New formats, new roles, new agents: Artists’ publications in Spain since 2000

2013 ◽  
Vol 38 (3) ◽  
pp. 18-29
Author(s):  
Mela Dávila Freire
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Golden Age ◽  
Sources Of Information ◽  
New Agents ◽  
Public And Private ◽  
Art Scene ◽  
The Media ◽  
Spanish Art ◽  
The 1960S

Half a century after the 1960s, commonly considered to have been the period when artists’ publications expanded and consolidated, this genre seems to be experiencing a new ‘golden age’. In recent years, the number of books and printed matter produced by artists has grown exponentially, and so has the interest in them demonstrated by exhibition curators, public and private collectors, and even the media. The contemporary art scene in Spain is not immune to this phenomenon. On the contrary, over the last decade, artists’ publishing has undergone an explosion in quantity, quality and impact with no precedents in Spanish art history. The causes for such an explosion and its main traits are explored here, focusing on a number of significant examples and protagonists. Relevant sources of information documenting its course are offered, both online and in print.

scholarly journals Easy but not weightless – Pop Art, conceptual art, and politics: the progressive art of Miklós Erdély and Tamás Szentjóby in the second part of the 1960s

KÜLÖNBSÉG ◽  
2012 ◽  
Vol 12 (1) ◽  
Author(s):  
Péter Kőhalmi
Keyword(s):  
Contemporary Art ◽  
Conceptual Art ◽  
Pop Art ◽  
The Political ◽  
Art And Politics ◽  
Art Scene ◽  
The 1960S

Miklós Erdély’s theory of freedom can be analysed from the perspective of his general thoughts on the dichotomy of life and freedom.  However, the article focuses on the problem of Erdély’s theory of freedom in the context of the political. If, as he claims, freedom exists in art, then what is the relation of his art to the political, the actual conditions of freedom? This question can only be explored if his work is seen in context, in the context of the contemporary art scene of the 1960s. The paper claims that in comparison with the early neoavantgard art of Szentjóbi Tamás and company, Erdély’s work is tame or easy but surely not weightless.

Maas, Willard (1906–71)

2018 ◽  
Author(s):  
Laura E.B. Key
Keyword(s):  
New York ◽  
Virginia Woolf ◽  
Film Industry ◽  
The Body ◽  
Avant Garde ◽  
Experimental Art ◽  
Art Scene ◽  
Group A ◽  
The Media ◽  
The 1960S

Willard Maas (1906–71) was an American filmmaker and poet. He was known for his experimental style of filmmaking and was considered part of an avant-garde group of artists who worked in opposition to the commercial film industry. The types of films he made were sometimes referred to as "film poems" for their unconventional style, blurring the traditional distinction between the media of film and poetry. Maas was a literature professor by trade, working at Wagner College in New York City. Along with his wife, fellow filmmaker and artist Marie Menken, Maas was prominent in the New York art scene from the 1940s to the 1960s. Maas and Menken were founder members of the Gryphon Group, a set of like-minded artists who worked together on postwar experimental art and film projects. The couple was well-known for holding avant-garde salons at their Brooklyn apartment. Maas and Menken’s tempestuous relationship was well recorded, and they are cited as inspiration for the characters of George and Martha in Edward Albee’s play, Who’s Afraid of Virginia Woolf? (1962). Maas’s film credits as director include Geography of the Body (1943, with Marie Menken and George Barker), The Mechanics of Love (1955, with Ben Moore), Image in the Snow (1943–8), and Narcissus (1956, with Ben Moore).

scholarly journals Punctures in the Periphery. Show-Bix and the Media Conscious Practice of Per Højholt.

Nordlit ◽  
2007 ◽  
Vol 11 (1) ◽  
pp. 115
Author(s):  
Morten Søndergaard
Keyword(s):  
New Media ◽  
Contemporary Art ◽  
Artistic Practice ◽  
Avant Garde ◽  
Art Scene ◽  
Art Forms ◽  
Visual Artist ◽  
The Media ◽  
Paradigmatic Change ◽  
Definition Of

Around 1967 and onwards, Per Højholt (1923-2004) performs a series of punctures in the periphery of a small and self-conscious avant-garde in Denmark - experiments that combine most of the known art forms and genres in a still more active dialogue with new media and technology.One of the first things Højholt engaged himself in at the time was Show-Bix, which is best described as an artist group consisting of the photographer and visual artist Poul Ib Henriksen, composer Gunner Møller Pedersen, and Per Højholt (at the time described largely as a poet). The group was operative from 1968 and until 1971, a period during which it conducted a series of complex experiments involving an audience as well as a media consciousness which is quite unique in Denmark - perhaps even more so today. In fact, I claim that Show-Bix is the visible proof of a paradigmatic change in Per Højholt's artistic practice, as well as in the overall definition of the contemporary art scene.

scholarly journals Biennalization? What biennalization? The documentation of biennials and other recurrent exhibitions

2012 ◽  
Vol 37 (1) ◽  
pp. 13-23 ◽  
Author(s):  
Gustavo Grandal Montero
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Best Practice ◽  
Online Resources ◽  
Future Research ◽  
Collection Development ◽  
Sources Of Information ◽  
Research Perspective ◽  
Secondary Literature ◽  
Different Sources

Biennials have been central to the development of contemporary art for decades, but there is a paucity of published material specifically related to this subject. Documentation for these important exhibitions is not always made available and it is often difficult to acquire, posing an obstacle to current and future research across a number of areas within contemporary art, curating and art history. This article offers an overview of major current biennials and of the different sources of information they produce (catalogues, other printed material, online resources, archives), and surveys the secondary literature of the phenomenon. It also discusses specific collection development issues in libraries, from a research perspective, proposing a set of recommendations for best practice.

scholarly journals Из истории Людвиг Музеум – от коллекции к музею

2021 ◽  
pp. 164-175
Author(s):  
E.V. Orlova
Keyword(s):  
20Th Century ◽  
Contemporary Art ◽  
Art History ◽  
Pop Art ◽  
Avant Garde ◽  
German Art ◽  
The Status ◽  
Museum Of Contemporary Art ◽  
The 1960S

The article is devoted to the founding of the Museum Ludwig in Cologne and presents an analysis of the process of building this museum of contemporary art in dynamics — from the beginning of the collection within the walls of the Wallraf-Richartz Museum to gaining the status of an independent exhibition giant. The study provides an overview of the collection and its sources, identifies individual significant works of art, accompanied by art history descriptions, and sets out the reasons and the chronicle of the separation of the Museum Ludwig from the Wallraf-Richartz Museum. The museum, established in 1976, presents German art from the first half of the 20th century, American and British pop art of the 1960s, Russian avant-garde, photorealism and contemporary art from the last third of the 20th century. It has departments of painting, sculpture, graphics and art photography. The role of the famous German patrons and collectors of Peter and Irene Ludwig in the formation and replenishment of the museum's funds is noted. Статья посвящена основанию Музея Людвига в Кёльне и представляет анализ процесса построения этого музея современного искусства в динамике — от начала формирования коллекции в стенах Музея Вальрафа-Рихарца до обретения статуса самостоятельного экспозиционного гиганта. В исследовании даны обзор коллекции и источники ее формирования, указаны отдельные крупные произведения искусства, сопровожденные искусствоведческим описанием, а также изложены причины и хроника выделения Музея Людвига из состава Музея Вальрафа-Рихарца. Вновь образованный в 1976 году музей представляет искусство Германии с первой половины XX века, американский и британский поп-арт 1960-х годов, русский авангард, фотореализм и актуальное искусство последней трети ХХ века. В нем созданы отделы живописи, скульптуры, графики и художественной фотографии. Отмечена роль известных немецких меценатов и собирателей Петера и Ирены Людвиг в формировании и пополнении фондов музея.

scholarly journals Influencing the Modern in Brisbane: Gertrude Langer and the Role of Newspaper Art Criticism

2013 ◽  
Vol 20 (2) ◽  
pp. 203-214
Author(s):  
Judy Hamilton
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Art Criticism ◽  
University Of Vienna ◽  
The Arts ◽  
Art Scene ◽  
Post War ◽  
The University ◽  
War Art

Dr Gertrude Langer arrived quite by chance in Brisbane in 1939 as a refugee from Hitler's Europe. She was a young, elegant Austrian refugee with a PhD in art history from the University of Vienna. After arriving in Australia, Gertrude and her husband, Dr Karl Langer, had hoped to settle in Sydney, but Karl's work as an architect moved them on to Brisbane. Gertrude Langer would become an important figure in Brisbane's post-war art scene through her salon-style lectures, art criticism and work with the Australia Council. She strongly believed that the arts were an important part of a community, and for this reason became a champion for the cause of contemporary art in Brisbane.

scholarly journals Спадщина Василя Єрмилова в культурному контексті незалежної України

2021 ◽  
pp. 114-122
Author(s):  
О. В. Колісник ◽  
К. І. Подобєд
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Cultural Institutions ◽  
Art Exhibitions ◽  
Professional Literature ◽  
Art And Design ◽  
Avant Garde ◽  
Current Trends ◽  
Art Practices ◽  
Art Scene

To examine Ukrainian art projects and studies of the period of independence, dedicated to the legacy of the outstanding artist and designer Vasyl Yermilov, and to actualize the significance of the artist's work for the contemporary art and design process. Methods of systematization and actualization of the analytical information gained by studying specialized professional literature and websites of cultural institutions. The main tendencies of work with the legacy of Vasyl Yermilov in the context of the problems of the Ukrainian avant-garde are determined and characterized. The issue of the importance of differentiating the Ukrainian and Russian avant-garde on the international art scene for the formation of a positive image of Ukraine has been actualized. Key projects were analyzed, including museum and contemporary art exhibitions, and the difficulty of working with the artist’s legacy due to the lack of iconic works in Ukrainian collections and the loss of some of the works of the 1920s was raised. Systematized Ukrainian art projects and studies of the period of independence, dedicated to Vasyl Yermilov, which cover various areas of culture: art history works, museum exhibition projects, contemporary art practices. The study shows current trends in working with the heritage of the Ukrainian avant-garde and can be used to develop further cultural projects and create exhibitions.

scholarly journals The 4 phases of evolution of political communication systems: from the golden age of the parties to the golden age of the users

2020 ◽  
Vol 2 ◽  
pp. 76-83
Author(s):  
Tanase Tasente
Keyword(s):  
Political Communication ◽  
Golden Age ◽  
Communication Systems ◽  
The Political ◽  
Electoral Campaigns ◽  
Digital Era ◽  
Third Phase ◽  
The Media ◽  
The 1960S ◽  
Classical Means

The political media communication system began to develop, in a first phase, in the first two decades after the Second World War, this period being called by Blumler and Kavanagh (1999) as "the golden age of the parties" or as “the age of the newspapers”. In the 1960s, a new stage in the evolution of political communication systems began, when few national televisions put a monopoly on the media market, becoming the dominant medium in which political communication unfolded. This stage was named "the television era" or "the modern period of electoral campaigns". Two new aspects to the previous period of evolution are due to the diminution of the voters' loyalty and trust towards the political parties and the shift from direct communication to prime-time communication. The third phase of the evolution of political communication systems began to take shape at the end of the 20th century and the beginning of the 21st century and was called the "postmodern period" or "digital era". Major changes in this period of political communication development have occurred both in technology, consumer behavior of voters, and in communication strategies. After 1990, for many other democratic countries and after 2000, for other totalitarian countries, political communication has undergone a strong transformation into its three points: (1) changing the communication channel and its characteristics far different from classical means, (2) related to the content of the message and the political discourse and, perhaps, the most important aspect (3) the public's ability to actively participate in government acts or protest actions challenging government acts.

scholarly journals Conversación con el profesor Alfonso Rodríguez Gutiérrez de Ceballos, catedrático de Historia del Arte

Imafronte ◽  
2020 ◽  
pp. 1-12
Author(s):  
Concepción De la Peña Velasco
Keyword(s):  
Art History ◽  
Research Career ◽  
Teaching And Research ◽  
New Foundations ◽  
Baroque Art ◽  
History Of ◽  
Spanish Art ◽  
The 1960S ◽  
The University ◽  
Insight Into

El profesor Rodríguez Gutiérrez de Ceballos es una figura clave en el ámbito de la Historia del Arte Barroco. De sólida formación e impecable trayectoria docente e investigadora, comenzó a publicar en los años sesenta. Las respuestas a las preguntas formuladas en esta entrevista permiten aproximarse a una etapa histórica de importantes cambios en la disciplina, con figuras eminentes que sentaron nuevas bases para el estudio de la Historia del Arte Español. El profesor Rodríguez Gutiérrez de Ceballos habla de su familia, de su infancia en Salamanca, de sus estudios universitarios, de sus maestros, de sus compañeros y de su vínculo con conocidos hispanistas. Comenta sus aportaciones más destacadas y su reciente nombramiento como doctor honoris causa por la Universidad de Murcia. Concluye con un mensaje de ánimo para los que comienzan. Professor Rodríguez Gutiérrez de Ceballos is a key figure in the field of Baroque Art History. With a solid background and an impeccable teaching and research career, he began publishing in the 1960s. His answers to the questions raised in this interview provide an insight into a historic moment of important changes in the discipline and eminent figures who laid new foundations for the study of the History of Spanish Art. Professor Rodríguez Gutiérrez de Ceballos talks about his family, his childhood in Salamanca, his university studies, his teachers and colleagues and their links to renowned Hispanists. He comments on his best known contributions and his recent appointment as doctor honoris causa by the University of Murcia. It concludes with a message of encouragement for those starting in the profession.

Rewriting the Narrative

2019 ◽  
Vol 96 (4) ◽  
pp. 54-77
Author(s):  
Nicolas G. Rosenthal
Keyword(s):  
Twentieth Century ◽  
Native American ◽  
American Indian ◽  
Modern Society ◽  
Mixed Media ◽  
The State ◽  
Historical Narratives ◽  
Recent Scholarship ◽  
Art Scene ◽  
The 1960S

A vibrant American Indian art scene developed in California from the 1960s to the 1980s, with links to a broader indigenous arts movement. Native American artists working in the state produced and exhibited paintings, prints, sculptures, mixed media, and other art forms that validated and documented their cultures, interpreted their history, asserted their survival, and explored their experiences in modern society. Building on recent scholarship that examines American Indian migration, urbanization, and activism in the twentieth century, this article charts these developments and argues that American Indian artists in California challenged and rewrote dominant historical narratives by foregrounding Native American perspectives in their work.

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