Artigos de revistas sobre o tema "Musicians as artists – 20th century – exhibitions"
Siga este link para ver outros tipos de publicações sobre o tema: Musicians as artists – 20th century – exhibitions.
Crie uma referência precisa em APA, MLA, Chicago, Harvard, e outros estilos
Veja os 50 melhores artigos de revistas para estudos sobre o assunto "Musicians as artists – 20th century – exhibitions".
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.
Veja os artigos de revistas das mais diversas áreas científicas e compile uma bibliografia correta.
1
Ittu, Gudrun-Liane. "Siebenbürgisch-deutsche Künstlerinnen vom Ende des 19. und Anfang des 20. Jahrhunderts". Studia Universitatis Babeș-Bolyai Historia Artium 65, n.º 1 (31 de dezembro de 2020): 127–55. http://dx.doi.org/10.24193/subbhistart.2020.07.
Texto completo da fonteResumo:
"Transylvanian German women artists from the end of the 19th and beginning of the 20th century. The paper is aiming at analyzing the life and art of a group of six German women artists from Transylvania, the first ones who studied abroad, real forerunners for the next generation of female plastic artists. Emancipated ladies, determined to become artists and earn their own money, the gifted women studied in Budapest, Vienna, Munich or Paris. Only Molly Marlin did not come back home, while the others had a prodigious artistic and pedagogical activity, being present at the annual exhibitions, together with well-known male colleagues. Keywords: art academies, women artists, painters, graphic artists, art teachers, exhibitions, Sibiu, Betty Schuller, Hermine Hufnagel, Molly Marlin Horn, Anna Dörschlag, Lotte Goldschmidt, Mathilde Berner Roth "
2
Šeparović, Ana. "Feministički iskazi u kritičkoj recepciji skupnih izložbi hrvatskih umjetnica". Ars Adriatica 8, n.º 1 (28 de dezembro de 2018): 195–210. http://dx.doi.org/10.15291/ars.2762.
Texto completo da fonteResumo:
This paper discusses the reception discourse related to three waves of group exhibitions by Croatian women artists in the 20th century, with a focus on feminist strategies used in advocating and empowering women’s art. The considered body of texts includes reviews of the first exhibition – the Intimate Exhibition at the Spring Salon of 1916 – the exhibitions of the Club of Women Artists held in 1928-1940, and the exhibitions celebrating Women’s Day from 1960 until 1991. Although taking place in different circumstances and socio-political contexts, all these exhibitions generated public debates on art produced by women, and although they provoked misogynous and anti-feminist statements, they also resulted in openly feminist voices of authors such as Roksana Cuvaj, Zdenka Marković, Marija Hanževački, Verena Han, Nasta Rojc, Zofka Kveder, and others. Based on historiographical sources and texts from the field of feminist theory, this analysis of the art-critical corpus has identified the main strongholds of feminist discourse: disclosure of misogyny and its sources in public opinion and prejudice, critique of the social construction of female inferiority, research on women’s art history, endorsement and praise of female art, and so on. It was these feminist statements that enhanced creative self-awareness in women artists and also slowly tamed the society by getting it used to their presence, leading to the gradual suppression of stereotypes and slow dissolution of the dominant patriarchal matrix in Croatian art during the 20th century.
3
Krzysztofowicz-Kozakowska, Stefania. "„Raumkunst” autorstwa Teodora Axentowicza". Lehahayer 8 (19 de dezembro de 2021): 185–90. http://dx.doi.org/10.12797/lh.08.2021.08.06.
Texto completo da fonteResumo:
Raumkunst by Teodor Axentowicz
Three exhibition arrangements analysed in the article – the halls of Polish artists on the exhibitions in St. Louis (1904), London (1906) and XI International Biennial of Art in Venice (1914) – allow us to consider Teodor Axentowicz as a precursor of the new form of organisation of the exhibition space within the Polish culture. This form was a pattern for the subsequent architects of exhibitions belonging to the Society of Polish Artists “Art”. Projects of Axentowicz perfectly fitted to the modern style of exhibition interior arrangement, which was promoted by the Viennese environment of “Secession” at the turn of the 20th century.
4
Kyselova, Kateryna, Olha Shandrenko e Alina Shcherbak. "STAGE IMAGES OF ROCK MUSICIANS AND THEIR INFLUENCE ON THE FORMATION OF MODERN TRENDS IN CLOTHING DESIGN". CULTURE AND ARTS IN THE MODERN WORLD, n.º 22 (30 de junho de 2021): 199–211. http://dx.doi.org/10.31866/2410-1915.22.2021.235914.
Texto completo da fonteResumo:
The purpose of the article is to reveal the influence of stage images of rock musicians on fashion design trends formation. Research methodology: the authors of the article use methods of source study analysis to determine the level of scientific development of the issue, comparative historical analysis to identify the characteristic features of images of musicians and catwalk models of clothing collections of famous designers, and theoretical generalization to draw conclusions. The scientific novelty of the work is to highlight the influence of stage images of musicians on the formation of modern trends in fashion design. The analysis of genre affiliation reveals stylistic differences of the stage costume of popular musicians of the USA and Europe. Some stylistic characteristics of the artists’ stage clothing could be traced in the collections of famous fashion brands of the 21st century, such as Balenciaga, Philipp Plein, Vetements, Alexander Wang, Alexander McQueen, and others. Conclusions. The research reveals the main stylistic features of the stage costume of hard rock and heavy metal musicians. Stage images of artists were innovative and widely used in fashion design of the 20th and early 21st century. The active influence of musicians on fashion trends began in the 60s and 70s of the twentieth century, which coincided with the development of stage costume design and the significant spread of media technology. Hard rock and heavy metal performers created and popularized such a style direction as “grunge”, which is one of the leading musical trends in 2020–2021. Designers of the 21st century borrowed many details, visual and stylistic features, and even concepts for brands from popular hard and heavy artists of the 1970s–1990s. Stage images of rock musicians have a significant impact on the development of fashion and design.
5
Beck, Mirja. "A Lived Experience—Immersive Multi-Sensorial Art Exhibitions as a New Kind of (Not That) ‘Cheap Images’". Arts 12, n.º 1 (17 de janeiro de 2023): 16. http://dx.doi.org/10.3390/arts12010016.
Texto completo da fonteResumo:
This article analyzes the phenomenon of multi-sensorial, digital, and immersive art exhibitions of popular artists, which has been widely neglected in academic research, from a historical perspective. Reflecting the significance of lived experience in art consumption, this 21st-century phenomenon can be confronted productively with early-20th-century art reproductions. The article focuses on the characteristics of both popular phenomena and on their advertisement, as well as on the discourse around them, documenting reactions from resistance to persistence and accommodation. The analysis shows noticeable similarities between the two types of popularization of high art, positioning the new immersive exhibitions in a traditional line of technical innovative art popularization. Whereas photomechanical art reproduction had an immense influence on the popular art canon, being also dependent on ‘photogenic’ conditions of artworks and thus focusing predominantly on painting, the contemporary canon is predisposed by the immersible characteristics of artists’ oeuvres.
6
Dane, William J. "Public art libraries and artists and designers: a symbiotic scheme for success". Art Libraries Journal 12, n.º 3 (1987): 29–34. http://dx.doi.org/10.1017/s0307472200005277.
Texto completo da fonteResumo:
The inter-relationship between art librarians and artists/designers in the public library sector in America has been a reality since the early 20th century when libraries were organized into subject departments. This specialized clientele is eclectic and ranges from novices to the most accomplished artists and includes architects, art directors, illustrators, calligraphers, craftspeople and photographers in addition to painters, sculptors and graphic artists. Materials and services in public art libraries are highly diversified and the literature of other disciplines is also readily available. The increase in art exhibitions and special collections is noted in addition to a new focus on information for career opportunities, art law and the handicapped. Current developments set the stage for the continuing symbiotic relationship between public art librarians and artists/designers into the 21st century.
7
Ponamarchuk, Igor. "Kyiv Association of Artists in the context of consolidation of the artistic forces of Kyiv in turn of the 19-20th cc." Text and Image: Essential Problems in Art History, n.º 2 (2018): 68–83. http://dx.doi.org/10.17721/2519-4801.2018.2.04.
Texto completo da fonteResumo:
The article is based on the statutory materials and catalogs of the exhibitions of artistic works which were held in Kyiv in the late nineteenth and early twentieth centuries. It reveals the basic principles of activity of the Kyiv artistic associations. The author focuses his attention on the main trends in the development of the exhibition activities in Kyiv during the specified period. In this article we can see the preconditions of the unifying processes in the local artistic environment, the role of the Peredvizhniki (“The Wanderers”) as well as exhibition events of the Kyiv Drawing School M. Muraskho in the public presentation of works of art by Kyiv’s artists. The author reconsiders the peculiarities of exhibition activity in Kyiv from the seldom events of the late 1870's to the exhibitions systematically led in the early 20th century. The statutes of Kyiv artistic intelligentsia associations from the 1890s-1900s ("Bakhtins", the Association of Artists of Kyiv, the Kyiv Union of Artists), the frequency and membership of their exhibitions were revealed. The author highlights the role of O. Murashko in the consolidation of artistic milieu of Kyiv, his initiative in the emergence of the Kyiv Association of Artists (KAA). Also the author carries out a comparative analysis of the Statute of the KAA and similar materials of the associations of Kyiv artists from the late nineteenth and early twentieth centuries. The author shows the key aspects of the art and exhibition activity of KAA during 1916-1918 and determines the role of the KAA in the cultural and artistic life of Kyiv with the advent of Soviet occupation (1917-1918) as well as the participation of KAA members in the establishment of the Council of United organizations, the Professional Union of Artists, the All-Ukrainian Congress of Artistic Organizations, the First Congress of People Ukrainian plastic art.
8
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.
Texto completo da fonteResumo:
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.
9
Pastushkova, N. A. "Russians in Spain. Book 2. The 20th century. The Beginning". Voprosy literatury, n.º 5 (9 de novembro de 2019): 292–95. http://dx.doi.org/10.31425/0042-8795-2019-5-292-295.
Texto completo da fonteResumo:
Second in the anthology, the volume offers a rich collection of materials, including descriptions of 1900s–1930s Spain by Russian travellers. Artists, musicians, journalists and people of the theatre, all of them share their expectations, recollections and impressions from visits to this Southern country. A poeticized image clashes with reality, which often stands in stark contrast to the idyllic picture. Spain beckons, mesmerizes, and reveals its luxurious self. The country is wrought with controversy: the archaic lifestyle in the provinces and the dizzying pace of life in big cities; its amiable, but very apathetic people; its glorious past and almost desperate present. Russians travel to Spain to experience its natural beauty and splendid cultural heritage. Many of them revelled in visiting the Prado Museum. Numerous performers would come to Spain to tour, spreading knowledge of Russian music, ballet and drama among local audiences.
10
Jingzhi, Huang. "Features of Vocalist Li Huiqiao’s Interpretation of Some Works by R. Strauss". Университетский научный журнал, n.º 78 (16 de fevereiro de 2024): 94–98. http://dx.doi.org/10.25807/22225064_2024_78_94.
Texto completo da fonteResumo:
. In the history of world music, there are many bright musical trends that stand out for their uniqueness and originality. One of these trends is German chamber vocal music, distinguished by its emotional depth and grace of performance. The greatness of this genre’s art has inspired many musicians around the world, including 20th-century Chinese performers, to interpret and recreate its sound. At fi rst glance, the Chinese musical tradition and German chamber music seem to be different in terms of aesthetic and cultural concepts, as well as unique musical instruments and performance techniques. However, it is in this contradiction and interaction that the vocal unique strength lies. Chinese performers of the 20th century, being outstanding musicians and artists of their time, not only refl ected the cultural heritage of their country, but also sought cultural enrichment through the perception of other musical traditions. It was in this context that they turned their attention to German chamber vocal music, whose value lies in its depth and emotional power.
11
Yur, Maryna. "Ukrainian painting of the first third of the 20th century in scientific discourse: National aspect". МISТ: Art, history, modernity, theory 18 (29 de novembro de 2022): 98–105. http://dx.doi.org/10.31500/2309-7752.18.2022.271060.
Texto completo da fonteResumo:
The article explores scientific works in which the concept of “national” was studied through the prism of the creative intentions of Ukrainian painters. Based on the analysis of literary sources, it is shown that the formation of the national context of Ukrainian painting in the first third of the 20th century is determined by a number of factors — historical and cultural features of the time, values and artist’s worldview. The actualization of scientific discourse of national art contributed to the in-depth study of the development and functioning of Ukrainian painting of the specified period, creative visions of artists. The research methodology is based on the principles of historicism, the cultural-historical method is applied to clarify the prerequisites, cause-and-effect relationships, reconstruction of the development of Ukrainian painting in a diachronic and synchronous dimension, hermeneutics — to substantiate the progress of Ukrainian painting and its significance for culture. Understanding the vision of Ukrainian painting of the first third of the 20th century in the publications of scientists is based on a review of exhibitions, analysis of works, study of biographies and stages of artists’ creativity. It is argued that in the creative intentions of artists who professed realism or formed the foundations of Ukrainian modernism and avant-garde, the concept of «national» determined the development strategy of Ukrainian painting
12
Chernysheva, Anna Igorevna. "N. N. Zeddeler and A. P. Somova-Zeddeler: the forgotten names of early 20th century Russian art. Japonism in Russian printmaking at the beginning of 20th century". Secreta Artis 5, n.º 1 (9 de junho de 2022): 6–23. http://dx.doi.org/10.51236/2618-7140-2022-5-1-6-23.
Texto completo da fonteResumo:
The term japonism refers to a movement within 20th-century Russian art that has so far been insufficiently explored. In the meantime, its popularity at the turn of the 19th and 20th centuries coincided with the extraordinary blossoming of Russian color printmaking. N. N. Zeddeler and A. P. Somova were among those artists, who, along such revered masters like A. P. Ostroumova-Lebedeva and V. D. Falileeva, made a substantial contribution to the development of this art style. To date, their work has not received close attention from researchers. Likewise, there is no literature that would provide a systematic analysis of their legacy, save for brief mentions in the periodic press of that period or publications dedicated to exhibitions of 1900-1910s, in which the artists took part. N. N. Zeddeler and A. P. Somova-Zeddeler were well-known in the Russian and European artistic circles at the beginning of the century. Having acquired their education in Munich and Paris, they produced an oeuvre that fit perfectly into the context of early 20th century art and added essential touches to the aesthetic vision of the world emerging at that time. However, the work of these masters was not met with the appreciation it deserved and was eventually forgotten. It is worth noting that the task of mapping out the full biography of both artists appears to be extremely challenging due to a variety of reasons: their departure from artistic practice after the outbreak of the First World War, fragmentary and meager archival material, a small number of works that have survived till our time, the tragic and difficult fate of N. N. Zeddeler and A. P. Somova-Zeddeler… Thus, the purpose of the article is to fill in one of the gaps in the Russian history of art of the 20th century. The author examines the engravings by N. N. Zeddeler and A. P. Somova-Zeddeler from the collection of the Pushkin Museum created between 1900 and 1910, which were previously not studied by researchers.
13
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.
Texto completo da fonteResumo:
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.
14
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.
Texto completo da fonteResumo:
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.
15
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.
Texto completo da fonteResumo:
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.
16
Rosso, Aluminé. "The cinefication of museums: from exhibitions to films. The case of Tate Modern". Digital Age in Semiotics & Communication 5 (30 de dezembro de 2022): 35–61. http://dx.doi.org/10.33919/dasc.22.5.3.
Texto completo da fonteResumo:
Since the end of the 20th century, museum institutions have been adopting the logic of communication, promotion, and administration typical of cultural industries, mainly Cinema. In 1994, Andreas Huyssen argued that the museum, as an elitist place of preservation of canon and high culture, gave way to the museum as a mass medium. Cinema became the paradigm of contemporary cultural activities whose new exhibition practices respond to the changing expectations of the public and their constant search for stellar events.Since the end of the 20th century, museum institutions have been adopting the logic of communication, promotion, and administration typical of cultural industries, mainly Cinema. In 1994, Andreas Huyssen argued that the museum, as an elitist place of preservation of canon and high culture, gave way to the museum as a mass medium. Cinema became the paradigm of contemporary cultural activities whose new exhibition practices respond to the changing expectations of the public and their constant search for stellar events. This process is evident in the increasing use of banners, marquees, and all manner of resources aimed at promoting the temporary exhibitions gaining their place as the main attractions of art museums. Moreover, with the advent of social media, the phenomenon of cinefication of the museum has accelerated. Exhibitions are now titled, conceived, promoted, and distributed as films, while artists, adorned by the figure of the genius, are presented as parts of the art history star system. In order to highlight this phenomenon, we present an analysis of the programming and promotion of temporary exhibitions at Tate Modern, the paradigm of 21st-century museums. This institution not only titles its exhibitions in a cinematographic manner but also produces trailers and posts them on its website and social media. Our work focuses on one exhibition in particular: Picasso 1932, Love, Fame, Tragedy. To this end we observed both the curatorial discourse and the communication strategies applied by Tate. This paper is part of a research project that includes MoMA, Malba, Centre Pompidou, and Reina Sofia. The study of this phenomenon will provide an overview of the epochal style of modern art museums in the conception and communication of modern and contemporary art exhibitions.
This process is evident in the increasing use of banners, marquees, and all manner of resources aimed at promoting the temporary exhibitions gaining their place as the main attractions of art museums. Moreover, with the advent of social media, the phenomenon of cinefication of the museum has accelerated. Exhibitions are now titled, conceived, promoted, and distributed as films, while artists, adorned by the figure of the genius, are presented as parts of the art history star system.
In order to highlight this phenomenon, we present an analysis of the programming and promotion of temporary exhibitions at Tate Modern, the paradigm of 21st-century museums. This institution not only titles its exhibitions in a cinematographic manner but also produces trailers and posts them on its website and social media. Our work focuses on one exhibition in particular: Picasso 1932, Love, Fame, Tragedy. To this end we observed both the curatorial discourse and the communication strategies applied by Tate.
This paper is part of a research project that includes MoMA, Malba, Centre Pompidou, and Reina Sofia. The study of this phenomenon will provide an overview of the epochal style of modern art museums in the conception and communication of modern and contemporary art exhibitions.
17
Kulakova, Olga Yu. "Dutch Flower Still Life of 17th Century: Interest and Oblivion through the Centuries". Observatory of Culture 18, n.º 5 (29 de outubro de 2021): 496–505. http://dx.doi.org/10.25281/2072-3156-2021-18-5-496-505.
Texto completo da fonteResumo:
Over three and a half centuries, the genre of flower still life created by Dutch artists experienced ups of interest and oblivion. There were the maximum assessment of society in the form of high fees of the 17th century artists; the criticism of connoisseurs and art theorists; the neglect in the 19th century and the rise of auction prices and close attention of art critics, manifested from the middle of the 20th century to the present day. In the middle of the 17th century, there was already a hierarchy of genres, based on both the subject and the size of the paintings, which was reflected in the price. Still lifes and landscapes were cheaper than allegorical and historical scenes, but there were exceptions, for example, in the works of Jan Brueghel the Elder and Jan Davidsz. de Heem. Art theorists Willem van Hoogstraten and Arnold Houbraken, resting upon academic tastes, downplayed the importance of still-life painting. Meanwhile, the artists themselves, determining the worth of their paintings, sought for maximum naturalism, and such paintings were sold well.In the 20th century, this genre attracted the attention of collectors in Europe and the United States. A revival of interest in Dutch still lifes in general, and in flower ones in particular, began in the 20th century, the paintings rose in price at auctions, and collecting them became almost a fashion. Art societies and art dealers of the Netherlands and Belgium organized several small exhibitions of still lifes. The course for studying symbolic messages in still lifes, presented by Ingvar Bergström, is continued by Eddie de Jong, who emphasizes the diverse nature of symbolism in Dutch painting of the 17th century. Svetlana Alpers, on the contrary, criticizes the iconological method and presents the Dutch painting of that period as an example of visual culture. Norman Bryson’s view of Dutch still lifes is formed against the background of the development of a consumer society, economic prosperity and abundance. Finally, there has been an increasing interest in the natural science aspects of flower still-life painting in the researches of the last twenty years. Curiosity, skill, and admiration for nature are the impulses that can still be felt in the images of bouquets and fruits.
18
Scaletti, Carla. "Looking Back, Looking Forward: A Keynote Address for the 2015 International Computer Music Conference". Computer Music Journal 40, n.º 1 (março de 2016): 10–24. http://dx.doi.org/10.1162/comj_a_00341.
Texto completo da fonteResumo:
The invention of software in the mid-20th century was as big a breakthrough for modern humans as the mastery over fire was for our prehistoric ancestors; the addition of cognitive fluidity to hardware has resulted in an explosion of experimentation and creativity (which also poses some challenges). As is the case with any new technology, humans immediately set about using software to connect with one another and extend our networks of distributed cognition. Computer musicians are uniquely positioned to predict the future by composing it and coding it, because as a group we combine the imagination and daring of artists with the technology that can make the imaginary real.
19
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.
Texto completo da fonteResumo:
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.
20
Кобер, О. И. "About the features of the avant-garde art of Orenburg of the second half of the 20th century: axiological context". Iskusstvo Evrazii [The Art of Eurasia], n.º 3(26) (30 de setembro de 2022): 128–41. http://dx.doi.org/10.46748/arteuras.2022.03.011.
Texto completo da fonteResumo:
Региональный авангард «второй волны» относится к малоизученным темам современного российского искусствоведения. Актуальность данного исследования обусловлена тем, что впервые оренбургский авангард рассматривается в контексте отечественной культуры. На основе анализа творчества художников, отвергавших догматы официального искусства и отстаивавших право на свое видение художественного мира, научных статей, альбомов и каталогов выставок, статей в прессе указываются основные особенности авангардного искусства Оренбурга. Значительным явлением в культурной жизни города стало создание в начале 1970-х годов творческого объединения художников «Академия Садки», оказавшего большое влияние на становление оренбургского авангарда. Первое большое признание пришло к авангардистам в 1991 году, когда на аукционе «Отель Друо» в Париже были представлены «работы художников Урала» с подзаголовком «Подпольное искусство». При рассмотрении данной темы автор указывает и на некооперированных художников, каждый из которых в результате творческих поисков пришел к авангардному искусству. В статье делается акцент на том, что авангардисты трудно пробивали себе дорогу к зрителю, долго не получали признания своего творчества, чаще выставлялись за границей, чем в России. На сегодня творчество оренбургских авангардистов признано всеми, и их персональные выставки проходят на всех экспозиционных площадках города. На основе проделанной работы делается вывод об особенностях второго авангарда в Оренбурге: местные авангардисты были далеки как от соцреалистического, так и от постмодернистского искусства, в своем творчестве не затрагивали современных остросоциальных и политических проблем, для них были важны общечеловеческие и художественные ценности, а в решении живописных задач они опирались на традиции авангардного искусства начала XX века. The regional avant-garde of the “second wave” belongs to the little-studied topics of contemporary Russian art history. The relevance of this study is because for the first time the Orenburg avant-garde is considered in the context of Russian culture. The author indicates the main features of the avant-garde art of Orenburg based on the analysis of the work of artists who rejected the dogmas of official art and defended the right to their vision of the artistic world, scientific articles, albums and catalogs of exhibitions, articles in the press. A significant event in the cultural life of the city was the creation in the early 1970s of the creative association of artists called Sadki Academy, which had a great influence on the formation of the Orenburg avant-garde. The first great recognition came to the avant-garde in 1991, when the Hotel Drouot Auction in Paris presented works of artists of the Urals with the subtitle “Underground Art”. When considering this problem, the author also points to uncooperative artists, each of whom, because of creative searches, came to avant-garde art. The article focuses on the fact that avant-garde artists had a hard time making their way to the viewer, for a long time they did not receive recognition for their work, they were more often exhibited abroad than in Russia. Today, everyone recognizes the work of the Orenburg avant-garde artists, and all exposition sites of the city show their personal exhibitions. Based on the work done, the author of the research makes a conclusion about the features of the second avant-garde in Orenburg. Local avant-garde artists were far from both socialist realist and postmodern art; they did not touch on contemporary acute social and political issues in their work. Universal and artistic values were important for them, and in solving painting tasks, artists relied on the traditions of avant-garde art of the early 20th century.
21
Gerasimova, Natalia V. "Exhibitions of Art Works from Private Collections of Kazan in the Second Half of 19th — Beginning of 20th Century". Observatory of Culture 21, n.º 2 (19 de abril de 2024): 214–23. http://dx.doi.org/10.25281/2072-3156-2024-21-2-214-223.
Texto completo da fonteResumo:
The article uses the example of Kazan to reveal the process of organizing and holding exhibitions of artworks from private collections in the Russian pre-revolutionary province. Addressing this topic, which has not been sufficiently studied in the history of Russian art, is relevant because it expands the understanding of the phenomenon of exhibition activity, which is one of the most important aspects of artistic life in Russia. The source base of the present study is the catalogues of four exhibitions of paintings from private collections held from 1873 to 1916, as well as publications in the Kazan press of this period. The peculiarities of the organizational process, selection and exposition of works, and the owners of the works are revealed. It is established that the exhibitions were of charitable nature: their proceeds were directed either in favour of the starving or poor, or in favour of Russian soldiers. The main collectors of art works in Kazan in the second half of the 19th century were predominantly landed gentry and university professors (who came from the families of personal nobles and officials). By the early 20th century, representatives of individual merchant families also had significant art collections. The exhibited works represented the whole variety of genres, but they were dominated by landscapes and portraits, primarily family portraits, suitable for decorating mansions. Catalogues allow us to conclude that local collectors of the second half of the 19th century were primarily interested in foreign art (masters of the Italian, Flemish, Dutch, Belgian, German and French schools, mainly of the 17—18 centuries), as well as (to a lesser extent) Russian academic painting (from V.L. Borovikovsky and D.G. Levitsky to D. Zakharov) and itinerant painters (I.I. Shishkin, N.A. Yaroshenko). By the end of the 19th century, the vector of collectors’ preferences shifted towards contemporary Russian art (works by Makovskys, I.E. Repin, etc. were collected), and collecting works by local artists (K.V. Bardou, L.D. Kryukov, R.A. Stupin, N.I. Zeblov, etc.) began to develop as a special direction.
22
Lewisohn, Jane. "Flowers of Persian Song and Music: Davud Pirniā and the Genesis of the Golhā Programs". Journal of Persianate Studies 1, n.º 1 (2008): 79–101. http://dx.doi.org/10.1163/187471608784772742.
Texto completo da fonteResumo:
AbstractThis article examines the 'Flowers of Persian Song and Music' (golhā) radio programs broadcast during the third quarter of the 20th century on the Iran National Radio. These programs—some 1,400 of which the author has collected and deposited in the British Library—constitute an unrivalled encyclopaedia of classical Persian music and poetry. The golhā programs introduced to the general public over 250 poets from the ancients to the moderns, and it preserved Persian classical music and fostered its future development. The seminal role played by Dāvud Pirniā in founding and producing these programs is examined and explored, while highlighting the various artists, poets, musicians, vocalists and scholars who performed in them.
23
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.
Texto completo da fonteResumo:
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.
24
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.
Texto completo da fonteResumo:
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.
25
Qin, Xiaofeng, e Natalia A. Fedorovskaya. "Specifics of Russian-Chinese Cross-Cultural Communication in the Field of Fine Art of the Second Half of the 20th — Early 21st Century". Observatory of Culture 17, n.º 6 (10 de fevereiro de 2021): 582–93. http://dx.doi.org/10.25281/2072-3156-2020-17-6-582-593.
Texto completo da fonteResumo:
Research in the field of cross-cultural communications in the context of modern globalization processes is becoming particularly relevant. Each specific case in cross-cultural interaction has a set of specific features that require detailed study. The article discusses the features of Russian-Chinese cross-cultural communication in the field of fine art, which have been especially pronounced since the second half of the 20th century and until now. The analysis of generally accepted types of communication made it possible to show specific forms of interaction between Russia and China.There is demonstrated that these features are largely related to the fact that the process of cross-cultural interaction occurs not only at the level of communication between representatives of the two peoples, but also in the process of artistic and stylistic exchange at the level of art works perception. Thus, cross-cultural communication refers to the process of information exchange at different levels. Russian-Chinese communication features include the intrapersonal perception of Russian art, style and genre features of the Russian realistic school, that influenced the style of Chinese artists; the interaction between individual artists and students, the unique contacts between a teacher-master and a student studying individually in the art studio. In the period under review, the communications were often unilateral — Chinese students and artists adopting the traditions of the Russian realistic school of painting, both by inviting Russian artists to China and studying in Russia. The specificity is also shown in the interaction between professional creative unions of artists, joint holding of exhibitions, and organization of plein-airs, during which a multi-level exchange of cultures can happen.
26
ΜΑΥΡΟΜΙΧΑΛΗ, ΕΥΘΥΜΙΑ Ε. "ΟΙ ΚΑΛΛΙΤΕΧΝΙΚΟΙ ΣΥΛΛΟΓΟΙ ΚΑΙ ΟΙ ΣΤΟΧΟΙ ΤΟΥΣ (1880-1910)". Μνήμων 23 (1 de janeiro de 2001): 221. http://dx.doi.org/10.12681/mnimon.712.
Texto completo da fonteResumo:
<p>Efthimia Mavromichali, Artists associations in Greece 1880-1910 and their goals</p><p>During the last twenty years of the 19th century and the first decadeof the 20th the first artists associations appear in Athens. Such societiesare founded mostly through the initiative of art-lovers and are indicativeof the new sociability of the rising middle classes of Athens. Artistsattempt to establish their own societies, to demarcate and safeguardtheir professional rights, but without success. Being, however, dependenton art-lovers for financial support and social power, artists are compelledto include them in their associations. The role of the artist in suchassociations is advisory and consultative. Thus artists associations inGreece differ from contemporary associations founded in the rest ofEurope, in that the principles governing their formation are not primarilybased on matters of style and artistic principles.In this study I examine the function and activity of three suchsocieties, namely, The Art-lovers' Society, The Artists' Union, and TheArtists' Society. The artistic activity during the period in question ismarked by the private initiatives of art-lovers and artists. This, however,stands in a wider social context that attributes a national andmoral mission to art and expects art to contribute to national renewal,especially after the devastating war of 1897.Artists' associations attempt to fulfil their mission in society bypromoting the fine arts, by cultivating the development of aestheticcriteria among a wide range of people and by supporting artists. Inpursuit of these goals, they organise exhibitions which, although notalways under strict artistic rules, give a significant impulse to art marketing,and pave the way for state initiatives in support of art and artists.</p>
27
Shalinskyi, Ihor, e Andrii Zabuzhko. "CONTEMPORARY ART AND ART MANAGEMENT INITIATIVES IN THE CONTEXT OF LOCAL SOCIAL TRANSFORMATIONS IN UKRAINE: THE CASE OF THE TEPLE MISTO PLATFORM". Art Research of Ukraine, n.º 23 (28 de novembro de 2023): 129–36. http://dx.doi.org/10.31500/2309-8155.23.2023.299212.
Texto completo da fonteResumo:
Most of the art projects related to modern art take place in the capital. Other Ukrainian cities mostly have few powerful centers for the promotion of modern art and few active representatives of art management. However, such initiatives outside the capital can have a significant impact on social transformations. The purpose of this article is to analyze the activity of art management of the public platform of Ivano-Frankivsk Teple Misto in the field of contemporary art. In the last nine years, this platform has implemented numerous projects that are aimed at social transformations in the urban community. One of the areas of its activity is the engagement of the city’s public with modern art through exhibitions, murals, performances, educational projects, etc. These projects were implemented through a number of grants from Teple Misto. Art managers of the platform work on the Warm Art program. After 2018, this program was transformed into other projects. Contemporary visual art has been chosen as the focus of artistic initiatives for the purpose of promoting artistic processes in the city. Since 2015, the projects Residence for Artists, Open Art Lecture Hall, grants for exhibitions, etc. have served this goal. In addition, the project promotes famous art figures of the 20th century from Ivano-Frankivsk and the region through the support of exhibitions of the art by Paraska Plytka-Horytsvit, Osyp Sorokhtei, Stepan Nazarenko and others
28
Dyadyk, Natalia. "Art of the second half of XX — early XXI centuries as visual philosophy". Socium i vlast 4 (2021): 95–106. http://dx.doi.org/10.22394/1996-0522-2021-1-95-106.
Texto completo da fonteResumo:
Introduction. The article is focused on studying the area of intersection of contemporary art and philosophy, it is a continuation of the research project on conceptual art and its intersection with philosophy, which we started earlier. By conceptual art, we mean art aimed at intellectual comprehension of what has been seen, art that appeals to thinking and generates philosophical meanings. But if earlier we explored conceptual cinema and mainly visual art of the early 20th century, then in this article we want to turn to the visual art of the second half of the 20th century — the beginning of the 21st century, which is also called contemporary art by art critics. The empirical material of the study was the works of such contemporary artists as E. Warhol, D. Koons, D. Hirst, J. Ono, F. Bacon, I. Kabakov, D. Kossuth, the movement of “new realists” and photorealists, the movement of Moscow conceptualists and etc. Contemporary art is one of the ways of understanding the world, visual philosophy, which is of interest for philosophical understanding. The purpose of the article is to conduct a philosophical analysis of visual art of the second half of the 20th — early 21st I centuries in order to identify its philosophical sources and content. Methods. The author uses the following general scientific methods: analysis and synthesis, induction, deduction, abstraction. When analyzing works of conceptual art, we use hermeneutic and phenomenological methods, a semiotic approach. We also use the symbolic-contextual method of analyzing exhibition concepts, which is based on identifying the philosophical meanings and ideas of exhibitions of contemporary art. Scientific novelty of the study. We regard contemporary art as a visual philosophy. Philosophizing, in our opinion, can exist in various forms and forms from everyday practical (the so-called naive philosophizing) to artistic-figurative, that is, visual. Philosophical ideas or concepts are born not only from professional thinkers, but also from artists. The artistic concepts of contemporary artists are similar to the concepts of philosophers, since the goal of both is to cognize the world and grasp being. We find and describe the area of intersection of modern philosophy and contemporary art, each of which is in a situation of crisis separately and continuous dialogue together. Results. In the course of our research, we identify and describe the philosophical origins of visual art in the second half of the twentieth century - early twenty-first century: postmodern philosophical consciousness, conceptualism, the idea of “death of the author” and “death of art”, simulacrum, kitsch and camp, the method of deconstruction and its application in modern art. Conclusions. Visual art of the second half of the 20th century — early 21st century is a visual form of philosophical questioning about the essence of art itself, about the existence of a person and being in general. The works of contemporary artists are based on philosophical problems: meaning, speech and meaning, the ratio of the rational and the irrational, the problem of abandonment and loneliness of a person, the problem of the “death of the author” and the alienation of the creator from his work, the idea of the impossibility of objective knowledge of reality.
29
Lysenko, Yanina, e Yanina Lysenko. "Dnipropetrovsk regionʼs artistic environment of the middle of the 20th century". Музикознавча думка Дніпропетровщини, n.º 19 (30 de dezembro de 2020): 24–33. http://dx.doi.org/10.33287/222031.
Texto completo da fonteResumo:
The purpose of the article is to cover the formation and development of the artistic environment of Dnipropetrovsk region in the middle of the XX century. To achieve this goal, scientific-historical and theoretical research methods were used: source and historiographical analysis, descriptive-analytical; method of periodization, comparative-historical, retrospective and causal analysis of the practice of music and aesthetic education in Ukraine, analysis of philosophical, psychological and pedagogical literature, dissertations to determine the conceptual provisions of the research problem; study of textbooks, art and methodological literature in order to identify factors and features of the problem of formation and development of the artistic environment of Dnipropetrovsk region in the middle of the XX century. The scientific novelty of the research lies in the fact that the substantive essence of the system of formation and development of the artistic environment in Dnipropetrovsk region of the middle of the XX century is considered, theoretically substantiated and revealed. Conclusions. Summarizing the above mentioned, after studying and analyzing the scientific literature on music institutions, events, prominent musicians of Dnipropetrovsk in the middle of XX century, we came to the conclusion that their creative and pedagogical experience is a source for a formation and development of the artistic environment for the region. Musical art, having a huge educational potential, is able to bring to consciousness the moral and ethical ideas embedded in it, forming certain qualities, relevant values and a certain attitude to the phenomena of reality. Consequently, based on the pedagogical, performing, compositional activities of outstanding artists of the studied region emphasize that they enriched the artistic environment not only of Dnipropetrovsk region, but also made a significant contribution to the musical culture of Ukraine.
30
Fedotova, E. D. "Серия акварелей «Campi Phlegraei» английского мецената и итальянского художника века Просвещения". Iskusstvo Evrazii [The Art of Eurasia], n.º 1(20) (31 de março de 2021): 260–69. http://dx.doi.org/10.46748/arteuras.2021.01.018.
Texto completo da fonteResumo:
The article is devoted to the history of a unique collection made by famous American patron and curator Peggy Guggenheim. For several decades, she has been gathering works by European Cubists, Abstractionists and Surrealists, creating the huge collection of the 20th century art. But she made the most significant contribution to the development and popularization of modernism by organizing the «Art of this Century» gallery in New York. This gallery hosted for the first time exhibitions of artists who later became known as abstract expressionists. Their work loudly declared itself on the international art scene and won worldwide recognition. Статья посвящена серии акварелей «Campi Phlegraei», исполненной итальянским художником Пьетро Де Фабрисом (годы жизни не известны) во время научной экспедиции лорда Уильяма Гамильтона (1730–1803), посланника Великобритании, к кратеру Везувия. Оба они — художник и У. Гамильтон, меценат и коллекционер, увлеченно занимавшийся вулканологией, были яркими фигурами истории и культуры века Просвещения. Их сотрудничество является подтверждением научных и художественных достижений культуры Италии в век «просвещенного абсолютизма», когда в Королевстве обеих Сицилий правила династия испанских Бурбонов.
31
Yartseva, O. A. "Коллекция Пегги Гуггенхайм". Iskusstvo Evrazii [The Art of Eurasia], n.º 1(20) (31 de março de 2021): 270–79. http://dx.doi.org/10.46748/arteuras.2021.01.019.
Texto completo da fonteResumo:
The article is devoted to the history of a unique collection made by famous American patron and curator Peggy Guggenheim. For several decades, she has been gathering works by European Cubists, Abstractionists and Surrealists, creating the huge collection of the 20th century art. But she made the most significant contribution to the development and popularization of modernism by organizing the «Art of this Century» gallery in New York. This gallery hosted for the first time exhibitions of artists who later became known as abstract expressionists. Their work loudly declared itself on the international art scene and won worldwide recognition. В фокусе внимания автора статьи — история создания уникального собрания произведений искусства ХХ века, принадлежавшего известной американской меценатке и куратору Пегги Гуггенхайм. На протяжении нескольких десятилетий она коллекционировала картины европейских кубистов, абстракционистов и сюрреалистов. Но самый значительный вклад в развитие и популяризацию модернизма она внесла, организовав в Нью-Йорке галерею «Искусство этого века», в которой впервые были проведены выставки художников, позже ставших классиками абстрактного экспрессионизма США, магистрального направления, громко заявившего о себе на международной художественной сцене и завоевавшего всемирное признание.
32
Villaverde Solar, Dolores. "La presencia del arte feminista en el CGAC. Selección de exposiciones y artistas = The Presence of Feminist Art in the CGAC. Selection of Exhibitions and Artists". Espacio Tiempo y Forma. Serie VII, Historia del Arte, n.º 8 (17 de novembro de 2020): 285. http://dx.doi.org/10.5944/etfvii.8.2020.27341.
Texto completo da fonteResumo:
Este artículo se acercará al Centro Galego de Arte Contemporánea (Santiago de Compostela) desde su construcción en los años noventa del siglo XX para comprobar, a través de su historia, si es posible a día de hoy hablar de feminismo o no en su trayectoria. Se intentará llegar a unas conclusiones repasando la labor de sus gestores/as y algunas de las muestras más interesantes de las artistas que tienen un papel relevante en el ámbito del feminismo.AbstractThis article will approach the Galician Center for Contemporary Art (Santiago de Compostela) since its construction in the nineties of the 20th century, to check, through its history, if it is possible today, to speak of feminism or not in its history. We will try to reach some conclusions by reviewing the work of their directors and some of the most interesting exhibitions of the artists who have a relevant role in the feminism.
33
Majewski, Piotr. "Constructing the canon: exhibiting contemporary Polish art abroad in the Cold War era". Ikonotheka, n.º 30 (28 de maio de 2021): 135–53. http://dx.doi.org/10.31338/2657-6015ik.30.7.
Texto completo da fonteResumo:
The article focuses on the attempts of constructing and presenting the canon of Polish modern and contemporary art in the West after World War II. Initially, the leading role was played by Colourists – painters representing the tradition of Post-Impressionism. After 1956 the focus shifted towards artists who drew in their practice on tachisme and informel. However, the most enduring effects brought the consistent promotion of the interwar Polish Constructivism and its postwar followers. The article discusses the subsequent stages of this process, from the famous exhibition at the Paris Galerie Denise René in 1957, through exhibitions such as Peinture moderne polonaise. Sources et recherches (Modern Polish Painting. Sources and Experiments) from the late 1960s, up to the monumental Présences polonaises (Polish Presences) from 1983 (both in Paris), showing that these efforts contributed to securing a permanent position of Polish Constructivism within the global heritage of 20th-century art.
34
Kim, Seorim, e Kyoo Yun Cho. "Satire and Propaganda of Soviet Posters: The Artistic Representation of Laughter and Disgust in Deni’s Works". Institute for Russian and Altaic Studies Chungbuk University 25 (31 de agosto de 2022): 99–128. http://dx.doi.org/10.24958/rh.2022.25.99.
Texto completo da fonteResumo:
First appeared for commercial purposes in the early 20th century, Russian posters developed into independent art through the First World War and the Bolshevik Revolution. The early 20th century was the most productive period for Russian Art, as various experiments were conducted in the coexistence and competition of various painting trends. Amid the turbulent conditions leading to the revolution, civil war, and establishment of the Soviet Union, the integration of various artists’ experiments with the revolution is reflected in the form and content of posters produced at the time. Viktor Deni, who is called the pioneer and classic of the Soviet poster, had a profound influence on later Soviet propaganda art and posters by embodying personal laughter, social humor and satire, and disgust based on his unique political insight and artistic imagination. Nevertheless, in Soviet poster exhibitions and related studies, Deni has been introduced as a fragment of the history of Soviet art and has not drawn much attention for the artistic value of his satirical posters because of their ideological aspect. Therefore, this study examines the meaning of the creative works of Deni, which were the basis of Soviet political posters during the formation and development of Russian posters in the revolutionary period, and clarifies the social function of his satire and the essence of propaganda art through the transformation of laughter revealed in his posters.
35
Ženko, Ernest. "THE YIJING AND THE CRISIS OF WESTERN TRADITION". Srpska politička misao, Specijal 2019 (2 de dezembro de 2019): 107–24. http://dx.doi.org/10.22182/spm.specijal2019.7.
Texto completo da fonteResumo:
In the article author follows a view that although rational thinking can be found in all literate societies around the globe, differences between cultures develop to a certain degree also from basic distinctions between philosophical ways of thinking. In this sense, the Yijing, or The Book of Changes, classical text not only characterizes the basic mode of Chinese philosophical thinking, but also influences past and present Chinese culture. The Yijing, however, did not only influence Chinese contexts, but from the 18th century on, its impact was felt also in the West. To Jesuit translators, Leibniz and C. G. Jung, and even to 20th century physicists, artists or musicians, this ancient text had always something relevant to say. The more so in times of crisis, when it became evident that it is better to escape one’s own culture and to look for answers elsewhere; in a wholly different tradition. It seems, however, that the reception of the Yijing in the West went full circle; from being an exotic and mystical text from an unknown and foreign practice, to an important corrective of a Western tradition that found itself in crisis during the twentieth century, to the global culture industry.
36
Otdelnova, V. A. "SOVIET ART OF THE SECOND HALF OF THE 20TH CENTURY AS PART OF THE WORLD ART PROCESS: METHODOLOGICAL APPROACHES AND PERSPECTIVES FOR FUTHER STUDIES". Вестник Пермского университета. История, n.º 2 (2022): 55–71. http://dx.doi.org/10.17072/2219-3111-2022-2-55-71.
Texto completo da fonteResumo:
The article examines writings on the history of art, in which artworks by Soviet artists are described not as a local phenomenon but in a global cultural context. These writings are combined into four blocks. The first block – “Socialist Internationalism” – explores papers by Soviet art historians written in the 1950s and 1960s and developed a conception of world “progressive art.” The second block – “Soviet Non-official art and Western art critic” – starts with analyzing the texts created in the 1970s – 1990s by European, American, and Soviet – émigré authors and ends with the writings by Russian curators of the 2000s. All the articles from this block represent a common idea of the universality of Western modernist and postmodern art theory. Thus, these authors selected only those artworks which could be described within this theory. In the context of contemporary European and American art trends, Soviet non-official art looks like a peripheral phenomenon. The third block – “Cold War and Global History of Art” – investigates the texts and exhibitions made during the last two decades and influenced by the ideas of global turn and critical research of the Cold War cultural policy. It is shown how art historians seek to develop new approaches and universal criteria to describe the 20th century world art. The last block – “Critical geography” – talks about the theoretical approach elaborated by Piotr Piotrowski. Within the framework of critical geography, the phenomena that have long been considered marginal come to the fore. Attention is paid to the international contacts of artists. The boundaries of art centers are shown to be different from the borders of states. Thus, the art of the Soviet artists is represented as part of the new geographic conglomerations.
37
Kyselova, Kateryna, Olha Shandrenko, Tetiana Dementovych e Alina Shcherbak. "Quotation of Stage Images of Hard Rock and Heavy Metal Musicians of the 1970-90s in Clothing Design of the 21st Century". Demiurge: Ideas, Technologies, Perspectives of Design 5, n.º 2 (31 de outubro de 2022): 319–32. http://dx.doi.org/10.31866/2617-7951.5.2.2022.266925.
Texto completo da fonteResumo:
Research aim. The article is devoted to the review of modern clothing design projects in the context of quoting the stage images of hard rock and heavy metal musicians of the 1970s-1990s. Research methods. The source analysis method was used to find out the level of scientific development of the problem. Collecting factual material method was used to search for visual information. To describe and process the visual information of stage images of musicians and shows of leading designers’ collections, the Art history methods, aesthetic and structural-compositional analysis, as well as the comparative method, were used. The theoretical generalization method was used to formulate the conclusions. Visual material is taken from printed publications and the Internet. Scientific novelty is in identifying the main stylistic features of the stage costume of performers of the hard rock and heavy metal musical genres in the 70s and 90s of the 20th century, as well as in comparing and finding quotes of stage images of musicians in modern catwalk clothing collections. Conclusions. The development of the stage costume design of hard rock and heavy metal genres with its wide influence on street fashion, as well as “official fashion”, was due to a significant spread of media technologies popularization at the end of the 20th century. Stage images of artists were imitated and introduced into an everyday wardrobe, firstly, by their fans; secondly, its distribution was facilitated by high-profile advertising companies promoting bands and performers; thirdly, it spread through the fashion industry and the work of talented designers who sensed the mood of society and were able to predict the commercial success of the new aesthetic. In the 21st century well-known brands and designers actively quote performers’ stage costumes. Ways of quoting are very diverse: from completely copying images or borrowing a separate assortment, copying forms and details of clothes to the imitation of cut, decoration, and trimming. The most popular quoting is the use of band mascots or logos to print and design materials, various patches, and stickers. Borrowing a characteristic combination of the assortment in creating a general image has recently become the most popular. From the general trends of today, we come to the conclusion that experiments with the form itself and its material components are significantly inferior to experiments with the emotional filling of images, which are successfully provided by quoting the stage costume with its hyperbolized spectacularity and expressiveness.
38
Xiaotao, Li, e Yan Qing. "The influence of the Itinerants' creative ideas on Chinese realistic painting". World of Russian-speaking countries 2, n.º 8 (2021): 87–104. http://dx.doi.org/10.20323/2658-7866-2021-2-8-87-104.
Texto completo da fonteResumo:
The article analyzes the influence of the Itinerants' creative ideas on Chinese realistic painting, the development of which is inseparable from the study of the Itinerants. The article examines how the painting technique and ideology of the Association of Itinerant Art Exhibitions founded in the late 19th century are relevant to many 20th-century Chinese artists. The authors identify the ideological principles of the Itinerant movement that have influenced different generations of Chinese artists (rejection of the “art for art's sake” principle, emphasis on national characteristics of painting, responsibility for reflecting the life of people in the country, advocating the spirit of critical realism as the only true way to reflect life in art) and prove that without Russian Itinerants there would be no Chinese realism in painting and modern Chinese realistic painting. The article identifies and characterizes three stages of adopting the Itinerant creative ideas in China: the period of the Republic of China (acquaintance of the Chinese public with the Itinerants' paintings and understanding the Itinerant ideology at the time of the “Movement for New Culture”), the beginning of the PRC foundation (the period of comprehensive study of realist painting, training of talented Chinese artists in art educational institutions of the USSR as part of the cultural exchange and mastering the principles of Soviet realist art) and the first decade after the Cultural Revolution (a critical “painting of scars” reflecting the experiences and fates of people during the Cultural Revolution). The authors conclude that the study of the Itinerants' creative ideas from the point of view of cultural studies in the context of the Chinese realist art school development is important for understanding the Russian- Chinese cultural dialogue.
39
Berteaux, John Anthony. "Black France, Black America: Engaging Historical Narratives". Cosmopolitan Civil Societies: An Interdisciplinary Journal 9, n.º 2 (21 de julho de 2017): 57–71. http://dx.doi.org/10.5130/ccs.v9i2.5474.
Texto completo da fonteResumo:
Abstract During the first quarter of the 20th Century a small group of black intellectuals, artists, and musicians abandoned the United States for Paris. The rumor was that the French did not believe in racist theories – that France offered blacks social and economic opportunities not available in the States. This paper critically examines that narrative as well as North America’s melting pot legend – an expression of the promise of America made popular in 1909 by playwright Israel Zangwill. The stories that we tell about ourselves as a nation are important because our moral sentiments are frequently a product of these narratives. They influence our vision of populations and their circumstances. They serve as starting points for philosophical investigation and critical self-reflection. My intent is not to prove these stories or narratives false but rather, to illustrate how their widespread acceptance has affected people’s abilities to recognize, understand, and responsibly address compelling and complex racial problems. What I recommend is the need for an on-going, comprehensive, and critical examination of socially dominant historical narratives.
40
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.
Texto completo da fonteResumo:
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.
41
Buyak, Halyna. "THE FORMATION OF BOHDAN KHAVARIVSKYI AS PERSONALITY, SOCIAL, POLITICAL, CULTURAL AND EDUCATIONAL FIGURE (THE SECOND HALF OF THE 20TH CENTURY – THE BEGINNING OF THE 21ST CENTURY)". Scientific Herald of Uzhhorod University. Series: History, n.º 2 (47) (20 de dezembro de 2022): 67–74. http://dx.doi.org/10.24144/2523-4498.2(47).2022.266521.
Texto completo da fonteResumo:
This article attempts to investigate the development of Bohdan Khavarivskyi as a philologist, teacher, archivist, local historian, artist, personality, public-political and cultural-educational figure in the second half of the 20th century and the beginning of the 21st century. This significant list of his interests testifies to this person's uniqueness, comprehensiveness, and talent. Based on the analysis of archival materials, it was found that the formation of B. Khavarivskyi took place in the traditions of family upbringing, his parents and teachers who encouraged him to draw, write poems, recite, and sing was an example to follow in childhood. Bohdan-Roman was a comprehensively gifted individual who could realize his talents later in life. His activities were traced during his studies at the philological faculty of Chernivtsi State University. He attended the literary studio named after Stepan Budny, designed and edited its handwritten newspapers "Sunny Clarinets" and "Vesely Ostap," and gave speeches at scientific conferences. Acquaintance with famous Ukrainian science and culture figures from Chernivtsi contributed to his formation as a mature personality with an active life position and deep national convictions. It has been proven that the beginnings of his pedagogical work were connected to his teaching activities in a rural school in the Ternopil region. Over time, Bohdan Khavarivskyi worked as an educator in the dormitory of Ternopil Technical School № 2. Also, as a teacher at Ternopil Special Vocational Technical School № 3. It was found that the center of the future writer's organization, a professional center of artists, free from the restrictions of the standards of socialist realism, was formed in this educational institution. Subsequently, he was a senior researcher at the Ternopil Regional State Archives, a teacher at the Ternopil State Pedagogical Institute, the head of the public education department of the Ternopil Regional Executive Committee, the director of the State Archives of the Ternopil Region. It is known that he thoroughly mastered the subjects he taught. He practiced original modern forms and teaching methods, involved pupils and students in Ukrainian and world cultural achievements, and worked in close contact with the Ternopil Art Gallery, the Ternopil Museum of Local History, and the creative organizations of the city. He organized fine art weeks and involved artists from Ternopil and Lviv in exhibitions of paintings and graphics.
42
Vavroušková, Stanislava. "Ways to understand India: The Czech experience". Acta Orientalia Vilnensia 9, n.º 2 (1 de janeiro de 2008): 125–32. http://dx.doi.org/10.15388/aov.2008.2.3705.
Texto completo da fonteResumo:
Oriental Institute of the Czech Academy of SciencesTo promote and further the understanding of India in the Czech Republic, Czech Indologists (in addition to their academic activities) publish articles, analyses and books on Indian history, culture and politics in the Czech language and deliver lectures intended for the general public. They continue in the tradition of the founders of Czech Indian studies (e.g. Vincenc Lesný, Moritz Winternitz), who were active in the first half of the 20th century. The Indian Association, founded in 1934 and affiliated with the Oriental Institute in Prague, promoted mutual contacts between India and Czechoslovakia and organised visits of prominent Indians (e.g. R. Tagore, J. Nehru, S. Ch. Bose) to Czechoslovakia in the years prior to World War II. The Friends of India Association (founded 1990) offers public lectures and organises exhibitions of Indian art, performances of Indian artists, and occasionally, courses of Indian languages. In close cooperation with the academic community, the association tries to provide unbiased, balanced information on India which is based on academic research, personal experience, and very often, life-long dedication to the country and its people.
43
Garcia Fernandez, Isaac Diego. "Arte y Vida en Disolución: Aproximación a la Obra de Llorenç Barber". Barcelona Investigación Arte Creación 6, n.º 3 (3 de outubro de 2018): 296. http://dx.doi.org/10.17583/brac.2018.2695.
Texto completo da fonteResumo:
This article reflects on the nature of the creative act in relation to the everyday world. In opposition to the formalist conception of the artistic work as anautonomous object, during the 20th century various authors tried to spotlight the dialectical relationship established between art and life. Particularly important was John Cage, who started, from Dadaism, a profound transformation in the field of experimental music. His thinking had a greatinfluence on several generations of musicians and sound artists. A case particularly revealing is Llorenç Barber, interdisciplinary artist and composer. Its proposals, which developed outside of the traditional concert rite, intend todilute the artistic work in its context. These are essentially shared listening situations in everyday environments. From among its creations, the ‘plurifocal’ concerts for city stand out: gigantic compositions designed for each urban layout, which acquire a dimension of art public. The objective ofthe musician is to intervene artistically the common space to be returned to the community in the form of collective celebration. Ultimately, through the study of the work and thinking of Barber, this text aims to explore the boundaries between music and life.
44
Sarkar, Joyanta, e Anil Rai. "An Analytical Study of the Folk Musical Instruments of Meghalaya". Studia Universitatis Babeş-Bolyai Musica 66, n.º 1 (30 de junho de 2021): 23–38. http://dx.doi.org/10.24193/subbmusica.2021.1.02.
Texto completo da fonteResumo:
"Meghalaya is a richly inhabited Indian state. Drums, flutes of bamboo and hand-held small cymbals are a common ensemble. The advent of Christianity in the middle of the 20th century marked the start of a decline in tribal popular music. Over time, Meghalaya’s music scene has evolved, attracting many talented artists and bands from both traditional and not-so traditional genres. Any of the most recent Meghalaya musicians and bands is: The Plague Throat, Kerios Wahlang, Cryptographik Street Poets, etc., Soulmate, Lou Majaw, and Snow White. Meghalaya’s music is characterised by traditional instruments and folk songs. The Musical Instruments of Meghalaya are made from local materials. Meghalayan people honour powerful natural forces and aim to pacify animistic spirits and local gods. The instruments are made of bamboo, flesh, wood, and animal horn. Any one of these musical instruments is considered to have the ability to offer material benefits. The Meghalaya musical instrument is an essential part of traditional folk music in the region. In this article, we offer an overview of the folk musical instruments of Meghalaya. Keywords: Idiophone, Aerophone, Chordophone, Membranophone, Trumpet. "
45
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.
Texto completo da fonteResumo:
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.
46
Szynk, Agnieszka. "THE ROLE OF THE DARMSTADT CONCERTINO IN THE COMPOSITIONAL OUTPUT OF ZDZISAW SZOSTAK". Notes Muzyczny 1, n.º 19 (30 de junho de 2023): 113–30. http://dx.doi.org/10.5604/01.3001.0053.6741.
Texto completo da fonteResumo:
Both in academic publications and in the music press, little attention has been paid to the figure of Zdzisaw Szostak a conductor and a composer, who spent most of his professional life at the d Philharmonic and the Academy of Music in d. Prof. Szostak was seen by the musical community mainly through the prism of his great achievements in the field of film music. The artists later autonomous works had to contend against the success and recognition of his previous compositions. In the article, however, the author focuses on a specific autonomous work by Szostak the Darmstadt Concertino for violin, piano and orchestra, with the title clearly associated with the important 20th century centre of European avant-garde. The resulting connotation seemed particularly interesting due to Szostaks reluctance to radical compositional means used by artists associated with the famous Internationale Ferienkurse fr Neue Musik. The intriguing contradiction encoded in the title and the rudimentary knowledge of the work led the author to investigate its history based on the collected sources. These were limited to a piano reduction assembled in parts, some orchestral voices and completely amateur, poor quality recording. The only possible way to obtain information about the genesis of the piece was interviewing soloists, the violinist ukasz Baszczyk and the pianist Mariusz Drzewicki. The musicians participated in the premiere performance, which was conducted in Darmstadt in November 1998 by Zdzisaw Szostak himself. The concert crowned the celebration of the sixth edition of the Polish Music and Culture Week in Darmstadt organised by the German Chopin Society.
47
Mbhele, Thokozani Patmond, e Praveena Ramnandan. "THE DIGITAL ECOSYSTEM AND ENTREPRENEURIAL MUSIC DISTRIBUTION: A FORCE FIELD PERSPECTIVE". Acta Tecnología 6, n.º 4 (31 de dezembro de 2020): 89–103. http://dx.doi.org/10.22306/atec.v6i4.87.
Texto completo da fonteResumo:
The world of business has evolved from the 19th century (steam, rail and electricity) to the 20th century (telephone, radio, television and, especially, the computer as the greatest information technology that converts analogue signals into a digital form including binary digits), and the 21st century (the fourth industrial revolution (4th IR) – described as the advent of “cyber-physical systems” involving entirely new capabilities for people and machines). Digital entrepreneurship is an emergent phenomenon in which new digital artefacts, platforms and infrastructure are used to pursue innovative and entrepreneurial opportunities, which, to a certain extent calls into questions the relevance and applicability of traditional understandings of entrepreneurship. The study on which this article is based investigated digital entrepreneurship’s impact on the dynamic social networking market in light of the infusion of disruptive and innovative technology. It aimed to determine the entrepreneurship capability and competence that impact on digital music change management; and to examine the extent to which digital music distribution balances the driving forces of digitisation and the restraining forces from disruptive technology. An exploratory research design was adopted using univariate, bivariate and multivariate statistical analysis techniques to analyse the data collected from 217 musicians. The study found that the Internet is capable of reliable delivery of music processes, products and services, thereby enhancing supply chain distribution competence and capability. Digital entrepreneurial innovations enable independent artists to create music according to their tastes and customer demand. Independent music production and creation drive the economic entrepreneurial dimension while technological advancements encourage digital independent music distribution.
48
Jude, Gretchen. "Japan's Nightingale Geisha Singers: Listening to Women Through Audio Media". Malaysian Journal Of Music 9 (27 de novembro de 2020): 101–14. http://dx.doi.org/10.37134/mjm.vol9.8.2020.
Texto completo da fonteResumo:
This paper examines the emergence and disappearance of Japan’s geisha kashu recording stars over the course of the 20th century, delving into their extensive body of audio recordings, which includes songs by some of Japan's most important early popular composers. Clarifying the distinction between geisha and the geisha recording stars, this paper traces the relationship between “traditional” Japanese musical forms (specifically, the complex of short shamisen songs long associated with geisha) and the popular genres that also comprised the geisha stars' repertoire. While historical audio media provide a valuable resource for scholars and fans alike, unconscious habits and unexamined discourses of listening may lead to the replication of orientalist and sexist stereotypes—and ultimately a superficial experience of the music. As a corrective to such tendencies in audience reception, this paper gives an overview of the key cultural and historical contexts of the geisha recording stars, including their contributions to the careers of several of well-respected composers. Attending to the sometimes difficult circumstances faced by geisha recording stars (and their geisha sisters) may rectify the image of these critically neglected women artists, ultimately providing a necessary counterpoint to the predominance of male musicians and male-centred musical genres in the Japanese canon.
49
Audry, Sofian, Victor Drouin-Trempe e Ola Siebert. "The Strangest Music in the World: Self-Supervised Creativity and Nostalgia for the Future in Robotic Rock Band “The Three Sirens”". Arts 12, n.º 1 (23 de dezembro de 2022): 2. http://dx.doi.org/10.3390/arts12010002.
Texto completo da fonteResumo:
The emergence of deep learning since the mid-2010s and its successful application to creative activity challenges long-held anthropocentric conceptions of art and music, bringing back ideas about machine creativity that had been previously explored in the 20th century. Particularly, in the 1990s, some artists, composers, and musicians started working with machine learning and other adaptive computation systems. The work of Nicolas Baginsky is emblematic of that era. In 1992, he created the robot guitar Aglaopheme, which became the first performer of a self-learning robotic band developed throughout the 1990s, soon joined by the robot bass Peisinoe, the robot drum Thelxiepeia, and eventually other artificial agents, forming the autonomous robotic band The Three Sirens. In this review, we describe the technological, musical, and imaginative aspects of Baginsky’s robotic instruments. The unreal and behind-the-scenes story of the mythological three sirens is important in understanding how the robots are designed and what they (are) intend(ed) to do. In the context of artificial intelligence, the concept of seeking a surprising musical effect will push us to reimagine such concepts as musical creativity and improvisation within the algorithmic composition and provide opportunities to discuss nostalgia for the future music and live performance.
50
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.
Texto completo da fonteResumo:
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.