scholarly journals Modern Art as Media Event: Early Swedish Television and the Communication of Art Appreciation, the Case of "Multikonst" (1967)

2016 ◽  
Vol 5 (1) ◽  
Author(s):  
David Rynell Åhlén
Author(s):  
Samia Touati

A writer, an art advisor, and an artist, Yousef Ahmad has contributed significantly to the evolution of art in Qatar. Ahmad took upon himself the responsibility to document and archive the development of art in Qatar. Ahmad has developed an innovative style of calligraphic painting, whereby numerous letters and words are transformed into abstract signs and manifest abstract arrangements. Being more inclined to create large-scale works, Ahmad depicts Arabic words in their variety of shapes with a particular focus on the construction of his composition. In 1982, Ahmad traveled to the United States, where he received his Master of Fine Arts degree from Mills College, University of California. Following his return to Qatar, Ahmad taught art appreciation for more than twenty years at Qatar University, where he met His Excellency Sheikh Hassan bin Mohamed bin Ali Al Thani. Sharing an avid love for art with HE Sheikh Hassan, Ahmad has played an instrumental role in collecting a variety of artworks which constitute the major collections of Mathaf: Arab Museum of Modern Art and the Orientalist Museum. He also acted as the first director for Mathaf: Arab Museum of Modern Art, then named the Museum of Arab Art.


2020 ◽  
Vol 18 (38) ◽  
pp. 197-217
Author(s):  
Luiza Esper Berthoud

Through the analysis of one erroneous piece of art criticism, an essay by Goethe that re-imagines a lost ancient sculpture, I demonstrate the difficulty that the discipline of art history has with conceptualizing the experience of art making and how one ought to respond to it. I re-examine the relationship between art making and art appreciation informed by ideas such as the Aristotelian view of Poiesis, Iris Murdoch’s praise of art in an unreligious age, and Giorgio Agamben’s call for the unity between poetry and philosophy. I also argue that much of modern art criticism has forgotten Arts’ earlier conceptual vocation, and propose methods of appreciating art that are in themselves artistic.


1962 ◽  
Vol 16 (2) ◽  
pp. 35-37
Author(s):  
Eileen Bowser

2017 ◽  
Vol 134 (2) ◽  
pp. 441-447
Author(s):  
Valentyna Bystriakova ◽  
Alla Osadcha ◽  
Olesia Pilhuk
Keyword(s):  

2020 ◽  
Vol 17 (5) ◽  
pp. 462-476
Author(s):  
Alexander A. Ushkarev ◽  
Galina G. Gedovius ◽  
Tatyana V. Petrushina

The technological revolution of recent decades has already brought art to the broadest masses, and the unexpected intervention of the pandemic has significantly accelerated the process of migration of theatrical art to the virtual space, causing the corresponding dynamics of the audience. What is the theater audience in the era of digitalization and the spread of alternative forms of cultural consumption? How does the theater build its relationship with the audience today? In search of answers, we conducted a series of sociological surveys of the Chekhov Moscow Art Theater’s audience — both at the theater’s performances and in the online community of its fans. The purpose of this phase of the study was to answer the fundamental questions: do spectators surveyed in the theater and those surveyed online represent the same audience; what are their main differences; and what are the drivers of their spectator behavior? The article presents the main results of a comparative analysis of two images of the Moscow Art Theatre’s audience based on a number of content parameters by two types of surveys, as well as the results of a regression analysis of the theater attendance. The study resulted in definition of the qualitative and behavioral differences between the theater visitors and the viewers surveyed online, and identification of the factors of theater attendance for both of the represented audience groups. The study made it possible to clarify the role of age and other socio-demographic parameters in cultural activity, as well as the influence of preferred forms of cultural consumption (live contacts or online views) on one’s attitude to art, motivation and spectator behavior. The conclusions of the study, despite the uniqueness of the object, reflect the general patterns of the modern art audience’s dynamics.


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