scholarly journals Thinking about ‘transcultural capital’ and ‘transnational artistic practices’ of migrant Portuguese visual artists

2017 ◽  
Vol 7 (2) ◽  
pp. 287-304
Author(s):  
Leandro Gabriel
Keyword(s):  
Visual Arts ◽  
Art World ◽  
Theoretical Discussion ◽  
Art Markets ◽  
Visual Artists

This article is inspired by the idea of a transnational art world focused on migrants and the visual arts and it delivers a preliminary theoretical discussion. The article discusses the notion of ‘transcultural capital’ as a perspective within the study of contemporary migrations of artist. It also looks at the concept of ‘cultural scenes’ as places of significant cultural and artistic activities and amenities. Linked to these are ‘transnational artistic practices’ and the production of translocal geographies drawn by an overlap of the migratory destinations of artists and networks of places of creation, production and artistic dissemination which enhance different art markets. This article discusses the ways in which these different theories can contribute to our understanding of the mobility of cultural professionals and, in particular, of the emigration of Portuguese visual artists.

The visual gamut and syntactic abstraction

Semiotica ◽  
2022 ◽  
Vol 0 (0) ◽  
Author(s):  
Steven Skaggs
Keyword(s):  
Visual Arts ◽  
Fine Art ◽  
Theory And Practice ◽  
Art World ◽  
Visual Artists ◽  
Graphic Arts ◽  
Art And Design ◽  
Syntactic Abstraction ◽  
Visual Identity ◽  
Studio Practice

Abstract Charles S. Peirce’s second trichotomy, which introduces the concepts of iconicity, indexicality, and symbolicity, is probably the only piece of his semiotic that is familiar to visual artists and designers. Although the concepts have found their way into the academy, their utility in the field has been reduced for a couple of reasons. First, as with all of Peirce’s philosophy, his second trichotomy is a concept that is subtle, fluid, and difficult to fully grasp in a sound bite. Second, there has simply been no bridge concept that would form a working connection between that philosophy in its logical guise and the studio practice in the visual arts. The purpose of this article is to remedy that situation by investigating the subtle ways the second trichotomy functions within the visual sphere, and to then suggest a model that can serve to bridge the divide between pure theory and practice. The article makes four main points: first, using examples from visual identity and the graphic arts, it demonstrates how the modes of icon, index, and symbol tend to be blended; second, examples from fine art are used to illustrate how the concept of abstraction, as used in the art world, can only be partially accounted for within the second trichotomy, but can be modeled by supplying a syntactical supplement; third, it expands on and elaborates a previously sketched model, the visual gamut, which makes it possible to classify visual entities according to their position within a map of semantic and syntactic space; finally, it concludes by suggesting ways this enhanced version of the visual gamut model might be used in the analysis of, or creation of, art and design, presenting suggestions for further study.

scholarly journals Impact of Social Media in Adoption of New Trends of Visual Arts: A Case Study of Established Visual Artists in Twins Cities

2020 ◽  
Vol V (II) ◽  
pp. 20-33
Author(s):  
Muhammad Ayub Wali ◽  
Salman Amin ◽  
Muhammad Rehman
Keyword(s):  
Social Media ◽  
Visual Arts ◽  
Art Teachers ◽  
Twin Cities ◽  
Visual Artists ◽  
Significant Relation ◽  
Art Educators ◽  
Innovation Model ◽  
Use Of Social Media ◽  
The Impact

This study has investigated the problem of finding the impact of social media in adoption of new trends of visual arts on established visual artists of twin cities and also how social media facilitates in disseminating new techniques of visual arts among the art practitioners. The aims of the research were to investigate the impact of social media in adoption of new trends of visual arts among established visual artists, and also to evaluate the existing techniques of visual arts through diffusion innovation model among the established visual artists. The researcher has conducted interviews of established visual artists, questionnaires were also furnished. The stakeholders were practicing field visual artists (studio based) and visual art educators (art teachers). The result concluded from the present study was that adoption of social media has a positive significant relation with adoption of new trends of arts and impact on the skills of artists whereas adoption of social media has a negative but significant relation with use of social media.

scholarly journals “It usually works out, but you never know”. Emotion Work as a Strategy for Coping in the Insecure Artistic Career.

2018 ◽  
Vol 9 (3) ◽  
pp. 345-364
Author(s):  
Sofia Lindström
Keyword(s):  
Identity Formation ◽  
Emotion Work ◽  
Art World ◽  
Visual Artists ◽  
Modern Capitalism ◽  
Emotional Work ◽  
The Individual ◽  
Artistic Career ◽  
Late Modern ◽  
Shed Light

This article explores how contemporary Swedish visual artists manage and make sense of career insecurity through emotion work. The specific emotions discussed in the material are trust, hope and luck. Emotion work is related to coping in an increasingly insecure world of work in late modern capitalism, which has been theorized as relying on the creativity, passion and subjectivity of workers. Through analysing what the artists anticipate of their future careers, the study found the main desire of the artists to be the continuation of their creative endeavour—an endeavour not necessarily related to professional success but rather to identity formation. This understanding of success forms part of two overarching discourses found in the material: art as non-work discourse and the art world as arbitrary discourse, which both relate to certain emotional work when failing/succeeding to uphold the artistic creation. The prestigious arts education of the respondents is analysed as part of sustaining hope of continuation when future career prospects seem grim. Trust and luck are analysed as emotion work in relation to having experiences of success, even though the art world is discursively framed as arbitrary. The concluding argument of the article is that understanding emotion work in relation to the insecure or even failed career can shed light on resources related to social position rather than properties of the individual psyche.

Hesiod and the Visual Arts

2018 ◽  
Author(s):  
H. A. Shapiro
Keyword(s):  
Visual Arts ◽  
Archaic Period ◽  
Test Case ◽  
Complex Relationship ◽  
Vase Painting ◽  
Visual Artists ◽  
Text And Image ◽  
Major Work ◽  
The Individual ◽  
Relationship Of

This chapter explores the influence of Hesiod’s Theogony on Greek visual artists of the archaic period (ca. 700–480 bce). Since dozens of divinities and heroes mentioned in the poem appear in sculpture and (more often) vase painting and cannot be systematically treated, one major work with strong Hesiodic associations is examined as a test case. The Attic black-figure dinos signed by the painter Sophilos and dated ca. 580 bce includes more than thirty gods and goddesses participating in the wedding of Peleus and Thetis, future parents of Achilles. All of these can be found in the Theogony, and the poem can be a helpful guide to understanding how the individual figures are placed in the procession. The unique depiction of Okeanos on the dinos illustrates especially well the complex relationship of text and image.

Art Worlds

2014 ◽  
Author(s):  
Roberta Wue
Keyword(s):  
Late Nineteenth Century ◽  
Art World ◽  
Visual Artists ◽  
Popular Art ◽  
Art Worlds ◽  
Modern Chinese ◽  
Visible Part ◽  
History Of ◽  
New Interpretation ◽  
Modern Chinese Art

The growth of Shanghai in the late nineteenth century gave rise to an exciting new art world in which a flourishing market in popular art became a highly visible part of the treaty port’s commercialized culture. Art Worlds examines the relationship between the city’s visual artists and their urban audiences. Through a discussion of images ranging from fashionable painted fans to lithograph-illustrated magazines, the book explores how popular art intersected with broader cultural trends. It also investigates the multiple roles played by the modern Chinese artist as image-maker, entrepreneur, celebrity, and urban sojourner. Focusing on industrially produced images, mass advertisements, and other hitherto neglected sources, the book offers a new interpretation of late Qing visual culture at a watershed moment in the history of modern Chinese art.

The branding of contemporary Chinese art and its politics

2014 ◽  
Vol 4 (1/2) ◽  
pp. 25-44 ◽  
Author(s):  
Chloe Preece
Keyword(s):  
Visual Arts ◽  
Marketing Research ◽  
Art Market ◽  
Chinese Art ◽  
Art World ◽  
Content Type ◽  
Avant Garde ◽  
Political Ideas ◽  
Ethnographic Data ◽  
Contemporary Chinese

Purpose – The purpose of this paper is to examine the branding of the Cynical Realist and Political Pop contemporary art movements in China. The trajectory this brand has taken over the past 25 years reveals some of the power discourses that operate within the international visual arts market and how these are constructed, distributed and consumed. Design/methodology/approach – A review of avant-garde art in China and its dissemination is undertaken through analysis of historical data and ethnographic data collected in Beijing, Shanghai and Hong Kong. Findings – The analysis exposes the ideological framework within which the art market operates and how this affects the art that is produced within it. In the case of Cynical Realism and Political Pop, the art was framed and packaged by the art world to reflect Western liberal political thinking in terms of personal expression thereby implicitly justifying Western democratic, capitalist values. Research limitations/implications – As an exploratory study, findings contribute to macro-marketing research by demonstrating how certain sociopolitical ideas develop and become naturalised through branding discourses in a market system. Practical implications – A socio-cultural branding approach to the art market provides a macro-perspective in terms of the limitations and barriers for artists in taking their work to market. Originality/value – While there have been various studies of branding in the art market, this study reveals the power discourses at work in the contemporary visual arts market in terms of the work that is promoted as “hot” by the art world. Branding here is shown to reflect politics by circulating and promoting certain sociocultural and political ideas.

[no title]

1992 ◽  
Vol 17 (1) ◽  
pp. 30-31
Author(s):  
Halina Rusak
Keyword(s):  
New York ◽  
New York City ◽  
Contemporary Art ◽  
Visual Arts ◽  
York City ◽  
Art History ◽  
Art World ◽  
Full Spectrum ◽  
Insight Into

My involvement as an artist and as an art librarian allows me to see a full spectrum of art history from its inception by an artist to its assessment by an art historian. It enables me to better understand the needs of faculty and students in the field of visual arts, as well as to interface effectively with faculty and scholars in art history. My gallery membership at SOHO 20 in New York City provides me with insight into art trends in the making. It demonstrates well a woman’s place in the contemporary art world, and a role of a critic in promoting or establishing an artist. I feel that this knowledge makes me a better librarian.

scholarly journals 'The Inexhaustible Surface of Things'

2020 ◽  
Vol 13 (1) ◽  
pp. 70-94
Author(s):  
Simone Castaldi
Keyword(s):  
Contemporary Art ◽  
Visual Arts ◽  
Art World ◽  
Avant Garde ◽  
English Speaking ◽  
The Aesthetic

This article explores the work of Stefano Tamburini (1955–1986) in relationship to the ‘high arts’ in the 1980s. By concentrating on Tamburini’s least known works (to this day, among his many works, only the RanXerox saga is actually available for English-speaking readers), it is possible to regard his art as a bridge tying comics with the aesthetic and theoretical preoccupations of many of the leading artists of the postmodern trans-avant-garde of the late-1970s and early-1980s in Italy. This article demonstrates how Tamburini offered a model of comics in dialogue with the rest of the contemporary art world, often taking the lead and generating fruitful exchanges both with the field of literature and the visual arts.

Artistic forgery

2018 ◽  
Author(s):  
Gregory Currie
Keyword(s):  
Visual Arts ◽  
Art Market ◽  
Art World ◽  
False Beliefs ◽  
Aesthetic Value ◽  
Work Of Art ◽  
The Aesthetic ◽  
False Claim

Forgery in art occurs when something is presented as a work of art with a history it does not actually have. Typically this involves a false claim about the producer’s identity. Forgeries are most usually works in the style of the artist whose work they falsely claim to be, while a forgery that is a copy of an existing work is a fake. Forgery is most common in the visual arts, but is also possible in other arts, such as literature and music. The main aesthetic problem that forgery poses is that typically no deception is practised concerning what we might call the appearance of the forged object (generalizing from the pictorial case). Thus the forger does not deceive us about the disposition of colours on the canvas, the sequence of musical notes in the score, or the sequence of words in the text. If we adopt the widely held view that aesthetic value is a function of appearance alone, we shall conclude that something’s being a forgery is irrelevant to its aesthetic worth; whatever false beliefs the viewer might be induced to have about the work, those beliefs could not affect an honest judgment of its aesthetic value. But in the art world it is universal practice to condemn forgery. If that practice is to be justified as anything other than artistic snobbery and the protection of prices in the art market, it must be shown that the aesthetic interest of a work is not exhausted by its appearance alone. In fact it can be shown that the aesthetic features of a work often depend on its historical features as well as on its appearance, and that these historical features are likely to be obscured by the deception that forgery involves.

Modernism and Still Life

2020 ◽  
Author(s):  
Claudia Tobin
Keyword(s):  
Virginia Woolf ◽  
Visual Arts ◽  
Visual Art ◽  
Wallace Stevens ◽  
Still Life ◽  
Visual Artists ◽  
Literary Responses ◽  
Unstable Medium ◽  
Point Of Departure ◽  
Original Approach

The late nineteenth and early twentieth centuries have been characterised as the ‘age of speed’ but they also witnessed a reanimation of still life across different art forms. This book takes an original approach to still life in modern literature and the visual arts by examining the potential for movement and transformation in the idea of stillness and the ordinary. It proposes that still life can be understood not only as a genre of visual art but also as a mode of attentiveness and a way of being in the world. It ranges widely in its material, taking Cézanne and literary responses to his still life painting as its point of departure. It investigates constellations of writers, visual artists and dancers including D. H. Lawrence, Virginia Woolf, David Jones, Winifred Nicholson, Wallace Stevens, and lesser-known figures including Charles Mauron and Margaret Morris. Modernism and Still Life reveals that at the heart of modern art were forms of stillness that were intimately bound up with movement. The still life emerges charged with animation, vibration and rhythm, an unstable medium, unexpectedly vital and well suited to the expression of modern concerns.

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