scholarly journals Autonomous management in contemporary art territory (Argentina 2001-2015). A methodological proposal from the possibilities of the ARS

AWARI ◽  
2020 ◽  
Vol 1 (2) ◽  
Author(s):  
Patricia Virginia Benito
Keyword(s):  
Cultural Heritage ◽  
Contemporary Art ◽  
Visual Arts ◽  
Historical Perspective ◽  
Communication Channels ◽  
Analysis Approach ◽  
Autonomous Management ◽  
Argentine Art

The present work addresses the autonomous management in Argentine art between 2001 and 2015. The proposed analysis approach focuses on the concept of territory from a transdisciplinary perspective and in particular, in relation to the field of contemporary visual arts. In this sense, the question that shapes our work is whether these projects, which perceive themselves as autonomous, achieve real sovereignty based on their practices, or are they subject to geopolitical decisions that always end up conditioning them?. In this way, we work in the first instance with the data collected by the C.A.R.A., and later a methodological design is carried out that allows us to configure two cartographic proposals based on the ARS working synchronously with the networks and matrices obtained. From which it is sought to graph, through the UCINET software, the autonomous management in the territory and, in turn, to create a relational chromatic matrix based on behavioral registers that allow us to form a mapping of the symbolic territory towards the interior of the procedures. The results obtained give an account of a historical perspective of the autonomous management projects in the country, how the distribution of this type of proposals has been in relation to 6 regions that are governed by administration policies of the national cultural heritage, and finally, of the configuration of its own territory in which it is observed how the ways of operating the set of procedures surveyed have been in relation to the agenda of activities, the sources of financing and the communication channels used.

Applicability of traditional storage methods in Indonesia for today’s conservation practice

IFLA Journal ◽  
2021 ◽  
pp. 034003522110230
Author(s):  
Patricia Engel
Keyword(s):  
Cultural Heritage ◽  
Contemporary Art ◽  
Best Practice ◽  
Tropical Country ◽  
Conservation Practice ◽  
Traditional Art ◽  
Puppet Theatre ◽  
Storage Methods ◽  
Conservation Projects ◽  
Museum Of Contemporary Art

This contribution aims to distil the experience from several conservation projects in Java, Indonesia, into a summary of methods in an attempt to arrive at some suggestions for best practice for the preservation of cultural heritage items in a tropical country. The related projects concerned a museum of contemporary art, traditional puppet theatre materials, a museum of traditional art and an archive.

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 «The Great Neurosis» of Jacques Loysel and Alfred Kubin

2020 ◽  
pp. 144-149
Author(s):  
D. O. Martynova ◽  
Keyword(s):  
Mental Illness ◽  
Contemporary Art ◽  
Visual Arts ◽  
Visual Image ◽  
Lost Generation ◽  
Disciplinary Power ◽  
Graphic Artist ◽  
Art Practices ◽  
The Impact ◽  
Pathological Image

On the example of the work «The Great Neurosis» by the French sculptor Jacques Loysel and «Europe» by the Austrian graphic artist Alfred Kubin, it is described and analyzed how artists gave characteristics of changes in their eras, using the same visual image associated with a mental illness. It is proved that while Loysel’s artwork was associated with the latest discoveries in medicine, then Kubin’s artwork was reinterpreted in a new way, reflecting the problems and experiences of the «lost generation». From this it follows that the example of the works «The Great Neurosis» and «Europe» by Loysel and Kubin can be traced not only to evolution, but also to the introduction of the pathological image of the “hysterical body” both in the art of the XXth century and in contemporary art practices. Such a study demonstrates the relevance and signifi cance of studying the links between, as well as the analysis of the impact of mechanisms of institutions of disciplinary power on the visual arts of various eras.

scholarly journals Changes in the themes, aesthetics and functions of public images in Kyiv due to the influence of socio-cultural processes in the society of 1990-2010

2021 ◽  
pp. 183-194
Author(s):  
Mariia Ospishcheva-Pavlyshyn
Keyword(s):  
Contemporary Art ◽  
Visual Arts ◽  
Public Art ◽  
Visual Art ◽  
Rapid Development ◽  
Practical Aspect ◽  
Cultural Processes ◽  
The Impact ◽  
Theoretical Developments

On the back of the rapid development in public art in recent decades, and in particular graffiti and muralism, interest in them has grown significantly among cultural studies scholars, art critics, architects, sociologists, and urban planners. Numerous works that have appeared in the West and in Ukraine are devoted to various aspects of the visual public art existence. This theme continues to be one of the most relevant for contemporary visual art. This article complements the bunch of acquired knowledge with a detailed study of the impact of socio-cultural processes in society on the changes that took place in monumental painting, graffiti and muralism in Kyiv during 1990–2010, i.e. during the most important changes in politics and society in recent decades. The peculiarities of each historical stage of this influence are analysed and outlined in the study, and the theoretical analysis is displayed by the description of the most characteristic works. Most of them are researched in detail. In addition, the process of decline of monumental painting in the late 1980s and early 1990s is analysed, the factors of graffiti flourishing in the 1990s are identified and highlighted, and the origins of the rapid development of muralism after 2004 and especially after 2014 are explored. At each stage, changes in the themes, aesthetics and functions of public images are traced. The definitions, such as muralism and graffiti, are updated in this paper, taking into account changes in art and the latest achievements in its analysis. The manifestations of the national-patriotic themes in the contemporary art of muralism are considered in detail, the classification of art work on this subject is given, the corresponding examples are given. Such concepts as public art, synthesis of arts, monumental painting, graffiti, muralism are attentively aligned. The study of the nature of the socio-cultural processes and visual arts correlations is promising for further scientific and theoretical developments and the practical aspect for better understanding of the specific works

Representing, Performing and Mitigating Climate Change in Contemporary Art Practice

Leonardo ◽  
2012 ◽  
Vol 45 (2) ◽  
pp. 124-131 ◽  
Author(s):  
Gabriella Giannachi
Keyword(s):  
Climate Change ◽  
New Media ◽  
Contemporary Art ◽  
Visual Arts ◽  
Art Practice ◽  
Quarter Century ◽  
The Public

Over the last quarter-century, an increasing number of artists have been variously engaging the public in artworks addressing the anthropogenic phenomenon known as climate change. Focusing specifically on works developed in the fields of visual arts, performance and new media, and on a body of theory attempting to distinguish between terms such as nature, landscape, weather, climate and environment, this article aims to offer an exploration of how these works, by adopting, often concurrently, three strategies—representation, performance and mitigation—affect our understanding of our changing relationship to nature and climate.

The Phenomenon of Metamodernism in Contemporary Russian Art (On the Example of Paintings by V. Pushnitsky)

2021 ◽  
Vol 13 (1-2) ◽  
pp. 425-441
Author(s):  
Denis Podlednov ◽  
Keyword(s):  
Contemporary Art ◽  
Visual Arts ◽  
Da Vinci ◽  
Leonardo Da Vinci ◽  
Francis Bacon ◽  
Stylistic Analysis ◽  
Russian Art ◽  
Color Features ◽  
Research Interview ◽  
Claude Monet

The article is devoted to the analysis of the functioning of metamodernism in the field of Russian contemporary art. Researchers of metamodernism talk about the revival of historicity, depth and affect that were lost with the era of postmodernism. Metamodernism is characterized by oscillation, metaxis, new sincerity, neo-romantic sensuality, reconstruction, etc. In this paper, the author attempts to analyze markers of metamodernism in the visual arts using the example of the artist Vitaly Pushnitsky (St. Petersburg). The material for the study was a research interview with the artist V. Pushnitsky, as well as a semiotic and formal-stylistic analysis of his works (2015-2020). The author comes to the conclusion that through such markers of metamodernism as oscillation, reconstruction and appeal to new sincerity, the artist V. Pushnitsky seeks to show the reality in which the artist is at the stage of searching for new artistic means of expression. Along with this, through certain compositional and color features, V. Pushnitsky pays tribute to such artists as Pierre-August Renoir, Claude Monet, Leonardo da Vinci, Francis Bacon, as well as the Japanese poet I. Kosugi.

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