scholarly journals The Use of Decorative Art Elements in the Works of Ukrainian Designers

2019 ◽  
pp. 177-184
Author(s):  
Valentyna Bystriakova ◽  
Alla Osadcha ◽  
Olesia Pilhuk
Keyword(s):  
Technological Development ◽  
Modern Art ◽  
Modern World ◽  
Museum Of Modern Art ◽  
National Museum ◽  
Modern Culture ◽  
Art And Design ◽  
Decorative Art ◽  
Domestic Design

The article assesses the role of elements of decorative art in domestic design. It allocates sources and interrelation of decorative art and design, considers separate definitions of a concept of design. It is established that basic characteristic which helps to separate design from decorative creativity is manual artwork inherent in decorative art. The article argues that generally the design and decorative art are interdependent, while being rather autonomous, providing particular examples from creative practice of the Ukrainian artists and designers. It also considers functioning of creative platforms of the National Museum of the Ukrainian folk decorative art and the Museum of Modern Art of Ukraine. It is unconditional that the role of design steadily increases in the modern world, and a similar trend will only gain strength. Designers of our country managed not only to accumulate the Ukrainian traditional, original art in modern art objects, but also to solve a problem of innovations in decorative art, to keep it as a valuable reference point of modern culture according to the level of social and technological development of society. The role of the National Museum of the Ukrainian folk decorative art and the Museum of Modern Art of Ukraine which act de facto as art spaces for creative exhibitions of designers and other artists of our country is considerable.

Exhibition 58: Modern Architecture in England, Museum of Modern Art, 1937

2013 ◽  
Vol 56 ◽  
pp. 277-298 ◽  
Author(s):  
Alan Powers
Keyword(s):  
New York ◽  
Modern Art ◽  
Modern Architecture ◽  
Museum Of Modern Art ◽  
Multiple Sequence ◽  
Sequence Of Events ◽  
The World ◽  
The Usa ◽  
New Yorkers

Exhibition 58: Modern Architecture in England, held between 10 February and 7 March 1937 at the Museum of Modern Art in New York (MoMA), was a notable event. Amidst claims that ‘England leads the world in modern architectural activity’, the exhibition ‘amazed New Yorkers’ and equally surprised English commentators. However, it has not subsequently received any extended investigation. The present purpose is to look at it as a multiple sequence of events, involving other exhibitions, associated publications and the trajectories of individuals and institutions, through which tensions came to the surface about the definition and direction of Modernism in England and elsewhere. Such an analysis throws new light on issues such as the motives for staging the exhibition, the personnel involved and associated questions relating to the role of émigré architects in Britain and the USA, some of which have been misinterpreted in recent commentaries.Hitchcock's unequivocal claim for the importance of English Modernism at this point still arouses disbelief, and raises a question whether it can be accepted at face value or requires explaining in terms of some other hidden intention.

The role of the international committee of the red cross in resolving international conflicts

2021 ◽  
Vol 28 (3) ◽  
pp. 154-161
Author(s):  
Adel Hamzah Othman
Keyword(s):  
Social Relations ◽  
Technological Development ◽  
International Committee ◽  
Armed Conflicts ◽  
Red Cross ◽  
Modern World ◽  
Humanitarian Law ◽  
International Conflicts ◽  
History Of

The relevance of the problem under study lies in the presence of armed conflicts in the international arena and the presence of a diverse abundance of ways to regulate them. The main purpose of this study is to identify the main provisions of international law applicable in international conflicts through the lens of the role of the Committee of the Red Cross in its development. This study covers and thoroughly analyses the history and the main purpose of the origin of the organisation. Furthermore, the study engages in an in-depth examination of the basic tasks and principles of the Committee's activities. As a result of the study, the existing theories of the participation and influence of the Committee in international legal relations will be clearly identified, as well as those theories that have emerged due to innovations in legal thinking and are capable of covering the specific features of the practice and effectiveness of this non-governmental organisation. In addition, the designation of the actual problems of the existence of this organisation, its relevance in the modern world, and the strength of the support of the world society. Among the successes of the scientific analysis of the role of the International Committee of the Red Cross in the development of international humanitarian law applicable in international conflicts is the reasoned hypotheses and confirmed statements of the importance of the Committee, which are described by the features of modernity, relevance, and compliance with the information and technological development of social relations of participants in healthy international relations, their supporters and opponents. This also includes the systematisation of scientific research, their analysis and reasonable refutation. A journey into the history of the emergence of international conflicts, their modification according to the development of social relations, as well as the processes of globalisation, will be the subject of comparative analysis aimed at identifying new methods and ways to avoid them

Sabri, Atta (1912–1988)

2018 ◽  
Author(s):  
Tiffany Renee Floyd
Keyword(s):  
World War Ii ◽  
20Th Century ◽  
Modern Art ◽  
Fine Art ◽  
Museum Of Modern Art ◽  
National Museum ◽  
World War ◽  
Founding Member ◽  
Plastic Arts ◽  
Modern Artists

Born in Kirkuk, Iraq, Atta Sabri was among the pioneer generation of Iraqi modern artists with careers peaking in the mid-20th century. He was an active exhibitor and participant in several burgeoning art groups. After being educated and employed as a teacher in Baghdad, Sabri joined many of his peers in studying art abroad, first in Rome at the Accademia di Belle Arti and then, after World War II, in London at Goldsmith College and the Slade School. During the years of the war, Sabri held a job at the Department of Antiquities in Baghdad. After completing his studies, the artists again took up teaching this time at the Baghdadi Institute of Fine Art. Over the course of his career, Sabri became a founding member of the Society of the Friends of Art and a member of the Society of Iraqi Plastic Arts. His exhibition record includes the seminal Industrial and Agricultural Fair in 1931 and the 1950 First Iraqi Art Show in London. Sabri also exhibited extensively at the National Museum of Modern Art in Baghdad and in 1979 the museum held a retrospective of the artist’s oeuvre.

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 Crimean Tatar Ornament in Modern Art and Design

2021 ◽  
Vol 4 (1) ◽  
pp. 93-103
Author(s):  
Liliana Vezhbovska
Keyword(s):  
Visual System ◽  
Modern Art ◽  
Semiotic Analysis ◽  
National Cultures ◽  
Modern Culture ◽  
Art And Design ◽  
Modern Times ◽  
Communicative Ability ◽  
Cultural Dialogue ◽  
Crimean Tatar

The purpose of the research is to identify the functioning features of Ornek, a traditional Crimean Tatar ornament in modern culture, art and design. The research methodology is based on the application of art history, comparative and semiotic analysis. The novelty of the research is to identify the functioning of the Crimean Tatar ornament in modern times, to determine special symbolic and graphic structures in the visual system Ornek, which allow not only to develop in modern Crimean culture but also show the high communicative ability to establish a cross-cultural dialogue. Conclusions. The study of Crimean Tatar ornament in modern art and design testifies to its high ability to adapt to new conditions, which allows us to talk about the flexibility of its visual system. In modern art and design projects, it appears as a phenomenon that can abstract from archaic forms and organically combine not only with the latest materials and techniques but also to create unity with the phenomena of other national cultures.

Alfred H. Barr, MoMA, and the Entrance and Exit of Outsider Art (1936–1943)

2021 ◽  
Vol 10 (1) ◽  
pp. 2-25
Author(s):  
Dieter De Vlieghere
Keyword(s):  
New York ◽  
Modern Art ◽  
Fine Arts ◽  
Art Museum ◽  
Museum Of Modern Art ◽  
Art World ◽  
Outsider Art ◽  
Creative Agency ◽  
Changing Role

Fantastic Art, Dada, Surrealism (1936), curated by Alfred H. Barr at the Museum of Modern Art (MoMA), New York, was the first major exhibition of outsider art at the epicentre of the art world. The entrance of outsider art in the art museum coincided with the changing role of the curator: from a custodian of fine arts to an exhibition author with creative agency. The disconnection of outsider art from canonized art history and the peculiar appearance of the works and their makers inspired new curatorial narrations and settings. Barr’s inclusive vision of modern art and curation was, however, strongly criticized, and a few years later that vision was replaced by a hierarchical one demanding the exclusion of outsider art from the art museum. The developments at MoMA between 1936 and 1943 exemplify how outsider art served as a catalyst for the curatorial turn in which the division between the roles of curator and artist began to shift.

Art libraries in Slovenia

1995 ◽  
Vol 20 (1) ◽  
pp. 22-23
Author(s):  
Marjana Lipoglavšek
Keyword(s):  
Art History ◽  
Modern Art ◽  
Fine Arts ◽  
The Internet ◽  
Museum Of Modern Art ◽  
National Museum ◽  
Arts And Humanities ◽  
Training Programmes ◽  
The University ◽  
Degree Level

Present day Slovenia has inherited a number of historic libraries and collections, one of which provided the foundations of the National and University Library at Ljubljana, the major library for arts and humanities. There are also a number of specialised art libraries within and outside the University of Ljubljana, including the library of the University’s Department of Art History, the Library of the Academy of Fine Arts, and the libraries of the National Museum, the Museum of Modern Art, and the Museum of Architecture, all in Ljubljana. Slovenian libraries have been or are being automated and linked together through the COBISS network; most of the academic libraries are connected to the Internet. Library training programmes are available at degree level, and students can study another subject, such as art history, as well. More art librarians are needed, as is an association of art libraries and art librarians.

scholarly journals God in de (Post)moderne cultuur - George Steiner over transcendentie in kunst en cultuur

2008 ◽  
Vol 29 (2) ◽  
pp. 475-491
Author(s):  
W Stoker
Keyword(s):  
Modern Art ◽  
Western Culture ◽  
Modern World ◽  
Human Beings ◽  
Death Of God ◽  
Modern Culture ◽  
World Communication ◽  
Art And Literature ◽  
The World

God in the (Post modern culture – George Steiner on transcendence in art and cultureIn his 1989 study Real Presences the well-known philosopher and literary scholar George Steiner argues that there is a crisis in philosophy, art and literature. The contract between word and world has been broken, whereby we can no longer make any assertions about human beings and the world. Communication thus becomes problematic. The (post)modern world has become nihilistic. Steiner provides a theological explanation for what in his view is a serious crisis in (post)modern art and in Western culture in general: he blames this crisis for the loss of transcendence through the “death of God”.This paper will show that Steiner, on the basis of his metaphysical view of transcendence ends up with the dilemma of having to choose between transcendence or immanence/nihilism. This dilemma is unnecessary to the extent that it suggests that transcendence is identical with metaphysical transcendence. If we reject this identification, then the alternative for Steiner’s metaphysical transcendence is not only immanence, viewed as nihilism but can also be another form of transcendence. And this casts another light on the crisis Steiner has indicated in culture.

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