traditions and spirituality. Xu Yanping’s article “The Dynamics of the Choral Culture Development in China in the 1930s on the Example of Huang Tzi’s Oratorio Eternal Regret” is a scientific study of a particular phase of the active entry of Chinese choral music into the sphere of the oratorio genre, directly related to the name of the great Chinese composer, Huang Tzi. It also highlights the issues of the country’s political life in the 1930s, which actively influenced the creation of nationwide singing movements and new choral works in the country. The author believes that the oratorio Eternal Regret presented in the article is a unique creation that organically combines ethnic musical material and Western composition techniques. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.
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Šeparović, Ana. « Feministički iskazi u kritičkoj recepciji skupnih izložbi hrvatskih umjetnica ». Ars Adriatica 8, no 1 (28 décembre 2018) : 195–210. http://dx.doi.org/10.15291/ars.2762.
Texte intégralRésumé :
This paper discusses the reception discourse related to three waves of group exhibitions by Croatian women artists in the 20th century, with a focus on feminist strategies used in advocating and empowering women’s art. The considered body of texts includes reviews of the first exhibition – the Intimate Exhibition at the Spring Salon of 1916 – the exhibitions of the Club of Women Artists held in 1928-1940, and the exhibitions celebrating Women’s Day from 1960 until 1991. Although taking place in different circumstances and socio-political contexts, all these exhibitions generated public debates on art produced by women, and although they provoked misogynous and anti-feminist statements, they also resulted in openly feminist voices of authors such as Roksana Cuvaj, Zdenka Marković, Marija Hanževački, Verena Han, Nasta Rojc, Zofka Kveder, and others. Based on historiographical sources and texts from the field of feminist theory, this analysis of the art-critical corpus has identified the main strongholds of feminist discourse: disclosure of misogyny and its sources in public opinion and prejudice, critique of the social construction of female inferiority, research on women’s art history, endorsement and praise of female art, and so on. It was these feminist statements that enhanced creative self-awareness in women artists and also slowly tamed the society by getting it used to their presence, leading to the gradual suppression of stereotypes and slow dissolution of the dominant patriarchal matrix in Croatian art during the 20th century.
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Beck, Mirja. « A Lived Experience—Immersive Multi-Sensorial Art Exhibitions as a New Kind of (Not That) ‘Cheap Images’ ». Arts 12, no 1 (17 janvier 2023) : 16. http://dx.doi.org/10.3390/arts12010016.
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This article analyzes the phenomenon of multi-sensorial, digital, and immersive art exhibitions of popular artists, which has been widely neglected in academic research, from a historical perspective. Reflecting the significance of lived experience in art consumption, this 21st-century phenomenon can be confronted productively with early-20th-century art reproductions. The article focuses on the characteristics of both popular phenomena and on their advertisement, as well as on the discourse around them, documenting reactions from resistance to persistence and accommodation. The analysis shows noticeable similarities between the two types of popularization of high art, positioning the new immersive exhibitions in a traditional line of technical innovative art popularization. Whereas photomechanical art reproduction had an immense influence on the popular art canon, being also dependent on ‘photogenic’ conditions of artworks and thus focusing predominantly on painting, the contemporary canon is predisposed by the immersible characteristics of artists’ oeuvres.
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Pasitska, Oksana. « «TRADE LOCAL, BUY LOCAL, BE LOCAL» : AGRICULTURAL EXHIBITIONS AND FAIRS IN HALYCHYNA IN THE 20-30S OF THE 20TH CENTURY ». Contemporary era 8 (2020) : 19–27. http://dx.doi.org/10.33402/nd.2020-8-19-27.
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The article focuses on the exhibition activities of the Ukrainians, which were reflected upon in periodicals. In particular, it analyzes the organizational aspects and features of fairs and exhibitions of the agricultural products that were held upon the initiative of economic institutions and public organizations such as «Silskyi Hospodar» («The Farmer»), «Maslosoiuz», «Tsentrosoiuz», RSUK («The Auditing Union of Ukrainian Cooperatives»), «Soiuz ukrainok» («The Union of Ukrainian Women»), «The Ukrainian Folk Art» («Ukrainske narodne mystetstvo»), «The Hutsul Art» («Hutsulske mystetstvo»), «The Beekeeping Union» («Pasichnycha spilka»), «Rii» («The Swarm»), «Prosvita» («The Education») county unions, cooperatives, etc. Economic educational institutions also took part in the exhibitions. The first Ukrainian agrotechnical exhibitions were held in Stryi in 1909 and 1907, and later they took place in various Halychyna towns and villages, including Staryi Sambir, Dashava, and Sokal. Cooperative figures, such as D. Sembratovych, E. Olesnytskyi, O. Nyzhankivskyi, O. Lutskyi, A. Zhuk, M. Khronoviat, etc., played an important role in the organization of the given exhibitions. The article outlines the main functions performed by the exhibitions and fairs and the range of goods in demand among the visitors. Each exhibition was divided into separate sections, where the passers-by and the buyers could get acquainted with the results of work of the Ukrainian entrepreneurs and farmers in crop production, horticulture, vegetable growing, animal husbandry, beekeeping, crafts, and agricultural equipment. «Maslosoiuz» products, folk art products, and a wide range of medical products were especially popular at agro-technical exhibitions. Exhibitions and fairs were the manifestation of competitiveness in the local market, a factor of the region's economic and cultural development, as they were accompanied by entertainment and educational activities, including lectures, speeches, and presentations of new economic publications. Keywords: exhibitions, fairs, Halychyna, agricultural exhibitions and fairs
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Mark, Reet. « Endel Kõksi abstraktsetest maalidest ». Baltic Journal of Art History 11 (30 novembre 2016) : 125. http://dx.doi.org/10.12697/bjah.2016.11.07.
Texte intégralRésumé :
The artist Endel Kõks (1912–1983) is a member of the same generation of Estonian art classics as Elmar Kits and Lepo Mikko. After Kits’s and Kõks’s debut at the exhibition of the Administration of the Cultural Endowment’s Fine Art Foundation (KKSKV) in Tallinn in 1939, the three of them started to be spoken about as the promising Tartu trio. In 1944, Endel Kõks ended up in Germany as a wounded soldier, while Kits and Mikko remained in Estonia. The Kõks’s works that have surreptitiously arrived in his homeland are incidental and small in number. Thus, without any proof, an image developed or was developed of him in Soviet-era art history as a mediocre painter and especially as a weak abstractionist, which is somewhat prevalent even today. I would dispute this based on the conclusions that I reached when helping to organise the exhibition of exile Estonian art between 2008 and 201142 and Endel Kõks’s solo exhibition between 2011 and 201343; conclusions that I have supplemented with the opinions expressed by exile Estonian art historians and artists.In 1951 Kõks moved to Sweden. Paul Reets has highlighted the years between 1952 and 1956, and assumed that these were difficult years due to the contradictions he faced. According to Reets, one obstacle was influence of the Pallas on Kõks’s painting style, which was conservative and adhered to the trends of Late Cubism. According to both Eevi End and Paul Reets, Kõks painted his first abstract painting in 1956 Rahutus (Restlessness) according to the former and Konflikt (Conflict) according to the latter). A black-and-white photo exists of Restlessness, which is slightly reminiscent of Pollock, and this is not the same work that P. Reets refers to. They both note that this was a convincing and mature abstraction not a searching for form, and as Reets states, Kõks had severed himself from the Pallas.The abstract paintings created between 1956 and 1960 – Kompositsioon (Composition) (1958), Rõõmus silmapilk (Joyful Moment) (1959) and others – are constructed on the impact of a joyfully colourful palette and lines, and demonstrate a kinship with the abstract works of Vassili Kandinsky. There is also a similarity to Arshile Gorky, whose works he may have seen at the exhibition of modern American art in Stockholm in 1953.Kõks’s transition into a pure form of abstraction occurred in 1963. Reets has characterised this as a “the most wondrous year that one can expect to see in an artist’s life. Not an unexpected year, but one that was unexpectedly and extremely rich when it came to his works.” The artist started to create series of works, of which the best known is undoubtedly Elektroonika (Electronics), which was comprised of 36 sheets. According to Kõks, he developed the need and idea to create the series while listening to experimental music, watching experimental films and thinking about nuclear physics. Created with a glass printing technique, or vitreography, each work is unique due to the post-printing processing, paint dripping, spraying and additional brushstrokes and images. Of course, all this alludes to Jackson Pollock.In 1962, Kõks painted the abstract composition Astraalne (Astral), which depicts a red circle and bent violet rectangle next to it on an interesting yellowish-brown surface that creates a rough effect. Using only these two symbols, the artist creates a sense of floating in cosmic space. Starting in 1964–1965 this style gradually came to dominate his work, and in was in this style that Kõks created the works that express the greatness of his talent and the charm of the “shaper of nature forms” in the purest sense.The construction of these works is brilliantly simple, and comprised of symbols and images placed on a relatively uniform surface. The nervous brittleness and rapid movement have disappeared from the paintings. The mood is calm and reveling. There is a monumental feel to many of the pictures. Masterful, delicate colour combinations triumph. And as time goes on, the more abundant and interesting the texture becomes. Eevi End believes that Kõks was influenced by Ellsworth Kelly, Kenneth Noland and other representatives of the school of Hard-edge painting that other influential direction operating in American abstractionism during the 20th century. Kõks himself has defined his abstract paintings as biomorphic abstraction, characterized by a free formalism, spatiality and atmospherics (Arshile Gorky, William de Kooning, Mark Tobey, Mark Rothko, and Jackson Pollock.)Kõks’s abstraction that features intellectual and cognizant images is totally the opposite of Elmar Kits’s excellent and spontaneous colourful abstraction. Kits remains true to the Pallas colour tradition; Kõks breaks out of it. Kõks feels secure painting abstract pictures and enjoys the game, which cannot be said of the thoroughly abstract works of Lepo Mikko or Alfred Kongo. Those who doubt this statement should remember that, in order to provide an assessment of Kõks’s abstract pictures, one must have seen them in Europe, the U.S. and Canada. Conclusions cannot be drawn based exclusively on the works in Estonia. As an abstractionist, he is in no way weaker than his contemporaries, just very different and the determination of superiority is a matter of taste. Endel Kõks’s greatness lies in the fact that he was able to fit with what was happening in world art (which many exile artists could not); he experimented with new directions and finally put together something new for himself, and thereby developed Estonian art as a whole.
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Krzysztofowicz-Kozakowska, Stefania. « „Raumkunst” autorstwa Teodora Axentowicza ». Lehahayer 8 (19 décembre 2021) : 185–90. http://dx.doi.org/10.12797/lh.08.2021.08.06.
Texte intégralRésumé :
Raumkunst by Teodor Axentowicz
Three exhibition arrangements analysed in the article – the halls of Polish artists on the exhibitions in St. Louis (1904), London (1906) and XI International Biennial of Art in Venice (1914) – allow us to consider Teodor Axentowicz as a precursor of the new form of organisation of the exhibition space within the Polish culture. This form was a pattern for the subsequent architects of exhibitions belonging to the Society of Polish Artists “Art”. Projects of Axentowicz perfectly fitted to the modern style of exhibition interior arrangement, which was promoted by the Viennese environment of “Secession” at the turn of the 20th century.
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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 (30 décembre 2022) : 35–61. http://dx.doi.org/10.33919/dasc.22.5.3.
Texte intégralRésumé :
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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Gerasimova, Natalia V. « Exhibitions of Art Works from Private Collections of Kazan in the Second Half of 19th — Beginning of 20th Century ». Observatory of Culture 21, no 2 (19 avril 2024) : 214–23. http://dx.doi.org/10.25281/2072-3156-2024-21-2-214-223.
Texte intégralRésumé :
The article uses the example of Kazan to reveal the process of organizing and holding exhibitions of artworks from private collections in the Russian pre-revolutionary province. Addressing this topic, which has not been sufficiently studied in the history of Russian art, is relevant because it expands the understanding of the phenomenon of exhibition activity, which is one of the most important aspects of artistic life in Russia. The source base of the present study is the catalogues of four exhibitions of paintings from private collections held from 1873 to 1916, as well as publications in the Kazan press of this period. The peculiarities of the organizational process, selection and exposition of works, and the owners of the works are revealed. It is established that the exhibitions were of charitable nature: their proceeds were directed either in favour of the starving or poor, or in favour of Russian soldiers. The main collectors of art works in Kazan in the second half of the 19th century were predominantly landed gentry and university professors (who came from the families of personal nobles and officials). By the early 20th century, representatives of individual merchant families also had significant art collections. The exhibited works represented the whole variety of genres, but they were dominated by landscapes and portraits, primarily family portraits, suitable for decorating mansions. Catalogues allow us to conclude that local collectors of the second half of the 19th century were primarily interested in foreign art (masters of the Italian, Flemish, Dutch, Belgian, German and French schools, mainly of the 17—18 centuries), as well as (to a lesser extent) Russian academic painting (from V.L. Borovikovsky and D.G. Levitsky to D. Zakharov) and itinerant painters (I.I. Shishkin, N.A. Yaroshenko). By the end of the 19th century, the vector of collectors’ preferences shifted towards contemporary Russian art (works by Makovskys, I.E. Repin, etc. were collected), and collecting works by local artists (K.V. Bardou, L.D. Kryukov, R.A. Stupin, N.I. Zeblov, etc.) began to develop as a special direction.
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Ittu, Gudrun-Liane. « Siebenbürgisch-deutsche Künstlerinnen vom Ende des 19. und Anfang des 20. Jahrhunderts ». Studia Universitatis Babeș-Bolyai Historia Artium 65, no 1 (31 décembre 2020) : 127–55. http://dx.doi.org/10.24193/subbhistart.2020.07.
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"Transylvanian German women artists from the end of the 19th and beginning of the 20th century. The paper is aiming at analyzing the life and art of a group of six German women artists from Transylvania, the first ones who studied abroad, real forerunners for the next generation of female plastic artists. Emancipated ladies, determined to become artists and earn their own money, the gifted women studied in Budapest, Vienna, Munich or Paris. Only Molly Marlin did not come back home, while the others had a prodigious artistic and pedagogical activity, being present at the annual exhibitions, together with well-known male colleagues. Keywords: art academies, women artists, painters, graphic artists, art teachers, exhibitions, Sibiu, Betty Schuller, Hermine Hufnagel, Molly Marlin Horn, Anna Dörschlag, Lotte Goldschmidt, Mathilde Berner Roth "
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Bennett, Theodore. « Tortured genius : The legality of injurious performance art ». Alternative Law Journal 42, no 1 (mars 2017) : 24–28. http://dx.doi.org/10.1177/1037969x17694791.
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In the 20th century, a distinct subset of performance art emerged in which the artist is deliberately physically injured as part of their performance. While such performances are now a settled type of artistic expression their legal status is unclear. This article examines the legality of such performances under the Australian criminal law. Focusing on common law principles, it compares injurious performance art to the legally recognised category of ‘dangerous exhibitions’ and ultimately argues that such performances will only be lawful if it can be clearly demonstrated that they have public utility.
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Petit, David A. « The Object as Subject in 20th Century American Art ». Art Education 43, no 2 (mars 1990) : 36. http://dx.doi.org/10.2307/3193205.
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Weibel, Peter. « Music, Machines, Media and the Museum ». Organised Sound 14, no 3 (décembre 2009) : 231–35. http://dx.doi.org/10.1017/s1355771809990197.
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The ZKM|Center for Art and Media in Karlsruhe is called Center because it is a museum and more than a museum. As a museum it has a classical museological function as a support and distribution system: Collection and archive, exhibitions and events. But in addition to it, the ZKM has two institutes for research, development and production (Institute for Music and Acoustics and Institute for Visual Media). The ZKM is a center for all media and for all art forms created in the 20th century. The machine based moving image has shifted the image from the classical position as space based art to time based art. Therefore the ZKM is the only museum of the world that integrated the mother of time based art, namely music, in his permanent collection and in its temporary exhibitions. This article describes the logic in the evolution of modern art, which is followed by the mission statement of the ZKM.
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Mount, Sigrid Docken. « Evolutions in exhibition catalogues of African art ». Art Libraries Journal 13, no 3 (1988) : 14–19. http://dx.doi.org/10.1017/s0307472200005769.
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Since their appearance in the early 20th century, catalogues prepared for exhibitions of African art have undergone a gradual transformation. Beginning as mere checklists many of these publications have, in the 1970s and 80s, evolved into major scholarly works whose significance transcends their original purpose as guides to the exhibitions. Changes occurring over the years are traced through examination of the form and content of representative catalogues and by review of the reception by art historians of many of these works into the corpus of literature of African art. The growing importance of exhibition catalogues as important art historical documents is also demonstrated by a chronological analysis of bibliographic citations in the major scholarly journal of African art in the United States. Finally, scrutiny of sources and annotations included in an important bibliographic guide to the literature of African art indicates how firmly established the exhibition catalogue has become as one of the most important publication forms for the dissemination of scholarly writing on African art.[This paper won the ARLIS/NA Gerd Muehsam Award for 1986. We hope to publish a sequel in a future issue, on exhibitions of African art in Africa and the development of catalogues written by Africans. Editor].
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Shalinskyi, Ihor, et Andrii Zabuzhko. « CONTEMPORARY ART AND ART MANAGEMENT INITIATIVES IN THE CONTEXT OF LOCAL SOCIAL TRANSFORMATIONS IN UKRAINE : THE CASE OF THE TEPLE MISTO PLATFORM ». Art Research of Ukraine, no 23 (28 novembre 2023) : 129–36. http://dx.doi.org/10.31500/2309-8155.23.2023.299212.
Texte intégralRésumé :
Most of the art projects related to modern art take place in the capital. Other Ukrainian cities mostly have few powerful centers for the promotion of modern art and few active representatives of art management. However, such initiatives outside the capital can have a significant impact on social transformations. The purpose of this article is to analyze the activity of art management of the public platform of Ivano-Frankivsk Teple Misto in the field of contemporary art. In the last nine years, this platform has implemented numerous projects that are aimed at social transformations in the urban community. One of the areas of its activity is the engagement of the city’s public with modern art through exhibitions, murals, performances, educational projects, etc. These projects were implemented through a number of grants from Teple Misto. Art managers of the platform work on the Warm Art program. After 2018, this program was transformed into other projects. Contemporary visual art has been chosen as the focus of artistic initiatives for the purpose of promoting artistic processes in the city. Since 2015, the projects Residence for Artists, Open Art Lecture Hall, grants for exhibitions, etc. have served this goal. In addition, the project promotes famous art figures of the 20th century from Ivano-Frankivsk and the region through the support of exhibitions of the art by Paraska Plytka-Horytsvit, Osyp Sorokhtei, Stepan Nazarenko and others
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Park, Hyesung. « Rethinking the 20th-Century Korean Embroidery from Gender Perspectives ». Korean Journal of Art History 320 (31 décembre 2023) : 65–98. http://dx.doi.org/10.31065/kjah.320.202312.003.
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The rupture in the history of Korean embroidery is generally perceived as a severance from the traditional embroidery, made due to the Japanese colonial rule. However, it cannot be denied that the narrative of modern and contemporary Korean art history, mainly constructed around artistic movements and groups, also played a major part. The dispute encompasses the fundamental question of whether embroidery can be seen as a form of fine art from the perspective of modernist aesthetics, and the matter of hierarchy between different crafts. Also inherent are the tensions between contradictory values such as tradition and modernity, Western or Japanese and Eastern or Korean, abstract and figurative, and others peculiar to Korea, and the effects of such binary oppositions are closely related to gender problems. This paper re-examines, from gender perspectives, the chronological history of embroidery since the late 19th century, which had been placed on the periphery of Korean art history until now. In the traditional society, embroidery was produced and enjoyed privately, but moved into the public sphere through education and exhibitions for women during modernization. In the process, in order to be recognized as a form of pure art, embroidery gave up its unique characteristics as craft and took on the formative language of paintings. In the years immediately after liberation from Japanese colonial rule, which was the era of eradication of Japanese influences, establishment of national identity, and industrialization, embroidery was divided into abstract embroidery understood as more masculine, and traditional embroidery considered more feminine. Korean embroidery artists in the 20<sup>th</sup> century, as women experiencing particular historical contexts, worked with confidence in the artistic value of embroidery due to or despite their specific circumstances.
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Pawłowska, Aneta. « African Art : The Journey from Ethnological Collection to the Museum of Art ». Muzeológia a kultúrne dedičstvo 8, no 4 (2020) : 161–76. http://dx.doi.org/10.46284/mkd.2020.8.4.10.
Texte intégralRésumé :
This article aims to show the transformation in the way African art is displayed in museums which has taken place over the last few decades. Over the last 70 years, from the second half of the twentieth century, the field of African Art studies, as well as the forms taken by art exhibitions, have changed considerably. Since W. Rubin’s controversial exhibition Primitivism in 20th Century Art at MoMA (1984), art originating from Africa has begun to be more widely presented in museums with a strictly artistic profile, in contrast to the previous exhibitions which were mostly located in ethnographical museums. This could be the result of the changes that have occurred in the perception of the role of museums in the vein of new museology and the concept of a “curatorial turn” within museology. But on the other hand, it seems that the recognition of the artistic values of old and contemporary art from the African continent allows art dealers to make large profits from selling such works. This article also considers the evolution of the idea of African art as a commodity and the modern form of presentations of African art objects. The current breakthrough exhibition at the Bode Museum in Berlin is thoroughly analysed. This exhibition, entitled Beyond compare, presents unexpected juxtapositions of old works of European art and African objects of worship. Thus, the major purpose of this article is to present various benefits of shifting meaning from “African artefacts” to “African objects of art,” and therefore to relocate them from ethnographic museums to art museums and galleries
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Rusakov, Serhii. « Establishment of the Art Market in the Context of Ukrainian Historical and Cultural Tradition ». Studia Warmińskie 59 (31 décembre 2022) : 111–24. http://dx.doi.org/10.31648/sw.8330.
Texte intégralRésumé :
The origins of the art market in Ukraine are analyzed on the basis of the life of artists, art exhibitions, art salons and creative circles of the 17th - early 20th centuries. The author researches the socio-cultural processes of different periods of Ukrainian culture that influenced the phenomenon of the art market, in particular its educational and commercial aspects. The peculiarity of the art market in Ukraine is connected with the popularization of young Ukrainian artists, the creation of favorable conditions for the realization of their talent, the unification of artistic forces from different Ukrainian regions and on. The art market is considered as a value-semantic space, where works of art are circulated, thanks to which new ideas emerge in the Ukrainian cultural space. The author uses the cultural-historical method, which allows to analyze, describe and generalize the patterns of origin, formation and development of the art market as an important component of socio-cultural evolution of Ukrainian culture. The important role of patronage, which contributed to the development of the Ukrainian art market, is considered. The origin and development of art exhibitions, which gained popularity in the 19th century, despite the long-standing tradition of exhibition activities in Ukraine, are studied. Mobile art exhibitions became a unique phenomenon, which determined the main trend in the fine arts of the last third of the 19th century. The activities of the Taras Shevchenko Scientific Society, which contributed to the creation of a portrait gallery – the largest project related to the fine arts, headed by M. Hrushevsky – are reviewed separately. The author emphasizes that the activities of progressive Ukrainian of art contributed to the creation of many artistic associations, which played an important role in promoting the works of Ukrainian artists, awakening public interest in art.
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Ştefănescu, Mircea. « The Beginnings of The Modern Art ». Review of Artistic Education 18, no 1 (1 mars 2019) : 255–61. http://dx.doi.org/10.2478/rae-2019-0028.
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Abstract At the beginning of the 20th century visual artists found in the art the perfect field to experiment with different materials, combinations of new shapes and proportions to create new artistic currents. But this new trend has questioned the relation of classical arts with its perennial values which can not be overlooked, however radical the desire of young artists to “break” definitively with the past. Thus, in this new artistic context, many of the old art flagship techniques have been questioned and, as is always the case for predicting the “future of art”, the new artistic tendencies are absolutized and others are considered obsolete and declared “death”. The best known example is that of Marcel Duchamp, who, along with his famous ready-made exhibitions, strongly supported the death of art. Finally, the great creators of the past century felt at one point the need to relate to established art in order to better understand the “place” occupied by the generation of new artistic revolutions.
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Cummings, Paul. « 20th Century Drawings from the Whitney Museum of American Art ». Leonardo 22, no 2 (1989) : 274. http://dx.doi.org/10.2307/1575256.
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Sabinina, Anastasia A. « Project of The All-Slavic Art and Industry Exhibition in St. Petersburg : 1902–1912 ». Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 71 (2024) : 225–33. http://dx.doi.org/10.37816/2073-9567-2024-71-225-233.
Texte intégralRésumé :
The paper examines the All-Slavic Art and Industry Exhibition. Preparations took 10 years: from 1902 to 1912. Using archival materials and early 20th century periodicals, the author analyses the exhibition as part of a global trend toward national and international art exhibitions and as a reflection of the St. Petersburg art scene at the turn of the 20th century, which welcomed contemporary art from various countries: from Germany to Japan. The exhibition was organized by the Petersburg Slavic Benevolent Society, which established a dedicated Exhibition Committee. The committee secured permission from the Tsar and funding from the Minister of Finance to carry out the project. The exhibition aimed to foster new trade contacts and showcase the unity and cohesion of the Slavic peoples in response to the perceived threat of cultural expansion by Hungary and Germany. As attendees showed increasing enthusiasm for the exhibition, the organizers expanded their plans, making them more ambitious and costly. However, the exhibition ultimately did not take place due to foreign policy issues. This study contextualizes the All-Slavic exhibition within the political climate of the time and explores the role of art in international diplomacy. Additionally, the research highlights other All-Slavic art exhibition projects, including those held abroad.
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Федорук, Олександр. « The Kyiv artistic life in the late 19th and early 20th centuries. Polish discourse ». CONTEMPORARY ART, no 18 (29 novembre 2022) : 307–20. http://dx.doi.org/10.31500/2309-8813.18.2022.273817.
Texte intégralRésumé :
The article focuses on the problem of the local isolation of art at the turn of the 19th-20th century and the role of Ukrainian-Polish creative contacts in establishing Ukrainian artistic discourse. The works of K. Pryzhikhovskyi, A. Kendzerskyi, P. Vasylchenko, K. Ivanytska, artists who are half-forgotten today, were discerned by the importance of experience exchange and the need to find new imagery. The aforementioned artists performed together with I. Rashevskyi, M. Pymonenko, and Ya. Stanislavskyi. The connection of the latter with Ukraine is studied in particular through his pedagogical activities. Also, the characteristic features of Polish plastic arts in Poland and outside the country (Kyiv, Odesa) are traced, as well as exhibitions and events that are crucial for our understanding of the ties between Poland and Ukraine. It is proved that because of the emergence of new artistic societies, museums, and the growing role of art schools, Kyiv has become the professional platform where new generations of Polish artists have asserted themselves. The article also traces the impact of Ukrainian and Polish culture on the emergence of new phenomena in European art of the late 19th — early 20th century.
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Albano, Caterina. « The Exhibition as an Experiment : An Analogy and Its Implications ». Journal of Visual Culture 17, no 1 (avril 2018) : 97–116. http://dx.doi.org/10.1177/1470412918763446.
Texte intégralRésumé :
The analogy of the exhibition as an experiment suggests innovative curatorial approaches that challenge institutional practices. This analogy has however a historical precedence in modernism when it became paradigmatic of the exhibitions at the Museum of Modern Art in New York in the 1940s, defining the curatorial approach of its founding director Alfred J Barr. This article considers this early use of the analogy of the exhibition as an experiment and further reflects on its redefinition at the turn of the 20th century by examining how both the notions of the exhibition and of the experiment have changed over time. In particular, the article examines the different meanings and practices inferred by the concepts of the exhibition and the experiment in the first decades of the 20th century and in the present. It outlines how correspondences between cultural and scientific paradigms can be deployed to tease unacknowledged synergies between two modes of knowledge production (i.e. the art exhibition and the experiment) and address questions of presentness, authority and legitimacy that they imply.
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Barris, Roann. « Exhibiting Russia ». Experiment 23, no 1 (11 octobre 2017) : 142–57. http://dx.doi.org/10.1163/2211730x-12341307.
Texte intégralRésumé :
Abstract Although we have some first-hand accounts of visits by American drama critics and theater directors to the Soviet Union in the 1920s and 1930s, with one or two exceptions we do not know much about how American visual artists gained first-hand knowledge of the works of the Russian avant-garde at this time. Tracing the surprisingly rich history of American exhibitions of Russian art in the first half of the twentieth century, this paper examines the influence of Berlin and Vienna in shaping American exhibitions and also shows how curatorial decisions often determined which artists were associated with which movements, even when these associations would later be contradicted by historical facts. Indeed, style may be said to have played a subservient role as curators strove to associate the avant-garde with spirituality or to gain public support for starving Russian artists. Nevertheless, these exhibitions did bring significant works to the attention of American artists and the American public, revealing the significance of certain artists as well as collectors and curators in shaping the American understanding of the Russian avant-garde.
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Chernysheva, Anna Igorevna. « N. N. Zeddeler and A. P. Somova-Zeddeler : the forgotten names of early 20th century Russian art. Japonism in Russian printmaking at the beginning of 20th century ». Secreta Artis 5, no 1 (9 juin 2022) : 6–23. http://dx.doi.org/10.51236/2618-7140-2022-5-1-6-23.
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The term japonism refers to a movement within 20th-century Russian art that has so far been insufficiently explored. In the meantime, its popularity at the turn of the 19th and 20th centuries coincided with the extraordinary blossoming of Russian color printmaking. N. N. Zeddeler and A. P. Somova were among those artists, who, along such revered masters like A. P. Ostroumova-Lebedeva and V. D. Falileeva, made a substantial contribution to the development of this art style. To date, their work has not received close attention from researchers. Likewise, there is no literature that would provide a systematic analysis of their legacy, save for brief mentions in the periodic press of that period or publications dedicated to exhibitions of 1900-1910s, in which the artists took part. N. N. Zeddeler and A. P. Somova-Zeddeler were well-known in the Russian and European artistic circles at the beginning of the century. Having acquired their education in Munich and Paris, they produced an oeuvre that fit perfectly into the context of early 20th century art and added essential touches to the aesthetic vision of the world emerging at that time. However, the work of these masters was not met with the appreciation it deserved and was eventually forgotten. It is worth noting that the task of mapping out the full biography of both artists appears to be extremely challenging due to a variety of reasons: their departure from artistic practice after the outbreak of the First World War, fragmentary and meager archival material, a small number of works that have survived till our time, the tragic and difficult fate of N. N. Zeddeler and A. P. Somova-Zeddeler… Thus, the purpose of the article is to fill in one of the gaps in the Russian history of art of the 20th century. The author examines the engravings by N. N. Zeddeler and A. P. Somova-Zeddeler from the collection of the Pushkin Museum created between 1900 and 1910, which were previously not studied by researchers.
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Drosos, Nikolas. « Modernism and World Art, 1950–72 ». ARTMargins 8, no 2 (juin 2019) : 55–76. http://dx.doi.org/10.1162/artm_a_00235.
Texte intégralRésumé :
Focusing on a series of exhibitions of modern art from the 1950s to the early 1970s, this article traces the frictions between two related, yet separate endeavors during the first postwar decades: on the one hand, the historicizing of modernism as a specifically European story; and on the other, the constitution of an all-encompassing concept of “World Art” that would integrate all periods and cultures into a single narrative. The strategies devised by exhibition organizers, analyzed here, sought to maintain the distance between World Art and modernism, and thus deferred the possibility of a more geographically expansive view of twentieth-century art. Realist art from the Soviet bloc and elsewhere occupied an uneasy position in such articulations between World Art and modernism, and its inclusion in exhibitions of modern art often led to the destabilizing of their narratives. Such approaches are contrasted here with the prominent place given to both realism and non-Euro-American art from the twentieth century in the Soviet Universal History of Art, published from 1956 to 1965. Against the context of current efforts at a “global” perspective on modern art, this article foregrounds the instances when the inner contradictions of late modernism's universalist claims were first exposed.
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Kim, Seorim, et Kyoo Yun Cho. « Satire and Propaganda of Soviet Posters : The Artistic Representation of Laughter and Disgust in Deni’s Works ». Institute for Russian and Altaic Studies Chungbuk University 25 (31 août 2022) : 99–128. http://dx.doi.org/10.24958/rh.2022.25.99.
Texte intégralRésumé :
First appeared for commercial purposes in the early 20th century, Russian posters developed into independent art through the First World War and the Bolshevik Revolution. The early 20th century was the most productive period for Russian Art, as various experiments were conducted in the coexistence and competition of various painting trends. Amid the turbulent conditions leading to the revolution, civil war, and establishment of the Soviet Union, the integration of various artists’ experiments with the revolution is reflected in the form and content of posters produced at the time. Viktor Deni, who is called the pioneer and classic of the Soviet poster, had a profound influence on later Soviet propaganda art and posters by embodying personal laughter, social humor and satire, and disgust based on his unique political insight and artistic imagination. Nevertheless, in Soviet poster exhibitions and related studies, Deni has been introduced as a fragment of the history of Soviet art and has not drawn much attention for the artistic value of his satirical posters because of their ideological aspect. Therefore, this study examines the meaning of the creative works of Deni, which were the basis of Soviet political posters during the formation and development of Russian posters in the revolutionary period, and clarifies the social function of his satire and the essence of propaganda art through the transformation of laughter revealed in his posters.
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Metlenga, Weronika. « Sztuka performansu po "The Artist Is Present". Kontynuacja działań Mariny Abramović w twórczości jej uczniów ». Panoptikum, no 21 (18 décembre 2019) : 149–62. http://dx.doi.org/10.26881/pan.2019.21.09.
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Performance art, recognized in the second half of the 20th century as niche and alternative, is currently perceived as one of the most popular genres of contemporary art. The difference that has raised due to the development of performance art is evident not only in the way a performance is created, but mainly in changing the perception of the work of art. The opening of the Marina Abramović Institute and the performance The Artist Is Present, became the main turning point showing this change. The aim of this article is to present how the art of Marina Abramović, which she consistently created for more than four decades, evolves in the works of the new generations of performers. Qualitative research based on film, interviews, exhibitions and publications related to the subject is the base for these considerations.
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Barashkov, V. V. « The Formation of Artistic Competence in the Evangelical Church in Germany in the XX – Early XXI Century ». Bulletin of Irkutsk State University. Series Political Science and Religion Studies 35 (2021) : 115–24. http://dx.doi.org/10.26516/2073-3380.2021.35.115.
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In various Protestant denominations (particularly in the Evangelical Church in Germany) the demand for the formation of artistic competence has been growing since the mid 20th century. The celebration of the 500th anniversary of the Reformation in Germany in 2017 contributed to a new round of discussion of this issue. Luther's attitude to artistic images has been reevaluated. Interconnectedness of the word and image in the process of religious communication has been emphasized. The autonomy of art and freedom of creative expression of an artist in the dialogue with religion (in the form of exhibitions, installations in churches, etc.) has been recognized.
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Lawrence, Deirdre E. « The formation of an Islamic art library collection in an American museum ». Art Libraries Journal 21, no 2 (1996) : 24–26. http://dx.doi.org/10.1017/s0307472200009846.
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The Brooklyn Museum’s collection of Islamic art, gathered from early in the 20th century, represents the full range of Islamic artistic production, with objects dating from the earliest periods of Islam through the 20th century, from Spain and India, and executed in a variety of media. An extensive library collection of over 5,000 titles has been developed since the establishment of the Museum Libraries in 1923. The collection was enhanced by the acquisition of the personal library of Charles Edwin Wilbour, and by the bequeathing of the library of Charles K. Wilkinson, and it continues to benefit from the generosity of foundation and individual support. The Library is open to the public by appointment, and bibliographic records of its collection are entered on RLIN.