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International audience ; This detour through art aims at demonstrating the performative function of contemporary walls and barriers, designed to impose a geopolitical vision through landscape changes. The text assesses the link between art and borders by formulating the hypothesis that a "border art" (art on the border, art born from the border, art against the border, etc.) is emerging. It tries to understand how the closing up of a border not only reactivates cultural production on an international border, but also transforms the latter's meaning. On the USA / Mexico border for instance, the building up of the security fence sin 2006 seems to have been accompanied by a strong artistic upsurge. This can be nuanced by analyzing the changes of the nature of artistic production, with more mobile works, marked by a strong presence of videos and performances, as is the fixity imposed by the line inferred a fluid creative answer. ; Ce "détour" par l'art vise à démontrer la fonction performative des murs et barrières contemporains, destinés à imposer un discours géopolitique dans le paysage. Le texte se confronte avec le lien art-frontières en posant l'hypothèse de l'émergence d'un " art de la frontière " (dont l'expression anglaise border art rend mieux compte de l'ambivalence entre lieu et causalité : art sur la frontière, art né de la frontière, contre la frontière, etc.). Il cherche à comprendre comment la fermeture d'une frontière non seulement réactive la production culturelle sur la frontière internationale, mais en transforme également le sens. Sur la frontière USA / Mexique par exemple, il semble que, depuis 2006, l'érection de la barrière de sécurité ait été accompagnée d'une recrudescence artistique. Celle-ci peut être nuancée par une évolution de la nature de la production artistique, avec plus d'œuvres mobiles marquées notamment par la vidéo, et la performance, comme ci la fixité imposée par la ligne inférait une réponse créative fluide.

Writing queer culture into art history means redrawing the boundaries of what counts as art, as well as what counts as history. It means searching for cracks in the partition that separates 'high' art from 'low' culture and in the divide between public achievement and private life. Not a book exclusively about artists who identify themselves as gay or lesbian, this volume instead traces the shifting possibilities and constraints of sexual identity that have provided visual artists with a rich creative resource over the last 125 years. The book includes not only pictures made and displayed under the rubric of fine art but also those intended for private, underground or otherwise restricted audiences, including scrapbooks, amateur artworks, cartoons, bar murals, anonymous photographs, and activist posters, as well as paintings, sculptures, art photographs and video installations. The Survey essay examines the interplay between art and dissident sexualities, while the Works section presents images of over 220 key artworks accompanied by informative captions, and the Documents section provides a generous archive of primary and secondary texts.

Cover -- Contents -- Introduction -- Part I: Understanding Arts Entrepreneurship -- Chapter 1: The Value(s) of Arts Business -- Chapter 2: We Are Not a Commercial Firm -- Chapter 3: Creating Value in the Performing Arts Industries: A Process for Arts Entrepreneurs -- Part II: Arts Culture, Values and Internationalization -- Chapter 4: Cultural Embeddedness in the Arts -- Chapter 5: Art Entrepreneurship and Internationalization at Home: Internationalization Strategies of Theaters from a Central European Country -- Part III: Pathways to Growth and Success -- Chapter 6: Exploring the Emergence of Contemporary Art Galleries in Istanbul: The Effectuation Perspective -- Chapter 7: ARTrepreneurship: Shifting to a Business Mindset in a Creative World -- Chapter 8: Development of Performance-Based Class Projects in the Arts -- Chapter 9: Strategic Entrepreneurship in Self-Employment in the Arts -- Chapter 10: Strategic Thinking in Arts Entrepreneurship -- Conclusion -- About the Contributors -- Index -- Adpage -- Backcover.

"Art and Peacebuilding" published on by Oxford University Press.

"Wooden Russia" -- The rise of Vladimir and Souzdal -- Mosaics -- Ornamentation of early MSS -- Art in the reigns of Peter the Great and the empresses Anne and Elisabeth -- Ivanov the precursor of Realism -- The society of travelling exhibitions -- A great military painter, Vassily Verestschagin -- Portraiture -- Neglect of home scenery -- Religious art influenced by the literary movements of the xix century -- The new ecclesiastical art -- Carving -- National sentiment takes new forms. ; Mode of access: Internet. ; committed to retain

El presente artículo está enmarcado dentro de la revisión documental donde se examina un período comprendido desde finales de los años cuarenta y principios de los cincuenta en Venezuela, en el que las nuevas políticas gubernamentales generan una serie de cambios culturales, entre ellos, el surgimiento de El Taller Libre de Arte, espacio que sirvió de puente entre la generación de artistas consagrados pertenecientes a la tradición figurativa y los pintores sin formación académica como lo fue el primitivista Feliciano Carvallo, artista "popular", pintor "ingenuo", quien se convertirá en el primer pintor no escolarizado en alcanzar difusión y reconocimiento nacional e internacional, logrando enaltecer la pintura popular venezolana. ; This article is framed within the documentary review which examines a period from the 40's late and 50's early in Venezuela, in which the new government policies generate a series of cultural changes, among them, the emergence of Taller Libre de Arte, a space that served as a bridge between the generation of consecrated artists belonging to the figurative tradition and the painters without academic training as was the primitivist Feliciano Carvallo, a "popular" artist,"naïve" painter, who will become the first painter not schooled in reaching diffusion and national and international recognition, achieving to praise Venezuelan popular painting. ; 135-148 ; romoro08@gmail.com ; Anual

How can we see beyond colonialism? And how might we be able to apprehend the work of those who saw themselves as living and creating the strictures of imperial control? This article argues for an uncolonial approach to knowledge creation, rejecting imperial history's endless desire to uncover new bodies of evidence, which largely replicate our existing understanding of the ways in which Europeans subjugated Others. Instead, it argues for the ethical imperative of locating lost, forgotten, or erased scripts of Indigenous being and agency that lie largely unexcavated in our archives of the imperial moment. Using a case study of so-called "Bāb Art" from 1920s CE Algeria, the essay explores the manner in which unloved, rough, and ephemeral modes of art possess the potential to serve as touchstones through which we might see unconquered forms of thinking, imagination, and belief that presently lie outside the bounds of our human story. In considering the spiritual and aesthetic significance of these works, it is argued that we are able to open up new vistas, which allow for glimpses of futures that begin again from threads long thought lost to the past.

Where does art stand in the context of contemporary democracy, how does it "speak out" and shape democracy? How do pro-democratic manifestations arise in the sphere of art, how is democracy used and what games are played with the recipient? The article touches on the issues of public space and art, financing and management, political commitment, new media, etc. All this serves to point out the issue of the democratic space in which art functions and which it produces at the same time. The article takes the form of reflections on the above issues, illustrated with specific examples of works and artistic endeavours along with the disputes surrounding them. It shows how an internal space for disputes over democracy emerges within the realm of art itself. ; Jak w kontekście współczesnej demokracji sytuuje się sztuka, jak "zabiera głos" i kształtuje demokrację? Jak w polu sztuki dochodzi do prodemokratycznych manifestacji, jak demokracja jest wykorzystywana i jakie są podejmowane gry z odbiorcą? W artykule zostają przywołane zagadnienia: przestrzeni i sztuki publicznej, finansowania i zarzadzania, zaangażowania politycznego, nowych mediów itp. Wszystko po to, by wskazać na problematykę demokratycznej przestrzeni, w której sztuka funkcjonuje, i którą jednocześnie wytwarza. Artykuł przybiera formę rozważań dotyczących powyższych kwestii, ilustrowanych konkretnymi przykładami dzieł i działań artystycznych oraz toczących się wokół nich sporów. Pokazuje, jak w obrębie samej sztuki wytwarza się wewnętrzna przestrzeń sporu o demokrację.