scholarly journals The Dialectic of Visual Arts Life in West Sumatra 1986-2003

2017 ◽  
Vol 4 (1) ◽  
pp. 27
Author(s):  
Nessya Fitryona
Keyword(s):  
College Students ◽  
Contemporary Art ◽  
Visual Arts ◽  
Transition Period ◽  
Modern Art ◽  
Presence Data ◽  
Art Practices ◽  
Art Works ◽  
West Sumatra ◽  
Historical Movement

West Sumatera is one of areas in the visual arts development in Indonesia. In 1980-1990s, there were found the presence data about installation of art and some alternative art works in art institutions and in public. The emergence that art works caused the struggle of the view of art practices in art society. That struggle seemed to thaw since emergence of Komunitas Seni Belanak (2003). This research explained the process of view of art practices that were occurred in West Sumatra which had changed from 1986 until 2003. This research used the concept of historical movement by Hegel dialectics theory and sociohistorical approach. The changing process of the art practices started from antithesis phase which was divided into two periods. The first antithesis period was the arrival of Agus Purwantoro (1986-1999). The second was the movement of IKIP Padang college students (1995-2003) and continued to the emergence of Komunitas Seni Belanak. The results of this study was the struggles in view of art practices in 1986 until 2003 was important as the transition period between the practices of modern art and the development of contemporary art in West Sumatra.

scholarly journals «The Great Neurosis» of Jacques Loysel and Alfred Kubin

2020 ◽  
pp. 144-149
Author(s):  
D. O. Martynova ◽  
Keyword(s):  
Mental Illness ◽  
Contemporary Art ◽  
Visual Arts ◽  
Visual Image ◽  
Lost Generation ◽  
Disciplinary Power ◽  
Graphic Artist ◽  
Art Practices ◽  
The Impact ◽  
Pathological Image

On the example of the work «The Great Neurosis» by the French sculptor Jacques Loysel and «Europe» by the Austrian graphic artist Alfred Kubin, it is described and analyzed how artists gave characteristics of changes in their eras, using the same visual image associated with a mental illness. It is proved that while Loysel’s artwork was associated with the latest discoveries in medicine, then Kubin’s artwork was reinterpreted in a new way, reflecting the problems and experiences of the «lost generation». From this it follows that the example of the works «The Great Neurosis» and «Europe» by Loysel and Kubin can be traced not only to evolution, but also to the introduction of the pathological image of the “hysterical body” both in the art of the XXth century and in contemporary art practices. Such a study demonstrates the relevance and signifi cance of studying the links between, as well as the analysis of the impact of mechanisms of institutions of disciplinary power on the visual arts of various eras.

The Changing Role of Art and Interpretations of Art in Contemporary Societies

2017 ◽  
pp. 1-9
Keyword(s):  
Contemporary Art ◽  
Visual Art ◽  
Modern Art ◽  
Modern Science ◽  
Art Works ◽  
Rule Breaking ◽  
Changing Role

In this chapter the changing role of art and interpretations of art in contemporary societies are discussed. Visual art works are always open to a great diversity of possible interpretations, impressions and opinions. There are also vastly differing opinions and ideas about what art is or should be. What characterizes contemporary art is the idea that it is one of the areas freedom that allow and encourage rule-breaking and visions. In short, it is the refuge of imagination in a society that otherwise is built on modern science, logic and reflexivity. For some that freedom and imagination is too much: modern art may include elements of carnival madness, sophomoric humour, cheap publicity-seeking or hoax – in addition to great art providing deep experiences and/or thoughts to people who cherish the opportunity to feed their souls with art. Viewing art can be a deeply intimate individual process or a social statement, sometimes both of these. However, this book also offers consolation to all art lovers: art itself is globally in no danger of disappearing as a result of any political or commercial pressure.

scholarly journals Mediação como atribuição de força a uma arte fraca

2019 ◽  
Vol 20 (35) ◽  
Author(s):  
Tania Queiroz
Keyword(s):  
Contemporary Art ◽  
Modern Art ◽  
Cultural Institutions ◽  
Art Works

Investiga a proximidade entre arte contemporânea e público - a relaçãoentre arte e vida - entendendo que é o que os distancia. Apresenta: rupturasprovocadas pela arte moderna sob a ótica de artistas da época; artistascontemporâneos cuja obra seja atravessada por outros campos; programaseducativos em instituições culturais; perfis de mediação para a arte hoje.Palavras-chave: Arte. Arte contemporânea. Ensino. Programas educacionais.Mediation as a strength’s attribution to a weak artAbstract: Investigates the proximity between contemporary art and public - artand life - understanding that as the reason of their distance. It presents: theruptures of modern art from its own artists perspective; contemporaneous artistswhose art works are corelated to other fields of knowledge; educational programsin cultural institutions; mediation’s profiles for the current art.

scholarly journals The Effect of Media Culture on Modern Art: Photography, Hyperrealism, Video Art

2015 ◽  
Vol 7 (1) ◽  
pp. 82-91
Author(s):  
Olesya Vitalyevna Stroeva
Keyword(s):  
Contemporary Art ◽  
Visual Arts ◽  
Modern Art ◽  
Video Art ◽  
Media Culture ◽  
New Type ◽  
Art Photography ◽  
Functioning Mechanism

The article analyzes the problem of changing a perception of visual arts, as well as the transformation of art functioning mechanism emerged under the influence of media sphere evolution. The author treats the most popular genres of contemporary art: photography, hyperrealism and video art, analyzes a new type of media thinking, based on collective perception.

Wounding realities and ‘painful excitements’: real sympathy, the imitation of suffering and the visual arts after Burke’s sublime

2017 ◽  
Author(s):  
Aris Sarafianos
Keyword(s):  
Visual Field ◽  
Visual Arts ◽  
Aesthetic Experience ◽  
Modern Art ◽  
Vital Role ◽  
Art Practices ◽  
Entire Visual Field ◽  
The Way

This chapter shows the vital role of injury and suffering in redefining art practices and aesthetic experience from the 1750s onwards. It investigates the role of Burke’s sublime in the introduction of a new lust for pain, which was combined with an equally painful call for the amplification of visual experiences – real and imitated. Sarafianos stresses Burke’s uncivil redefinition of sympathy as a painful delight in the suffering of others, and argues that, despite established anti-visual interpretations of Burke’s sub lime, such extreme forms of suffering are at the root of the way in which his Philosophical Enquiry (1757) built powerful continuities between ‘real sympathy’ and the reality of imitations in painting or theatre. Moreover, this chapter demonstrates that the same principles led to the reorganisation of the entire visual field: bodies in pain, painstaking styles of representation and hurtful habits of seeing were tied up in ways that determined the bursting forth of a specially modern kind of realism. Sarafianos uses Sir Charles Bell’s gruesome surgical sketches from Waterloo (1815) in order to show that the same tangle of hurtful experiences, tailored on Burke’s precise guidelines, encapsulated drives and aspirations for a ‘sublime real’ with a long career in modern art and criticism.

Gender and Its Representation in Contemporary Arts

2017 ◽  
Vol 6 (2) ◽  
pp. 11 ◽  
Author(s):  
Nihan Akdemir
Keyword(s):  
20Th Century ◽  
Contemporary Art ◽  
Social Function ◽  
Conscious Awareness ◽  
Aesthetic Appreciation ◽  
Human Beings ◽  
The Social ◽  
Art Practices ◽  
Art Works ◽  
The Aesthetic

The concept of gender is an important issue that has been over-emphasized in recent years with an increasing rate of violence against human beings, is perhaps an important issue that needs to be addressed much more. The similarity of the terms, gender and sex, suggests that these two concepts are the same. The elimination of this mistake and the transformation of the position into a conscious awareness are carried out with the awareness of social responsibility with contributions in different disciplines. At this point, an evaluation can be made on art and the social function of art can be mentioned because the art is an important way of communicating collective messages through the artists by their works. In the 20th century, and especially since the second half of the century, the content of art is as important as the aesthetic appreciation and this point can be seen at the art practices which multidisciplinary approaches get to the forefront. In this paper, the way of expression of the concept of gender in contemporary art has been researched through the social function of art. The methods of this work depend on literature and artwork sample researches. And the concept of gender has been primarily addressed. This concept has been studied in terms of art works, disciplines, forms of expression, and works of artists who find meaning and overlap. And the results show that the concept of gender has found its place in contemporary arts.

scholarly journals ‘NATIONAL COLLECTIONS OF CONTEMPORARY ART’: PROGRAMME OF THE MINISTER OF CULTURE AND NATIONAL HERITAGE TO FINANCE PURCHASES OF CONTEMPORARY ART WORKS IN 2011–2019 PART 1. HISTORY: FINANCING

Muzealnictwo ◽  
2021 ◽  
Vol 62 ◽  
pp. 227-235
Author(s):  
Wojciech Szafrański
Keyword(s):  
Contemporary Art ◽  
Modern Art ◽  
Museum Of Modern Art ◽  
Museum Collections ◽  
Art Collections ◽  
National Heritage ◽  
Art Works ◽  
Museum Of Contemporary Art ◽  
The Times ◽  
The One

The ‘National Collections of Contemporary Art’ Programme run by the Ministry of Culture and National Heritage (MKiDN) in 2011–2019 constituted the most important since 1989 financing scheme for purchasing works of contemporary art to create and develop museum collections. Almost PLN 57 million from the MKiDN budget were allocated by means of a competition to purchasing works for such institutions as the Museum of Modern Art in Warsaw (MSN), Museum of Art in Lodz (MSŁ), Wroclaw Contemporary Museum (MNW), Museum of Contemporary Art in Cracow (MOCAK), or the Centre of Polish Sculpture in Orońsko (CRP). The programme in question and the one called ‘Signs of the Times’ that had preceded it were to fulfil the following overall goal: to create and develop contemporary art collections meant for the already existing museums in Poland, but particularly for newly-established autonomous museums of the 20th and 21st century. The analysis of respective editions of the programmes and financing of museums as part of their implementation confirms that the genuine purpose of the Ministry’s ‘National Contemporary Art Collections’ Programme has been fulfilled.

Apollo (1909–1917)

2018 ◽  
Author(s):  
Hanna Chuchvaha
Keyword(s):  
Contemporary Art ◽  
Visual Arts ◽  
The Third ◽  
Dance Theater ◽  
Art Works ◽  
The World ◽  
Russian Modernism ◽  
The Creation ◽  
The Aesthetic ◽  
The Revolution

Apollo (Apollon, 1909–1917) was the third and last major Russian modernist art periodical before the revolution of 1917. Edited by the art critic and art historian Sergei Makovsky (1877–1962), and from 1911 by both Makovsky and Baron Nikolai Vrangel’ (1880–1915), the journal ran for 91 issues. Aiming to craft an ideal art periodical, Apollo continued the aesthetic program of its forerunners, the World of Art and The Golden Fleece. According to its title and editorial manifesto, the creation of art works was seen as an act of worshipping Apollo, while the principle of Apollonianism alluded to Friedrich Nietzsche’s dichotomy of the Apollonian and the Dionysian. Apollo was a consistent propagator of contemporary art trends and defined a new stage in the development of Russian modernism. The periodical was international in scope; it devoted articles to Russian and European artists and art shows and featured sections dedicated to visual arts, literature, dance, theater, and music.

scholarly journals The Image of the Virgin Mary in the Visual Arts of Modern Russia

ICONI ◽  
2021 ◽  
pp. 48-57
Author(s):  
Zulfiya U. Guseva ◽  
◽  
Galina V. Alekseeva ◽  
Keyword(s):  
Contemporary Art ◽  
Visual Arts ◽  
Visual Art ◽  
Virgin Mary ◽  
Russian Art ◽  
Art Works ◽  
Spiritual Tradition ◽  
The Subject ◽  
Cultural Code

The article is devoted to the issue of the continuity of the Russian pictorial tradition and the representation of spiritual meanings in contemporary Russian art. The authors aims to consider the image of the Virgin Mary as part of the cultural code of Russia. The object of the research is the materials of the visual art works by contemporary Russian artists of the late 20th and early 21st centuries, studied from the perspective of their Byzantine origins. The subject of this research is the image of the Virgin Mary in contemporary Russian visual art. The result of the research is an understanding of the forms of transformation of the canon of spiritual tradition in contemporary art.

scholarly journals Contemporary Art in the Cultural Space of the Metropolis

2020 ◽  
Author(s):  
Lisovets I.M.
Keyword(s):  
Contemporary Art ◽  
Urban Culture ◽  
Modern Art ◽  
Special Role ◽  
Cultural Environment ◽  
Urban Art ◽  
The Third ◽  
Art Practices ◽  
The Everyday ◽  
Third Millennium

One of the most important features of modern art is its existence in the everyday urban culture and active transformation of the latter. The purpose of the article is to analyze the presence of art in the space of the modern metropolis and its influence on the culture. A special role here belongs to the current urban art practices, which turned out to be necessary for the development of Russian cities of the third millennium and their inhabitants. Using the socio-cultural and philosophical-aesthetic methodology  to analyze the contemporary art in the context of urban culture, the author refers to the space of Yekaterinburg, which is a megacity of the third millennium. By way of concretization, the article addresses the results of a study of the cultural environment of the Ural capital called “Yekaterinburg Pulse”, which determined the features, status and problems of the megacity. Keywords: urban art practices, metropolis, language and institutions of modern art, culture space of Yekaterinburg.

Sign in / Sign up

Export Citation Format

Share Document