Le Brocquy, Louis (1916–2012)

2018 ◽  
Author(s):  
Fionna Barber
Keyword(s):  
Twentieth Century ◽  
Contemporary Art ◽  
Art Exhibition ◽  
Art Scene ◽  
Significant Figures

Born in Dublin, Louis le Brocquy became one of the most significant figures in Irish twentieth-century art. After a major role in the organization of the Irish Living Art Exhibition in 1943, he moved to London where he was active in the contemporary art scene.

The Appearance and Development of Art Informel in European Painting

2019 ◽  
Vol 3 (2) ◽  
Author(s):  
Rumen Zhekov ◽  
Keyword(s):  
Twentieth Century ◽  
World War Ii ◽  
Contemporary Art ◽  
World War ◽  
Art Scene ◽  
American Painting

The article aims to identify and analyze the prerequisites and causes of the emergence of art informel in European painting and to define its first official manifestations of the art scene and it the unusual development of the late 1940s to the 1980s. Are considerate and the socio-political situations and changes after the end of World War II and their reflections on European painting in the second half of the twentieth century. The author brings a parallel with processes running during this period of time in American painting and correspondence with the European one. The main groups and representatives of this movement, manifesto, concepts and ideologies are included. Significant forums were also mentioned, presenting their works, promoted and promoted in contemporary art.

Moscow Merz and Russian Rhythm

Experiment ◽  
2017 ◽  
Vol 23 (1) ◽  
pp. 117-126
Author(s):  
Miriam Häßler
Keyword(s):  
Twentieth Century ◽  
Modern Art ◽  
Russian Civil War ◽  
Art Exhibition ◽  
Comprehensive Overview ◽  
Russian Art ◽  
Art Scene ◽  
Remarkable Event ◽  
History Of

Abstract The Erste Russische Kunstausstellung [First Russian Art Exhibition] of 1922 was a remarkable event not only for Berlin’s art lovers at that time, but also for the history of twentieth century art. Held at Galerie van Diemen, the show gave a comprehensive overview of Russia’s artistic achievements from late Tsardom to the Russian Civil War. Of all styles in the exhibition, the non-objective art movements of suprematism and constructivism provoked the greatest sensation among the visitors, many of whom were Western artists. Relating Russia’s variations of non-objectivity with their—assumed—political notions, Western modernists reacted in various ways. This article aims at tracking the long-lasting vestiges of the Erste Russische Kunstausstellung in the personal and artistic developments of two key-figures of Germany’s modern art scene: Kurt Schwitters and Hans Richter. While the role of El Lissitzky, who designed the catalogue’s cover, has already been canonized, this article wants to highlight lesser-regarded aspects.

Rewriting the Narrative

2019 ◽  
Vol 96 (4) ◽  
pp. 54-77
Author(s):  
Nicolas G. Rosenthal
Keyword(s):  
Twentieth Century ◽  
Native American ◽  
American Indian ◽  
Modern Society ◽  
Mixed Media ◽  
The State ◽  
Historical Narratives ◽  
Recent Scholarship ◽  
Art Scene ◽  
The 1960S

A vibrant American Indian art scene developed in California from the 1960s to the 1980s, with links to a broader indigenous arts movement. Native American artists working in the state produced and exhibited paintings, prints, sculptures, mixed media, and other art forms that validated and documented their cultures, interpreted their history, asserted their survival, and explored their experiences in modern society. Building on recent scholarship that examines American Indian migration, urbanization, and activism in the twentieth century, this article charts these developments and argues that American Indian artists in California challenged and rewrote dominant historical narratives by foregrounding Native American perspectives in their work.

scholarly journals Mundane beauty in art and architecture

2017 ◽  
Vol 11 ◽  
pp. 196-201
Author(s):  
Angela Juarranz
Keyword(s):  
Twentieth Century ◽  
Contemporary Art ◽  
Design Process ◽  
Specific Kind ◽  
Mies Van Der Rohe ◽  
Art And Architecture

In the twentieth century a specific kind of beauty emerged from art: the increased value of the mundane. Contemporary art shows that common situations have an aesthetic significance. But architecture does not pay any attention to this scope. What is more, it tries to deny it. Nor the design process nor the architectural photography show the presence of mundane things. Fortunately, we have some works to go in depth into this day-to-day issue. Let’s analyze the photograph Morning Cleaning, Mies van der Rohe Foundation, Barcelona, (Jeff Wall, 1999), the intervention Phantom, Mies as Rendered Society (Andrés Jaque, 2012) and the film Koolhaas Houselife (Ila Bêka and Louise Lemoine, 2008). By considering the visual and spatial value of these cases, we reconsider them as an experimental space. What if architecture starts looking at its surroundings?

scholarly journals L’exposition, un contexte de collaboration sur la scène mondiale de l’art : un cas de figure, l’art africain contemporain

2018 ◽  
Vol 9 (1) ◽  
pp. 33-43
Author(s):  
Francine Couture
Keyword(s):  
Case Studies ◽  
Contemporary Art ◽  
Cooperative Network ◽  
Art Exhibitions ◽  
African Art ◽  
Art Worlds ◽  
Art Scene ◽  
Contemporary African Art

This analysis of the context of the globalization of the contemporary art scene is based on the concept of the cooperative network of the art worlds, as defined by the American sociologist Howard Becker, applied to the exhibition's sociological character. It is approached as a sociocultural event furthering the establishment of a cooperative network among artists, commissioners, critics and theoreticians who acknowledge in the exhibited works a certain number of values and ideas about art which they share to various degrees. Case studies from the corpus of contemporary African-art exhibitions that have been labelled as contemporary African art on the international stage serve as illustrations for this analysis.

New formats, new roles, new agents: Artists’ publications in Spain since 2000

2013 ◽  
Vol 38 (3) ◽  
pp. 18-29
Author(s):  
Mela Dávila Freire
Keyword(s):  
Contemporary Art ◽  
Art History ◽  
Golden Age ◽  
Sources Of Information ◽  
New Agents ◽  
Public And Private ◽  
Art Scene ◽  
The Media ◽  
Spanish Art ◽  
The 1960S

Half a century after the 1960s, commonly considered to have been the period when artists’ publications expanded and consolidated, this genre seems to be experiencing a new ‘golden age’. In recent years, the number of books and printed matter produced by artists has grown exponentially, and so has the interest in them demonstrated by exhibition curators, public and private collectors, and even the media. The contemporary art scene in Spain is not immune to this phenomenon. On the contrary, over the last decade, artists’ publishing has undergone an explosion in quantity, quality and impact with no precedents in Spanish art history. The causes for such an explosion and its main traits are explored here, focusing on a number of significant examples and protagonists. Relevant sources of information documenting its course are offered, both online and in print.

Sign in / Sign up

Export Citation Format

Share Document