Literatura científica selecionada sobre o tema "Installations (Art) – 21st century – Australia"
Crie uma referência precisa em APA, MLA, Chicago, Harvard, e outros estilos
Consulte a lista de atuais artigos, livros, teses, anais de congressos e outras fontes científicas relevantes para o tema "Installations (Art) – 21st century – Australia".
Ao lado de cada fonte na lista de referências, há um botão "Adicionar à bibliografia". Clique e geraremos automaticamente a citação bibliográfica do trabalho escolhido no estilo de citação de que você precisa: APA, MLA, Harvard, Chicago, Vancouver, etc.
Você também pode baixar o texto completo da publicação científica em formato .pdf e ler o resumo do trabalho online se estiver presente nos metadados.
Artigos de revistas sobre o assunto "Installations (Art) – 21st century – Australia"
1
Barashkov, Viktor V. "THE MAIN TRENDS OF AESTHETICAL MODERNIZATION OF CHRISTIAN RELIGIOUS IMAGES IN EUROPE AT THE BEGINNING OF THE 21ST CENTURY". Study of Religion, n.º 2 (2018): 122–30. http://dx.doi.org/10.22250/2072-8662.2018.2.122-130.
Texto completo da fonteResumo:
The article deals with the problem of dialogue between the church and contemporary art in Europe on the example of art installations in church space. The author analyses works of three contemporary artists: Christian Boltanski (“Na” - Old church in Amsterdam, 2017-2018), Bill Viola (“Martyrs”, 2014-, and “Mary”, 2016-, St. Paul Cathedral in London) and Stefan Knor (“Himmelwerd’s”, Cathedral in Bamberg, Germany, 2012). Christian Boltanski uses the fundamental theme of human obliteration for his art, strengthened by the space of the cathedral, functioned a long time as a crypt. Bill Viola gives a new interpretation of traditional Christian images of martyrs and Holy Virgin. The technique of video-art makes images dynamic, so spectator can “live” in that space. Stefan Knor aims by the means of contemporary art to actualize the fundamental theological ideas, for example, the idea of stairway to heaven. For the best acceptance of his works he collaborates with church members. The author claims that these artists become the religious owing to such characteristics as depth and sincerity in the interpretation of fundamental anthropological problems and the absence of irony (which is frequent for contemporary art). The article’s author shows that the interiors of the churches can harmoniously accept the works of contemporary artists, provided that the artists have to respect the religious traditions and sacred space of these churches.
2
Nie, Sen, e Yan Liu. "Analysis of Application of Digital Media Arts". Advanced Materials Research 989-994 (julho de 2014): 4223–25. http://dx.doi.org/10.4028/www.scientific.net/amr.989-994.4223.
Texto completo da fonteResumo:
In 21st century, with the leaping advances in science and technology, computers and the rapid development of science and technology industry, formed by combining human intelligence and high-tech digital content industry that corresponds to the rapid development, and developing at an astonishing speed into a pillar industry of the knowledge economy in the new century. It is well known that digital media are based on digitized text, sound, images, Graphics, animation and video images as information carriers, through means of dissemination and development of science and technology. Basic characteristics of digital media arts: Cross uses online media which contains computer-animated production, the television advertising shoot, digital music player, there are activities such as online games, virtual reality, network, performance art, video, interactive installations and DV (digital video). This paper discusses the present status of digital media art, features, applications in education, vocational orientation and analysis of the development trend.
3
Barrymore, Stuart J., e Jane Ballard. "Decommissioning – a path forward for Australia". APPEA Journal 59, n.º 1 (2019): 25. http://dx.doi.org/10.1071/aj18143.
Texto completo da fonteResumo:
Australia has embarked on a review of its decommissioning law and practice with a comprehensive discussion paper being issued by the Department of Industry, Innovation and Science. Initial stakeholder comments and submissions have been made, and the Department is now considering those submissions with a view to issuing recommendations to the Minister. The discussion paper ultimately proposes that new laws will be implemented to ensure that Australia has a 21st century fit-for-purpose decommissioning regime to apply to its offshore petroleum installations. After an overview of the review process and the selected issues that the Department regards of significance, this article considers a selection of the issues that emerge. It is evident that diverse views exist on almost all topics, and it will not be an easy task to find a balance that both meets the goals and aspirations of industry and community sectors. This challenge is compounded by the scale of decommissioning operations and the cost that will be incurred to remediate wells and remove associated facilities. The balance sought is one that does not stifle industry’s capacity to further invest nor impose onerous or uncompetitive imposts or controls, but also assures that adequate funding is available to carry out decommissioning works. Everyone seemingly accepts that it is not the role of the Australian Government to remove the facilities and restore the sea bed. Globally, techniques that are being increasingly utilised to manage this risk involve the imposition of securities or other assurance and enhanced statutory liability mechanisms. These legal and commercial considerations are given particular focus in the article.
4
Burganova, Maria, e Julia Smolenkova. "Alexander Burganov: a New Code of Time and Space". Scientific and analytical journal Burganov House. The space of culture 16, n.º 1 (10 de março de 2020): 19–37. http://dx.doi.org/10.36340/2071-6818-2020-16-1-19-37.
Texto completo da fonteResumo:
Summary: The article is devoted to the analysis of the work of Alexander Burganov, an outstanding contemporary sculptor and graphic artist. The study of the categories of Space and Time on the example of his works is the main theme of the article. The author believes that Time and Space in Burganov’s work are unique categories and correspond to reality least of all; the author gives examples of specific works and convinces that Burganov has modeled a bright, recognizable, unique personal code with the help of sculptures, graphic works, texts, installations, and artistic gestures. Today, this is especially noticeable as the culture of the 21st century has sharpened and almost brought to a logical conclusion the awareness of artistic being, formed in the second half of the 20th century, and is now on the verge of new creative realities leading to conceptual discoveries in art. The author believes that the artist keenly captures the invisible waves emitted by the developing cultures and subcultures of the 21st century, in which a body devoid of naturalistic sensuality is coldly and symbolically akin to antique statues. The author pays great attention to the analysis of new materials in Burganov’s creative work, believing that the 21st century has brought great changes not only to the form but also to the substance of the bodies of statues and sculptural compositions. Marble is replaced with plastic, bronze coexists with gypsum, metal meshes surround voids and follow the movements of the wind. Paper on an iron frame is a rightful hero of this “Olympus”. It should be noted that there is no place for imitation. New material dictates its conditions for shaping and participates in the interpretation of a new image.Analyzing the contemporary space of culture, the author states that the experiences of European crises have brought into art restraint and minimalism, democracy and the idea of some kind of universal permissiveness in creating and judging art. However, the predominance of mass culture, which received a completely new face and opportunity owing to the virtual space spilled over reality, was the main marker of the culture of the early 21st century. Today, a mixture of styles and cultures, a combination of incongruous is a new reality introduced into our lives by virtual culture. The author emphasizes that it was this invisible space that Alexander Burganov could feel and has reflected in his work. This has made his works relevant and understandable to a new generation which almost does not feel the classics. The author concludes that Alexander Burganov’s work has become a kind of bridge connecting the worlds of classics and modernity, high and grassroots culture, myths and reality.
5
González Zarandona, José Antonio. "Between destruction and protection: the case of the Australian rock art sites". ZARCH, n.º 16 (13 de setembro de 2021): 148–53. http://dx.doi.org/10.26754/ojs_zarch/zarch.2021165087.
Texto completo da fonteResumo:
Can heritage be practiced and thought outside the binary of exaltation vs. denigration? To answer this question posed by the editors, this paper will analyse the destruction and protection of Indigenous heritage sites in Australia, where the destruction of significant cultural heritage sites, mainly Indigenous heritage sites, is the result of biased and outdated practice of cultural heritage that divides Indigenous heritage (prior 1788) from Australian heritage (after 1788). This rift has caused an immense damage to Indigenous heritage around the country as it shows how in Australia heritage is practiced and thought outside the dualism of celebration versus destruction. In this paper, I will show how the destruction of Indigenous rock art sites has been a constant in the 20th and 21st century and how this destruction has been framed in media as a result of vandalism. By arguing that this framing is perpetuating the dualism of celebration versus destruction, I suggest that we can move out of this binary by considering the concept of iconoclasm to go beyond this dualism.
6
Schuster, J. Mark. "Cultural policy—state of the art “taking cultural policy into the 21st century’ Brisbane, Queensland, Australia, 28–30 June 1995". European Journal of Cultural Policy 2, n.º 1 (outubro de 1995): 185–88. http://dx.doi.org/10.1080/10286639509358011.
Texto completo da fonte
7
Thorner, Sabra G. "The photograph as archive: Crafting contemporary Koorie culture". Journal of Material Culture 24, n.º 1 (9 de julho de 2018): 22–47. http://dx.doi.org/10.1177/1359183518782716.
Texto completo da fonteResumo:
In 2008, an Aboriginal Australian artist based in Melbourne, Australia, created a kangaroo-teeth necklace, revivifying an art/cultural practice for the first time in over a century. She was inspired to do so after viewing an 1880 photograph of an ancestor wearing such adornment. In this article, I bring the necklace and the photograph into the same analytical frame, arguing for the photograph as an archive itself. I consider the trajectories through which the 19th-century image has been replicated and circulated in various productions of knowledge about Aboriginal people, and how a 21st-century artist is mobilizing it not just as a repository of visual information, but also as an impetus to creative production. She produces objects of value and is making culture anew, in a context in which Aboriginality has long/often been presumed absent, extinct or elsewhere.
8
Lavrentiev, Alexander. "Vyacheslav Koleichuk as the Engine of the Russian Kinetic Art. Imaginary dialogue at the exhibition". Scientific and analytical journal Burganov House. The space of culture 17, n.º 1 (10 de março de 2021): 95–117. http://dx.doi.org/10.36340/2071-6818-2021-17-1-95-117.
Texto completo da fonteResumo:
The State Tretyakov Gallery hosts a significant exhibition “Laboratory of the Future. Kinetic Art in Russia”. Its significance, the influence of the artistic phenomenon of kinetic art itself on domestic art of the 20th and 21st centuries has not yet been fully determined. The exhibition emphasizes kinetic art as one of the central national trends in experimental artistic creativity of the 20th century, even as some kind of a tradition. On the one hand, the exhibition would have been impossible without the participation of the creators of the Russian avant-garde, the founders of abstract art, the creators of the first abstract sculptures and dynamic structures: V. V. Kandinsky, K.S. Malevich, El Lissitzky, V. E. Tatlin, A. M. .Rodchenko. On the other hand, recognized masters, inventors of kinetic art in the USSR in the 1960s and 1970s, creators of the synthetic works of art combining the sound, color, form, images and motion are also important: Lev Nusberg’s “Group Movement” in Moscow and “KB Prometheus” under the leadership of Bulat Galeev in Kazan, the first kinetic construction at the USSR Exhibition of Economic Achievements Francisco Infante and the dynamic installation “Atom” by Vyacheslav Koleichuk, experiments with electronic sound and acoustics of the Experimental Studio of Electronic Music of Evgeny Murzin, the Theremen Center, created by Andrei Smirnov, space projects by Vyacheslav Loktev installations with light and sound in Leningrad by August Lanin 1. One of the key figures in this artistic process was the architect, designer, researcher, inventor, constructor and teacher Vyacheslav Fomich Koleichuk (1941–2018). This imaginary dialogue is covering some of the inventions of the artist, developing the traditions of Russian kinetic art, expanding the artistic space of modern design and architecture 2.
9
Safitri, Ragil, e Sugirin Sugirin. "Senior high school students’ attitudes towards intercultural insertion into the ELT: Yogyakarta context". EduLite: Journal of English Education, Literature and Culture 4, n.º 2 (4 de setembro de 2019): 261. http://dx.doi.org/10.30659/e.4.2.261-274.
Texto completo da fonteResumo:
Experts in English Language Teaching often consider culture as the fifth skill in foreign language learning as cultural literacy is a must in 21st-century learning. Thus, this study is to investigate students’ interest in the insertion of Big ‘C’ and little ‘c’ themes from different countries into the English classroom. In this study, the researcher distributed a questionnaire to 58 students in a senior high school in Yogyakarta. The study indicated that the respondents’ preferences were mostly about local culture (Yogyakarta and Indonesian culture), followed by target culture (culture of English-speaking countries) and international culture. In accordance with the cultural themes, they showed a relatively higher preference toward Big ‘C’ over the little ‘c’ culture. Concerning Indonesian culture, the students were excited in learning about art/literature, history, and food while for Yogyakarta culture includes history, foods, and lifestyles. Meanwhile, for target culture (Britain, America, and Australia), the students were eager to learn about lifestyles and foods. The last, for international culture, the cultural themes of lifestyles and music/sports were preferred by the students.
10
BURKE, PETER. "Introduction". European Review 14, n.º 1 (3 de janeiro de 2006): 99–103. http://dx.doi.org/10.1017/s1062798706000081.
Texto completo da fonteResumo:
A preoccupation with hybridity is natural in a period like ours marked by increasingly frequent and intense cultural encounters. Globalization encourages hybridization. However we react to it, the globalizing trend is impossible to miss, from curry and chips – recently voted the favourite dish in Britain – to Thai saunas, Zen Judaism, Nigerian Kung Fu or ‘Bollywood’ films. The process is particularly obvious in the domain of music, in the case of such hybrid forms and genres as jazz, reggae, salsa or, more recently, Afro-Celtic rock. New technology (including, appropriately enough, the ‘mixer’), has obviously facilitated this kind of hybridization.It is no wonder then that a group of theorists of hybridity have made their appearance, themselves often of double or mixed cultural identity. Homi Bhabha for instance, is an Indian who has taught in England and is now in the USA. Stuart Hall, who was born in Jamaica of mixed parentage, has lived most of his life in England and describes himself as ‘a mongrel culturally, the absolute cultural hybrid’. Ien Ang describes herself as ‘an ethnic Chinese, Indonesian-born and European-educated academic who now lives and works in Australia’. The late Edward Said was a Palestinian who grew up in Egypt, taught in the USA and described himself as ‘out of place’ wherever he was located.The work of these and other theorists has attracted growing interest in a number of disciplines, from anthropology to literature, from geography to art history, and from musicology to religious studies. In this issue, the contributions discuss Africa, Japan and the Americas as well as Europe and range from the 16th century to the 21st, from religion to architecture and from clothing to the cinema.
Teses / dissertações sobre o assunto "Installations (Art) – 21st century – Australia"
1
Wise, Gianni Ian Media Arts College of Fine Arts UNSW. "Scenario House". Awarded by:University of New South Wales. Media Arts, 2006. http://handle.unsw.edu.au/1959.4/26230.
Texto completo da fonteResumo:
Scenario House, a gallery based installation, is comprised of a room constructed as a ???family room??? within a domestic space, a television with a looped video work and a sound componant played through a 5.1 sound system. The paper is intended to give my work context in relation to the processes leading up to its completion. This is achieved through clarification of the basis for the installation including previous socio-political discourses within my art practice. It then focuses on ways that the installation Scenario House is based on gun practice facilities such as the Valhalla Shooting Club. Further it gives an explanation of the actual production, in context with other art practices. It was found that distinctions between ???war as a game??? and the actual event are being lost within ???simulation revenge scenarios??? where the borders distinguishing gaming violence, television violence and revenge scenarios are increasingly indefinable. War can then be viewed a spectacle where the actual event is lost in a simplified simulation. Scenario House as installation allows audience immersion through sound spatialisation and physical devices. Sound is achieved by design of a 5.1 system played through a domestic home theatre system. The physical design incorporates the dual aspect of a gun shooting club and a lounge room. Further a film loop is shown on the television monitor as part of the domestic space ??? it is non-narrative and semi-documentary in style. The film loop represents the mediation of the representation of fear where there is an exclusion of ???the other??? from the social body. When considering this installation it is important to note that politics and art need not be considered as representing two separate and permanent realities. Conversely there is a need to distance politicised art production from any direct political campaign work in so far as the notion of a campaign constitutes a fixed and inflexible space for intellectual and cultural production. Finally this paper expresses the need to maintain a critical openness to media cultures that dominate political discourse. Art practices such as those of Martha Rosler, Haacke and Paul McCarthy are presented as effective strategies for this form of production.
2
Godfrey, Laura. "Contemplations of connection through the notion of boundaries : installations and ideas of paradox". Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1272765.
Texto completo da fonteResumo:
We are accustomed to meanings, signs, language, and the constraints, categories, and concepts which make-up what I acknowledge as boundaries. These are integral for interaction with people, with other forms of life, with landscapes, and with ourselves. Without boundaries there would not be progression or understanding with that which is "the other."Boundaries are categorized into four areas within these creative projects. They are environment, language, states of being, and destination. Within the categories various projects explore what create intangible separations which denote the boundary and create a visible representation of each.Within each category projects are organized by content, objective, and outcome. Some results proved to be more successful than others by effectively conveying meaning through the various imagery and objects of the installations. Often, a viewer's preference f one project over another was due to the use of a specific medium, building method, and overall design rather than the concept or idea which inspired it.The paradoxical notion of these explorations is due to the exemplification of the connections surrounding and, perhaps, instigating each boundary. Attempts to visibly explore boundaries through their connections provide glimpses of built separation markers (environment), words and phrases which may separate or connect (language), alterations of physicality (states of being), and the ambiguous quality which denotes a place (destination) such that each becomes discernable but, more importantly, that each may be surpassed. It is through the visibility of the categories and understanding of their connections in which the boundaries go beyond manifesting themselves through the viewers' collective questioning the possibilities.Department of Art
3
Cloete, Zelda. "Site-specificity in The educators new clothes by Mark Rautenbach". Diss., 2019. http://hdl.handle.net/10500/27031.
Texto completo da fonteResumo:
Text in English, with summaries and keywords in English, Sesotho and AfrikaansThis study is an enquiry into how The educator’s new clothes by Mark Rautenbach is an example of site-specific art. The aim is to demonstrate how boundaries in TENC become blurred between site-specific performance, other art forms, and every-day activities. The key concepts explored are: Rautenbach’s approach to the concept of site, the connections that develop between his performance and each site that he travels to; his use of the art gallery and viewer participation. Through literature study relevant theory is explored, and several arguments are applied in a selective manner to my analysis of TENC. Various International and South African site-specific artworks are discussed as an indication of how site-specificity can be applied in alternative ways. In October 2017 I installed GREENER?, a site-specific exhibition in the UNISA Art gallery. The works on the show underline the theoretical findings and highlight the flexible application of theory relating to site-specificity.
Dinyakišišo tše ke phatišišo mabapi le seo se dirago bokgabo bja The educator’s new clothes (TENC) ka Mark Rautenbach go ba mohlala wa bokgabo bja lefelong le itšego. Maikemišetšo ke go laetša ka fao ka go TENC mellwane magareng ga mošomo wa ka lefelong le mehuta ye mengwe ya bokgabo le mediro ya ka mehla di thomago go se sa bonagala gabotse. Mareo ao a šomišwago ke: mokgwa wa Rautenbach go kgopolo ya lefelo, dikgokagano tše di hlamegago magareng ga phethagatšo ya ya gagwe ya mošomo le lefelo le lengwe le le lengwe leo a yago go lona, tšhomišo ya gagwe ya kalari ya tša bokgabo le go kgatha tema ga babogedi. Ka go diriša dingwalwa teori ya maleba e a utollwa, gomme dintlha tše mmalwa di a dirišwa ka mokgwa wa go kgetha go tshekatsheko ya ka ya TENC. Mešomo ya bokgabo ya ka lefelong le itšego ya mehutahuta e a ahlaahlwa bjalo ka kutollo ya ka fao bokgabo bja ka mafelong bo ka dirišwago ka ditsela tše dingwe. Ka Oktoboro 2017 ke hlomile GREENER?, e lego pontšho ya bokgabo ya ka lefelong le itšego, ka Kalaring ya Bokgabo ya ka Unisa. Mešomo ye e bontšhitšwego e laeditše dikutollo tša teori le go laetša tirišo ye e fetogago ya teori mabapi le mešomo ya bokgabo ya ka lefelong le itšego.
Hierdie studie behels ʼn ondersoek na wat van The educator’s new clothes (TENC) deur Mark Rautenbach plekspesifieke kuns maak. Die oogmerk is om aan te toon hoe die grense tussen plekspesifieke uitvoering, ander kunsvorme en daaglikse bedrywighede vervaag. Die kernkonsepte wat verken word, is Rautenbach se beskouing van die konsep van plek, die verband tussen sy uitvoering en elke plek waarheen hy reis, sy aanwending van ʼn kunsgalery, en kykerdeelname. Die tersaaklike teorie word aan die hand van ʼn literatuurstudie verken, en ʼn aantal argumente word op selektiewe wyse op my ontleding van TENC toegepas. Verskeie internasionale en Suid-Afrikaanse plekspesifieke kunswerke word bespreek as ʼn verkenning van hoe plekspesifisiteit op ander maniere toegepas word. Ek het in Oktober 2017 ʼn plekspesifieke uitstalling met die titel GREENER? in die Unisa Kunsgalery gehou. Die werke wat uitgestal is, onderstreep die teoretiese bevindings en vestig die aandag op die buigsame toepassing van die teorie in verband met plekspesifisiteit.
Art History, Visual Arts and Musicology
M.V.A.
Livros sobre o assunto "Installations (Art) – 21st century – Australia"
1
1950-, Desmond Michael, e National Gallery of Australia, eds. Islands: Contemporary installations from Australia, Asia, Europe and America. Canberra: National Gallery of Australia, 1996.
Encontre o texto completo da fonte
2
1945-, McCarthy Paul, e Whitney Museum of American Art., eds. Paul McCarthy: Central symmetrical rotation movement : three installations, two films. New York: Whitney Museum of American Art, 2008.
Encontre o texto completo da fonte
3
Inside installations: Theory and practice in the care of complex artworks. [Amsterdam]: Amsterdam University Press, 2011.
Encontre o texto completo da fonte
4
Lam, Centro Wifredo, e Mattress Factory, eds. Queloides: Race and racism in Cuban contemporary art = raza y racismo en el arte Cubano contemporâaneo. Pittsburgh, Pa: Mattress Factory, 2010.
Encontre o texto completo da fonte
5
Starling, Simon. Simon Starling. London: The Showroom, 1995.
Encontre o texto completo da fonte
6
Ken, Watson, Jones Jonathan e Perkins Hetti 1965-, eds. Tradition today: Indigenous art in Australia. Sydney: Art Gallery of New South Wales, 2004.
Encontre o texto completo da fonte
7
Angus, Fairhurst, Cahill James 1926-, Sadie Coles HQ e Arnolfini (Organization), eds. Angus Fairhurst. London: PWP, in association with Sadie Coles HQ, 2008.
Encontre o texto completo da fonte
8
Craddock, Sacha. Angus Fairhurst. London: PWP, in association with Sadie Coles HQ, 2008.
Encontre o texto completo da fonte
9
Craddock, Sacha. Angus Fairhurst. London: PWP, in association with Sadie Coles HQ, 2008.
Encontre o texto completo da fonte
10
Parochial, Singuhr-Hörgalerie in, ed. Singuhr-Hoergalerie in Parochial, 1996 bis 2006: Sound Art in Berlin = Singuhr-Hoergalerie in Parochial, 1996 to 2006. Heidelberg: Kehrer, 2010.
Encontre o texto completo da fonte