The Stalin Prize and the Soviet Artist: Status Symbol or Stigma?

Slavic Review ◽  
2011 ◽  
Vol 70 (4) ◽  
pp. 819-843 ◽  
Author(s):  
Oliver Johnson
Keyword(s):  
Fine Arts ◽  
Socialist Realism ◽  
Symbolic Capital ◽  
Fine Art ◽  
The Self ◽  
Art World ◽  
The Public ◽  
Soviet Art

How did the Stalin Prize function in the Soviet fine art establishment of the 1940s and 1950s and how were the awards interpreted by members of the artistic community and the public? This examination of the discussions of the Stalin Prize Committee and unrehearsed responses to the awards reveals an institution that operated at the intersection of political and expert-artistic standards within which the parameters of postwar socialist realism were negotiated and to some extent defined. The Stalin Prize for the Fine Arts played an important part in the development of the leader cult and contributed to the self-aggrandizement of an elite minority. The symbolic capital of the Stalin Prize was compromised by its role, perceived or actual, in the consolidation of a generational and ideological hegemony within the Soviet art world and the establishment of an aesthetic blueprint for socialist realism.

scholarly journals Subjugated in the Creative Industries: The Fine Arts in Singapore

2011 ◽  
Vol 3 (2) ◽  
pp. 119-137 ◽  
Author(s):  
Can-Seng Ooi
Keyword(s):  
Fine Arts ◽  
Economic Value ◽  
Creative Industries ◽  
Work Place ◽  
Art World ◽  
The Public ◽  
The Arts ◽  
Art Practices ◽  
City State ◽  
The City

The arts and culture are considered core in a creative industries strategy. But the promotion of the creative industries brings about revised notions of creativity. These revised notions are being applied to the arts. Creativity is now seen to be largely manageable. All individuals are made to believe that they can be creative. Not only that, creativity is seen to be a money spinner. Workers should tap into their creativity and bring about innovations in the work place. Pupils are taught to tap into their creativity and to think outside the box. Such views on creativity galvanize the public and enthuse many people into the creative industries. Such notions of creativity contrast against the fine arts. Regardless, as this paper examines the situation in Singapore, shows that fine artists in the city-state are finding themselves internalizing a market logic and have tied their art practices to economic value. Fine arts practices will not be as lucrative or popular as their counterparts in the other creative businesses; they will remain poor cousins in the creative industries. Essentially, the fine arts are being subjugated in the creative industries and the Singaporean art world is being changed.

An historical space in a new context: The Pushkin State Museum of Fine Arts Research Library as a part of the future House of Text

2017 ◽  
Vol 43 (1) ◽  
pp. 31-36
Author(s):  
Ekaterina Igoshina
Keyword(s):  
20Th Century ◽  
Fine Arts ◽  
Fine Art ◽  
Research Library ◽  
Early 20Th Century ◽  
Apartment House ◽  
The Public ◽  
State Museum ◽  
The Future ◽  
Museum Of Fine Arts

In 2021 the Pushkin State Museum of Fine Arts Research Library will move from its historical setting into a new building as part of a new House of Text. This House of Text is faced with the challenge of adapting a former early 20th-century apartment house (never before used as a museum or a library) to the needs of an institution that collects and conserves books on fine art and makes them accessible to the public in multiple ways.

Empathy with the self and its relationship to creativity and innovation among students of Fine Arts Institutes

2021 ◽  
Vol 27 ◽  
pp. 439-474
Author(s):  
THABIT JUMAA ◽  
Keyword(s):  
Sense Of Self ◽  
Pearson Correlation ◽  
Fine Arts ◽  
Self Esteem ◽  
Fine Art ◽  
The Self ◽  
Testing Methods ◽  
Creativity And Innovation ◽  
The Relationship ◽  
Academic Year

The study was conducted on the students of the Fine Art Institutes in Basrah. 1 - level of self-esteem among students of the institutes of fine arts in light of the variable sex. 2 - the level of creativity and innovation among the students of the Institute of Fine Arts in light of the variable sex. 3. The nature of the relationship between self-esteem, creativity and innovation among the students of the Fine Art Institutes. The current research community included students of fine art institutes in Basra for the academic year (2019/2018). The study sample consisted of (120) students and (60) students and (60) students. About 15% of the members of the original society were chosen by the random stratified method. The researcher used two tools to achieve his research objectives: Researcher for this study. The second measure is creativity and innovation, prepared by Kilford (1988). The researcher achieved the validity of the measure of self-esteem in the manner of virtual honesty and the coefficient of stability in the way Vkronbach (83%). The measure of creativity and innovation has a coefficient of stability (0.66) and when modified by the equation of Spearman Brown (0.79). Testing methods and re-testing. Statistical methods were used to suit the nature and objectives of the current research. These include the T-test, the Vaccronbach equation, the Pearson correlation coefficient, The result of the current research is: The relationship between self-esteem, creativity and innovation is significant. The nature of the relationship between the two variables and the gender variable is significant. It shows that the contribution of a variable was associated with a sense of self-esteem, creativity and innovation. In the light of the research results, the researcher made a number of recommendations and suggestions. Keywords: Empathy with the self (kindness, participation, attendance), creativity and innovation (fluency, flexibility, originality), sample, measures, experimentation, discussion of results, recommendations, suggestions.

scholarly journals Artist of «troubled silence.» Mykola Bezdilny

2021 ◽  
pp. 133-138
Author(s):  
Mykhailo Kuziv ◽  
Iryna Tiutiunnyk
Keyword(s):  
Twentieth Century ◽  
Fine Arts ◽  
Socialist Realism ◽  
Comparative Methods ◽  
The Self ◽  
Clear Tendency ◽  
Constant Change ◽  
Socialist Realist ◽  
Art Analysis ◽  
High Level

The purpose of the article is to highlight the peculiarities of the paintings of the amateur artist of the period of socialist realism Mykola Bezdilny and to draw parallels with the professional art of the 1970s and 1980s. Methodology. Methods of systematization, art analysis, historical and comparative methods are applied. The scientific novelty is to identify the influence of centralized creative structures of the second half of the twentieth century for the self-realization of artists who acquired creative skills in their own way. In particular, the figure of the artist Mykola Bezdilny was chosen for the analysis as a bright representative of the amateur Ternopil region, who showed the ability to admire not only different genres and types of fine arts but also constantly analyze other interpretations of the painting, "try", "move" in technical and philosophical and aesthetic terms. The obtained results are important for further research of the problems of amateur and amateur fine arts in Ukraine. Conclusions. It is determined that M. Bezdilny, as a bright representative of socialist-realist amateur art, reached a high level of painting due to systematic work and interaction with professional painting. It focused on the true essence of the work, its depth, the transfer of harmony of nature, rather than the external beauty of the picture. Against the background of features that are characteristic of the work of many amateur artists and amateurs revealed a clear tendency of M. Bezdilny to his favorite plot, composition, constant change of sound of paint, attempts at impressionistic dynamic brushstroke, and complex color.

Hammad, Mahmoud (1923–1988)

2018 ◽  
Author(s):  
Anneka Lenssen
Keyword(s):  
Rural Schools ◽  
Coming Of Age ◽  
Fine Arts ◽  
Arabic Language ◽  
Fine Art ◽  
Sao Paulo ◽  
Art World ◽  
São Paulo

Mahmoud Hammad, born in Jarabulus, Syria, was among the first Arab artists to adopt the letterforms of the Arabic language as a basis for modern compositions. His experiments predate the pan-regional 1970s florescence of horoufiyah (visual manipulations of the Arabic letter in fine art) by more than a decade, and his early Arabic writing paintings, first exhibited in Damascus, Beirut, São Paulo, and Venice in the early 1960s, deconstructed the letters to produce semi-geometric abstract compositions. Hammad would continue to explore Arabic writing for the duration of his career, though his later paintings struck a more studied balance between formal and communicative properties. Coming of age during the Syrian struggle for independence, Hammad played the roles of both artist and organizer in the Syrian art world. He started exhibiting in Damascus as early as 1939, and was a member of Studio Veronese, the country’s first fine arts club. In 1952 he was granted a study fellowship to the Academy of Fine Arts in Rome, which he completed in 1956. After returning to Syria, Hammad taught in rural schools, later joining the faculty of the new College of Fine Arts in Damascus in 1960. He became dean of the college in the 1970s, a role he retained until 1981. He died in Damascus, Syria.

Compressed Identity

2019 ◽  
Vol 12 (1-2) ◽  
pp. 13-35
Author(s):  
H. Şule Albayrak
Keyword(s):  
Public Sphere ◽  
Civil Service ◽  
Muslim Women ◽  
The Self ◽  
Political Rights ◽  
The Public ◽  
Economic Issues ◽  
Turkish State ◽  
The Public Sphere ◽  
Depth Interviews

For decades the authoritarian secularist policies of the Turkish state, by imposing a headscarf ban at universities and in the civil service, excluded practising Muslim women from the public sphere until the reforms following 2010. However, Muslim women had continued to seek ways to increase their knowledge and improve their intellectual levels, not only as individuals, but also by establishing civil associations. As a result, a group of intellectual women has emerged who are not only educated in political, social, and economic issues, but who are also determined to attain their socio-economic and political rights. Those new actors in the Turkish public sphere are, however, concerned with being labeled as either “feminist,” “fundamentalist” or “Islamist.” This article therefore analyzes the distance between the self-identifications of intellectual Muslim women and certain classifications imposed on them. Semi-structured in-depth interviews with thirteen Turkish intellectual Muslim women were carried out which reveal that they reject and critique overly facile labels due to their negative connotations while offering more complex insights into their perspectives on Muslim women, authority, and identity.

Makna Alif dalam Puisi Zikir D. Zawawi Imron dan Sajak Alif Ahmadun Yosi Herfanda

2020 ◽  
Vol 2 (1) ◽  
pp. 52
Author(s):  
Sholeha Rosalia ◽  
Yosi Wulandari
Keyword(s):  
Comparative Study ◽  
Comparative Method ◽  
The Self ◽  
Sociology Of Literature ◽  
Self Reflection ◽  
The Public ◽  
The Creation

Alif means the first, saying the Supreme Life and is Sturdy and has the element of fire and Alif is formed from Ulfah (closeness) ta'lif (formation). With this letter Allah mementa'lif (unite) His creation with the foundation of monotheism and ma'rifah belief in appreciation of faith and monotheism. Therefore, Alif opens certain meanings and definitions of shapes and colors that are in other letters. Then be Alif as "Kiswah" (clothes) for different messages. That is a will. "IQRO" is a revelation that was first passed down to the Prophet Muhammad. Saw. Read it, which starts with the letter Alif and ends with the letter Alif. The creation of a poem is influenced by the environment and the self-reflection of a poet where according to the poet's origin, in comparing in particular Alif's poetry from the two poets. The object of this research is the poetry of Zikir by D. Zawawi Imron and Sajak Alif by Ahmadun Yosi Herfanda. This study uses a comparative method and sociology of literature. Through a comparative study of literature between the poetry of Zikir D. Zawawi Imron and Sajak Alif Ahmadun Yosi Herfanda, it is hoped that the public can know the meaning of Alif according to the poet's view. With this research, the Indonesian people can accept different views on the meaning of Alif in accordance with their respective understanding without having to look for what is right and wrong. The purpose in Alif is like a life, in the form of letters like a body, a tree that is cut to the root, from the heart is split to the seeds, then from the seeds are split so that nothing is the essence of life. So, it is clear that Alif is the most important and Supreme letter. Talking about the meaning of Alif as the first letter revealed on earth. After the letter Alif was revealed, 28 other Hijaiyah letters were born. The letter Alif is made the beginning of His book and the opening letter. Other letters are from Alif and appear on him.

EXHIBITION AS A GENRE OF PLASTIC ART: "DIOR"

2020 ◽  
pp. 138-150
Author(s):  
Mariya T. Maistrovskaya ◽  
◽  
Keyword(s):  
Visual Art ◽  
Spatial Organization ◽  
Fine Arts ◽  
Environmental Design ◽  
Exhibition Design ◽  
Fine Art ◽  
Museum Of Fine Arts ◽  
Artistic Images ◽  
Fashion Designers

The article is the second part of the research that consider and analyze two exhibitions held in recent years at the A.S. Pushkin Museum of Fine Arts named, “Chanel: according to the laws of art” (2007) and “Dior: under the sign of art” (2011), dedicated to the largest fashion designers of our time. The original concepts and artistic solutions of the exhibition design of these exhibitions became events not only in the fashion world, but also in the art of the exhibitiaon. These exhibitions presented various exhibition solutions, vivid artistic images, expressive spatial organization, conceptual and scenographic arrangement of copyright collections in the context of high fine art. The most important conceptual component of the exhibitions was to present the art of fashion designers, juxtaposing, giving rise to associations and building analogies and contexts with visual art, against which unique collections were exhibited and in the circle. With this single conceptual view of their work, and the single space of the museum in which the exhibitions were held, the artistic and architectural strategy of the exhibitions was diametrically opposite, revealing the palette and variety of artistically expressive means and modern exhibition design. Both exhibitions were created by modern foreign curators and designers and represent talented and creative exposition projects, the analysis of which can be useful for domestic environmental design as vivid examples of the exposition as a genre of plastic art, which is considered the modern museum and exhibition exposition at its highest and creative forms.

Arts Nonprofits—Associations and Agencies: A Literature Review

2019 ◽  
Vol 4 (4) ◽  
pp. 1-63
Author(s):  
Robert A. Stebbins
Keyword(s):  
Social World ◽  
Fine Art ◽  
Art World ◽  
Artistic Development ◽  
Public Benefits ◽  
The Arts ◽  
Or Groups ◽  
Dance Clubs ◽  
Financial Base ◽  
Selection Of

AbstractAn association is “a relatively formally structured nonprofit group that depends mainly on volunteer members for participation and activity and that primarily seeks member benefits, even if it may also seek some public benefits” (Smith, Stebbins, & Dover, 2006, p. 23). The arts that give birth to these organizations can be classified as either fine art or entertainment art. Every art association is embedded each in its own art world and its own social world. Members of these association are mostly amateurs or hobbyists in their art.Publications on arts-related amateur, hobbyist, professional, and mixed-member associations are reviewed. Their prime mission is to foster, present, and sometimes chronicle the art that its members prize. Many of these works report on the structure of the associations as well as on the recruitment, artistic development, deployment of artists, dissemination of their art, and retention of their members. Also reviewed is a selection of publications bearing on what could be called “arts consumption clubs,” or groups such as book clubs, dance clubs, and jazz clubs established to generate interest in a given art. Some of the publications reviewed center on associational management, use of volunteers, and financial base of the group.

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.

Sign in / Sign up

Export Citation Format

Share Document