International trend on the free use of visual art works in public domain

2021 ◽  
Vol 34 (4) ◽  
pp. 165-203
Author(s):  
Mun-Gi Jeong
Keyword(s):  
2018 ◽  
Vol 7 (49) ◽  
Author(s):  
Seniha Unay Selcuk
Keyword(s):  

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.


10.12737/7835 ◽  
2015 ◽  
Vol 3 (1) ◽  
pp. 3-9 ◽  
Author(s):  
Виноградова ◽  
Natalya Vinogradova

The article discusses problems of a child’s adaptation to school life and psychological features of first graders. teachersare advised on formingthe sustained cognitive interestin 7-year old children, developing the motivation to study, and creatingthe conditions for positive emotional attitude to school.


Author(s):  
Катерина Ткаленко

The article touches upon basic issues for the legal regulation of visual art market in Ukraine. Nowadays works of visual art are regarded notonly as objects for aesthetic enjoyment but also as commercial assets. Current trading relationships are being influenced by global geographical changes of business, digital transformation and IT development.Attention is drawn to the fact that trading relations in art works should be based on such fundamental principles as equality of parties, autonomy of will, and reasonable transparency of commercial operations. It should also be defined the basic elements of trade dealings in the visual art market. They are parties to the relationships, subject matters, and certain content of rights and duties depending on type and nature of legal privity.The comprehensive analysis of legal capacity and competence has been undertaken in the research. Therefore, market participant should have legal ability to acquire and perform personal rights and obligations connected with art trading. They should be able to be hold responsible for their unlawful actions as well. The creator of visualart work should also have creative capacity to be regarded as author and proper party to the transaction.Besides, it is pointed out the main features of visual art works in case they are subject matter to trading activity. Currently, more and more contemporary art works are appearing on the market, for example, installations and computer generated art works. But commercial turnover accepts artistic results, which are unique, creative and aesthetic enjoyable. So, no art work should be considered as a subject matter to marketplace that does not contain intellectual and creative components. It should not be easily-reproducible too.Also worth noting is that certain content of legal relations in the visual art market consists of two-dimensional authorities. Permitting competence is intended to determinethe limit and procedure of voluntary conduct. Obligatory warranties establishsome restrictions and prohibitions. They are meant to attach the liability for non-performance or improper performance of duties.The article is concluded by saying that theoretical framework of visual art market is an important base for providing the suitable level of legal regulation of art trading relations.


Temida ◽  
2017 ◽  
Vol 20 (3) ◽  
pp. 339-355
Author(s):  
Nina Mihaljinac

Using the research that mapped around 160 visual art works on the topic of NATO bombing of the FRY, the paper deals with the problem of incorporating various narratives of memory and artistic representations of collective traumas into the public memory discourse in Serbia (creation of sacrificial culture, rival memories, forgetting). The aim of the paper is to point out the possible methods of developing a holistic, inclusive and critical culture of remembrance that would lead to the treatment of collective traumas, and to underline the importance of showing public respect for all narratives of memory, and thus also narratives of victimization, which can often be politically abused. Therefore, the paper offers a new typology of representation of collective traumas, based on psychological analyses of types of traumatic reactions. The typology aims to achieve 1) equal appreciation of sufferings and all narratives of remembering, 2) critique of political misuses of narratives of trauma and reductionism. In order to overcome social tensions arising from the construction of the official sacrificial- patriotic narratives, it is necessary to break the binary constructed identities of ?good? and ?bad? ones, and to discover other narratives of the past, such as activist artistic memories.


2021 ◽  
pp. 412-412
Author(s):  
Eleonora Rosati

This chapter highlights the time of application of Directive 2019/790, a copyright directive in the Digital Single Market in Europe, which is included in Chapter 26. It emphasizes that Directive 2019/790 will apply in respect of all works and other subject matter that are protected by national law in the field of copyright. The directive will be implemented on or after 7 June 2021. The chapter points out that Directive 2019/790 will apply without prejudice to any acts concluded and rights acquired before 7 June 2021. It also cites the legislation on the negotiation mechanism, works of visual art in the public domain, and information about collective licensing with an extended effect.


2021 ◽  
pp. 239-249
Author(s):  
Eleonora Rosati

This chapter highlights the works of visual art in the public domain stipulated in Article 14 of Directive 2019/790, copyright order in Europe. It discusses the term of protection of a work of visual art, which is not subject to copyright or related rights when deemed expired. It also reviews rapid technological developments that continue to transform the way works and other subject matter are created, produced, distributed, and exploited. The chapter cites the Commission Communication of 9 December 2015 entitled, which states that it is necessary to adapt and supplement the existing Union copyright framework, while keeping a high level of protection of copyright and related rights. It explains that cultural heritage institutions cover publicly accessible libraries and museums regardless of the type of works or other subject matter that they hold in their permanent collections.


Author(s):  
Vasily P. Veshnev ◽  
Dmitry G. Tkach

The paper provides an overview of the main periods of formation of Russian street art as an artistic phenomenon. It analyzes the role of leading authors and associations that have played a key role in the development of this type of art. The study identified the structure and characteristic features of Russian street art. Street art is a specific form of contemporary urban visual art, characterized by a wide variety of creative concepts and artistic techniques. Street art works are always contextual, to a greater or lesser extent integrated into the urban aesthetic and communication environment, and as a rule, stylistically and thematically relevant, aimed at direct dialogue with the viewer. In Russia, street art emerged in the late 1990s and early 2000s as a continuation of artistic practices of the graffiti subcultures and included three periods of its subsequent formation and development: 1995–2005 — the formation of an artistic phenomenon; 2005–2015 — development and public recognition; 2015 till present — active expansion into the information and media space, into the field of art and design, institutional recognition. The development of street art in Russia, as well as throughout the world, is affected by the global mass visual culture, however, in the last decade, an alternative trend has been gaining momentum, which consists in the active use of national artistic and imaginative content. Thus projects reflecting socio-political and cultural agenda that is relevant for Russia and timed to coincide with memorable dates and major events in the country are being promoted and approved.


Author(s):  
H. Y. Parovatkina

For the first time the article reveals a so far recondite facet of Vasyl’ Barka’s creative endowment – the art of painting. On examining his artistic paintings, exhibited in the National Museum of Literature of Ukraine a few years ago, the author of the article briefly acquaints with the exhibits of the display, draws parallels with the visual art works by Čiurlionis and Roerich.


2017 ◽  
Vol 8 (1) ◽  
pp. 102-120
Author(s):  
Aleksandra Šļahova ◽  
Ilze Volonte ◽  
Māris Čačka

AbstractCreative imagination is a psychic process of creating a new original image, idea or art work based on the acquired knowledge, skills, and abilities as well as on the experience of creative activity.The best of all primary school learners’ creative imagination develops at the lessons of visual art, aimed at teaching them to understand what is beautiful in art, as well as through their being involved in the creative process and creating art works themselves.This paper provides the characterization of the psychological process of imagination, and deals with the importance and dynamics of the development of primary school learners’ creative imagination in lessons of visual art when depicting a portrait, and it also looks at a visual art teacher’s role in organizing the educational process of developing learners’ creative imagination in a sustainable education process.


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