What Have Contemporary Art and Design in Common

2017 ◽  
Author(s):  
Miran Mohar
Keyword(s):  
Contemporary Art ◽  
Art And Design

al-Attar, Suad (1942--)

2018 ◽  
Author(s):  
Tiffany Renee Floyd
Keyword(s):  
Contemporary Art ◽  
Formal Education ◽  
Graduate Training ◽  
Fine Arts ◽  
California State University ◽  
State University ◽  
Art And Design ◽  
Geographic Regions ◽  
The University

Born in Baghdad, Iraq, Suad al-Attar moved to London in 1976. She holds a prominent position within the narrative of Iraqi modern and contemporary art as one of the nation’s leading female artists. In 1965, al-Attar became the first woman to hold a solo exhibition in Baghdad. This exhibition was the beginning of a prolific career that spans several decades and geographic regions. Al-Attar began her formal education at the Academy of Fine Arts in Baghdad and at California State University. She then pursued graduate training in London at the Wimbledon School of Art, where she studied printmaking, and the Central School of Art and Design. After the completion of her studies, al-Attar taught at the University of Baghdad before moving to London. Working within a graphic aesthetic, al-Attar’s work is flat, linear, and oftentimes monochromatic. Her canvases are filled with mythical creatures set in phantasmagoric spaces. The artist’s work is characterized as a manifestation of memory, at both a personal and collective level. Her characters emerge from Iraq’s literary past, but al-Attar also creates a personalized set of symbols based on memories of her homeland. Many of her works also offer introspective laments on the destruction of Baghdad during the turbulent years of the 1990s and 2000s.

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.

scholarly journals PRACTICE AS RESEARCH: CREATIVE AND RESEARCH. PRACTICE IN THE FORMAT OF POSTGRADUATE EDUCATION

2021 ◽  
Vol 17 (4) ◽  
pp. 91-109
Author(s):  
Liudmila A. Alyabieva ◽  
Irina M. Sakhno ◽  
Tatiana E. Fadeeva
Keyword(s):  
Contemporary Art ◽  
Graduate School ◽  
Cultural Anthropology ◽  
Postgraduate Education ◽  
Academic Community ◽  
Artistic Practice ◽  
Close Attention ◽  
Art And Design ◽  
Creative Practice ◽  
Practical Research

The authors of the article focus on the discussion format of practical research. In recent years, practice as research has become a direction of research activity in foreign universities and an object of close attention from the Russian academic community. Representatives of various disciplines in art and the humanities convincingly argue the need for such a format of creative practice in performance, theatre, dance and contemporary art. Practice as research includes different forms and ways of representing applied and project art products. Today, a practising researcher causes controversy and discussion since the model of creative practice as a method of studying art is an innovative educational format. Also, the parameters of evaluating practical research, the relationship between theoretical, purely research, and creative material cause significant difficulties. The methodology based on practice and the parameters of the assessment of practice as research give rise to a lively discussion. The situation in arts and humanities teaching is complicated because practice-related research has been labelled as field research and practice-based experimentation in medicine, design and engineering for a long time. Artistic practice in contemporary art and design has recently become the object of close attention at the Graduate School of Art and Design at the Higher School of Economics since, today, the practical focus of visual research is the main direction in educational bachelor and master’s programs. A new understanding of art as a practice and, at the same time, research can shed light on many topics, including cultural anthropology, psychology, sociology, etc. That is why we defend the idea of the interdisciplinarity of such studies in our article. Artistic practice as a field of academic research and new experience in postgraduate education is at the centre of our study. We strive to generalise the experience of European educational programs, expand the range of methodological approaches and present the author’s concept. Practice and research have long been inseparable in many humanities; project workshops and representation of creative artifacts are at the heart of contemporary art and design education. Modern Russian education is just beginning to explore new territory. In this sense, our collaborative research of an innovative format is designed to analyse foreign experiences and formulate the need to promote new educational technologies within the framework of graduate school. The habitus of practice as research is such that research based on practice raises the question of the forms of critical activity and content parameters of a creative artifact and documenting research materials. The posed research problem in combination with practice demonstrates the originality of research. It expands the boundaries of the research field by introducing a hybrid methodology for evaluating a creative project and critical discourse. The task of the authors of the article is to identify a debatable problem field, analyse analytical data related to the innovative scientific field and present essential strata of the new educational format, Practice as Research.

SYSTEM OF ARCHAIC SIGNS-SYMBOLS IN THE ORNAMENTS OF THE MESENA SPINNING ROTARY

2021 ◽  
Vol 23 (77) ◽  
pp. 70-75
Author(s):  
A.A. Zhogolevа ◽  
◽  
E.G. Stolyarova
Keyword(s):  
Contemporary Art ◽  
Modern Art ◽  
Ancient Greece ◽  
Traditional Culture ◽  
Single System ◽  
Present Stage ◽  
Art And Design ◽  
The World ◽  
History Of ◽  
The Subject

The article is devoted to the study of the symbols of the Mezen painting as a single system. The spinning wheel is viewed as a cosmogonic model of our ancestors, where painting is directly related to the content of the image. The object of the research is the archaic symbols of the Mezen painting. The subject is the development of ornaments and prints for decor and product design. The history of the Mezen craft (geography, origins, traditions), the artistic features of the craft (materials, technology) and the semantics of the ornament are studied. The article considers archaic ornaments of Mezeno in connection with the ancient cultures of mankind (the Neolithic era, Andronov culture, Ancient Greece, etc.) and Slavic traditional culture. The article deals with deciphering the semantics of the ornament of the Mezen spinning wheel as a reflection of the idea of the world of our ancestors. The author's development "The symbolism of the Mezen painting in contemporary art" is given, showing the possibility of using the Mezen ornament at the present stage of the development of artistic culture in art and design. The authors of the article propose to use the ornaments and symbols of Mezeno as decor and prints in modern art and design.

Introduction: Locating global contemporary art in global China

Above Sea ◽  
2019 ◽  
pp. 1-25
Author(s):  
Jenny Lin
Keyword(s):  
Twentieth Century ◽  
Cultural Capital ◽  
Contemporary Art ◽  
Cultural Revolution ◽  
Rapid Growth ◽  
Art And Design ◽  
Rigorous Model ◽  
The City ◽  
Radical Transformation

The introduction argues that the global turn in contemporary art has been limited by overly generalized cultural categorizations and inadequate coverage of the local social, economic, political, and historical contexts of non-Western artworks. In response, the author posits an urban-focused, historically grounded, and theoretically rigorous model of disciplinary diversification that foregrounds key examples of art and design created in and about Shanghai. The city is described as an exemplary case study with which to localize global contemporary art, accounting for Shanghai’s longstanding “East-meets-West” mythology and genealogy stemming from its early twentieth century semi-colonial past and radical transformation during the Cultural Revolution (1966-76). The introduction acknowledges how Republican Shanghai has been recognized by scholars as a modern cultural capital with its own unique Shanghai style, haipai (literally sea style), and proposes that we must also consider the city’s art and design of the 1990s-2000s, the period of Shanghai’s most rapid growth as an international financial and cultural capital.

scholarly journals Towards Sustainable Museum Conservation Practices: A Study on the Surface Cleaning of Contemporary Art and Design Objects with the Use of Biodegradable Agents

Heritage ◽  
2021 ◽  
Vol 4 (3) ◽  
pp. 2023-2043
Author(s):  
Elli Kampasakali ◽  
Theodora Fardi ◽  
Eleni Pavlidou ◽  
Dimitrios Christofilos
Keyword(s):  
Contemporary Art ◽  
Surface Cleaning ◽  
Ionic Surfactant ◽  
Art Conservation ◽  
Art And Design ◽  
Cleaning Agents ◽  
Design Objects ◽  
Cleaning Methods ◽  
Surface Examination ◽  
Cleaning Efficacy

Green contemporary art conservation cleaning methods are explored as sustainable museum practices, ensuring the conservator’s health and reducing the environmental impact. The performance of selected biodegradable cleaning agents, namely deionised (DI) water, a chelate based on trisodium salt of methylglycinediacetic acid (MGDA), Trilon® M, a non-ionic surfactant based on alkoxylated fatty alcohols (Plurafac® LF900), and two solvents, limonene and ethyl lactate, was evaluated for the surface cleaning of polymethyl methacrylate (PMMA), polylactic acid (PLA), polypropylene (PP), and plasticized polyvinyl chloride (pPVC). Plastic mockups were used untreated or artificially soiled, simulating particulate matter or sebum stains produced by handling. Furthermore, the efficacy of ink removal from the plastic’s surface was evaluated. Surface examination was carried out using optical microscopy (OM), scanning electron microscopy (SEM), and atomic force microscopy (AFM), while μ-Raman and gloss measurements complemented the cleaning assessment methodology. The cleaning agents’ potency depends on the type of plastic, precluding a general cleaning protocol. However, their cleaning efficacy is very promising, enriching the available choices for the cleaning of plastics, using sustainable materials and practices. This study offers valuable information to the conservation field regarding the effects of the selected biodegradable cleaning agents on each type of plastic, their application method, and their cleaning efficacy for the removal of different types of soil and ink.

scholarly journals What is wrong with Singapore

2021 ◽  
Vol 20 ◽  
pp. 87-92
Author(s):  
Roopesh Sitharan ◽  
Keyword(s):  
Contemporary Art ◽  
Nation State ◽  
National Narrative ◽  
Media Technology ◽  
Art And Design ◽  
The World ◽  
Residency Programme ◽  
Museum Of Contemporary Art ◽  
Set Up ◽  
Technological University

This artwork was produced as part of the residency programme organised by the Centre of Contemporary Art, Nanyang Technological University, Singapore, and the Museum of Contemporary Art and Design, Philippines called Acts of Life, with support from the Goethe-Institut. During the residency, the artist observed that media technology is utilised to abate the narratives by the nation state to define how a subject should operate and experience the world. Reflecting this, the artist created a work to discern the truthfulness and relevancy of a national narrative in individual lives. For this, a survey is devised as an artistic strategy to juxtapose the desires of a subject with the expectations of a nation state. An opinion booth was set up as part of the 2019 Singapore Art Week. With the header “What is wrong with Singapore”—the booth invites the audience to contribute their opinion towards the statement by writing it down on a postcard and pasting it on a designated wall. The accessibility, dissemination, and restriction of these opinions are left completely to the judgement of the audience visiting the booth.

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