scholarly journals THE IDENTITY AS AN ART PHENOMENON

2021 ◽  
Vol 5 (43) ◽  
Author(s):  
A. Zinenko
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Art Criticism ◽  
Organizational Design ◽  
Cross Cultural ◽  
Research Subject ◽  
Art Theory ◽  
Teaching Activities ◽  
Hermeneutic Phenomenological ◽  
The Past

The research subject is the study of the Phenomenon of identity and its reflection in contemporary Ukrainian art. The purpose of the work is to investigate the specifics of the Phenomenon's reflection of identity in contemporary Ukrainian art. The work methodology is based on chronological and scientific comprehensiveness, art history, historical, philosophical, and culturological approaches, ontological, axiological, hermeneutic, phenomenological, cross-cultural, and method of art analysis. The work results allow us to understand the evolution of researchers' views in various fields on the Phenomenon of identity and its application in contemporary art approaches. The results' scope is today's artistic practices, history, art theory, and art criticism, teaching activities for students and graduate students of creative specialties. Findings. The Phenomenon of identity in contemporary art means that problem of its reflection in the art exists and begins to be understandable. Some conclusions about the correctness of the direction of practices and patterns to a new search identity approach can be made considering foreign experience. Simultaneously, a society that interacts with contemporary art in the latest cultural projects and what principles of such participation should be taken into account in organizational, design, exhibition, and interpretive activities. The proof that modern contemporary art in its various manifestations is deeply rooted in the socio-cultural process, and therefore has different forms of identity, is closely connected with the past and present of Ukraine. Appeal to the past in art - preserving memory, rethinks symbols and signs, gives new life to archaic images and techniques; art is turned to the present, reflecting on reality. Presenting society's moods and problems accumulate the achievements of Ukraine as an independent country.Keywords: contemporary art, identity, Ukraine, the beginning of XXI century. 

Page as alternative space redux: artists’ magazines in the 21 st century

2013 ◽  
Vol 38 (3) ◽  
pp. 10-17
Author(s):  
David Senior
Keyword(s):  
Digital Media ◽  
Contemporary Art ◽  
Art History ◽  
Modern Art ◽  
Museum Of Modern Art ◽  
Art And Design ◽  
The Past ◽  
Production And Distribution ◽  
New Challenges ◽  
Selection Of

In the past few years, several new publications and exhibitions have presented surveys of the genre of artists’ magazines. This recent research has explored the publication histories of individual titles and articulated the significance of this genre within contemporary art history. Millennium magazines was a 2012 exhibition at the Museum of Modern Art that traced the artists’ magazine into the 21st century. The organizers, Rachael Morrison and David Senior of MoMA Library, assembled a selection of 115 international tides published since 2000 for visitors to browse during the run of the exhibition and created a website as a continuing resource for information about the selected tides. The exhibition served as an introduction to the medium for new audiences and a summary of the active community of international artists, designers and publishers that still utilize the format in innovative ways. As these projects experiment with both print and digital media in their production and distribution of content, art libraries are faced with new challenges in digital preservation in order to continue to document experimental publishing practices in contemporary art and design.

Modern art history as a human science in a situation of cultural turn

2019 ◽  
Vol 11 (3) ◽  
pp. 94-106
Author(s):  
Nikolai A. Khrenov
Keyword(s):  
20Th Century ◽  
Art History ◽  
Art Criticism ◽  
Normal Science ◽  
Art Theory ◽  
Linguistic Turn ◽  
Self Protection ◽  
The Relationship ◽  
Intensive Development ◽  
Cultural Turn

Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology. However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism. The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.

Modern art history as a human science in a situation of cultural turn

2019 ◽  
Vol 11 (1) ◽  
pp. 82-98
Author(s):  
Nicolai A. Khrenov
Keyword(s):  
20Th Century ◽  
Art History ◽  
Art Criticism ◽  
Normal Science ◽  
Art Theory ◽  
Linguistic Turn ◽  
Self Protection ◽  
The Relationship ◽  
Intensive Development ◽  
Cultural Turn

Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology. However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism. The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.

Artistic Creativity and Human Evolution – Art Theory and the Work of André Leroi-Gourhan

2013 ◽  
Vol 58 (2) ◽  
pp. 107-121
Author(s):  
Konstantinos Vassiliou
Keyword(s):  
Contemporary Art ◽  
Human Evolution ◽  
Art History ◽  
Art Theory ◽  
Artistic Creativity ◽  
The Third ◽  
Modern Age ◽  
Fourth Part ◽  
Artistic Theory ◽  
Analytical Tools

Der vorliegende Beitrag untersucht das Werk André Leroi-Gourhans und insbesondere seine zweibändige Monographie Le geste et la parole auf ihre kunsttheoretische Relevanz; so werden zentrale Debatten über künstlerische Kreativität behandelt und untersucht, inwiefern Leroi-Gourhan zu ihnen beitragen kann. Nach einer einführenden Darstellung einiger allgemeiner Prämissen von Leroi-Gourhan (I) wird in einem zweiten Teil (II) gezeigt, dass seine Theorie der »Rhythmen« wertvolle Einsichten in die Debatte um »Kunstwollen« und Materialismus bereithält. Der dritte Abschnitt (III) diskutiert Leroi-Gourhans Werk im Kontext der Debatte um Industrialisierung und audiovisuelle Kultur in ihrem Gegensatz zu handwerklicher Kreativität. Schließlich (IV) werden Leroi-Gourhans Schlussfolgerungen bezüglich Wahrnehung und Digitalität mit einigen Aspekten zeitgenössischer Kunsttheorie verbunden. Im Ganzen soll gezeigt werden, dass Leroi-Gourhans Werk ein flexibles analytisches Instrumentarium bereithält, um menschliche Evolution und Kunstgeschichte zusammenzudenken und Kreativität im Kontext der allgemeinen kulturellen und technologischen Verschiebungen nach der Moderne zu untersuchen.<br><br>This article relates the work of André Leroi-Gourhan and mostly his two-volume ok Le geste et la parole to art theory. More specifically, it is concerned with central debates on artistic creativity and examines how Leroi-Gourhan can contribute to them. After presenting some general premises of Leroi-Gourhan’s work (I), its second part (II) argues that his theory on ›rhythms‹ supplies valuable insights to the debate of Kunstwollen and materialism. The third part (III) discusses his work within the debate of industrialization and audiovisual culture as opposed to manual and artisanal creativity. The fourth part (IV) links Leroi-Gourhan’s conclusions on perception and digitality with some aspects of contemporary art theory. On the whole, this article argues that Leroi-Gourhans’s work provides flexible analytical tools in order to think art history and human evolution in conjunction, as well as a specifi c framework for examining creativity within the general cultural and technological shifts after the modern age. The conclusions of this essay shed some light on Leroi-Gourhan’s theories on art and offer some methodological perspectives to contemporary artistic theory.

Curatorial Work

2016 ◽  
Author(s):  
Tarek Elhaik
Keyword(s):  
Contemporary Art ◽  
Cross Cultural ◽  
National Museum ◽  
Cultural Approach ◽  
The Past ◽  
Total Destruction ◽  
The Media ◽  
The Cross

This chapter examines the dominant concepts that form the so-called ethnographic turn in contemporary art, including the cross-cultural approach. It first provides an overview of the notions of montage and animation that have been added to the media anthropological repertoire before discussing post-Mexican assemblages. It then looks at Roger Bartra's notion of a ‘post-Mexican condition’, Silvia Gruner's archaeophobic video Don't Fuck with the Past, You Might Get Pregnant and Eduardo Abaroa's iconoclastic installation The Total Destruction of the National Museum of Anthropology, highlighting the lessons that can be learned from this assemblage of seemingly nihilistic gestures and post-anthropological attitudes. It also introduces the contemporary anthropologist's mode of curatorial work and argues that the stakes behind this ‘assemblage-work’ are nothing less than the differential futures brewing in the contemporariness of contemporary anthropology and contemporary curation.

Le « Musée de poche »: collection productrice d'un patrimoine artistique

2019 ◽  
Vol 58 (3) ◽  
pp. 382-395
Author(s):  
Colette Leinman
Keyword(s):  
Cultural Heritage ◽  
Contemporary Art ◽  
Art Criticism ◽  
Socialist Realism ◽  
Abstract Art ◽  
Discursive Analysis ◽  
The Past ◽  
Art Writing ◽  
The Future ◽  
Post War

In 1955 a polychrome and affordable collection of writers' biographies was created, allowing a large and young audience to easily access contemporary art, especially abstract art. This is hardly a given in the context of post-war, where the return to classical French aesthetics clashes with Socialist Realism. This study of ‘The Pocket Museum’ (1955–1965), shows how the collection fits into art writing, between art criticism and poetic writing, and how it enables the reader to discover abstract works. An ideal place for mediation and transmission, the collection, as an editorial strategy, helps to transform these new aesthetic creations into a national cultural heritage. Through a discursive analysis of ten books from the collection, three processes that have contributed to the promotion of abstract art are highlighted: the legitimacy of the author's discourse, whether he is an art critic, a poet, writer or journalist; the representation of the artist in question, whose difficult path is both stereotyped and singular, but always valorized; and finally, a series of analogies between abstract art and nature or comparisons with music, or else metaphorical expressions manifesting the ‘collapse of time’ where the universality of abstract art is part of the past, the present and the future.

scholarly journals An aesthetic of the unknown

2015 ◽  
Vol 7 (1) ◽  
pp. 19-32
Author(s):  
Michael Evans
Keyword(s):  
Contemporary Art ◽  
Art Criticism ◽  
Theoretical Framework ◽  
Art Theory ◽  
Abstract Painting ◽  
The Unconscious ◽  
Conscious Mind ◽  
Starting Point ◽  
Numinous Experience

This paper begins to establish an ‘aesthetic of the unknown’ by drawing together theorists and approaches from mainstream art criticism to provide a starting-point for an aesthetic sympathetic with Jungian perspectives, in an attempt to bridge a gap between contemporary abstract painting, contemporary art theory, and Jungian studies. This is a framework for approaching abstract painting not as an object awaiting interpretation or ‘reading’, but rather as something that offers a numinous experience (or experience of the unknown), which can be thought about but may remain ultimately unknowable and irreducible. Such experience – involving both the unconscious and conscious mind – would provide glimpses of forms of meaning not accessible to full rational exposition. This type of unconsciously understood meaning is explored, acknowledging that there is a need to preserve this encounter with the unknown and a need for a contemporary critical, theoretical framework that recognises the importance of this within abstract painting.

scholarly journals STATENS MUSEUM FOR KUNST: Et museum for kunsthistorien og samtidskunsten

2001 ◽  
Author(s):  
Vibeke Petersen
Keyword(s):  
20Th Century ◽  
Contemporary Art ◽  
Art History ◽  
Denis Diderot ◽  
Wide Field ◽  
14Th Century ◽  
The Past ◽  
The Enlightenment ◽  
French Art ◽  
Public Museum

Statens Museum for Kunst is now one of the few art museums in Europe where collections of art from the 14th century to the present day are kept together. However, the need for an expansion of the exhibition area became increasingly urgent, and a wing was added to the museum in 1996. The article’s title indicates, therefore, the framework for the wide field of art covered by the museum. It is relevant to take a closer look at the historical basis for this combination within visual art. Two important players come to mind: Diderot, French art critic and philosopher of the Enlightenment, and in Denmark the art historian Julius Lange. Diderot advanced the idea that contemporary art should be part of the “modern” public museum. If any one person deserves the credited for legitimizing contemporary art as an important category in itself, it is Denis Diderot, for he made the claim the con-temporary art be taken as seriously as was the art of the past. Lange played a leading part in Danish artistic life. His aim to make explicit the criteria for obtaining optimum presentation of the art collections at Statens Museum for Kunst resulted in heated discussions. They have had a decisive influence in Denmark on the ongoing discussions of the importance of contemporary art seen in relation to museums and art history, and on the presentation of art collections and, not least, on what they should represent. In the end of the 20th century the concept of representation has had a dramatic revival. For an insightful con-tribution to this movement, the article points to the American art historian Donald Preziosi’s discussion of the relation between the “modern” public museum and the con-cept of representation.  

The Basic Paradigm Shift in Contemporary Art

2020 ◽  
pp. 1-29
Keyword(s):  
Everyday Life ◽  
Contemporary Art ◽  
Art History ◽  
Paradigm Shift ◽  
Life Science ◽  
Modern Art ◽  
Art Theory ◽  
Social Politics ◽  
The Social ◽  
The Difference

The difference between modern and contemporary art, which in the present enters the names of art museums, is based on the notions formed in art theory and art history: whereas modern art is tied to aesthetics, artistic autonomy, author, and the concept of stable and finished artwork, the more fluid and conceptual contemporary art foregrounds the links of the art with the social, politics, economy, everyday life, science, and media. This chapter aims to explore media-shaped contemporary art projects in terms of art services that are algorithmic, cognitive, and conceptual. The service presupposes a problem, a challenge, or an order to be solved or carried out. The artist as a service performer is always faced with a certain task, challenged to solve it in a sequence of steps, chosen as economically as possible. The service therefore ends with a solution of the problem (or its removal) and not with the manufacturing of a finished object.

Krauss, Rosalind Epstein (1941--)

2018 ◽  
Author(s):  
Christa Noel Robbins
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Art Criticism ◽  
Harvard University ◽  
Wellesley College ◽  
Art Collections ◽  
Doctoral Thesis ◽  
Spheres Of Influence ◽  
Clement Greenberg ◽  
Editorial Work

Born and raised in Washington, D.C., Rosalind Krauss is an art historian, critic, and theorist whose writing is focused on modern and contemporary art. First introduced to modernist art through the art collections that populate D.C., Krauss went on to earn her bachelors in art history at Wellesley College, before earning a doctorate in the field at Harvard University (1963–1969). Krauss’s doctoral thesis, which addressed the modernist sculptures of David Smith, was published under the title Terminal Iron Works in 1971, and remains one the most influential accounts of the sculptor’s work. While at Harvard she first met Michael Fried and, through Fried, Clement Greenberg; it was within their spheres of influence that she began to publish art criticism in journals such as Art International and Artforum while still in graduate school. In the early 1970s, Krauss broke publicly with the formalist criticism then being advanced by Greenberg and Fried. She has since become known for her advocacy and advancement of poststructuralist interpretations of art, as is represented in her editorial work for the journal October, which she co-founded in 1976.

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