Moscow Conceptualism through Collective and Private Memory. The Archive as an Artistic Self-historicising Practice in Vadim Zakharov

"In an era characterised by the growing tension between local and global, the multiple activities acted by the artist Vadim Zakharov offer an important case study to investigate critically the relationship between artists and the art institutions at the time of the Global Art History. Artist, archivist, collector and editor in the frame of Moscow Conceptualism, since the end of the 1970s up to today, Zakharov embodies the figure of the “artist as institution” in the attempt to reach his artistic autonomy. This text introduces to his expansion of the archival attitude typical of Moscow conceptualism, a Soviet unofficial art movement developed in the marginal, underground, and self-referential context in the capital of USSR since the 1970s. Due to its transnationality, Zakharov’s story gives the opportunity to trace parallels, comparisons and differences to what happened next, when he moved in Germany in 1989, after the fall of USSR, and with the appearance of the new labels of “post-Soviet” and “Russian contemporary art”. Within this socio-historical framework, he joined a more cosmopolitan artistic scene, enlarging his archival practices with the aim to self-institutionalize and self-historicize his own artistic practices and the circle of Moscow Conceptualism in an international scene. Keywords: Vadim Zakharov, Moscow Conceptualism, Russian Contemporary Art, Contemporary Art, Global Art History, Archival fever. "

On the reception and agency of neoclassical sculpture and its material: case studies from Viennese sculpture galleries (c. 1780-1820)

The last two decades have seen a surge in publications and exhibitions on neoclassical sculpture, exploring histories of collecting, transnational artistic exchange, artistic self-fashioning strategies, workshop processes, new biographical insights and art-theoretical questions. However, there is relatively little research regarding the display and staging of neoclassical sculpture in comparison with earlier periods. The years around 1800 marked the peak of a fashion for purpose-built galleries that appeared all over Europe. The multimedia setting for sculpture in this new type of building tied in with contemporary patterns of staging and viewing artworks in different contexts, such as tableaux vivants and phantasmagorias. This article investigates the different modes of communication between viewer and object in neoclassical sculpture galleries to shed light on the reception of these objects and their respective material. Case studies are centred on the Viennese sculpture galleries of Nicolas II, Prince Esterházy, Andrej Razumovsky and Joseph Count of Fries in the late eighteenth and early nineteenth centuries.

Public Art And The Impact It Has On The Society

Public art is an art form that is displayed in public spaces; it’s for everyone to enjoy. Its existence creates interests, entertainment, and beautifies the environment. Public art fulfills a variety of functions within the public sphere, providing opportunities for, artistic self-expression; community dialogue; education and enjoyment; inspiring participation in appreciation and creation of art; community problem solving; enhancement of the physical infrastructure and environment; and demarcation, celebration and transformation of places. This research aims to explore the impact public art has on the society. The literature review, document analysis and interview were done to help justify the findings of the investigation. The research found that there are multidimensional impacts of public art in urban environment(s). The perceived benefits of art that is displayed in public spaces either in physical, social, or cultural domains suggest that public art is very prominent in creating liveability and sustainability of the city.Seni publik adalah bentuk seni yang ditampilkan di ruang publik; itu untuk dinikmati semua orang. Keberadaannya menciptakan minat, hiburan, dan memperindah lingkungan. Seni publik memenuhi berbagai fungsi dalam ruang publik, memberikan kesempatan untuk ekspresi diri artistik; dialog komunitas; pendidikan dan kesenangan; partisipasi yang menginspirasi dalam apresiasi dan penciptaan seni; pemecahan masalah masyarakat; peningkatan infrastruktur fisik dan lingkungan; dan demarkasi, perayaan dan transformasi tempat. Penelitian ini bertujuan untuk mengeksplorasi dampak seni publik terhadap masyarakat. Tinjauan pustaka, analisis dokumen dan wawancara dilakukan untuk membantu membenarkan temuan penyelidikan. Penelitian ini menemukan bahwa ada dampak multidimensi seni publik di lingkungan perkotaan. Manfaat yang dirasakan dari seni yang ditampilkan di ruang publik baik dalam ranah fisik, sosial, maupun budaya menunjukkan bahwa seni publik sangat menonjol dalam menciptakan liveability dan keberlanjutan kota.

Theme and Variations on a Virtue: Humility as a Multidimensional Construct for Musicians and Music Educators

Humility is an important social virtue for musicians as they expose their own egos in the pursuit of artistic self-expression. Research findings have confirmed that humility is an important virtue of strength that lends itself meaningfully to prosocial and ethical interactions among musicians and music educators. In this article, I synthesize research on various forms of humility that emerge from unique social situations in which musicians and music educators might find themselves. In actively seeking to develop their own humility, musicians may relinquish their egotistic self-interest in favor of more meaningful and productive music experiences to be shared by all.

LEONE X E LEOPOLDO DE’ MEDICI COMMITTENTI E COLLEZIONISTI DI RAFFAELLO: TRE ESEMPI

Leo X and Leopoldo de ‘Medici, patrons and collectors of Raphael: three examples. Today, the great majority of Raphael’s works in the Uffizi exist thanks to the Medici art collections of the early 1500s to the early 1670s. It is therefore possible to assert that this Florentine family had a particular taste for Raphael’s works. However, not all the paintings collected in that time reflect the Medicis’ artistic interests, as many of them came from expropriations or bequests and inheritances. Despite this, one artistic genre, more than others, appears to be particularly representative of the Medici family’s interest: the portrait. The aim of this paper is to identify some trends concerning the Medicis’ taste in the portrait and self-portrait. In doing so, three artworks – preserved in the Gallerie degli Uffizi – will be examined here: the Portrait of Leo X with Cardinals Giulio de ‘Medici and Luigi de’ Rossi; the Portrait of Tommaso Inghirami, known as Fedra; and Raphael’s self-portrait. These examples show how the artistic execution of Raphael’s artworks, or their later inclusion in the Medici collection (following Raphael’s death), depended on two main Medici personalities, namely Leo X and the prince and cardinal Leopoldo. Moreover, such portraits also reflect the three main recurrent circumstances under which works would usually be included in the Medici collection. The first concerned the creation of the artwork through a direct relationship between patron and artist (and, here, reciprocal incentives from one to the other can be seen). The second had to do with a consolidated taste of the Medicis in creating a collection of artistic portraits and, here, the acquisition of the artwork perfectly reflects this artistic taste. In the third case, we will see how the desire for a complete collection of artistic self-portraits sometimes brought the collector to acquire artworks that did not exactly correspond to their tastes.

"The Cashtro Hop Project" Hip Hop music and an exploration of the construction of artistic self-identity

While Hip Hop culture has regularly been legitimized within academia as a social phenomenon worthy of scholarly attention (witness the growing number of studies and disciplines now taking Hip Hop as object for analysis), this is the first Hip Hop-themed project being completed within the academy. Indeed, academic and critical considerations of one's own Hip Hop-based musical production is a novel venture; this project, as a fusion of theory with practice, has thus been undertaken so as to occupy that gap. The paper's specific concern is with how (independent) Hip Hop recording artists work to construct their own selves and identity (as formed primarily through lyrical content); the aim here is to explore Hip Hop music and the construction of artistic self· presentation. I therefore went about the task of creating my own album - my own Hip Hop themed musical product - in order to place myself in the unique position to examine it critically as cultural artifact, as well as to write commentary and (self-)analyses concerning various aspects of (my) identity formation. The ensuing outlined tripartite theoretical framework is to serve as a model through which other rappers/academics may think about, discuss, and analyze their own musical output, their own identities, their own selves.

"The Cashtro Hop Project" Hip Hop music and an exploration of the construction of artistic self-identity

While Hip Hop culture has regularly been legitimized within academia as a social phenomenon worthy of scholarly attention (witness the growing number of studies and disciplines now taking Hip Hop as object for analysis), this is the first Hip Hop-themed project being completed within the academy. Indeed, academic and critical considerations of one's own Hip Hop-based musical production is a novel venture; this project, as a fusion of theory with practice, has thus been undertaken so as to occupy that gap. The paper's specific concern is with how (independent) Hip Hop recording artists work to construct their own selves and identity (as formed primarily through lyrical content); the aim here is to explore Hip Hop music and the construction of artistic self· presentation. I therefore went about the task of creating my own album - my own Hip Hop themed musical product - in order to place myself in the unique position to examine it critically as cultural artifact, as well as to write commentary and (self-)analyses concerning various aspects of (my) identity formation. The ensuing outlined tripartite theoretical framework is to serve as a model through which other rappers/academics may think about, discuss, and analyze their own musical output, their own identities, their own selves.