Art, Industry, and Affect:

2021 ◽  
pp. 65-88
Keyword(s):  
Author(s):  
Amirbek Dzhalilovich Magomedov

The article considers the history of relations of traditional art crafts of Dagestan with the Research Institute of Art Industry (RIAI). Due to its budgetary and personnel capabilities, the Institute tried to support the art crafts of Dagestan until the late 1980s. Since 1979, the Mahachkalinsky branch of RIAI has been working here. Artists, scientific employees of the Institute helped masters in search of prospective assortment for crafts, taught them skills to study the history of crafts, revival of traditions. The most significant role in such cooperation was played by scientific employees of the Institute: E. M. Shilling, E. M. Kilchevskaya, T. M. Razin, D. A. Chirkov, etc. Important for the crafts of the region was the assistance of the artists of the Institute in the execution of samples for introduction into serial production, the production of exhibits for All-Russian and international exhibitions, orders of state institutions and museums related to celebrations in the country of various anniversary. This practice was common for art artels, state mills of the Soviet time. Working with the artists of RIAI masters of Dagestan learned to draw up (drawings with pencil, Indian ink), compositions of patterns, to drafts of products, and also to collect field material on historical culture of crafts, to work as professional artists of applied art.


2015 ◽  
Vol 20 (6) ◽  
pp. 567-584 ◽  
Author(s):  
Lin Zhang ◽  
Taj Frazier

This article examines the art and travels of two contemporary Chinese artists – Ai Weiwei and Cai Guo-Qiang – to explore how each of them successfully navigates the rapidly shifting terrains and interests of the Chinese state and the global high art industry while simultaneously articulating a distinct politics and practice of creative ambivalence. We argue that these two artists’ creative productions and strategies: (1) refute various western critics’ critique of Chinese artists as inauthentic imitators of western art who produce exotic representations of China and Chinese identity for western consumption; (2) call into question the Chinese government’s numerous efforts to simultaneously promote and control Chinese contemporary art for nationalist/statist purposes. Furthermore, we unpack how both artists deploy various resources to produce complex works that interrogate and demonstrate the clashes of power, culture and identity in global spaces of encounter.


2019 ◽  
Vol 25 ◽  
pp. 04004
Author(s):  
Fei Yu

The economic new normal formed in recent years has significant impact on the ceramic art industry and further influences the development of vocational education of ceramic art so that the vocational education of ceramic art is facing the new requirements and new challenges. Therefore, the vocational education of ceramic art under the economic new normal shall be developed from macroscopic and microcosmic idea, the target shall be established to build the modern vocational education system through concept update, system reform, self-management, reasonable assessment and other methods.


2020 ◽  
Vol 6 (1) ◽  
Author(s):  
Seongbae Lim ◽  
Hong-Hee Lee ◽  
Kyoung Claudio Jung

2019 ◽  
Vol 72 ◽  
pp. 03023
Author(s):  
Tatiana Suminova

In the context of post-industrial society, an informational-semiotic approach becomes important for researchers, allowing to perceive, for example, art culture (art sphere)/art industry / art business as a unique world / Text / system, and the text of a work as a text itself, context and hypertext, forming info text. The appearance of certain documents / artifacts / information resources is associated with the activities of both the artist and representatives of other professions in the existing communicative space of art culture. In a market economy / creative economy / entertainment economy, a significant figure for “rotation” of communications in this area is the business assistant /organizer of the artist’s business activity, that is, an art manager (agent, art dealer, entrepreneur, impresario, curator, promoter, producer, etc.). As a producer, using various technologies of art management (artistic, creative, organizational and managerial, including psychological, financial, economic, regulatory, marketing) in project activities, he creates demand and forms a proposal for the art market, generates, “Playing with beads” (G. Hesse) of ideas / meanings / contexts, the information world of art culture.


2017 ◽  
Vol 14 (1) ◽  
pp. 162-167
Author(s):  
Bin Li

The movie and TV art industry of Weifang especially the theater is researched as the object in this paper. After looking through a large number of reference, the main factors influencing the management of the movie and TV art industry are determined. The evaluation system of the movie and TV art industry management is constructed. Using AHP to get the weight of each evaluation factor, the five-dimension set is established as excellent, good, general, poor, very poor. Using the expert group to score the second-level influencing factors, the evaluation vector of the movie and TV art industry management could be obtained. According to the maximum principle to determine the evaluation results of the movie and TV art industry management, and a simulation calculation is carried out.


The Workshop ◽  
1870 ◽  
Vol 3 (2) ◽  
pp. 17
Author(s):  
J. Falke
Keyword(s):  

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