The National Gallery of Zimbabwe

2018 ◽  
Author(s):  
Amanda H. Hellman
Keyword(s):  
Visual Culture ◽  
Visual Art ◽  
Modern Art ◽  
Art Museum ◽  
National Gallery ◽  
Art Gallery ◽  
Art And Design ◽  
Southern Rhodesia ◽  
One Year ◽  
Contemporary Artists

The National Gallery of Zimbabwe is an art museum in Harare dedicated to collecting, preserving, and promoting Zimbabwean visual culture. Though the collection focuses on contemporary artists from Zimbabwe, its holdings are diverse, containing traditional and contemporary African along with European Old Master paintings—a reflection of the acquisition interests of the first director. Sir James Gordon McDonald (1867–1942), a friend and biographer of Cecil Rhodes, gifted £30,000 to found an art gallery in 1943. Ten years later in 1953 a board was established to raise funds, build the museum, and select a director. In 1956, Scotsman Frank McEwen (1907–1994) was appointed to the post of director. The Rhodes National Gallery was opened on 16 July 1957 in Salisbury, Southern Rhodesia (renamed Harare, Zimbabwe in 1980). The institution changed its name to the National Gallery of Rhodesia in 1972, one year prior to McEwen’s resignation. One of McEwan’s projects was the Rhodes National Gallery Workshop School. Artists who participated in this early workshop, such as Thomas Mukarobgwa and John and Bernard Takawira, helped define Zimbabwean modern art. After Zimbabwe gained independence in 1980 the National Gallery developed the BAT Workshop, which became the National Gallery School of Visual Art and Design in 2012.

Mutable Views

2019 ◽  
pp. 52-70
Author(s):  
Johanne Sloan
Keyword(s):  
Visual Culture ◽  
Collective Memory ◽  
Visual Arts ◽  
Visual Art ◽  
Natural World ◽  
Landscape Art ◽  
Experimental Films ◽  
Contemporary Artists

This chapter addresses the contemporary renewal of landscape art in Canada, arising at the intersection of visual art and cinema. Artworks, installations, and experimental films are discussed according to four categories: figure/ground, spatial illusions, the historicity of landscape, and digital scenery. Landscape—as a distinct art historical genre, conventional cinematic background, and ideological ground—has historically played a key role in Canadian visual culture. The contemporary artists and filmmakers in question have remade landscape in pictorial terms by remixing legacies from the visual arts and cinema and also in political terms, by calling attention to the damaged natural world of the Anthropocene, confronting Indigenous claims to the land, and foregrounding struggles over nationhood, identity, and collective memory.

scholarly journals Contemporary Russian street art. Formation and development

2021 ◽  
Vol 59 ◽  
pp. 343-351
Author(s):  
Vasily P. Veshnev ◽  
Dmitry G. Tkach
Keyword(s):  
Visual Culture ◽  
Visual Art ◽  
Street Art ◽  
Subsequent Formation ◽  
Art And Design ◽  
Art Works ◽  
Media Space ◽  
Public Recognition ◽  
Characteristic Features

The paper provides an overview of the main periods of formation of Russian street art as an artistic phenomenon. It analyzes the role of leading authors and associations that have played a key role in the development of this type of art. The study identified the structure and characteristic features of Russian street art. Street art is a specific form of contemporary urban visual art, characterized by a wide variety of creative concepts and artistic techniques. Street art works are always contextual, to a greater or lesser extent integrated into the urban aesthetic and communication environment, and as a rule, stylistically and thematically relevant, aimed at direct dialogue with the viewer. In Russia, street art emerged in the late 1990s and early 2000s as a continuation of artistic practices of the graffiti subcultures and included three periods of its subsequent formation and development: 1995–2005 — the formation of an artistic phenomenon; 2005–2015 — development and public recognition; 2015 till present — active expansion into the information and media space, into the field of art and design, institutional recognition. The development of street art in Russia, as well as throughout the world, is affected by the global mass visual culture, however, in the last decade, an alternative trend has been gaining momentum, which consists in the active use of national artistic and imaginative content. Thus projects reflecting socio-political and cultural agenda that is relevant for Russia and timed to coincide with memorable dates and major events in the country are being promoted and approved.

scholarly journals Holy Crisis. On the Problem that Espouses Modern Art to Modern Spirituality

Perichoresis ◽  
2020 ◽  
Vol 18 (3) ◽  
pp. 47-61
Author(s):  
Marc De Kesel
Keyword(s):  
Nineteenth Century ◽  
Visual Culture ◽  
Visual Art ◽  
Modern Art ◽  
Religion And Spirituality ◽  
Complex Relation ◽  
The One

AbstractVisual art owes its modernity from the crisis it fell into in the midst of the nineteenth century. Courbet’s call for realism questioned the foundation of the art of his time. The incapacity of the series of ‘-isms’ that followed to answer Courbet’s call, pointed to a crisis not only in art, but in the then emerging non-artistic visual culture in general. In fact, Courbet’s call questioned the image paradigm that was in force since the Renaissance: the one of ‘representation’. The crisis of art laid bare the crisis of the representation paradigm. Modern art’s complex relation to religion and spirituality must be understood in the context of this paradigm crisis. Although generally anti-religious, modern art often keeps on being fascinated by religion, spirituality, and mysticism. The ‘religious’, the ‘holy’, the ‘sanctity’ modern art is inclined to, is linked to the crisis it originates from. Does this reference to the religious and the spiritual, then, constitute the answer to that crisis? I defend the thesis that it rather affirms this very crisis. If there is something ‘holy’ in art, it is not the answer to which it makes people long, but it is art’s inherent crisis itself. If art has a ‘holy’ mission, it is to keep that crisis on the agenda of modernity.

Page, P. K. (1916–2010)

2018 ◽  
Author(s):  
Conrad Scott
Keyword(s):  
Visual Art ◽  
Visual Quality ◽  
National Gallery ◽  
Art Gallery ◽  
Self Reflection ◽  
Artistic Production ◽  
Non Fiction ◽  
The World ◽  
National Gallery Of Canada ◽  
Art Gallery Of Ontario

Patricia Kathleen Page described herself as a traveller, and invoked this status through both her poetry (under P. K. Page), and her visual art (under her married name, P. K. Irwin). Her experiences informed her work and changed her understanding of both poetic and artistic production: as she learned the former, she more fully developed the latter. Travel gave her other means with which to satisfy her creative output, but most importantly, travel necessarily made her an observer; perception has been her primary interest from poetry to paint to prose. As she comments in her non-fiction essay ‘A Writer’s Life,’ ‘I believe art has two functions: a lower and a higher. The lower is invaluable. It shows us ourselves — Picasso’s Guernica, for example. The higher — more valuable still, in my view — gives us glimpses of another order’. Alternatively a poet, writer, and artist (and prolific on all counts), P. K. displayed a supremely imagistic and visual quality that underlines her devotion to observing the world in new ways and to self-reflection. Page has had her written work published in over three dozen books of poetry, fiction, and non-fiction (including children’s literature), and has had her visual art collected in several permanent collections in Canada — including those of the National Gallery of Canada and the Art Gallery of Ontario.

The art museum as a city or a machine for showing art?

2010 ◽  
Vol 14 (2) ◽  
pp. 129-138
Author(s):  
Kali Tzortzi
Keyword(s):  
Large Scale ◽  
Modern Art ◽  
Art Museum ◽  
First Century ◽  
Morphological Properties ◽  
Industrial Building ◽  
Art Gallery ◽  
National Museums ◽  
Tate Modern ◽  
Visual Construction

This paper presents the comparative analysis of the National Museum of Modern Art, in the Pompidou Centre, Paris, designed by Richard Rogers and Renzo Piano (1972–77), and the Tate Modern art gallery, London, the conversion of an industrial building by Swiss practice Herzog & de Meuron (1995–2000). The two museums share a set of conspicuous similarities so that their parallel investigation seems self-evident. Both are large-scale national museums of modern art, extending over two floors, in buildings that constitute urban landmarks and are often seen as examples of the museum as a box [1a–b]. Their ground floors are conceived as a space you walk through, as a ‘piazza’; their spatial organisation is modular and flexible; their visual construction, punctuated by powerful views to the city. Moreover, they are guided by similar spatial ideas and share common fundamental morphological properties. Interestingly, their affinities extend to their collections – both begin with the turn of the twentieth century and extend to the twenty-first century; and their curatorial practices – as, for instance, the practice of reprogramming the galleries on a regular basis. But the experience of visiting the two museums is entirely different and each appears to have its own idiosyncratic spatial character, quite distinct from the other (described metaphorically by the museum designers as the museum as a city in the case of the Pompidou and as a machine for showing art in the case of Tate Modern). So, could these obvious similarities hide critical differences between the two museums?

scholarly journals Contemporary Lithuanian Artists: Career Opportunities

2017 ◽  
Vol 13 (1) ◽  
pp. 88-110
Author(s):  
Vilma Mačianskaitė
Keyword(s):  
Modern Art ◽  
Art Market ◽  
Art Gallery ◽  
Art Galleries ◽  
Career Opportunities ◽  
Art Scene ◽  
Main Factors ◽  
Global Art ◽  
The Relationship ◽  
Contemporary Artists

Summary By analysing the careers of internationally recognized artists from Lithuania and the relationship between Lithuanian contemporary artists and art galleries and museums, the author explores the challenges faced by today’s artists and hypothetically underlines the principles that could be useful for them in seeking to enter into the global art scene. The essay analyses the lack of cooperation between artists and galleries, and the representation of artists in Lithuanian museums, which is considered to be the base of a contemporary artist’s career. The essay assesses the influence of the main participants in the art market upon artists’ careers, by investigating the Lithuanian art market’s position after the restoration of independence in 1990. Twenty Lithuanian artists, major galleries or representatives of museums (such as the National Art Gallery and the MO Museum, formerly known as the Modern Art Centre) were interviewed for the purposes of this study. This examination of the Lithuanian art market reveals the peculiarities that artists have encountered, and could help international art market players to better understand the problems that the Lithuanian art market is facing. The author seeks to identify the main factors helping artists to navigate the global art scene and the global art market.

scholarly journals PECULIARITIES OF THE ARTISTIC LANGUAGE OF THE UKRAINIAN ARTIST YEVHENIA GAPCHYNSKA

2021 ◽  
Vol 6 (42) ◽  
pp. 230
Author(s):  
L. Ametova
Keyword(s):  
Mass Culture ◽  
Art History ◽  
Art Gallery ◽  
Art And Design ◽  
History Analysis ◽  
Scope Of Application ◽  
Historical Comparative ◽  
One Year ◽  
The One ◽  
Modern Mass

The subject of the research is the developments of the modern Ukrainian artist Evgeniya Gapchinskaya, who is now successfully working in various fields of art and design, ranging from jewelry and book graphics to monumental mural art. The purpose of the work is to investigate the specifics of the artistic language of the named artist in the context of the development of modern mass culture. The methodology of the work is based on a combination of chronological and the principle of scientific comprehensiveness, art history, design and culturological approaches, ontological, axiological, hermeneutic, historical-comparative, cross-cultural and art history analysis methods. The results of the work allow us to understand the secrets of E. Gapchinskaya's success in the field of contemporary art and design. The scope of application of the results – artistic and design practices of the present, history, theory and criticism of art, teaching activities for students and graduate students of creative specialties. Findings. It was found that the artistic language of Yevhenia Gapchinskaya was formed under the influence of Ukrainian and German artistic traditions. Taking into account the one-year internship in Nuremberg at the beginning of the formation of the artistic language, the author was inspired in her artistic searches by the impulses of the high art of the Northern Renaissance and mannerism. In particular, the work of I. Bosch and P. P. Bruegel the Elder (Peasant), whose phantasmagoric language still has a significant impact on the work of young European artists. Also, the formation of the artistic originality of Evgenia Gapchinskaya's handwriting was significantly influenced by the Dutch and Flemish art of the 17th – 18th centuries, headed by Frans Halls and Rembrandt van Rijn, and individual searches for Baroque-Rococo artists from other European countries – J. B. Greuze and T. Gainsborough. In general, the specific artistic and figurative manner of E. Gapchinskaya was influenced by the artist's appeal to related areas of knowledge – nail design, creative work with plastic, environmental design, advertising, image-making, art gallery business, restoration, art management, marketing, logistics and the like.Key words: artistic manner of creativity, Evgeniya Gapchinskaya, Ukraine, the beginning of the XXI century.

The designing of ocean threat comics by elementary students

2021 ◽  
Vol 0 (0) ◽  
Author(s):  
Sylvia Pantaleo
Keyword(s):  
Critical Thinking ◽  
Elementary Students ◽  
Visual Art ◽  
Meaning Making ◽  
Descriptive Analysis ◽  
Elementary Classrooms ◽  
Student Knowledge ◽  
Art And Design ◽  
Ocean Literacy ◽  
Aesthetic Understanding

Abstract A paucity of research has been conducted with learners in elementary classrooms on both the use of and the student creation of science comics. During the classroom-based research featured in this article, Grade 4 students designed ocean threat comics for the culminating activity of an interdisciplinary Ocean Literacy unit, one component of a larger study. Throughout the research, the students were afforded with opportunities to develop their visual meaning-making skills and competences, as well as their aesthetic understanding of and critical thinking about multimodal ensembles through participation in activities that focused on various elements of visual art and design, and conventions of the medium of comics. The visual and descriptive analysis of one student’s ocean threat comics, which includes excerpts from the interview about her work, reveals her motivations for selecting and orchestrating specific semiotic resources to represent and express particular meanings that realized her objectives as a sign-maker. Overall, the descriptions of the pedagogy featured during the research and the student’s ocean threat comics demonstrate how the development of student knowledge about elements of visual art and design, and conventions of the medium of comics can inform and deepen students’ semiotic work of comprehending, interpreting and designing science comics.

Axis: broadening the constituency and extending the sphere of influence of visual art

1998 ◽  
Vol 23 (2) ◽  
pp. 8-11
Author(s):  
Doug Sandle
Keyword(s):  
Visual Culture ◽  
Contemporary Art ◽  
Visual Arts ◽  
Visual Art ◽  
Information Resource ◽  
Text Data ◽  
Widening Access ◽  
Visual Text ◽  
Sphere Of Influence ◽  
National Information

The Axis database is the only national information resource on British artists and craftmakers. It contains visual-text data on over 2,500 contemporary British practitioners and is a rapidly growing source of data for researchers, students, curators, commissioning agents, architects, planners and patrons and purchasers of visual arts. Axis also has an important national role in promoting contemporary art and artists and widening access to visual culture.

scholarly journals Where flesh meets bone: dance in the modern art museum

2021 ◽  
Author(s):  
Erin Joelle McCurdy
Keyword(s):  
New York ◽  
Modern Art ◽  
Theoretical Framework ◽  
Art Museum ◽  
Art Museums ◽  
The Public ◽  
Liminal Spaces ◽  
High Profile ◽  
Tate Modern ◽  
Definition Of

Dance has recently taken up an increasing presence in major modern art museums as core curatorial programming, occupying galleries throughout exhibition hours. Although time figures prominently in emerging literature addressing this trend, spatial analyses remain fragmentary. Yet, dance is distinctive from other time-based media because of its heightened relationship with space. This raises an important question: how does dance’s newfound presence ‘re-choreograph’ the spaces of modern art museums? Extending the work of Henri Lefebvre, this dissertation adopts an expanded definition of museum space encompassing physical, social and conceptual domains. Dance, an art concerned with the shaping of space, is examined as a transformative force, productively intervening with the galleries, encounters, objects, and historical narratives comprising modern art museum space. In this study, purity and atemporality are identified as the preeminent principles organizing modern art museum space, and dance, an ‘impure’ and process-based art, is theorized as a productive contaminant, catalyzing change. Using this theoretical framework and Using this theoretical framework and evocative descriptions of Boris Charmatz’s 20 Dancers for the XX Century (Museum of Modern Art, New York, 18-20 October 2013), dance’s unique collaboration with modern art museum space is analyzed. Socially, dance’s multisensuality pollutes museum goers’ ocularcentric experiences with art. Conceptually, dance diversifies understandings of objects and the androcentric history they uphold. Physically, dance is carving out new spaces, with performance venues being incorporated into the ‘bones’ of high profile institutions. Interspersed between these analytical chapters, evocative descriptions of Spatial Confessions (On the Question of Instituting the Public) by Bojana Cvejić and collaborators (Tate Modern, London, 21-24 May 2014) introduce observations beyond the analytical scope, opening up the liminal spaces of this document to ongoing inquiry. This dissertation contributes a sustained analysis of dance’s spatial impact on modern art museums. By investigating how dance intervenes with the limitations of the white cube, it critiques this supposedly ‘blank’ space, questioning its continued supremacy within these institutions. Moreover, as dance is ushered into performance venues within the museum’s expanding domain, this dissertation interrogates the modern propensity for specialization and master narratives pervading the spaces of these institutions, despite decades of interventional artistic and curatorial practices.

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