scholarly journals The Evolution of Moscow Conceptualism: From Early Kabakov to Later Pepperstein

2021 ◽  
Vol 9 (2) ◽  
Author(s):  
Jelena Kusovac
Keyword(s):  
Contemporary Art ◽  
Creative Work ◽  
Moscow Conceptualism ◽  
The Relationship

This article considers the most important strategies, techniques, and concepts that formed in the Moscow artistic environment from the late 1970s until the present day. The author of the article focuses on the creative work of Pavel Pepperstein, an artist and writer who belonged to the group of young conceptualists. The artist adopts some of the conceptual strategies he inherited from his father V. Pivovarov, I. Kabakov, and A. Monastyrsky and develops them in his own manner, thus giving them special characteristics and his own features. The aim of the article is to show and enlarge the context of the artist’s oeuvre by analysing his collaborations with other Moscow conceptualists and social artists, paying special attention to the Medical Hermeneutics Inspection group founded by Pepperstein in 1987 with S. Anufriev and Yu. Leiderman. Apart from visual artistic forms, mainly graphics, installations, and performances, one of the main activities of the group were numerous theoretical treatises that addressed issues of aesthetical, philosophical, and linguistic discourse in conceptual and contemporary art, as well as the relationship between art and its interpretation.

scholarly journals Moscow Conceptualism through Collective and Private Memory. The Archive as an Artistic Self-historicising Practice in Vadim Zakharov

2021 ◽  
Vol 66 (Special Issue) ◽  
pp. 211-232
Author(s):  
Alessandra Franetovich ◽  
◽  
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Important Case ◽  
Moscow Conceptualism ◽  
Global Art ◽  
The Relationship ◽  
Artistic Self ◽  
Archival Practices

"In an era characterised by the growing tension between local and global, the multiple activities acted by the artist Vadim Zakharov offer an important case study to investigate critically the relationship between artists and the art institutions at the time of the Global Art History. Artist, archivist, collector and editor in the frame of Moscow Conceptualism, since the end of the 1970s up to today, Zakharov embodies the figure of the “artist as institution” in the attempt to reach his artistic autonomy. This text introduces to his expansion of the archival attitude typical of Moscow conceptualism, a Soviet unofficial art movement developed in the marginal, underground, and self-referential context in the capital of USSR since the 1970s. Due to its transnationality, Zakharov’s story gives the opportunity to trace parallels, comparisons and differences to what happened next, when he moved in Germany in 1989, after the fall of USSR, and with the appearance of the new labels of “post-Soviet” and “Russian contemporary art”. Within this socio-historical framework, he joined a more cosmopolitan artistic scene, enlarging his archival practices with the aim to self-institutionalize and self-historicize his own artistic practices and the circle of Moscow Conceptualism in an international scene. Keywords: Vadim Zakharov, Moscow Conceptualism, Russian Contemporary Art, Contemporary Art, Global Art History, Archival fever. "

Complexity as Practice: A Reflection on the Creative Outcomes of a Sustained Engagement with Complexity

Leonardo ◽  
2012 ◽  
Vol 45 (2) ◽  
pp. 106-112 ◽  
Author(s):  
Tom Davis
Keyword(s):  
Complexity Theory ◽  
Scientific Models ◽  
Creative Work ◽  
Research Practice ◽  
Creative Practice ◽  
Conceptual Problems ◽  
The Creation ◽  
The Relationship

This article presents a reflection on a body of creative work carried out during four years of Ph.D. research that explored the relationship between complexity theory and music. The article highlights conceptual problems that arose during the creation of the work, especially those associated with the exploration of scientific models for the creation of art. The author does not attempt to offer any final solutions but rather presents the journey undertaken through the combined artistic and research practice as a way of documenting the strategies he developed during this period of creative practice.

scholarly journals Vanitas Obsolescentum An exhibition of images

2021 ◽  
Author(s):  
Lianne Wing Yan Ho
Keyword(s):  
Contemporary Art ◽  
North American ◽  
Art History ◽  
Conceptual Development ◽  
17Th Century ◽  
North American Society ◽  
Dutch Golden Age ◽  
American Society ◽  
Relationship Of ◽  
The Relationship

Vanitas Obsolescentum is a comment on the obsolescence of contemporary commodity. It draws from prominent theories of obsolescence and appropriates 17th century Dutch Vanitas paintings. This paper begins by addressing themes relevant to the conceptual development of the series, including theories of obsolescence as presented by Packard, Papanek and Slade, the relationship of Dutch Golden Age society to contemporary North American society, Dutch Vanitas paintings, and appropriation of the Vanitas genre in contemporary art history and within this series. It provides a rationale for the use of holography as medium to express concepts of transience and hyperreality. This paper concludes with a discussion of the specifics of Vanitas Obsolescentum, including the symbolism and meaning of each piece within the series.

scholarly journals Creativity Unbound: The Interaction of Disciplinary Contexts and Extradisciplinary Thinking in Creative Processes

2019 ◽  
Author(s):  
Matthew Peacock ◽  
Gregory Tate ◽  
Rebecca Hoyle
Keyword(s):  
Theoretical Model ◽  
Focus Groups ◽  
Thematic Analysis ◽  
Qualitative Interviews ◽  
Academic Disciplines ◽  
Creative Work ◽  
Creative Processes ◽  
The Relationship

This article explores how academics in different disciplines articulate the role creativity plays in their work. Instead of attempting to test a pre-existing theoretical model of creativity, 32 qualitative interviews and 4 focus groups were conducted in which 7 academics working in diverse fields were encouraged to explore creativity in their own terms and discuss the extent to which it was relevant in their disciplines. Thematic analysis of their data generated a number of themes; those presented here describe the relationship between creativity and disciplinarity. Participants in different fields shared a tendency to characterise creative work as drawing on ideas and practices commonly utilised in their particular discipline but also requiring methods and styles of thinking falling outside those norms. Creative work in academic disciplines, therefore, may require both a fluency in one’s own disciplinary ways of working and the capacity to transcend those conventions when required. Practitioners in different disciplines placed different degrees of emphasis on these two elements and drew upon different language when describing the relationship between them. This paper uses these points of comparison to investigate how ideas about creative working interact with and sometimes transcend disciplinary contexts.

scholarly journals ‘That’s My Stuff’: Pasifika Literature and Pasifika Identity

2021 ◽  
Author(s):  
◽  
Courtney Wilson
Keyword(s):  
New Zealand ◽  
Significant Contribution ◽  
Mixed Race ◽  
Creative Work ◽  
Dynamic Field ◽  
Award Winning ◽  
New Directions ◽  
New Generation ◽  
The Relationship

<p>Pasifika literature is an expanding, dynamic field which, like other Pasifika creative productions, is often seen as representative of exciting new directions, and reflective of a nascent generation of young Pasifika who are firmly established in New Zealand. This thesis considers the relationship between Pasifika literature and Pasifika identity, tracing some ways that Pasifika literature articulates, references, and mediates Pasifika identity through the creative work of two prominent New Zealand-born Pacific scholar-poets: Karlo Mila (Tongan, Palangi, Samoan) and Selina Tusitala Marsh (Samoan, Tuvaluan, French, English). Both these women are highly acclaimed, award winning poets and academics who are well respected in their respective Pacific communities. Reading their creative works firstly as examples of a mixed-race Pasifika literature and then as Pasifika feminist texts offers compelling insights into their worlds as young ‘brown’ women in New Zealand. Their work makes a significant contribution to Pacific literature and New Zealand literature, and offers many points of entry for exploring what it might mean to be a Pasifika person in Aotearoa today. This work is furthered in a final chapter, which gestures towards a new generation of Pasifika writers. By referencing some of the new writing being produced by young Pasifika, in particular the work of Grace Taylor and Courtney Sina Meredith, I illustrate how Mila and Marsh’s writing has opened up necessary creative spaces for Pasifika voices to be heard and their senses of identity to be affirmed. Ultimately, the connections between Pasifika literature and Pasifika identities that have been explored in this thesis continue to be strengthened and developed by a new generation of young Pasifika writers, who continue to affirm identities that are fluid, open, and progressive.</p>

Contemporary Art Museums' Marketing Strategies

2014 ◽  
pp. 371-388
Author(s):  
Zeynep Guney Celebi
Keyword(s):  
Literature Review ◽  
Contemporary Art ◽  
Modern Art ◽  
Art Museums ◽  
Marketing Strategies ◽  
Entertainment Industry ◽  
Museum Marketing ◽  
Marketing Tool ◽  
The Relationship

Contemporary art museums are significant actors in the entertainment industry, which is recreated by new forms of leisure time activities every day. Entertainment that is used as an important and effective marketing tool in contemporary art museums is also a significant formative of the new relationship between contemporary art museums and their visitors. Therefore, the aim of this chapter is to explore the relationship between art, entertainment, leisure, and museum marketing with a literature review in order to find answers to questions like, What is the relationship between art and entertainment? and Which marketing techniques are used by contemporary art organizations? In this context, the relationship between leisure, entertainment, and contemporary art museums is explained; afterwards, contemporary art museums' marketing strategies are described in detail as the main scope of the study. Finally, as a case study, Istanbul Modern Art Museum's political-economical environment and marketing strategies are analyzed.

Dwelling with Moving Images

Post-cinema ◽  
2020 ◽  
Author(s):  
Miriam De Rosa
Keyword(s):  
New York ◽  
Contemporary Art ◽  
Point Of View ◽  
Moving Images ◽  
The Relationship

Some filmmakers or artists decide to put art at the heart of their creation, applying not only the relationship between cinema and art to their concept but also to various aspects of the process of creation. Miriam De Rosa addresses this kind of “art contemporary turn” by examining the different incursions of cinema from the point of view of the contemporary art space: “how the contemporary experience of moving images is articulated when it enters art spaces.” The presence of film in this foreign space, transforming it into a different and personalized place, can be observed in recent exhibitions: Sleepwalkers (2007); Marta Minujín’s Mesunda Reloaded (2019) at the New Museum in New York; and Sensitive Environments by the Milan-based collective Studio Azzurro.

scholarly journals Trends in Contemporary Art Discourse: Using Topic Models to Analyze 25 years of Professional Art Criticism

2018 ◽  
Vol 12 (3) ◽  
pp. 303-324 ◽  
Author(s):  
Henk Roose ◽  
Willem Roose ◽  
Stijn Daenekindt
Keyword(s):  
Contemporary Art ◽  
Topic Modeling ◽  
Art Criticism ◽  
Computational Technique ◽  
Social Forms ◽  
The Social ◽  
Art Magazine ◽  
Heuristic Device ◽  
Art And Society ◽  
The Relationship

In this article, we use topic modeling to systematically explore topics discussed in contemporary art criticism. Analyzing 6965 articles published between 1991 and 2015 in Frieze, a leading art magazine, we find a plurality of topics characterizing professional discourse on contemporary art. Not surprisingly, media- or genre-specific topics such as film/cinema, photography, sculpture/installations, etc. emerge. Interestingly, extra-artistic topics also characterize contemporary art criticism: there is room for articles on new digital technology and on art and philosophy; there is also growing interest in the relationship between art and society. Our analysis shows that despite evolutions in the field of contemporary art – such as the ‘social turn’, in which contemporary art starts paying more attention to social forms and content – the prevalence of certain topics in contemporary art criticism has barely changed over the past 25 years. With this article, we demonstrate the unique value of topic modeling for cultural sociology: it is both a powerful computational technique to generate a bird’s-eye view of a huge text corpus and a heuristic device that locates key texts for further close reading.

Power and Choice in the Teaching and Learning of Music

2017 ◽  
pp. 354-366
Author(s):  
Chee-Hoo Lum
Keyword(s):  
Skill Acquisition ◽  
Teaching And Learning ◽  
Music Educators ◽  
Creative Work ◽  
Digital Native ◽  
Time And Space ◽  
Critical Dialogue ◽  
Music Classroom ◽  
School Music ◽  
The Relationship

This chapter opens a critical dialogue about the relationship between technology and the teaching and learning of music, with key emphasis on notions of power and choice. The chapter’s discussions revolve around technology as provision for (1) access to the musical world as sound through digital forms and formats, (2) greater opportunities for the most basic beginner in music to explore and experiment with sound, (3) wide/r choice and variety in listening, performing, and creating for both the “trained” and “untrained” musician, (4) compressed time and space in musical experiences and environments, and (5) questioning what constitutes musicality, a musician, and skill acquisition. Music educators need to draw closer links between the widening gap of school music with learners’ daily musical-technological experiences and become more cognizant of the multimedia and multidisciplinary space that the digital native learner is engulfed in, so as to further notions of creative work within the music classroom that might include these experiences.

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