Contemporary Art in the Classic Museum: Strategies for a Productive Dialogue

2021 ◽  
pp. 19-27
Author(s):  
Е.А. Kartseva
Keyword(s):  
Contemporary Art ◽  
Modern World ◽  
Domestic Institutions ◽  
Cultural Institutions ◽  
Art Practices ◽  
Specialized Institutions ◽  
Cultural Dialogue ◽  
Almost All ◽  
Changing Role

A variety of strategies for incorporating contemporary art are found today in almost all world museums. Domestic institutions in recent years have also taken a course on contemporary art, which has become the occasion of numerous discussions. Not all are advocates of such integrations, suggesting that for contemporary art there are specialized institutions. However, with the changing role of the museum in the modern world, the acquisition of new functions, as well as the development of contemporary art practices, classical cultural institutions are less and less able to resist the expansion of contemporary art. The article formulates the advantages and risks of including contemporary art in a classical museum, and offers scenarios for a productive cultural dialogue.

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 Parallelotopia: Ottoman transcultural memory assemblages in contemporary art practices from the Middle East

2019 ◽  
Vol 12 (5) ◽  
pp. 493-513
Author(s):  
Gabriel Koureas
Keyword(s):  
Ottoman Empire ◽  
Contemporary Art ◽  
Ethnic Violence ◽  
Late Nineteenth Century ◽  
Ethnic Communities ◽  
The Past ◽  
Art Practices ◽  
Etel Adnan ◽  
Dynamic Exchange

This article engages with the conversations taking place in the photographic space between then and now, memory and photography, and with the symbiosis and ethnic violence between different ethnic communities in the ex-Ottoman Empire. It questions the role of photography and contemporary art in creating possibilities for coexistence within the mosaic formed by the various groups that made up the Ottoman Empire. The essay aims to create parallelotopia, spaces in the present that work in parallel with the past and which enable the dynamic exchange of transcultural memories. Drawing on memory theory, the article shifts these debates forward by adopting the concept of ‘assemblage’. The article concentrates on the aesthetics of photographs produced by Armenian photographic studios in Istanbul during the late nineteenth century and their relationship to the present through the work of contemporary artists Klitsa Antoniou, Joanna Hadjithomas, Khalil Joreige and Etel Adnan as well as photographic exhibitions organised by the Centre for Asia Minor Studies, Athens, Greece.

Teaching Essential Drawing Principles in Relation to the Human Figure

2000 ◽  
Author(s):  
Deborah A. Rockman
Keyword(s):  
Contemporary Art ◽  
Visual Arts ◽  
Human Form ◽  
Traditional Art ◽  
Human Figure ◽  
Visual Artist ◽  
Principles Of Design ◽  
Changing Role ◽  
Applied Arts

There is perhaps no more significant experience in the study of drawing than the study of the human figure. One needs only to look to the ancient Greeks and to the Renaissance masters to recognize the historical importance of the human form in the study of the visual arts and the refinement of visual expression. Although the figure’s presence and significance during the period known as modernism and in contemporary art has ebbed and flowed, its influence is always felt to some degree, and no classical or traditional art education would be complete without a substantial focus on drawing and studying the human form. Much debate is currently taking place about the changing role and responsibility of foundation courses for students studying both the fine and applied arts. If we examine those aspects that the fine and applied arts have in common, we find that a concern for communication is paramount, whether it takes place in a gallery or museum, in a television or magazine ad, on a showroom floor, on a computer monitor, or in any number of other locales. The power of the human form to communicate cannot be overstated, primarily because it is what we are. We have things in common with other humans that we have in common with nothing else. Looking at a human form in any context has the potential to provide us with the experience of looking in the mirror, of seeing our own reflection, so to speak. It follows that any significant experience in visual communication must thoroughly examine the role of the figure, and for the visual artist this requires experience with drawing the figure. The fine and applied arts also have in common a concern for principles of design and aesthetics. If we acknowledge the presence of these principles in nature, then we may also recognize an element of universality. Quite simply, I can think of no finer example of the application of principles of design and aesthetics than the living, breathing human form, and the human form is universal.

Hunting for Reality: An Interview with Marina Razbezhkina

2020 ◽  
Vol 73 (3) ◽  
pp. 21-27
Author(s):  
Anastasia Kostina
Keyword(s):  
Modern World ◽  
The Core ◽  
Russian Film ◽  
Changing Role ◽  
Original Approach

Marina Razbezhkina is a well-known Russian documentary filmmaker, educator, and founder of the largest independent documentary school in the country. Her very original approach to documentary, which combines intimate proximity to the protagonist with raw observational aesthetics, revolutionized the Russian film landscape and became the trademark of her school. Her students most often work as a one-person crew with a lightweight hand-held camera shadowing their protagonists up close. This “hunt for reality,” as Razbezhkina terms the practice, usually results in deeply engaging observational documentaries that completely absorb the viewer into an unfamiliar reality. In this interview Razbezhkina talks about the beginnings of her career, explains the origins and the core of her filmmaking method, and discusses the changing role of documentary in the modern world.

scholarly journals Аdvertising of tourist directions of the Ternopil region

2019 ◽  
pp. 92-96
Author(s):  
Viktoriia Danylenko-Kulchytska
Keyword(s):  
Modern World ◽  
Systematic Analysis ◽  
Tourism Advertising ◽  
Tourism Product ◽  
Different Types ◽  
Analysis And Synthesis ◽  
Characteristic Features ◽  
Changing Role ◽  
Constant Growth

Purpose. The aim of the article is to analyze the changes that have occurred in modern advertising and to find the best ways of advertising the tourism product of Ternopil region. Methodology of research. General and special methods are used in the course of the research, in particular: systematic analysis – to reveal the essence of basic categories; methods of analysis and synthesis – in substantiated the process of finding the best ways to advertise types of tourism; methods of observation and generalization – when considering the changing role of advertising in the modern world. Findings. The characteristic features of modern advertising in the sphere of tourism are considered. Changes in approaches to the advertising process that are taking place in the market are analyzed. The transformation of the advertising consumer himself and the transition of his role from secondary to the main one in initiating the advertising process are analyzed. The ways of promotion of different types of tourism of Ternopil region are offered. Originality. It has been proven that modern advertising has undergone a significant transformation, namely the transition from marketing the advertised product to providing information services about it. It has been established that the consumer of advertising himself has undergone the change. He initiates the advertising process, actively seeking the information he needs. The methods of advertising the tourist product of Ternopil region in terms of its types are offered. Practical value. The obtained results of the study can be used by tourism organizations of Ternopil region in choosing the method of promotion of their services, which will contribute to the constant growth of the number of clients and, accordingly, the successful functioning of the tourist organization in the market. Key words: tourist product; advertising; advertising process; tourist opportunities; types of tourism; advertising means; consumer of advertising; advertising media; advertisers.

The Participatory Art Museum: Approached from a Philosophical Perspective

2016 ◽  
Vol 79 ◽  
pp. 319-339 ◽  
Author(s):  
Sarah Hegenbart
Keyword(s):  
Contemporary Art ◽  
Aesthetic Experience ◽  
Art Museum ◽  
Philosophical Perspective ◽  
Participatory Art ◽  
Exhibition Space ◽  
Art Practices ◽  
The Status ◽  
The Spectator

AbstractThis chapter introduces the participatory art museum and discusses some of the challenges it raises for philosophical aesthetics. Although participatory art is now an essential part of museological programming, an aesthetic account of participatory art is still missing. The chapter argues that much could be gained from exploring participatory art, as it raises fundamental challenges to our understanding of issues in aesthetics, such as the nature of aesthetic experience, the value of art, and the role of the spectator. Moreover, participatory art fundamentally questions the status of the museum as an exhibition space for contemporary art practices.

Trust and economic growth: Is there a relation?

2020 ◽  
pp. 68-82
Author(s):  
E. I. Borisova ◽  
V. A. Bryzgalin ◽  
I. A. Levina
Keyword(s):  
Economic Growth ◽  
Institutional Quality ◽  
Modern World ◽  
World Values Survey ◽  
Positive Relation ◽  
European Values ◽  
History Of ◽  
European Values Study ◽  
Changing Role

We study the relation between trust and economic growth. We explore the history of the topic and conduct empirical analysis using all the available data from the World Values Survey and the European Values Study, including data for the recent years. We show that results of the classic models that establish positive relation between trust and economic growth do not replicate on the most recent data. Moreover, neither use of alternative indicators of trust, nor dividing the countries into the groups depending on institutional quality yields to the appearance of relation. We discuss possible reasons for the absence of relation between trust and economic growth in the recent years, in particular, the changing role of trust in the modern world, and point to the importance of more detailed exploration of the mechanisms of relation between trust and economic growth.

scholarly journals The Role of Art Developer in the Formation of Contemporary Art Practices

2021 ◽  
pp. 102-111
Author(s):  
Nataliya Kondel-Perminova ◽  
Oleksandra Khalepa
Keyword(s):  
Contemporary Art ◽  
Project Implementation ◽  
Urgent Problem ◽  
Project Approach ◽  
Industrial Areas ◽  
Art Practices ◽  
Experimental Project ◽  
New Type ◽  
Post Industrial

Filling the spaces of abandoned industrial areas with new content is an urgent problem of the present time. Successful redevelopment of post-industrial locations suitable for the deployment of the latest artistic practices is possible with the multi-vector practice of a new type of figure—the art developer. This concept isintroduced into the scientific circulation in the article. The activity of an art developer is a special art of mixing and performing a number of functions inherent, specifically, to a curator, art manager, and developer. Exemplified with the author’s experimental project of Carbon Аrt Residence (Kyiv), the main content of the art developer’s work is analyzed. According to the project approach, it includes three main stages: concept — project — implementation. Artworks in various creative formats tested in Carbon Аrt Residence are presented.

scholarly journals STUDI PENCIPTAAN KARYA SITE SPECIFIC DANCE “HELAI KERTAS”

2020 ◽  
Vol 12 (1) ◽  
pp. 33-43
Author(s):  
Eko Supendi ◽  
Satriana Didiek Isnanta
Keyword(s):  
Contemporary Art ◽  
Research Method ◽  
Social Problems ◽  
Contemporary Dance ◽  
Academic World ◽  
Site Specific ◽  
Space Body ◽  
The World ◽  
Almost All

ABSTRACTDance has experienced extraordinary development. Now, dance is no longer in the area of fairies but has entered the modern civilization, the tradition is shifted to the industry and academic. This is because of the role of academic dancers who conduct the research, both creation studies and scientific studies. Dance has become the object of laboratories in the studios of art academics in Indonesia and various parts of the world, so that dance laboratories and studios have emerged in various places in Indonesia. Now dance is not only seen as practicing soul, dance is no longer limited to the beauty of aesthetic invisible , but dance  also has explored other art worlds, such as theater and fine arts.Now it is difficult to distinguish between dance and theater performance. The above phenomenon often becomes a trend of artists. Art observers call it a contemporary phenomenon. Contemporary phenomena continue to develop in artists and academic world. Contemporary art is critical towards social problems around it as well as the art itself. Contemporary spirit does not only break the ice of one art discipline but also across art disciplines. Almost all elements of dance are explored and developed, one of which is site specific dance. A genre of contemporary dance that focuses on creating dance works using special places.This study uses an artistic research method. The researchers as well as the creators of site specific dance works is in the lobby of the H.U office Solopos. The research stages are in accordance with the stages of artistic research.Keywords: site specific dance, space, body, time, dance.  ABSTRAK Seni tari telah mengalami perkembangan yang luar biasa.  Sekarang, tari tidak lagi berada di wilayah peri-peri, tetapi telah masuk ke sentrum peradaban modern, dari kantong-kantong tradisi bergeser ke kantong-kantong industri dan akademik. Hal tersebut tidak lepas dari peran penari akademik yang melakukan riset, baik studi penciptaan maupun kajian ilmiah. Tari telah menjadi objek laboratorium di studio-studio akademisi seni di Indonesia dan berbagai belahan dunia, sehingga bermunculan laboratorium-laboratorium dan studio tari di berbagai tempat di Indonesia.Tari saat ini dipandang tidak saja berolah sukma, tari tidak lagi sebatas keindahan estetika yang kasat mata, tetapi tari sudah menjelajah dunia seni lainnya, seperti teater dan seni rupa.Sekarang sulit membedakan antara penyajian tari dan teater. Fenomena di atas sering menjadi trend para seniman individual. Kalangan pengamat seni menyebut fenomena tersebut sebagai fenomena kontemporer. Fenomena kontemporer terus berkembang dalam kalangan seniman dan lingkungan akademik. Seni kontemporer selain kritis terhadap persoalan sosial yang ada di sekitarnya juga kritis kepada seninya sendiri. Spirit kontemporer tidak hanya mendobrak kebekuan sekat –sekat satu disiplin seni, tetapi juga lintas disiplin seni. Hampir semua elemen tari dieksplorasi dan dikembangkan, salah satunya adalah site specific dance. Sebuah genre seni tari kontemporer yang fokus kepada penciptaan karya tari menggunakan tempat-tempat yang khusus.Penelitian ini menggunakan metode penelitian artistik, dimana peneliti sekaligus pencipta karya site specific dance di lobi kantor H.U. Solopos yang tahapan penelitiannya sesuai dengan tahapan riset artistik. Kata kunci: site specific dance, ruang, ketubuhan, waktu, tari. 

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