Gotowe bibliografie tematyczne / Artists in the 21st century

Gotowa bibliografia na temat „Artists in the 21st century”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 20 lutego 2023

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Artykuły w czasopismach na temat "Artists in the 21st century"

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Klāsone, Inta, i Solvita Spirģe-Sēne. "Dialogs ar vizuālo mākslu: mākslinieks un mākslas darbs". Sabiedrība un kultūra: rakstu krājums = Society and Culture: conference proceedings, nr XXII (6.01.2021): 183–91. http://dx.doi.org/10.37384/sk.2020.22.183.

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Nowadays, various forms of visual art have brought closer people’s daily lives to the processes that occur in the society. At the same time, the visually fulfilled environment has created favourable conditions for misunderstanding the contexts and meanings of artworks. This article draws attention to the fact that dialogue with visual art can be an important tool for developing personal values and promoting the spiritual understanding of a cultural environment. The topicality of the issue is supported by the educational trends of the 21st century – to educate comprehensive people who are capable of doing a wide range of tasks, constantly continuing their learning and development. Art plays an initiator’s role in social life and it encompasses all spiritual realms of humanity, which cannot be accomplished by other forms of public consciousness. A work of art can be viewed as a multi-layered expression of thoughts in an artistic form of images and symbols. The artist's work means producing a coded text or message. This article includes insights of scholars and artists developing an understanding of the artist’s work and artworks in a cultural and historical context to enrich the individual's competence base, and examples of the work and beliefs of particular artists of the 21st century.
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PACKER, RANDALL. "The Pavilion: Into the 21st Century: a space for reflection". Organised Sound 9, nr 3 (grudzień 2004): 251–59. http://dx.doi.org/10.1017/s1355771804000445.

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In this paper, I describe the Pavilion: Into the 21st Century project, a multimedia instrument based on the spherical mirror created for the Pepsi Pavilion – a visionary work of art and architecture originally created by E.A.T. (Experiments in Art & Technology) for Expo '70 in Osaka, Japan. The Pavilion is being returned to contemporary artists and audiences in order to extend the experience of the original to the Internet. The project draws from the fundamental notion of interdisciplinary collaboration and social interaction that was integral to the original concept – encouraging a freer, more participatory experience that breaks down the traditional distinction between artist, audience and artwork.
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Ox, Jack. "A 21st-Century Pedagogical Plan for Artists: How Should We Be Training Artists for Today?" Leonardo 43, nr 1 (luty 2010): 2. http://dx.doi.org/10.1162/leon.2010.43.1.2.

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박미경. "What is a 21st Century Artist?" Music and Culture ll, nr 38 (marzec 2018): 5–30. http://dx.doi.org/10.17091/kswm.2018..38.5.

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Kravchenko, Marta. "Artistic peculiarities of jewellery in Ukraine at the beginning of the 21st century. Concepts of morphogenesis". Text and Image: Essential Problems in Art History, nr 1 (2019): 77–89. http://dx.doi.org/10.17721/2519-4801.2019.1.05.

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The article reveals the tendencies in development of contemporary art jewelry in Ukraine in 2000-2015. The feature of jewelry art of the last third of XX - beginning of XXI century in Ukraine is a parallel activity of three generations of artists, which apply to different materials, imaginative solutions in decorations. During 2000-2015, modern Ukrainian decorative applied art reached a new level, there was a galaxy of young artists who interpret a new jewelry and possess strong position in the European artistic space. Alternative or avant-garde thinking was closer to the young generation of jewelry artists 2000-2015 years, in their works away from the trend of creating independent objects and materials for jewelry. On the example of creativity of young leading artists (O. Ivasuta, O. Buyvidt, M. Kotelnytska, O. Savchuk, A. Bolukh and other) here is an analysis of the main conceptual foundations, common and distinctive features in the work of masters. In the article is given the conditions for the formation of art jewelry in Ukraine with the obligatory focus on the concepts of classic jewelry and new art jewelry with using of alternative materials. New generation of artists is working with alterantive material in jewellery. Experiments in jewellery bring new forms and view in this art. The peculiarities of formation environments emergence jewelry not precious alternative materials and their relationship with fine and decorative art. The attention in the article is focused on the properties of alternative materials in modern jewelry in the works of leading artists.
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Dane, William J. "Public art libraries and artists and designers: a symbiotic scheme for success". Art Libraries Journal 12, nr 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.
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Царева, Н. С. "Andrey Arestov — Altai impressionist of the 21st century". Iskusstvo Evrazii [The Art of Eurasia], nr 1(24) (30.03.2022): 18–31. http://dx.doi.org/10.46748/arteuras.2022.01.002.

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Статья посвящена одному из ведущих алтайских живописцев Андрею Васильевичу Арестову (1956–2021), который всем своим творчеством продолжал традиции русского импрессионизма, зародившегося в России на рубеже XIX–XX веков. Художник выработал свою индивидуальную, узнаваемую манеру и снискал любовь многочисленных зрителей. Его работы, посвященные Алтаю, Санкт-Петербургу, Парижу, находятся в собрании Государственного художественного музея Алтайского края и в частной коллекции Андрея Ковалёва (г. Новосибирск). The article is devoted to one of the leading Altai painters Andrei Vasilievich Arestov (1956–2021), the artist, who continued the traditions of Russian impressionism, which originated in Russia at the turn of the 20th century. The artist developed his own individual, recognizable style and earned the love of numerous viewers. The artist's works dedicated to Altai, St. Petersburg, Paris are in the collection of the State Art Museum of Altai Krai and the private collection of Andrey Kovalev (Novosibirsk).
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Kyselova, Kateryna, Olha Shandrenko i Alina Shcherbak. "STAGE IMAGES OF ROCK MUSICIANS AND THEIR INFLUENCE ON THE FORMATION OF MODERN TRENDS IN CLOTHING DESIGN". CULTURE AND ARTS IN THE MODERN WORLD, nr 22 (30.06.2021): 199–211. http://dx.doi.org/10.31866/2410-1915.22.2021.235914.

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The purpose of the article is to reveal the influence of stage images of rock musicians on fashion design trends formation. Research methodology: the authors of the article use methods of source study analysis to determine the level of scientific development of the issue, comparative historical analysis to identify the characteristic features of images of musicians and catwalk models of clothing collections of famous designers, and theoretical generalization to draw conclusions. The scientific novelty of the work is to highlight the influence of stage images of musicians on the formation of modern trends in fashion design. The analysis of genre affiliation reveals stylistic differences of the stage costume of popular musicians of the USA and Europe. Some stylistic characteristics of the artists’ stage clothing could be traced in the collections of famous fashion brands of the 21st century, such as Balenciaga, Philipp Plein, Vetements, Alexander Wang, Alexander McQueen, and others. Conclusions. The research reveals the main stylistic features of the stage costume of hard rock and heavy metal musicians. Stage images of artists were innovative and widely used in fashion design of the 20th and early 21st century. The active influence of musicians on fashion trends began in the 60s and 70s of the twentieth century, which coincided with the development of stage costume design and the significant spread of media technology. Hard rock and heavy metal performers created and popularized such a style direction as “grunge”, which is one of the leading musical trends in 2020–2021. Designers of the 21st century borrowed many details, visual and stylistic features, and even concepts for brands from popular hard and heavy artists of the 1970s–1990s. Stage images of rock musicians have a significant impact on the development of fashion and design.
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Townsend, Anthony. "Locative-Media Artists in the Contested-Aware City". Leonardo 39, nr 4 (sierpień 2006): 345–47. http://dx.doi.org/10.1162/leon.2006.39.4.345.

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The adoption of mobile devices as the computers of the 21st century marks a shift away from the fixed terminals that dominated the first 50 years of computing. Associated with this shift will be a new emphasis on context-aware computing. This article examines design approaches to context-aware computing and argues that the evolution of this technology will be characterized by an interplay between top-down systems for command and control and bottom-up systems for collective action. This process will lead to the emergence of “contested-aware cities,” in which power struggles are waged in public spaces with the assistance of context-aware systems.
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Usanova, A. L. "Праздник в натюрмортах наивных художников: выставочный опыт начала ХХI века". Iskusstvo Evrazii [The Art of Eurasia], nr 1(20) (31.03.2021): 24–31. http://dx.doi.org/10.46748/arteuras.2021.01.002.

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The article is devoted to the study of the works of naive Altai artists — paintings in the genre of still life, selected during the expedition trips of 2000–2002. The author reviewed the expedition materials, performed an analysis of the works included in the exposition of the 2002 exhibition “Naive Still Life”, revealed and presented the peculiarities of the pictorial language and semantic retranslation of the holiday theme in the still lifes of the Altai naïve artists. The article describes the technical details and methods of work of amateur painters, the reasons and circumstances of the authors' appeal to artistic creation, the specifics of the worldview of naive artists and its reflection in the context of the painting. Статья посвящена исследованию произведений алтайских наивных художников — картин в жанре натюрморта, отобранных в ходе экспедиционных поездок 2000–2002 годов. Автором сделан обзор экспедиционных материалов, выполнен анализ работ, вошедших в экспозицию выставки 2002 года «Наивный натюрморт», выявлены и представлены особенности изобразительного языка и смысловой ретрансляции темы праздника в натюрмортах алтайских наивов. Описаны технические приемы работы живописцев-любителей, причины и обстоятельства обращения авторов к художественному творчеству, специфика мироощущения наивного художника и его отражения в контексте картины.
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Rozprawy doktorskie na temat "Artists in the 21st century"

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Smith, Heather L. "Motion graphics documentary video of Deaf artists of the 21st century /". Online version of thesis, 2008. http://hdl.handle.net/1850/8043.

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van, der Walt Jonathan Petra. "Craftsmanship in contemporary art: an exposition of selected artists’ practical non-involvement". Thesis, Nelson Mandela Metropolitan University, 2017. http://hdl.handle.net/10948/21285.

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Craftsmanship in contemporary art production is the main area of focus for this visual arts based research. An exploration into the artistic production processes of selected contemporary artists’ work, reveals a tendency of physical non-involvement on the part of the artist, who takes up the role of art director. The research enquiry attempts to provide an answer as to whether credit should be given to the craftsman as well as to the artist in this artist/craftsman relationship. The use of a practice-led research strategy allows the researcher’s art-making practice to become an integral part of the cycles of research, as the development of the researcher’s practical understanding, techniques and execution are crucial in the practical component, but also conceptually as a stance in opposition to the selected artists’ lack of practical involvement. The researcher has identified and analysed the following five factors that have contributed to this current state of art production in contemporary art: Kitsch as an influence on the subject matter and content of art, Marcel Duchamp and his idea of the ‘readymade’ and issues of authorship, Andy Warhol and his ideas on art and business, the Conceptual Art movement and, the act and product of craft being perceived as being inferior to the fine arts In addition, an exploration of the production processes involved in the creation of the artworks of Jeff Koons, Damien Hirst, Maurizio Cattelan and Takashi Murakami highlights the craftspeople, fabricators and foundries that are responsible for these artists’ highly crafted aesthetics. As practice is crucial in developing a new understanding and meaning in visual-arts based research, the practical component describes the researcher’s core practical themes as being the following:the creation of naturalistic figurative small-scale sculptures in resin and bronze, placing the characters explored in the theoretical component as the subject matter.The advantages and disadvantages of the collaborative experience with Sculpture Casting Services (fine art foundry) and eNtsa (a Technology Innovation agency), especially the implementation of 3D technologies in both experiences; and the technical development and understanding in order to improve the researcher’s artistic practice Collaboration is an important underlying theme throughout this research undertaking. It is crucial in the production of most contemporary art, and assists in identifying the artist’s role within the production of his/her work. Finally, it relates to the researcher’s collaborative experience expanded upon in the practical component and its benefits as a production method. In concluding, the researcher finds that craftspeople do receive credit for the work they do in the form of money, business and marketing. They provide a service that a great number of artists generously support. Foundries and fabricators also place a mark on the work they do, much like the artist’s signature, as a symbol of pride and recognition. It is ultimately the artist’s technical abilities, workload and artist identity or brand that will determine the extent to which he or she will contribute to the collaboration, whether that be a simple idea, a sketch, a maquette or a large-scale sculpture ready for installation. However, in a rapidly advancing technological society, it is the idea of the artist as craftsman, both thinker and maker, that demands more respect.
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Bryant, Benjamin R. "The artist as shaman". Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1327289.

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Albert Einstein is one indisputable luminary who in my opinion exemplifies the balance, brilliance, and altruism I look for in my heroes. Subsequent to his dream of riding a beam of light to the edge of the universe, with the tools of calculus and physics, he radically changed our understanding of the universe. But the dream came first, and everybody dreams.I believe everyone has something incredible to offer. In my creative project paintings I attempt to demonstrate with the tools of paint and canvas my peculiar dream of the cosmos from macrocosm to microcosm.I ride the beam of light using paint and canvas, in my creative project paintings I celebrate my fascination with that intuitive element we all share. I also celebrate those who have gone before with the wisdom to seek an understanding and discernment of the genius we all share, have access to, and indeed must thoughtfully and carefully awaken for our species to evolve past its current halting material, ideological, and technological adolescence.
Department of Art
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Reichelt, Victoria, i n/a. "Painting's Wrongful Death: The Revivalist Practices of Glenn Brown and Gerhard Richter". Griffith University. Queensland College of Art, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20060901.143140.

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This thesis considers how the Twentieth Century 'death of painting' debate brought about a series of challenges and changes to painting that have ironically ensured its survival. This is illustrated in the practice of artists Gerhard Richter and Glenn Brown, whose investigations into painting's failures and limitations have paradoxically resulted in their works demonstrating the continued relevance and success of the medium. Specifically, this discussion analyses Richter's Annunciation After Titian (1973) series and Brown's series of works that appropriate Frank Auerbach paintings (1998 - 2000). These works illustrate the ways in which painting has developed in the last half of the Twentieth Century as a result of the 'death of painting' debate. The primary developments identified are that painting now draws from and references many other media; painting now embraces photography (instead of seeing it as a threat); the use of appropriation in painting is now seen as expansive rather than as representing depletion; there has been a return to romanticism and pleasure in painting; and women are now included in the broader discussion of painting. In considering the 'death of painting' debate, as well as the changes painting has experienced as a result of it, the primary point of departure is Yve-Alain Bois' pivotal essay 'Painting: The Task of Mourning' (1986) and his analysis of Hubert Damisch's 'theory of games'. The evolution of the 'death of painting' debate is also outlined via the writings of Douglas Crimp, Arthur C. Danto, Douglas Fogle, Michael Fried, Jeremy Gilbert-Rolfe and Georg Wilhelm Friedrich Hegel. This thesis also considers how the debate has impacted contemporary painters' practices, as well as how my own practice owes a debt not only to the response of artists like Brown and Richter, but also to the debate itself.
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Reichelt, Victoria. "Painting's Wrongful Death: The Revivalist Practices of Glenn Brown and Gerhard Richter". Thesis, Griffith University, 2005. http://hdl.handle.net/10072/366187.

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This thesis considers how the Twentieth Century 'death of painting' debate brought about a series of challenges and changes to painting that have ironically ensured its survival. This is illustrated in the practice of artists Gerhard Richter and Glenn Brown, whose investigations into painting's failures and limitations have paradoxically resulted in their works demonstrating the continued relevance and success of the medium. Specifically, this discussion analyses Richter's Annunciation After Titian (1973) series and Brown's series of works that appropriate Frank Auerbach paintings (1998 - 2000). These works illustrate the ways in which painting has developed in the last half of the Twentieth Century as a result of the 'death of painting' debate. The primary developments identified are that painting now draws from and references many other media; painting now embraces photography (instead of seeing it as a threat); the use of appropriation in painting is now seen as expansive rather than as representing depletion; there has been a return to romanticism and pleasure in painting; and women are now included in the broader discussion of painting. In considering the 'death of painting' debate, as well as the changes painting has experienced as a result of it, the primary point of departure is Yve-Alain Bois' pivotal essay 'Painting: The Task of Mourning' (1986) and his analysis of Hubert Damisch's 'theory of games'. The evolution of the 'death of painting' debate is also outlined via the writings of Douglas Crimp, Arthur C. Danto, Douglas Fogle, Michael Fried, Jeremy Gilbert-Rolfe and Georg Wilhelm Friedrich Hegel. This thesis also considers how the debate has impacted contemporary painters' practices, as well as how my own practice owes a debt not only to the response of artists like Brown and Richter, but also to the debate itself.
Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
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Merello, Andrea Kathleen. "A case study of artists from the Kansas City Schools Experiment". Thesis, University of Iowa, 2018. https://ir.uiowa.edu/etd/6209.

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The Kansas City School District was unable to attain accreditation from 1955 until 2016, enduring high dropout rates, exceptionally low college entrance rates, and poor performances on standardized tests. At the district’s fine arts school, students also experienced these low educational outcomes. But despite these educational setbacks, the fine arts training they received appears to have contributed to their successful long-term outcomes in adulthood. The purpose of this case study is to explore the factors that contributed to talent development and overall thriving among adult artists who attended the fine arts school in this low performing school district. The research questions include 1) How do the artists describe the experience of developing their talent while attending an unaccredited high school? 2) What factors do the artists identify that aided in the emergence and continual development of their artistic practice? I interviewed 8 adult artists (aged 34-37) who discussed experiences that catalyzed and contributed to the development of their artistic talent. I identify themes and interpret data using grounded theory. Based on existing research about talent development, this study might show that these students thrived because the fine arts school they attended prioritized talent development over core content standards. The focus on talent development appears to have cultivated certain intrapersonal traits—such as awareness, motivation, and perseverance—which may account for their success as adults. Such identifiable traits are relevant to the “21st century skills” that are emerging in the education community. By understanding these artists’ experiences through a case study, educators and policymakers may have a clearer picture of how talent development helps to cultivate 21st century skills in students.
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Bradley, Lynne M. "Found in translation: Transcultural performance practice in the 21st century". Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/104124/1/Lynne_Bradley_Thesis.pdf.

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This practice-led PhD proposes Cultural Translation as a methodology for engaging with transcultural performance as innovative and ethical practice. The investigation draws upon the decade-long collaboration between Australian contemporary performance company Zen Zen Zo Physical Theatre and Japanese Butoh company Dairakudakan. The study addresses questions regarding the transposition of cultural product; the ethics of cultural exchange; and artistic innovation in transcultural performance praxis. The study's findings include a cultural translation of Maro Akaji's Butoh training and devising. These methods profoundly influenced the creation of "In the Company of Shadows", the original performance work which constituted the core of this study.
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Smith, Olga. "Between reality and fiction : the art of French photography since the 1970s". Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610275.

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Pryde-Jarman, D. "Curating the artist-run space : exploring strategies for a critical curatorial practice". Thesis, Coventry University, 2013. http://curve.coventry.ac.uk/open/items/ec4c19c4-55de-475d-a95f-0a310c037ced/1.

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The once distinct roles of artist and curator have blurred dramatically in recent decades owing to a blending process in both directions, which has led to a turn towards the concept of the curator as producer and author, and the development of the hybridised figure of the ‘artist-curator’. Within my practice-based curatorial research at Meter Room and Grey Area, the 'artist-run space', as both form and content of space, is used as a critical framework for artist-curatorship. Artist-run spaces play a significant role in the cultural ecology of the UK, and this project explores the power relations involved in the production, distribution, and consumption of work within the field, in terms of both a cause and effect of a contested relationship with institutions and commercial galleries. Artist-run spaces are initiated for a number of reasons, but this project specifically focuses upon those spaces that identify with terms such as ‘independent’, 'alternative', ‘not-for-profit’, ‘DIY’, ‘self-organised’, and ‘critically engaged’. Using strategies for the development of a critical practice, such as Chantal Mouffe’s theories on ‘counter-hegemony’ and ‘agonistic space’ (2007), and Gerald Raunig's concept of 'instituent practice' (2009), this project explores how curatorial practices within artist-curator-run spaces might offer different ways of working, and be used to contest hegemonic structures within the field. I explore the role of critique within curatorial practice, specifically in relation to the struggle for autonomy, the production of subjectivity, and strategies for negating or resisting cooption by the New Institutions of post-Fordist neoliberalism. Three curatorial strategies were developed from experimental projects at both spaces, and then explored at Meter Room over a 2-year period. These strategies sought to occupy institutional structures in new ways: through the re-functioning of 'void' space, blending studio and gallery functions within a Curatorial Studio, developing a paracuratorial practice referred to as Caretaking, and re-approaching the concept of a collection-based institution through processes of layering works and their vestiges within an Artist-run Collection. The practice-based research culminated in a 5-month durational project in collaboration with five other artist-run spaces based in the West Midlands region, which explored a strategy for the creation of a new speculative artist-run institution as a dialogical process of instituting values through a critical curatorial practice.
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Li, Ping-Yeh. "Toward 21st century Wundermaschinen : a practice-based inquiry developing media archaeology as an artistic methodology". Thesis, University of Newcastle upon Tyne, 2017. http://hdl.handle.net/10443/3633.

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This practice-based thesis aims to construct a practice framework in the field of new media art that can be multi-disciplinary, reflective and productive in nature, and has potential implications for the relationship of humans and machines in the 21st Century. The core focus of this research is on how a media archaeological exploration of Wundermaschinen promotes an approach to Media Art practice that engenders wonder and expands our vocabulary about wonder is. Building on reflections on creative projects Sensing Energies (2012) and Spirit Exposure (2012-2013), specific concerns emerged. It is argued that further practices of information visualisation move away from scientific and explanatory means, and otherwise explore how they are in line with similar developments in Media Art practice. It is then recommended to embrace a paleontological view on media development, and explore the hidden motives in practice of technology for observation. In other words, a media archaeological approach is adapted to excavate the family resemblance characteristics and unrealized dreams of Wundermaschinen. A review of contemporary maker-culture also suggested that we go beyond the homogenisation of novelty in open source making and examine specific experimental aspects. To inform making activities thus conceived, a speculative framework of ‘21st Century Wundermaschinen’ is proposed: rarity and refined labour, information-oriented visual complexity, performance-like setting for specific sensuousness, embracing knowledge across disciplines, assembling multiple epochal technologies, and machinery of curiosity. This framework is then applied through five experimental projects conducted between 2013 and 2016 that each has been documented the developmental context, implementation, technical ii details and audience response. The results of this application are discussed and reflected to locate their characteristics of experience, aesthetic potential, and suitability for media research. This practice-based research makes the following contributions: (i) a design framework for new media practitioners and HCI designers, (ii) a method of utilizing maker tools that critically contextualise themselves to broader techno-historical context of technology, (iii) an aesthetic and analytic strategy expressed as a framework which re-examines contemporary human-machine relationships, and (iv) a set of provocative examples that reflects on, and provides practical examples for, a media archaeology as artistic methodology.
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Książki na temat "Artists in the 21st century"

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Uta, Grosenick, i Becker Ilka, red. Women artists in the 20th and 21st century. Köln: Taschen, 2003.

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Passing the colors: Engaging visual culture in the 21st century. Grand Rapids, MI: William B. Eerdmans Publishing Co., 2002.

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Flath, Camden. Media in the 21st century: Artists, animators, and graphic designers. Broomall, Pa: Mason Crest Publishers, 2011.

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Western artists and India: Creative inspirations in art and design. Mumbai: The Shoestring Publisher, 2013.

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Berlin what?: 102 contemporary artists. [Lindlar]: Neue Sachlichkeit, Imprint of CH. Schroer GmbH, 2013.

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Interviews with artists 1966-2011. New Haven: Yale University Press, 2012.

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Christiane, Weidemann, red. 50 contemporary artists you should know. Munich: Prestel, 2011.

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A-Z great modern artists. London: Cassell Illustrated, 2015.

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Alexander, Alberro, i Stimson Blake, red. Institutional critique: An anthology of artists' writings. Cambridge, MA: MIT Press, 2009.

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Ray, Hemachandra, red. Masters: Blown glass : major works by leading artists. New York: Lark Books, a division of Sterling Pub. Co., 2010.

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Części książek na temat "Artists in the 21st century"

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Méndez Baiges, Maite. "After Picasso: Reinterpretations and recreations of Les Demoiselles D’Avignon in Contemporary Art". W Les Demoiselles d'Avignon and Modernism, 103–23. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/978-88-5518-656-8.08.

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Another way of showing interpretations of Picasso's Demoiselles is to heed the replicas, copies, pictorial or artistic versions made by contemporary artists. This chapter presents the artistic versions of the work done by artists at the end of the 20th and start of the 21st century. It begins the pop replicas by Caulfield or Equipo Crónico and the appropriationists like Richard Prince or Mark Bidlo. And continuing with those done by feminist or Afroamerican artists like Faith Ringgold or the queer versions of Rafael Agredano. Finally it deals with the geographical and culturally situated critical proposals of Francis Alÿs or Rogelio López Cuenca/Elo Vega.
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Hughes, Diane. "Contemporary Vocal Artistry in Popular Culture Musics: Perceptions, Observations and Lived Experiences". W Teaching Singing in the 21st Century, 287–301. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-8851-9_17.

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Barton-Farcas, Stephanie. "You as an Artist in the Midst of Changing Technology". W Acting & Auditioning for the 21st Century, 159–71. New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781351131551-18.

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Trapè, Roberta. "Australians’ Literatures and Cultures in Tuscany". W Biblioteca di Studi di Filologia Moderna, 129–43. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/978-88-5518-597-4.11.

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Italy has been the destination of a lifetime for an endless stream of travellers and since the start of Australian travel to Italy, Tuscany has always had a special and persistent attraction for Australian writers and artists. The connection between Italy and Australia will be explored here highlighting two periods in which Tuscany, and particularly Florence and Prato, became active and lively hubs for the reflection and study of the relationship between Australia and Italy. I will refer to a conference organised by Gaetano Prampolini and Marie Christine Hubert in 1989 at the University of Florence, “An Antipodean Connection: Australian Writers, Artists and Travellers in Tuscany”, and to the first decade of the 21st century when Anna Maria Pagliaro was Director of the Monash Prato Centre (2005-2008).
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Barton-Farcas, Stephanie. "Further Artistic Career Options in the New Century with New Technology". W Acting & Auditioning for the 21st Century, 141–48. New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781351131551-16.

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Loffredo, Anna Maria, Rainer Wenrich, Charlotte Axelsson i Wanja Kröger. "Gamechanging Education and Future E-Learning in the Arts". W Changing Time - Shaping World, 15–38. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839461358-003.

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Loffredo, Wenrich, Axelsson and Kröger announce the following statement to engage the readers: A World of Changemakers - this is the outlook for an innovative understanding of education in the hybrid arts for the 21st century. It is a context in which artists see themselves as entrepreneurs in the spirit of art and design 'edupreneurs,' embrace their role as independent agents of change and shapers of civil society, understand co-action and engage accordingly.
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Thelandersson, Fredrika. "Introduction". W 21st Century Media and Female Mental Health, 1–32. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-16756-0_1.

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AbstractThis chapter serves as the introduction to 21stCentury Media and Female Mental Health: Profitable Vulnerability and Sad Girl Culture. As such it describes the prevalence of sadness and mental health awareness in the popular media landscape of the 2020s. I describe the main sites studied—magazines, celebrities, and social media networks—to understand the contemporary discourse around gendered mental health, and the feminist media studies theories I use in my analysis. The chapter also contains a timeline of the emergence of a twenty-first-century sadness, exemplified by the artist Lana del Rey and her employment of a sad aesthetics. I also define my use of the terms neoliberalism, governmentality, biopolitics, postfeminism, and popular feminism, before briefly accounting for feminist approaches to affect theory. The chapter ends with an outline of the other chapters in the book.
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Thelandersson, Fredrika. "Social Media Sadness: Sad Girl Culture and Radical Ways of Feeling Bad". W 21st Century Media and Female Mental Health, 157–207. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-16756-0_5.

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AbstractThis chapter turns to social media platforms and looks at the figure of the sad girl as she emerged online as an indirect response to a popular culture overtly focused on happiness. It discusses how she appeared on primarily Tumblr and Instagram, exploring the general sad girl discourses on these platforms as well as some examples that received extra attention. These include the artist Audrey Wollen and her sad girl theory, the girl group Sad Girls Y Qué, the Instagram club Sad Girls Club, the social media brand My Therapist Says, and prominent Instagram accounts. Here I look at the critical and acritical tendencies within the figure, acknowledging both the potentially subversive aspects of the activist-oriented sad girls and the more commercialized versions of popular sad girls. This chapter explores how Tumblr sad girls might be seen as resting in sadness; how relatability is employed as a political strategy by some Instagram sad girls; the ambivalence of normalization; and the limits of using commercial social media platforms for meaningful social action.
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Eichholz, Alice. "21st Century". W Gender in Transition, 285–95. Boston, MA: Springer US, 1989. http://dx.doi.org/10.1007/978-1-4684-5631-8_24.

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Balinska-Ourdeva, Vessela. "21st Century Learners". W Decolonizing Global Citizenship Education, 179–88. Rotterdam: SensePublishers, 2015. http://dx.doi.org/10.1007/978-94-6300-277-6_15.

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Streszczenia konferencji na temat "Artists in the 21st century"

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Yustiono, Dr. "Art, Artist and Culture in 21st Century Indonesian Contemporary Art". W International Conference on Aesthetics and the Sciences of Art. Bandung, Indonesia: Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338675.

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Khymytsia, Olha. "Analysis of trends in the development of hybrid housing: European experience of the 21st century". W International Youth Science Forum “Litteris et Artibus”. Lviv Polytechnic National University, 2018. http://dx.doi.org/10.23939/lea2018.01.061.

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Lisovetc, Irina. "The Modern Multi-Functional Cultural Center (Yeltsin Center) as a Platform for Dialogue Both Public & Private". W The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-11.

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The article covers the modern multi-functional cultural centre as an institution of Russian culture of the 21st Century in the terms of the interaction of publicity and privacy. On the basis of the institutional approach in cultural theory and the philosophical and aesthetic analysis of the space of the cultural centre, the most important role of this institution in individual and personal assimilation of sociocultural values is substantiated. The objectives (programme) of such an institution, its chronotope and functionality are directed at the involvement of contemporaries into various forms and levels of the culture of the past, and its emotional-sensual assimilation via media-communication technologies. The ‘Yeltsin-Center’ in the city of Yekaterinburg was taken as the example not only for being orientated on the familiarisation of its visitors with the history of the Russian state and its culture of the late 20th century and the early 21st century, but also for the subjective experience of turning points of those times and the city where the personality and activities of the first Russian president were shaped and began. The calibre of the President’s personality, in this case, is diversely represented within the space of the Centre, and becomes crucial for understanding what was going on at that time. The ‘Yeltsin-Center’ is a principally new cultural complex, each component of which, and above all its central part - the Museum of the First President - is structured to show the turning point in Russian history as the President’s life journey and to encourage citizens to understand the past and present. The use of modern information technologies in this cultural complex, and primarily in its museum exhibition having been arranged as an artistic artefact, becomes crucial to the dialogue of publicity and privacy.
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Sülek, Mehmet. "“Tell me whom you haunt and I’ll tell you who you are”: Aby Warburg, Memory and Artistic Practices in the 21st Century". W AHM Conference 2022: ‘Witnessing, Memory, and Crisis’. Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789048557578/ahm.2022.009.

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Malinina, Elena. "Contemporary Art Culture as a Creator of Publicity New Forms: Experience of Perm Theatrical Community". W The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-13.

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This article covers some new forms of publicness in the field of art culture of the Russian city of Perm, e.g. dramatics as a performance in a street environment, and synthetic museum-theatrical form under the conditions of a stage box. The study was accomplished mainly via culturological method. At one time theatre left the urban environment, but in the 21st century theatrical forms have begun to permeate urban space again, the statement primarily concerns site-specific theatre. This is equivalent to the birth of new theatrical-city publicity, a new modality of the interpenetration of the public and the private. One of the best-known theatrical projects in this field is ‘Remote X’ (‘Rimini Protokoll’ band). Here, the close co-existence habitual to city dwellers turns into a social substrate, and a way to implement interpersonal artistic communication, thereby largely changing the disposition of the former, and transforming itself. Another new form of relationship between collective and individual aspects in the public sphere is the synthetic museum-theatre form, on the example of immersion dramatics ‘Permian Pantheon’ (Perm Academic Theatre, stager Dmitry Volkostrelov). The natural ‘calendar-seasonal’ tempo-rhythm of the dramatics creates a triple semantic effect risen from artistic reality. It immerses the viewer into the process of traditional subsistence in whole (actualisation of the cultural collective unconscious), represents cultural phenomena (which corresponds to the culture-focused paradigm of artistic consciousness of the second half of the 20th century to the early 21st century), reaches the level of worldview values, the philosophical generalisation of cultural-existential reality. Thus, on the example of two Perm theatrical plays the author can speak about the origin of new forms of publicness in contemporary culture to entail new relationships between publicity and privacy in the current realities.
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Кривенькая, М. А. ""Almost Russian at heart, but not by look": images of migrants in the heroes’ speech in modern prose". W Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.79.10.085.

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статья представляет собой дискурсивный анализ реплик героев современной художественной прозы, семантически соотнесенных с образом мигрантов. Автор прослеживает, как исторически сложившиеся представления о совокупности качеств, присущих определенному лингвокультурному сообществу, преломляются в диалогах литературных героев XXI века. И, наоборот, как художественные образы, созданные авторами современной прозы, отражают позицию общества по отношению к миграционному процессу и его проявлениям. the article presents a discursive analysis of the replicas of the modern fiction heroes, semantically correlated with the image of migrants. The author traces how the historically formed ideas about the qualities inherent in a certain linguistic and cultural community are refracted in the dialogues of literary heroes of the 21st century. And, conversely, how artistic images created by authors of modern literature reflect the position of society in relation to the migration process and its manifestations.
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Vlăduțu, Georgeta (Nicola). "Anxiety In Professionals Working In The Cultural And Artistic Environment". W ICPESK 2018 - International Congress of Physical Education, Sports and Kinetotherapy. Education and Sports Science in the 21st Century, Edition dedicated to the 95th anniversary of UNEFS. Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.02.40.

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Buftea, Victor. "Correlation Of The Specific Testing Indicators In Women’s Artistic Gymnastics Training". W ICPESK 2018 - International Congress of Physical Education, Sports and Kinetotherapy. Education and Sports Science in the 21st Century, Edition dedicated to the 95th anniversary of UNEFS. Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.02.45.

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Corlaci, Ionuț. "Specific Demands Of The Effort On The Pommel Horse In Artistic Gymnastics". W ICPESK 2018 - International Congress of Physical Education, Sports and Kinetotherapy. Education and Sports Science in the 21st Century, Edition dedicated to the 95th anniversary of UNEFS. Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.02.27.

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Gamble, Susan, i Michael M. Wenyon. "17th-century optics in 20th-century art: artists working in Britain's oldest scientific institution". W OE/LASE '90, 14-19 Jan., Los Angeles, CA, redaktor Stephen A. Benton. SPIE, 1990. http://dx.doi.org/10.1117/12.17978.

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Raporty organizacyjne na temat "Artists in the 21st century"

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Brooks, Vincent K. Knowledge is the Key: Educating, Training and Developing Operational Artists for the 21st Century. Fort Belvoir, VA: Defense Technical Information Center, maj 1992. http://dx.doi.org/10.21236/ada254124.

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Galenson, David. The Greatest Artists of the Twentieth Century. Cambridge, MA: National Bureau of Economic Research, grudzień 2005. http://dx.doi.org/10.3386/w11899.

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Kocherlakota, Narayana. 21st Century Macro. Cambridge, MA: National Bureau of Economic Research, luty 2020. http://dx.doi.org/10.3386/w26791.

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Sinnis, Constantine, Mark Benjamin Chadwick, Kimberly Carole New Scott i Stephen Val Milton. LANSCE 21st Century Deterrence. Office of Scientific and Technical Information (OSTI), kwiecień 2020. http://dx.doi.org/10.2172/1608676.

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Bowdon, W. G. Mahan in the 21st Century. Fort Belvoir, VA: Defense Technical Information Center, październik 1990. http://dx.doi.org/10.21236/ada437611.

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Hopper, Darrel G. 21ST Century Aerospace Defense Displays. Fort Belvoir, VA: Defense Technical Information Center, styczeń 1999. http://dx.doi.org/10.21236/ada430161.

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Beaumont, Keaton L. Developing 21st Century Senior Leaders. Fort Belvoir, VA: Defense Technical Information Center, marzec 2010. http://dx.doi.org/10.21236/ada519853.

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Piechota, Thomas C. Water in the 21st Century. Office of Scientific and Technical Information (OSTI), luty 2013. http://dx.doi.org/10.2172/1064445.

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Van Drie, Mark. Infantry in the 21st Century. Fort Belvoir, VA: Defense Technical Information Center, marzec 2000. http://dx.doi.org/10.21236/ada377620.

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Tetlow, Gemma, i Daniel Chandler. Retirement in the 21st century. IFS, październik 2014. http://dx.doi.org/10.1920/re.ifs.2014.0098.

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