Artigos de revistas sobre o tema "Arts, african – 20th century – exhibitions"
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Flam, Jack. "Africa Explores: 20th Century African Art". African Arts 25, n.º 2 (abril de 1992): 88. http://dx.doi.org/10.2307/3337064.
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Oguibe, Olu, e Susan Vogel. "Africa Explores: 20th Century African Art". African Arts 26, n.º 1 (janeiro de 1993): 16. http://dx.doi.org/10.2307/3337105.
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Pellizzi, Francesco. "Africa Explores: 20th Century African Art". African Arts 26, n.º 1 (janeiro de 1993): 22. http://dx.doi.org/10.2307/3337106.
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REDMAN, SAMUEL. "Remembering Exhibitions on Race in the 20th-century United States". American Anthropologist 111, n.º 4 (17 de novembro de 2009): 517–18. http://dx.doi.org/10.1111/j.1548-1433.2009.01160_1.x.
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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, n.º 27 (2022): 206–7. http://dx.doi.org/10.12795/ppa.2022.i27.12.
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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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Mount, Sigrid Docken. "Evolutions in exhibition catalogues of African art". Art Libraries Journal 13, n.º 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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Calo, Mary Ann. "A Community Art Center for Harlem: The Cultural Politics of “Negro Art” Initiatives in the Early 20th Century". Prospects 29 (outubro de 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.
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Hill-Thomas, Genevieve. "African Apparel: Threaded Transformations Across the 20th Century". African Arts 54, n.º 4 (2021): 81–83. http://dx.doi.org/10.1162/afar_r_00615.
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Buchli, Victor. "The Destruction of Gemütlichkeit? Programmatic Exhibitions on Domestic Living in the 20th Century". Home Cultures 4, n.º 2 (julho de 2007): 201–6. http://dx.doi.org/10.2752/174063107x209028.
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Pawłowska, Aneta. "African Art: The Journey from Ethnological Collection to the Museum of Art". Muzeológia a kultúrne dedičstvo 8, n.º 4 (2020): 161–76. http://dx.doi.org/10.46284/mkd.2020.8.4.10.
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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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Achten, Anastasiia R. "Imitation of Ottoman ornaments the Italian ceramics of the 14th – 20th centuries". Vestnik of Saint Petersburg State University of Culture, n.º 1 (58) (2024): 108–13. http://dx.doi.org/10.30725/2619-0303-2024-1-108-113.
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This article is devoted to the Italian tradition of imitation of Ottoman ceramics from the 14th century to the beginning of the 20th century. The first period covers the pottery industry of the 14th and 15th centuries; the second period lasts from the end of the 15th century to the 18th century, and the last one is the industrial age, the end of the 19th – the beginning of the 20th century. The first period represents only regional touches and the use of similar artistic techniques and colors. The second period is illustrated with more specific examples, such as the use of the Turkish ornament «tugrech». And finally, the third period fully reveals the imitation and copying of Ottoman products, which occurs due to industrialization, the emergence of museums of decorative arts and world exhibitions. In search of inspiration, ceramics such as Cantagalli, the artist Pio Fabri and his daughter Emma Fabri are at the forefront of the renaissance of the «Ottoman style» in ceramics.
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Park, Hyesung. "Rethinking the 20th-Century Korean Embroidery from Gender Perspectives". Korean Journal of Art History 320 (31 de dezembro de 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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Albano, Caterina. "The Exhibition as an Experiment: An Analogy and Its Implications". Journal of Visual Culture 17, n.º 1 (abril de 2018): 97–116. http://dx.doi.org/10.1177/1470412918763446.
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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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Glinternik, Eleonora M. "Exhibitions of the First Third of the 20th Century in the Imperial Academy Arts — Leningrad VHUTEIN". Actual Problems of Theory and History of Art 10 (2020): 436–47. http://dx.doi.org/10.18688/aa200-3-38.
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Gribanova, Valentina. "On the Question of the Trends in the Development of Islam in South Africa". ISTORIYA 13, n.º 3 (113) (2022): 0. http://dx.doi.org/10.18254/s207987840020261-6.
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The article discusses the ways of penetration of Islam into South Africa and the forces that played a significant role in its spread in this territory. The development of reformist tendencies in South African Islam during the second half of the 20th century is analyzed. It is noted that although in South Africa there were supporters of progressive trends in the reform of Islam, their number was minimal. There were significantly more adherents of the conservative trend in Islam. The special role of the Deobandi school and the Tablighi Jamaat movement among the supporters of the conservative direction is noted. A review of Muslim organizations that were actively created during the 20th century is given. These organizations were aimed at strengthening Islam in South African society and increasing the number of believers. The strengthening of the role of tarikats — Muslim spiritual orders, in the religious life of South African Muslims from the end of the 20th century is noted. The role of Islamic education, which has been increasing its importance in South Africa in recent decades, is emphasized.
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Zabalueva, Olga. "Multimedia Historical Parks and the Heritage-based “Regime of Truth” in Russia". Culture Unbound 14, n.º 2 (7 de julho de 2022): 83–106. http://dx.doi.org/10.3384/cu.3975.
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This article focuses on the 2013–2016 exhibitions in Moscow Manege which were later transformed into a network of entertainment centres (“historical parks”) Russia––my (hi)story. The exhibitions are built on multimedia technologies and include no authentic artefacts/museum objects. There is a growing network of such centres all over Russia, all organized in a similar manner, appealing to the visitor’s emotions and creating a relation of affect through the unravelling of a nationalistic historical narrative. Claimed to present “the objective picture of the Russian history” the exhibitions are following the recent developments in Russian cultural policies and history curricula. By analysing narratives presented at the “historical park” exhibitions, in policy documents and in media, this article follows the changes in public attitude towards history, which heritage is perceived as ‘difficult’ and ‘contested’ and how the digital representations influence these perceptions. Based on this analysis I argue that the reduction of the museum mechanism to only digital and multimedia form can bring along very serious issues in different political contexts. Russian historical parks enterprise, which combines the methods of fostering patriotism by the means of historical narrative templates both from the 19th and the 20th centuries, enhanced with the 21st-century technology in a form of “multimedia museums,” is only one of such examples.
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Webb, Barbara L. "The Black Dandyism of George Walker: A Case Study in Genealogical Method". TDR/The Drama Review 45, n.º 4 (dezembro de 2001): 7–24. http://dx.doi.org/10.1162/105420401772990306.
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Linden, Diana L. "Modern? American? Jew? Museums and Exhibitions of Ben Shahn's Late Paintings". Prospects 30 (outubro de 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.
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Matějová, Judita. "Muzejní časopis Mittheilugen des Mährischen Gewerbe-Museums in Brünn (1883–1918) v kontextu časopisů uměleckoprůmyslových muzeí v českých zemích". Acta Musei Nationalis Pragae – Historia litterarum 67, n.º 3-4 (2023): 131–37. http://dx.doi.org/10.37520/amnpsc.2022.031.
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The article focuses on the museum journal Mittheilungen des Mährischen Gewerbe-Museums in Brünn, one of the important source materials for research on the arts and crafts of the last third of the 19th century and the early 20th century not only in Moravia but also in the cultural areas of the Austrian monarchy. The journal was published in the Moravian Industrial Museum in Brno in 1883–1918, when the museum was headed by two important directors – August Prokop (1883–1893) and Julius Leisching (1893–1922). Under the influence of the latter, the museum became the press authority of the Association of Austrian Museums of Applied Arts, the Association of Austro-Moravian Local Museums and the German-Moravian Association of Heritage Preservation. The journal contained articles on art history and information on current exhibitions, museum collections and activities as well as on the museum library.
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Федорук, Олександр. "The Kyiv artistic life in the late 19th and early 20th centuries. Polish discourse". CONTEMPORARY ART, n.º 18 (29 de novembro de 2022): 307–20. http://dx.doi.org/10.31500/2309-8813.18.2022.273817.
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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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Shelach-Lavi, Gideon. "Archaeology and politics in China: Historical paradigm and identity construction in museum exhibitions". China Information 33, n.º 1 (11 de maio de 2018): 23–45. http://dx.doi.org/10.1177/0920203x18774029.
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In China, as in many other modern and contemporary states, the past is often used to inform public opinions and legitimate the political regime. This article examines two examples of archaeological exhibitions in China: at the National Museum of China (中国国家博物馆) in Beijing and the Liaoning Provincial Museum (辽宁省博物馆) in Shenyang. It discusses the development and change over time in the content of these archaeological exhibitions, the way they were organized and presented to the public, and the explanations that accompanied the prehistoric artefacts. I argue that the way the past, and in particular the distant, prehistoric and proto-historic past, is presented in Chinese museums reveals a process of entrenchment of the standardized narrative of Chinese history, with a powerful sense of connection and continuity between the past, no matter how distant, and the present. I also argue that although the general outline of the historical trajectory of the ‘Chinese civilization’ is universally accepted, small variations in the way it is presented and the different emphases of the two exhibitions can inform us about various ways of constructing local and national identities in China during the 20th century and up to the current time.
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Rusakov, Serhii. "Establishment of the Art Market in the Context of Ukrainian Historical and Cultural Tradition". Studia Warmińskie 59 (31 de dezembro de 2022): 111–24. http://dx.doi.org/10.31648/sw.8330.
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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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MAMONTOVA, O. S. "ETHNOGRAPHIC SUBJECT IN EXHIBITION ACTIVITIES ALTAI STATE MUSEUM OF LOCAL LORE IN 2023". Field studies in the Upper Ob, Irtysh and Altai (archeology, ethnography, oral history and museology) 18, n.º 1 (2023): 254–63. http://dx.doi.org/10.37386/2687-0584-2023-18-254-263.
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Using the example of two temporary exhibition projects of the Altai State Museum of Local Lore, the place of ethnographic materials in the exhibition activities of the museum is considered. Today, a significant part of ethnographic objects is taken into account not only as part of the ethnographic collection, but also in the historical and household collection and the collection of decorative and applied arts, which is due to errors in the museum accounting system in the 20th century. Despite this, relying on the concept of «ethnographic object» formulated by A. V. Konovalov and E. Ya. Timofeeva, AGKM employees actively use ethnographic materials in the construction of exhibitions on various subjects using collection (systematic), museum-shaped, ensemble, illustrative and thematic methods
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Popova, Kseniya. "Trends in European Historiography of African History in the Second Half of the 20th Century". ISTORIYA 13, n.º 3 (113) (2022): 0. http://dx.doi.org/10.18254/s207987840020927-8.
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The article is devoted to the main trends in Western historiography of Africa in the second half of the XX century. The author examines how approaches and ideas in the study of African history by European and American scientists were changing during the formation of African studies as a separate science. There is a change in the perception of Africa by Western scientists from the “unhistorical” object of the world history to the region with its own unique history. The article highlights the influence of historical processes on changes of the views and approaches of Africanists. The author has come to the conclusion that Western historiography during the reviewed period has significantly expanded its theoretical and methodological base and it has made significant progress in the study of African history.
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Ştefănescu, Mircea. "The Beginnings of The Modern Art". Review of Artistic Education 18, n.º 1 (1 de março de 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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Buchalik, Lucjan. "THE NEW ASPECT OF THE MUNICIPAL MUSEUM IN ŻORY. HISTORY AND COLLECTION". Muzealnictwo 58, n.º 1 (7 de agosto de 2017): 0. http://dx.doi.org/10.5604/01.3001.0010.2668.
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Two attempts were made to found the Museum in Żory, each time when the anniversary of the town’s founding was being celebrated. The Municipal Cultural Centre then organised exhibitions devoted to the town’s history. Since the interest in celebrations dropped off once they were finished, the museum was never founded. In 1999 the concept was changed, and African culture started to predominate. The interest in such an exhibition was huge, and thus the Municipal Museum was founded in December 2000. It has two branches, one devoted to the history and culture of the region, and one devoted to non-European cultures. At the beginning, museum professionals were aware of the fact that the museum’s existence depended on social acceptance. It was decided to focus on animation activities, which effectively attracted a lot of visitors. At the same time, both the regional and West African collections were created. Since the museum was founded quite recently, the majority of the collection is made up of objects from the 2nd half of the 20th century and the beginning of the 21st century. Having its own premises was a serious problem for the museum. After many years of struggle, an agreement was concluded with the Katowice Special Economic Zone (KSSE) to add a wing to the historical Haering villa from 1908 which it owned. In autumn 2014 the construction work finished and the museum gained its own premises. The museum presents two permanent exhibitions: "Our identity" and "The Polish way of learning about the world". The former presents the history and culture of the region and town, from their beginnings until today. The latter is devoted to research carried out by Polish scientists in various parts of the globe. The museum acquires objects mainly through its own field work, as well as from collections gathered by Polish scientists during their research. Purchasing historical and expensive objects at antique shops and markets is rare.
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Lanzarini, Orietta, e Emanuela Ferretti. "Una nuova idea di museo tra passato e futuro". Opus Incertum 9 (13 de dezembro de 2023): 8–15. http://dx.doi.org/10.36253/opus-14836.
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The Madrid Conference of 1934 sanctioned the affirmation of a new idea of the museum with an enhanced educational and social scope, which was shared internationally. The main objective of the reform, already underway in the first decades of the 20th century, was to enable the general public entering museums to understand the value of history, of the arts and of sciences in the ‘construction’ of the present. This process of profound transformations involves various design and theoretical concerns, which are explored in this issue of the Journal in three sections and in a photo album. The first section highlights the role of some of the decisive figures in the development of contemporary museography and then moves on to the theoretical debate and the relationship between exhibitions and museums. The second section focuses on education and communication, both within the museum and in the development of methodologies for designing its spaces. Finally, the third part investigates the museum from a formal and functional point of view. The volume closes with a photographic ‘story’ of the evolution of some of the Uffizi’s most important exhibitions and a tribute to the memory of Delfín Rodríguez Ruiz.
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Cohen, Joshua. "Stages in Transition". Journal of Black Studies 43, n.º 1 (7 de novembro de 2011): 11–48. http://dx.doi.org/10.1177/0021934711426628.
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Les Ballets Africains, the first globally touring African performance company, debuted in the United States as a private Paris-based troupe in 1959 and toured again in 1960 as National Ballet of the newly independent Republic of Guinea. Although rarely considered in scholarship, Les Ballets Africains’ history during these years—encompassing the company’s first U.S. appearances and reflecting the influence of its founder, Fodéba Keita—are significant in relation to 20th-century trajectories of staged African dance, convergences between African and American performing arts practices and liberation struggles, and cultural transformations in Guinea under president Sékou Touré.
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Taylor, Lauren. "Introduction to Alioune Diop's “Art and Peace” (1966)". ARTMargins 9, n.º 3 (outubro de 2020): 87–96. http://dx.doi.org/10.1162/artm_a_00274.
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In 1966, the multi-media celebration of African and diasporic art known as the Premier Festival Mondial des Arts Nègres attracted an international audience to the recently independent nation of Senegal. As performances and exhibitions took place throughout Dakar, politicians, artists, and intellectuals considered what roles art and culture could play in healing a world torn by colonialism, the World Wars, and increasing tensions between the Eastern and Western blocs. In “Art and Peace,” Alioune Diop, the president of the Festival's organizing committee, enlists the arts as vital tools in the ambitious project of world peace. For contemporary readers, his words foreshadow present-day debates concerning the effects of globalization on the arts and reveal understudied links uniting the mid-century cosmopolitanist visions of negritude, Catholicism, and UNESCO.
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Diop, Alioune. "Art and Peace (1966)". ARTMargins 9, n.º 3 (outubro de 2020): 97–100. http://dx.doi.org/10.1162/artm_a_00275.
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In 1966, the multi-media celebration of African and diasporic art known as the Premier Festival Mondial des Arts Nègres attracted an international audience to the recently independent nation of Senegal. As performances and exhibitions took place throughout Dakar, politicians, artists, and intellectuals considered what roles art and culture could play in healing a world torn by colonialism, the World Wars, and increasing tensions between the Eastern and Western blocs. In “Art and Peace,” Alioune Diop, the president of the Festival's organizing committee, enlists the arts as vital tools in the ambitious project of world peace. For contemporary readers, his words foreshadow present-day debates concerning the effects of globalization on the arts and reveal understudied links uniting the mid-century cosmopolitanist visions of negritude, Catholicism, and UNESCO.
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Kharitonova, Natalya Stepanovna. "Interaction of Artistic Culture of Russia and Scandinavian Countries at the turn of the 19th-20th Centuries". Journal of Flm Arts and Film Studies 7, n.º 2 (15 de junho de 2015): 97–104. http://dx.doi.org/10.17816/vgik7297-104.
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The author examines similarity of historical and cultural development of Russia and Scandinavian countries. Cultural ties between the two domains evolved over many centuries. The most intensive period of development of Russian-Scandinavian artistic contacts stretched from mid-1880s-1890s up to the end of the first decade of the 20th century. In 1890s Russian painters considered achievements of Scandinavian colleagues as an example of a quest for progress, a creative approach to finding ones way in development of fine arts. At the same period in Russia a number of major international art exhibitions were arranged with active northern painters participation. The Russian interest in the art of Scandinavian countries in the late 19th - early 20th c. was anything but accidental. The development of artistic culture in Nordic countries was in tune with the Russian artists quest for other ways of creative expression. Northern culture attracted sympathy of Russian painters, black-and-white artists and art critics of diverse, often opposing groups and movements. For example, among the admirers of Scandinavian fine arts were V.V. Stasov and A.N. Benoit, I.E. Repin, V.A. Serov, F.A.Malyavin, the artists of the "Mir iskusstva group, and representatives of Moscow School of Painting (K. Korovin, A. Arkhipov, V. Perepletchikov etc.). By mid-1890s relations of Russian and Scandinavian art schools had become very intense and productive. This interaction coincided with significant events that influenced further development of artistic and other forms of culture on both sides. It manifested itself in publications of works of A. Strinberg and K. Hamsun in Russian, in staging of H. Ibsens plays at the Moscow Art Theater, exhibitions (especially of A.Tsorns works), and other activities that served to cross-fertilisation of cultures of Russia and Scandinavian countries.
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Hargreaves, Tracy. "The Power of the Ordinary Subversive in Jackie Kay's Trumpet". Feminist Review 74, n.º 1 (julho de 2003): 2–16. http://dx.doi.org/10.1057/palgrave.fr.9400068.
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In Jackie Kay's award-winning novel, Trumpet (1998), the main character Joss Moody, a celebrated jazz trumpet player, is discovered upon his death to be anatomically female. The essay traces both postmodern and humanist affirmations of constructions of self-hood. Situating Virginia Woolf's version of a metaphysical and escapist androgyny as one kind of aesthetic against the material politics of the transgendered subject, the essay argues that Kay's novel can be seen as part of a 20th century tradition of literature and film which satirizes, parodies and painfully exposes the discontinuities of dominant sex–gender systems. The essay ends by arguing that Kay also develops these systems by imbricating sex and gender within a series of dislocated familial, sexual and racial identities, beginning with the arrival of Joss's African father in Scotland at the beginning of the 20th century.
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Simour, Lhoussain. "Blurring the Boundaries of Gendered Encounters: Moorish Dancing Girls in Nineteenth and Early Twentieth-Century American Fair Exhibitions". Hawwa 11, n.º 2-3 (9 de junho de 2014): 133–59. http://dx.doi.org/10.1163/15692086-12341250.
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Moroccan dancing women appeared as entertainers in 19th and 20th-century American fair expositions. Their physical and epistemological journeys and their performances on the fair midways have been largely missing from the histories of the Moroccan and American entertainment industries. Their experiences and narratives overseas are stimulating and worth recovering, because they offer suitable settings in which to engage with the complexities of cultural and racial contacts between self and other, and add an interesting dimension to the notion of travel and border crossing in which gendered routes contributed to the shaping of discourses about racial difference. This article looks at North African dancing women, often conflated in American international expositions under the term “belly-dancing girls” and in their local countries, pejoratively, as shikhat (public dancers in Moroccan dialect). I begin with a brief discussion of Deborah Kaption’s Moroccan Female Performers Defining the Social Body (1994) as a pretext for moving beyond the rigid ethnographical discourses about cultural difference. This article sheds light on gendered encounters in the historical context of fair expositions, where live performances helped shape a tradition of self-referential knowledge about oriental dancing women as a site of fantasies, sexual prowess, and erotic desires. It then proceeds to deal with some experiences of the dancers themselves as “living exhibits” and how their live performances contributed to forming not only orientalist discourse but also the oriental and Western subjects. These dancers were individualized subjects and performers who challenged the conventional definitions about oriental female roles and subverted the American Victorian model of femininity.
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Adamska, Katarzyna. "An Apartment as a National Issue: On the Exhibitions of the Polish Applied Art Society at the Zachęta Gallery in 1902 and 1908". Ikonotheka 26 (26 de junho de 2017): 7–29. http://dx.doi.org/10.5604/01.3001.0010.1671.
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Towarzystwo Polska Sztuka Stosowana (TPSS) organised two exhibitions at the Zachęta Gallery. Their aim was to shape the national culture of living and to propagate ornamental design inspired by indigenous motifs. The 1902 exposition was arranged in accordance with the traditional perception of arts and crafts, which disregarded their function and construction in favour of the external form. New critical categories, borrowed from the language of functionalism and from ideas regarding living space as developed by the German Kunstgewerbe circles, induced the members of the TPSS to arrange their 1908 exhibition differently – as fully designed interiors rather than groups of independent items. Similar changes were then observed in the of shop-window design and in commercial expositions. The fact that they were explicated in terms of ethics reveals a combination of consumerism, aesthetics and morality characteristic of the early 20th century.
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Vignioli, Marcela. "Lola Mora in Tucumán: Personal Costs and Benefits of Creating Public Art, 1890-1904". Ameryka Łacińska Kwartalnik analityczno-informacyjny, n.º 116 (30 de junho de 2022): 89–104. http://dx.doi.org/10.7311/20811152.2022.116.06.
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From a traditional perspective, women who have triumphed in the arts, literature, or science have been seen as an anomaly or “exceptional women” by historians. In 1895, only a third of girls under 14 could read in the small provincial town of Tucuman, in northern Argentina. However, Lola Mora displayed her sculptures in her first exhibitions in the same year. Her career as a sculptor was legitimized and recognized in her hometown Argentina, after spending years in Europe developing her talent. Her career as an artist has historically been seen as a distinct rarity, and few people have attempted to provide an explanation or contextualization for her success as an artist at the turn of the 20th century. In this article, I propose an analysis of the methods that Lola Mora used to legitimize her art and establish herself professionally. I would like to draw attention to Lola Mora’s conscious decision to contradict the contemporary ideals of patriotism and politics as themes in her art; her sculptures were physical manifestations of her feelings on the contentious aforementioned subjects. Lola Mora realigned her focus on the intricacies of provincial and national politics during the 1890s, but she did not abandon her art. Her career has been interpreted as a radical deviation from the lives that women conducted publicly in the 20th century.
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Sidorova, Galina. "Belgium: a History of African Exploration". ISTORIYA 14, S23 (2023): 0. http://dx.doi.org/10.18254/s207987840025641-4.
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In the late 19th — early 20th centuries, the European states paid special attention to the African continent, which for many was then terra incognita, despite geographical discoveries and scientific information available. The rumors that spread in Europe about barbaric tribes, cannibals and wild animals frightened and repelled ordinary people. However, businessmen and merchants saw enormous benefits in the acquisition of colonies. The distant continent promised them fabulous profits from colonial goods, raw materials for new industry and cheap labor. In addition, having overseas territories was prestigious for European states and became a symbol of national pride. “At the beginning of the 20th century, white Europe was the recognized as the master of the world, and white people were almost universally considered as rulers for which the rest of the world exists” — this is how the British writer, Africanist Winston Dubois saw Europe. New approaches in the foreign policy of European states have become characteristic not only for England and France, who were the “pioneers” of colonial conquests, but also for the little Belgium. The cunning and enterprising Belgian king Leopold II, having circumvented England and France, which competed for success on the Black continent, thanks to numerous manipulations in the business and political sphere, was able to secure for himself huge “ownerless” territories in the center of Africa, which later transformed into three states. These are the modern Democratic Republic of the Congo, Rwanda and Burundi.
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Volgusheva, Alla O., e Svetlana A. Vorobyova. "Proletarian Culture and Leftist Trends in Russia at the Beginning of the 20th Century". Observatory of Culture 20, n.º 2 (31 de maio de 2023): 212–22. http://dx.doi.org/10.25281/2072-3156-2023-20-2-212-222.
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The low level of development of this topic in Russian historiography can be explained by the fact that, most often, this problematics is considered through the prism of general issues of culture of the Soviet period, party and state cultural policy, aspects of intelligentsia studies.This study aims at identifying the artistic concept of the leftist direction in the visual arts of the early 20th century, considering its variability, showing its origins, relations with the Soviet government and within the artistic environment, analyzing the reasons for its prohibition and exodus for many decades.The article pays special attention to the genesis of the very concept of “leftist art”, which was applied both in relation to new radical trends and in relation to the work of artists who considered themselves among the proletarian culture. The article attempts to separate the concepts of “avant-garde”, “modernism”, “futurism”. The authors focus on the art of the avant-garde, whose representatives, at the time of the Bolsheviks’ coming to power, took all the key positions and began to actively promote their creativity. The article pays attention to the reform of art education, as a result of which the Academy of Arts and the Higher Art School were abolished, and the Petrograd Art Training Workshops were created instead, where previous teaching methods were cancelled, talented masters were dismissed, and disciplines based on the principles of the avant-garde were introduced into education in the majority. The authors outline the changes in the traditions of museology, when, by the decision of the avant-gardists, museums began to be headed not by art historians, but by artists themselves, who became responsible for opening exhibitions and acquiring new works of art — at public expense and mainly of an avant-garde orientation.Based on archival materials and periodicals of the 1920s, the article analyzes the tasks of Soviet cultural policy, the art views of Soviet political leaders and art historians who were on the new government’s side. The authors consider the political views of representatives of proletarian culture (Proletkult) and the reasons for their disagreements with party leaders. The article substantiates the conclusion about the discrepancy in the understanding of the role of fine art among the government, avant-garde artists, and Proletkult representatives.
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Moskalenko, Denis. "COMECON and Socialist Ethiopia: a New Stage of Trade and Economic Relations in the 1970s". ISTORIYA 13, n.º 3 (113) (2022): 0. http://dx.doi.org/10.18254/s207987840020928-9.
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Recently, interest in the African continent has increased again. Africa, with its rapidly growing population, is a promising market for Russia and other countries of the world. For favorable interaction with African countries, it is necessary to take into account the experience of the past years. The article deals with the period of the 70s of the 20th century. At that time, the economies of the CMEA member countries were growing. The socialist countries were actively looking for new allies and expanding their political and economic presence in the newly independent African contingent. At the same time, fundamental changes in the political structure of the state took place in Ethiopia, which made it possible to increase the volume of cooperation between the CMEA member countries and this African state.
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Kharitonova, Natalya Stepanovna. "Silver Age. Interference of the Russian and German Cultures". Journal of Flm Arts and Film Studies 6, n.º 4 (15 de dezembro de 2014): 86–95. http://dx.doi.org/10.17816/vgik6486-95.
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The author explores the specific interaction of Russian and German art, their differences, forces of attraction and direct contact. Only conscious and meaningful differences could have reveal the strength and true value of each culture and, most importantly, become a pretext for new and creative quest for ones own way in art. Two-sided interest of Russian and German cultures implies a two-way process mutually contributed and enriched on both parts. The fact that Russian and German art at the turn of the 19th-20th centuries was developing under different conditions does not mean that the exchange of spiritual values was proceeding in only one direction. The facts indicate to intensive relationships and mutual enrichment between the two cultures. Despite restrained relation towards Russian fine art until the mid-1890s, the preconditions for closer attention to it were gradually evolving in Germany. A very important role was played in this province by Russian literature, which since the mid-80s had started to agitate the minds both in Germany and Europe in general. Tolstoy and Dostoevsky became well-known in Germany in 1880s, when the first translations of their works appeared. The next two decades showed an uninterrupted flow of reprints. But the point is not merely in the fact, that the achievements of Russian literature suggested the existence of fine arts of the same quality. Rather, as many critics state, Russian literature became a special key to the 19th century arts. The exhibitions of the Russian artists, including solo exhibitions of Ivan K. Aivazovsky and Vasily Vereshchagin, used to be arranged more and more often in German cities. Relations between Russian and German culture in the late 19th - early 20th were fairly stable and fruitful, enriching and inspiring art in both countries. By late 1910s the European public had accepted Russian art as an equal and very significant phenomenon in world culture, with much spiritual and creative potential deserving an elaborate study.
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Gyul, Elmira, e Tereza Hejzlarová. "Amulet as Jewel, Jewel as Amulet Uzbek, Tajik, and Karakalpak Amulet Cases Using the Example of Museum Collections". Annals of the Náprstek Museum 43, n.º 1 (2022): 27–51. http://dx.doi.org/10.37520/anpm.2022.003.
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The study presents amulet cases of the Uzbeks, Tajiks, and Karakalpaks from the late 19th century until the early 20th century taking example from the collections of the State Museum of Arts of Uzbekistan, Samarkand State Museum-Reserve, State Museum of Applied Art and History of Crafting of the Republic of Uzbekistan and National Museum – Náprstek Museum of Asian, African and American Cultures, Czech Republic. In particular, the types and forms of amulet cases, material, processing technique, ornament, and the resulting ethnic and local specifics are analysed. The study aims to differentiate the characteristic features of this prominent group of Central Asian jewellery and thus contribute to the correct identification thereof in connection with professional museum work.
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Kotovskaya, Mariya G., e Elina G. Shvets. "Painting-report as visual document of an event (based on graphic sketches of F. Reshetnikov’s polar expeditions)". Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 61 (2021): 333–44. http://dx.doi.org/10.37816/2073-9567-2021-61-333-344.
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The exploration of the Russian north at the end of 19th – the beginning of the 20th centuries went along with the emergence of the topic “the conquest of the Arctic” in visual arts. The artists would travel as part of research polar expeditions to the North again and again. Picturesque images of Arkhangelsk, Karelia, Northern Dvina, Novaya Zemlya, the northern sea passage would appear in mass media in front of the viewer in artistically perfect images. Fyodor Reshetnikov took part in an expedition to the North in the 1930s. The artist was young; the desire to perform a feat for his country propelled him to take part in polar expeditions led by O. Yu. Schmidt. It was the time when the materials would be documented by means of photo- and movie camera. During the expedition the artist presented his own way of depicting the work of the expedition and its everyday life. Polar expeditions, the feat of “Chelyuskin,” northern landscapes would become an essential part of artistic exhibitions in the 1930s (such as “20 anniversary of Red Army” and “Socialism Industry”). Viewers’ interest in the topic and a general popularity of the topic made the exploration of the North one of the most prominent, sincere and significant moments in the national art of the 20th century before the war.
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Renwick, Margaret E., Jon Forrest, Lelia Glass e Joey Stanley. "Vowel trajectories of African Americans in Georgia, USA". Journal of the Acoustical Society of America 152, n.º 4 (outubro de 2022): A284. http://dx.doi.org/10.1121/10.0016283.
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Within the United States, dialectal variation is often characterized by vowel shifts: systematic differences in vowels' relative qualities and vowel-inherent dynamics. The African American Vowel Shift (AAVS), in particular, includes raising and fronting of front lax /ɪ ɛ æ/, among other features. The more recent pan-regional Low Back Merger Shift (LBMS), by contrast, includes lowering and backing of the same vowels. We evaluate these two shifts in an audio corpus of over 40 Black speakers from the Southern state of Georgia. Speakers, born between the 1930s and 2000, represent five demographic generations. Normalized formant values (F1,F2) from five temporal points per token are input to Generalized Additive Mixed Models (GAMMs). We test for significant changes in vowels' trajectories across time by fitting Year of Birth as a continuous smooth term. Additionally, we use linear mixed-effects modeling to test for raising versus lowering on the (F2–F1) front-vowel diagonal, across generations. Evidence from GAMMs and linear modeling indicates raised positions of /ɪ ɛ æ/ among older generations (1950s–1980s), followed by significant retraction from 1990–2000. These acoustic results are consistent with strengthening of the AAVS in the third quarter of the 20th Century, followed by a rapid transition to the pan-regional LBMS.
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Zakharov, Ivan. "State Regulation of the Activities of Faith-Based Organizations in African Countries in the Late 20th — Early 21st Centuries: Macro-Regional Tendencies". ISTORIYA 13, n.º 6 (116) (2022): 0. http://dx.doi.org/10.18254/s207987840021692-0.
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The article focuses on reasons and manifestations of restrictive policies on the operation of religious and faith-based organizations (FBO) on the example of Africa. The problem is regarded as a result of (1) intensification of religious competition during the transformation of the African religious landscape, and (2) developing self-reliance and efficiency of religious organizations and FBO’s throughout the implementation of the “humanitarian” or “civilizing” mission. The later allowed some of these organizations to take place of the key economic and political actors in the region in the end of the 20th century. The research combines quantitative and qualitative methods of geography of religion, history, political science, and incorporates a vast number of sources. It allowed to reveal shifts in the Africa religious landscape’s structure in 1910–2010; to assess the scale of “humanitarian” mission; to evaluate the legislative framework for the operation of religious organizations and FBO’s in African countries and actual restrictions applied to them. Established, that the change of historical context of religious organizations’ activities and their interaction with the authorities in the end of the 20th century manifested itself in the stricter control on the operation of organizations affiliated with religion. This claim supported by the evidence from countries of North Africa, Sudan-Sahel Corridor, Rwanda, Kenya, Zambia, etc. Governments always declare that restrictive measures are implemented due to the need to treat their citizens, but in reality, it may also pursue other aims, such as: to support of certain religions (religious favoritism), to gain or re-establish state’s monopoly of the exercise of public authority, including through the counter radical groups, which affiliate themselves with a religion. However, restrictive policies have also impacted religious organizations and FBO’s that provide essential services for the large number of vulnerable communities. Such practices may have disruptive consequences on the socio-economic and political development of the continent.
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Allen, Nancy S. "History of Western sources on Japanese art". Art Libraries Journal 11, n.º 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.
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Nikočević, Lidija. "Voices Heard (Again)". Narodna umjetnost 60, n.º 1 (15 de junho de 2023): 107–27. http://dx.doi.org/10.15176/vol60no106.
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The emigration of Istrian Italians after the Second World War, most often called the “Exodus”, has been a frequent topic of many historical and anthropological studies. This paper reports on new findings based on the EU project Identity on the Line, which studied and interpreted a series of involuntary migrations and unwanted consequences for peoples, communities and individuals in Europe in the middle of the 20th century. In the research of the Istrian “Exodus”, an effort was made to find new testimonies and stories and reach voices that had not been “heard” thus far. In this process, it became obvious that the status and fate of the Istrian Italians who did not emigrate, the so-called “Rimasti” (less studied so far) is very complex due to the ambivalent relationship with the emigrated Istrian Italians (the “Esuli”) as well as with the newly created social environment. Photographs and statements from both communities were collected and meant to be used for two exhibitions, films and publications, thus bringing to light their intimate accounts (some of which were told for the first time), presenting them in a public space. This transformation necessarily implied very careful and sensitive cooperation with the informants, with the aim of making their traumas more visible, as well as establishing museums as institutions where increased efforts are made to communicate “difficult heritage”.
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Kallenberg, Vera. "Die Pionierinnen der Pionierin. Zu Gerda Lerners »The Grimké Sisters from South Carolina. Pioneers for Women’s Rights and Abolition« (1967/2004)". Aschkenas 33, n.º 2 (28 de novembro de 2023): 313–27. http://dx.doi.org/10.1515/asch-2023-2016.
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Abstract This article traces the history of the double biography »The Grimké Sisters« (1967/2004) by Gerda Lerner, an American Jewish historian who, as a Viennese Jew, escaped Nazi Europe for the United States in 1939. Focusing on the history of the making of »The Grimké Sisters«, the essay analyzes Lerner’s book as ›life writing‹. It demonstrates Gerda Lerner‘s (1920–2013) becoming scholarly persona in the context of her self-interpretation of the Grimké Sisters as her own figures of identification and role model. By showing the nexus of African Americans’ rights and women’s rights in the Grimké sisters’ engagement, Gerda Lerner processed the own in the foreign. In doing so, Lerner’s interest in white abolitionism and the women’s rights movement in the 19th century U.S. echoes her multiple outsider and persecution experiences as a Jewish emigrant, left-wing feminist, and pioneer in Women’s history in the 20th century.
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Givel, Michael S. "Evolution of a sundown town and racial caste system: Norman, Oklahoma from 1889 to 1967". Ethnicities 21, n.º 4 (28 de abril de 2021): 664–83. http://dx.doi.org/10.1177/14687968211011174.
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Sundown regions were post-Reconstruction localities that deliberately excluded African Americans, often well into the 20th century. While former states of the Confederacy instituted state-wide racial caste systems denying African Americans basic political and economic privileges and opportunities, what of localities outside the Deep South? This case study concludes that Norman, Oklahoma, located outside of the Deep South, was a sundown town from 1889 to 1967 or for 78 years. Sundown implementation practices resulting in ongoing racial cleansing and exclusion include a variety of extra-legal actions including violent racial expulsion in the beginning; Ku Klux Klan terror in the 1920s; ongoing freeze-out of local services such as hotel services; denial of home ownership; denial of employment; curtailment of political rights including voting and freedom of movement; an ominous reputation as a sundown town; continuing violence; and threats. The widespread act of systematically excluding African Americans after dark from Norman, in tandem with state legislation that outlawed interracial marriage and intimate relationships until 1967 and maintaining all white public colleges until 1948, contributed to a racial caste system based on unequal opportunities and privileges afforded to whites. Sundown practices were not only ongoing geographic and racist Jim Crow segregation issues as is sometimes stated, but also, a key approach to enforce a rigid racial caste system in the midst of a society with democratic ideals.
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Gerschultz, Jessica. "Mutable Form and Materiality: Toward a Critical History of New Tapestry Networks". ARTMargins 5, n.º 1 (fevereiro de 2016): 3–29. http://dx.doi.org/10.1162/artm_a_00130.
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This article raises two concerns underpinning the need for a critical history of fiber art in the 20th century. The first is a critique of aesthetic formalism predominant in the Lausanne Biennale during the 1960s and 70s, which overlooks artistic, ideological, and political milieus that drew together textile artists from localities formerly treated as peripheral in art history. The second holds to account Euro-American institutions and related historiographies for their curatorial exclusion of Arab and African fiber artists. Such inclusion, I argue, would have conjured tapestry's deeper incongruities, which emanated from unresolved questions at the core of modernism: the assigning and appropriating of artistic identities, the evaded issue of state patronage, and the persistent ideological and aesthetic problem of craft and its framing within economies. By comparing three artists: Magdalena Abakanowicz, Jagoda Buic, and Safia Farhat, I reassess New Tapestry networks, myths, and systems of state and institutional support. The circulation of Abakanowicz, Buic, and Farhat around a conflux of dimensions signals a new pathway for recovering and writing a history of fiber art, and perhaps a reflection on modernism at large.
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Monica Chifor. "Modernism-context and Overlooked Literary Manifestations". Creative Launcher 8, n.º 4 (31 de agosto de 2023): 61–72. http://dx.doi.org/10.53032/tcl.2023.8.4.07.
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The following paper discusses the emergence and characteristics of modernism, a dominant trend in art and culture that emerged in the late 19th century. Modernism encompasses various aspects of culture, including high art, criticism, city planning, and more. In literature, modernism represents a reaction against the conventions of realist narrative, moving away from traditional storytelling and embracing new techniques such as interior monologue and showing instead of telling. The research explores the debate on whether modernism has come to an end. Critics argue that it ended around 1930, while others disagree, pointing to the continued emergence of literary studies on modernism and its influence on various literary theories. The concept of modernism is discussed in an interdisciplinary context, encompassing various artistic currents, including symbolism, impressionism, expressionism, and more. The paper also touches upon the development of modernism in different art forms like visual arts, music, and architecture, and its influence on the concept of the “Bauhaus” movement. Furthermore, the paper discusses the Harlem Renaissance, a cultural movement centered in Harlem, New York, during the early 20th century. It highlights prominent figures of the movement, such as Langston Hughes, Zora Neale Hurston, and Richard Bruce Nugent, who expressed African American life and culture through various forms of art. The impact of mass culture on modernism is also explored, with references to Mathew Arnold’s concept of culture and anarchy and F.R. Leavis’ criticism of mass civilization and its effect on authentic feeling and responsible thinking. Overall, the paper provides and overview of modernism’s multifaceted nature, its influence on various art forms, and its interaction with societal and cultural shifts during the 20th century.
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Počs, Kārlis. "A VIEW ON THE HISTORY OF LATVIAN-FRENCH CULTURAL RELATIONS BEFORE WORLD WAR II". Via Latgalica, n.º 1 (31 de dezembro de 2008): 75. http://dx.doi.org/10.17770/latg2008.1.1598.
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Because of the geographic location of the Latvian and the French nations and of different trends in the development of their histories contacts between them were established relatively late. This in turn slowed down the development of their cultural relations. In this development, we can distinguish two stages: before the formation of the Latvian state (from the second half of the 19th century until 1918), and during the Latvian state until the Soviet occupation (1920–1940). The objective of this paper is to determine the place and the role of the Latvian-French cultural relations in the development of the Latvian culture before World War II. For this purpose, archive materials, memoirs, reference materials and available studies were used. For the main part of the research, the retrospective and historico-genetic methods were mostly used. The descriptive method was mainly used for sorting the material before the main analysis. The analysis of the material revealed that the first contacts of the Latvians with French culture were recorded in the second half of the 19th century via fine arts and French literature translated into Latvian. By the end of the century, these relations became more intense, only to decrease again a little in the beginning of the 20th century, especially in the field of translations of the French belles-lettres. The events of 1905 strengthened Latvian political emigration to France. The emigrants became acquainted with French culture directly, and part of them added French culture to their previous knowledge. The outcome of World War I and the revolution in Russia then shaped the ground for the formation of the Latvian state. This dramatically changed the nature and the intensity of the Latvian-French cultural relations. To the early trends in the cooperation, the sphere of education was added, with French schools in Latvia and Latvian students in France. In the sphere of culture, relations in theater, music and arts were established. It should be noted that also an official introduction of the French into Latvian art began at that time. As a matter of fact, such an introduction had already been started by Karlis Huns, Voldemars Matvejs, and Vilhelms Purvitis, who successfully participated in the Paris art exhibitions before the formation of the Latvian state. In the period of the Latvian state, artists would arrange their personal exhibitions in France, and general shows supported by the state would be arranged. The most notable of them were the following: - In 1928, the Latvian Ministry of Education supported the participation of all Latvian artists’ unions in the exhibition dedicated to the 10th anniversary of the state. General shows were organized in Warsaw, Budapest, Copenhagen, Paris, London, etc. (Jaunākās Ziņas, 1928: Nr. 262, 266); - in the summer of 1935, an exhibition of folk art from the Baltic states, including textiles, clothes, paintings, sculptures, and ceramics was opened in Paris; - the largest exhibition of Latvian artists in Paris took place from January 27 to February 28, 1939, with presidents of both states being in charge of its organization. It can be concluded that the Latvian-French cultural relations were an important factor in the development of Latvian culture, especially in the spheres of fine arts and literature until the Soviet occupation.