Nabaa, Nazir (1938--)

2018 ◽  
Author(s):  
Anneka Lenssen
Keyword(s):  
Communist Party ◽  
Rural Schools ◽  
Art Criticism ◽  
Modern Art ◽  
Fine Arts ◽  
Fine Art ◽  
Political Mobilization ◽  
Puppet Theater ◽  
1960S And 1970S ◽  
The 1960S

Nazir Nabaa, a respected Syrian painter, made his greatest contributions to Arab modern art in the 1960s and 1970s, when he contributed to the graphic identity of progressive political causes and the Palestinian liberation struggle. He joined the Syrian Communist Party in the 1954 and in 1959 was briefly jailed for this affiliation. After his release, he traveled to Cairo on a fellowship to study painting at the Faculty of Fine Arts, there developing a heroic realist style around social and labor themes. After returning to Syria in 1964, Nabaa taught drawing in rural schools and worked with myth and folklife. Moving to Damascus in 1968, he worked as an illustrator and became involved in creative projects in support of political mobilization, including poster design, puppet theater, fine art painting, and art criticism. Between 1971 and 1975, Nabaa studied in Paris at the Academy of Fine Arts. Upon his return, he joined the faculty of the College of Fine Arts in Damascus. His later paintings became more fantastical, combining goddess figures with still lifes of fruits, tapestries, and jewelry. He also developed a parallel corpus of abstract paintings based on the exploration of texture and color.

Institute of Forensic Art Examination of Fine Art Objects: Theoretical and Practical Problems

2021 ◽  
pp. 47-53
Author(s):  
Bondarenko L. K. ◽  
◽  
Skachko A. V.
Keyword(s):  
Art Criticism ◽  
Fine Arts ◽  
Fine Art ◽  
Legal Proceedings ◽  
Art Objects ◽  
Criminal Procedure Law ◽  
The Russian Federation ◽  
Substantive Law ◽  
Practical Level ◽  
Selection Of

The problem of organizing expert activities in the field of forensic art examination of fine arts at a practical level is considered. The conditions of objectivity (reliability) of the results of a forensic art examination of fine art in law enforcement practiceare identified. In this regard, the problem of the reliability of the examination results is considered at the interdisciplinary level: substantive law – criminal and customs; criminal procedure law, as well as forensic science and expert activities. The necessity of creating, within the framework of the anti-corruption policy of the state, an independent institute of forensic art criticism of fine arts is substantiated. It is proposed: 1) to create an information base under the Ministry of Justice of the Russian Federation on the data of art historians known in different fields of fine art who can act as competent persons in legal proceedings; 2) to create a mechanism for the appointment of a commission of forensic-forensic art examination of objects of fine art examination on the basis of automatic random selection of subjects of examination. It is proved that this measure excludes the possibility of giving an unreliable conclusion as part of a forensic art examination of objects of fine art.

Kayyali, Louay (1934–1978)

2018 ◽  
Author(s):  
Anneka Lenssen
Keyword(s):  
Mental Illness ◽  
Everyday Life ◽  
Fine Arts ◽  
Still Life ◽  
The Social ◽  
Art Scene ◽  
1960S And 1970S ◽  
The 1960S

Louay Kayyali was one of the leading painters of the emergent Syrian art scene during the 1960s and 1970s. His most admired works depict individual laborers as "types," illustrating the tragic humanism of everyday life. Kayyali began his career in Aleppo, exhibiting academic portraits and still life paintings locally. In 1956, he won a fellowship to study at the Academy of Fine Arts in Rome, where he became interested in fresco and other traditional techniques. After completing his studies in 1961, Kayyali settled in Damascus and joined the faculty at the new College of Fine Arts. For a period of five years, he exhibited his portrait types, flowers, and architectural landscapes—rendered in simple lines and color stains on pressed chipboard—regularly, to acclaim from collectors. From 1965 onward, Kayyali began to struggle with mental illness. In this later period, he turned to more overtly politicized themes, including a series of dramatic charcoal drawings of citizens under siege, which was sponsored by the Syrian government as a touring exhibition in support of the Arab liberation cause. He also continued to produce paintings of fishermen, street sellers, and mothers as representations of the social themes then preoccupying him.

Art After Deskilling

2010 ◽  
Vol 18 (2) ◽  
pp. 77-96 ◽  
Author(s):  
John Roberts
Keyword(s):  
Art History ◽  
Art Criticism ◽  
Modern Art ◽  
Ideology Critique ◽  
Advanced Level ◽  
Avant Garde ◽  
Modern Period ◽  
The 1960S ◽  
Radical Transformation ◽  
Artistic Skill

The absence of would-be palpable skills in contemporary and modern art has become a commonplace of both conservative and radical art-criticism. Indeed, these criticisms have tended to define where the critic stands in relation to the critique of authorship and the limits of ‘expression’ at the centre of the modernist experience. In this article, I am less interested in why these criticisms take the form they do – this is a matter for ideology-critique and the sociology of criticism and audiences – than in the analysis of the radical transformation of conceptions in artistic skill and craft in the modern period. This will necessitate a focus on modernism and the avant-garde, and after, as it comes into alignment with, and retreat from, the modern forces of production and means of reproduction. Much, of course, has been written within the histories of modernism, and the histories of art since, on this process of confrontation and exchange – that is, between modern art’s perceived hard-won autonomy and the increasing alienation of the artist, and the reification of art under the new social and technological conditions of advanced capitalist competition – little, however, has been written on the transformed conditions and understanding of labour in the artwork itself (with the partial exception of Adorno). This is because so little art-history and art-criticism – certainly since the 1960s – has been framed explicitly within a labour-theory of culture: in what ways do artists labour, and how are these forms of labour indexed to art’s relationship to the development of general social technique (the advanced level of technology and science as it expressed in the technical conditions of social reproducibility)? In this article, I look at the modern and contemporary dynamics of this question.

scholarly journals JEAN-CLAUDE RICHARD DE SAINT-NON (1727-1791), AN AMATEUR IN FINE ARTS AND A FRIEND OF ARTISTS

Articult ◽  
2020 ◽  
pp. 81-87
Author(s):  
Elena E. Agratina ◽  
Keyword(s):  
18Th Century ◽  
Modern Art ◽  
Fine Arts ◽  
Fine Art ◽  
Art Patronage ◽  
Government Service ◽  
First Time

The article is dedicated to Jean-Claude Richard de Saint-Non (1727–1791), a refined connoisseur, a great friend of artists and an extremely charming personality. Destined to religious worship Abbot de Saint-Non had not a spiritual calling for this and was indifferent to any government service. Instead of it he devoted his own life to such activities as travelling, exploration of ancient and modern art, patronage of young painters and creation of multi-volumed treatise on the sights of Naples and Sicily. Abbot de Saint-Non himself was talented in fine art and produced some engravings after drawings by outstanding masters of his epoch, especially J.-H. Fragonard. The article examines his life, activities, and personality for the first time in Russian. It highlights de Saint-Non’s contribution to the development of the 18th-century painting and to investigation of ancient art.

CRITICAL TEXTS OF ART JOURNALS AS A TOOL FOR SOLVING THE PROBLEMS OF RELATIONSHIP OF THE VIEWER AND THE WORK OF FINE ARTS

2021 ◽  
Vol 2 (1) ◽  
pp. 6-14
Author(s):  
Maya Smolina ◽  
◽  
Alexandra Sukorcheva
Keyword(s):  
Art Criticism ◽  
Fine Arts ◽  
Fine Art ◽  
Synthetic Theory ◽  
Work Of Art ◽  
Basic Principles ◽  
The Subject ◽  
Relationship Of ◽  
The Relationship ◽  
The Ideal

The object of this scientific research is art criticism in art magazines, the subject is the text of art criticism as a tool for solving problems of the relationship between a work of art and the viewer. The aim is to study journal art criticism as a tool for solving problems of the relationship between a work of art and the viewer. The analysis of the concepts of "art criticism" and "critical texts about art" is given in order to understand the essential features of art criticism and the specifics of its texts. The conceptual basis for the study was the key provisions of the theory of reflection by G.V.F. Hegel, the basic principles of the synthetic theory of the ideal D.V. Pivovarov and the concept of ideal formation, the main provisions of the theory of fine art by V.I. Zhukovsky and N.P. Koptseva.

Wee, Beng Chong (1938--)

2018 ◽  
Author(s):  
Charlotte Galloway
Keyword(s):  
Contemporary Art ◽  
Modern Art ◽  
Fine Arts ◽  
Mixed Media ◽  
Fine Art ◽  
Public Understanding ◽  
Chinese Art ◽  
Arts Organizations ◽  
Art Practice ◽  
Founding Member

Wee Beng Chong is a Singaporean artist known for his work in both painting and sculpture. Trained at the Nanyang Academy of Fine Arts, Singapore, and L’Ecole Nationale Superieure des Beaux-Arts in Paris, Wee’s art practice explores both Western and traditional Chinese art styles. Prior to studying in Paris, Wee was a founding member of the Modern Art Society, an organization started in 1964 that did much to promote public understanding of contemporary art in Singapore. On his return to Singapore, Wee helped popularize sculpture in the early 1970s at a time when few Singaporean artists were working seriously in the medium. His work ranges from realism to abstraction, and he often composes works in mixed media. Additionally, Wee is a practitioner of Chinese traditional ink painting, calligraphy, and seal engraving. In 1979 Wee received the Cultural Medallion for Artistic Excellence from the Singapore Ministry of Culture. He is active in many arts organizations and was head of the Fine Art Department at the Nanyang Academy of Fine Arts (1982–89), where he is currently a senior teaching fellow. Wee’s works have been featured in many major exhibitions of Singapore art, and he is well represented in public collections.

Brazilian Historiography in the 20th Century

2020 ◽  
Author(s):  
Thiago Lima Nicodemo ◽  
Mateus Henrique de Faria Pereira ◽  
Pedro Afonso Cristovão dos Santos
Keyword(s):  
20Th Century ◽  
Graduate Programs ◽  
Fine Arts ◽  
Military Dictatorship ◽  
1960S And 1970S ◽  
The Public Sphere ◽  
The 1960S ◽  
The University ◽  
Time Frames ◽  
The Military

The founding of the first universities in the first decades of the 20th century in Brazil emerged from a context of public education reforms and expansion that modified the relationship between intellectuals and the public sphere in Brazil. The representation of national pasts was the object of prolific public debate in the social sciences and literature and fine arts through social and historical essays, pushed mostly from the 1920’s to the 1950’s, such as Gilberto Freyre’s, The Master and the Slaves (Casa Grande e Senzala, 1936) and Sérgio Buarque de Holanda’s Roots of Brazil (Raízes do Brasil, 1936). Just after the 1950s, universities expanded nationally, and new resources were available for academic and scientific production, such as libraries, archives, scientific journals, and funding agencies (namely CNPQ, CAPES and FAPESP). In the field of history, these effects would have a greater impact in the 1960s and 1970s with the consolidation of a National Association of History, the debate over curricula and required content, and the systematization of graduate programs (thanks to the University Reform of 1968, during the military dictatorship). Theses, dissertations, and monographs gradually gained ground as long social essays lost their prestige, seen as not befitting the standards of disciplinary historiography as defined in the graduate programs such as a wider empirical ground and more accurate time frames and scopes. Through their writing in more specialized formats, which moved away from essays and looked into the great Brazilian historical problems, historians played an important role in the resistance against the authoritarian regime (1964–1985) and, above all, contributed to a debate on the role of silenced minorities regarding redemocratization.

scholarly journals A New “Vision”: Early Works of Ahmad Aali and the Emergence of Fine Art Photography in Iran (1960s–1970s)

2016 ◽  
Vol 70 (4) ◽  
Author(s):  
Elahe Helbig
Keyword(s):  
World War Ii ◽  
Art History ◽  
Fine Art ◽  
History Of Photography ◽  
Artistic Medium ◽  
Art Photography ◽  
New Vision ◽  
1960S And 1970S ◽  
The 1960S ◽  
Social Agendas

AbstractThis article explores the emergence of fine art photography in Iran during the 1960s and 1970s, bringing to the fore the significance of Ahmad Aali and his early photographic works for this transformation. It sheds light on the confluence of the main trajectories that paved the way for the formation of fine art photography in Iran, firstly by exploring historical practices of photography, secondly by addressing the influences of transforming political and social agendas after World War II on photographic developments, and finally by underlining the involvement of photography in the artistic sphere of that time. Central to the latter is Aali’s contribution to theoretical discourses about photography as an artistic medium and the major role he played in the first photographic exhibitions in art spaces. In that perspective, this article argues for the pivotal role of Ahmad Aali in bridging the gap between photography and art for the first time in Iran’s long history of photography. It analyses Aali’s photographic works exhibited during the 1960s and 1970s to comprehend the circumstances of the emergence of fine art photography in Iran, and does so by discussing the modernist aesthetics in photography that emerged at the time. Going beyond Aali’s regional importance, it examines his conceptual approaches to overcoming the ‘static realism’ and the limitations of the medium. Aali’s novel photographic concepts of space and time that emerged therefrom should be accorded their full autonomy and uniqueness in the (re-)writing of a narrative of art history on their very premises. This article thereby seeks to support a critique of the narrow epistemological boundaries of the discipline of art history and its resulting marginalization of locally developed art forms and concepts.

scholarly journals ‘Cinema’ as a Modernist Conception of Motion Pictures

2018 ◽  
pp. 55
Author(s):  
Michael Betancourt
Keyword(s):  
Media Studies ◽  
Digital Technology ◽  
Motion Pictures ◽  
Fine Art ◽  
Avant Garde ◽  
1960S And 1970S ◽  
The 1960S ◽  
Definition Of ◽  
Structural Film

In the 1960s and 1970s the Clement Greenberg’s Modernist ideology of ‘purity’ played a central role in the definition of ‘avant-garde cinema’ as a serious, major genre of film. This transfer between ‘fine art’ and ‘avant-garde film’ was articulated as ‘structural film’ by P. Adams Sitney. This heritage shapes contemporary debates over ‘postcinema’ as digital technology undermines the ontology and dispositive of historical cinema. Its discussion here is not meant to reanimate old debates, but to move past them. Article received: March 12, 2018; Article accepted: April 10, 2018; Published online: September 15, 2018; Original scholarly paperHow to cite this article: Betancourt, Michael. "‘Cinema’ as a Modernist Conception of Motion Pictures." AM Journal of Art and Media Studies 16 (2018): 55−67. doi: 10.25038/am.v0i16.254

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