Suchergebnisse

Sébastien Lagrave prend la direction du festival Africolor en 2012. Créé en 1989 par Philippe Conrath, Africolor est un festival atypique de création musicale dédié aux musiques africaines. Dans cet entretien, il définit cette expression polymorphe de « musiques africaines ». Il revient aussi sur la dimension politique inhérente à ces musiques, notamment au travers des artistes, chanteurs et musiciens, femmes et hommes, contraints à des parcours migratoires, parfois difficiles, ou pris dans des logiques de circulations transnationales. Enfin, il explique en quoi le positionnement du festival Africolor entre proposition artistique et médiation culturelle permet de sortir d'une « verticalité de la culture » aujourd'hui dépassée.

The article discusses the issue of understanding the nature of solitude and its reflection in art, including some aspects of solitude in the digital age. There is noted that this topic has hardly been explored in art history, including in studies on street art, which determines the relevance of this article. The author emphasizes that in art solitude is a filter through which the artist learns to see the world, transforms his/her experience into images, and enters into a dialogue with the viewer. The article examines the reflection of the issue of solitude in contemporary art on the basis of the works of the French street artist JR (he does not give his full name), in particular his video installation "Chronicles of San Francisco". Most of JR's creative projects focus on overcoming solitude and isolation: social, gender, race, age, cultural, etc. The author explains the choice of a video installation as the most optimal means for communication between the artist and the viewer. The article highlights the technical and technological innovation of JR's video installation "Chronicles of San Francisco": the artist's approach to revealing several layers of the issue of social isolation and solitude; equalizing the objects by using the same color and light exposure; supplementing the video image with "untold stories" of the sitters via an application for mobile phones; creating the overall composition dynamics of the arrangement of the 1206 figures and the background through visualization of different types and layers of solitude. The results of the study will be useful to art historians and students studying contemporary art and street art.

From Paris to Prague, from the past to the present, authors and artists say farewell in this unique collection. In these pages you'll find personal letters, reminiscences, poetry, art and brand new fiction from some of the most talented and important voices at work today, including Jessie Burton, Alain de Botton, Matt Haig, Richard Herring, Owen Jones, Mark Kermode, Robert Macfarlane, Kate Mosse, Chris Riddell, Lionel Shriver and many more. A fascinating, funny and moving must-read for anyone who wants to understand the times we live in, our relationship with the continent, and ourselves. INCLUDES PIECES BY: Yasmin Alibhai-Brown, Sanjeev Bhaskar, Tom Bradby, Jessie Burton, Ben Collins (aka The Stig), Colonel Tim Collins, Robert Crampton, Adam Dant, Alain de Botton, Kate Eberlen, Matt Frei, Nicci French, Simon Garfield, Former Prime Minister Jim Hacker (Jonathan Lynn), Matt Haig, Richard Herring, Jennifer Higgie, Afua Hirsch, Owen Jones, Oliver Kamm, Alex Kapranos, Mark Kermode, Hari Kunzru, Olivia Laing, Marie Le Conte, Amy Liptrot, Robert Macfarlane, Henry Marsh, Val McDermid, Ian McEwan, Hollie McNish, Kate Mosse, Jenni Murray, Sarah Perry, Ian Rankin, Jacob Rees-Mogg, Cathy Rentzenbrink, Chris Riddell, Andrew Roberts, Will Self, David Shrigley, Lionel Shriver, Sunny Singh, Ece Temelkuran, Rob Temple, Bee Wilson, Sara Winman

Cover -- Contents -- Preface -- Abbreviations and Archives -- 1. Women Artists, Expressionist Avant-Garde Culture, and the Public Sphere -- 2. The Canonizing of Paula Modersohn-Becker: Embodying the Subject and the Feminization of Expressionism -- 3. Käthe Kollwitz, the Expressionist Milieu, and the Making of Her Career -- 4. Female Avant-Garde Identity and Creativity in the Blaue Reiter: The Possibility of a "Blaue Reiterreiterin" -- 5. Europeanism and Neutrality as Active Intervention: Gabriele Münter, Sturmkünstlerin, and Swedish Expressionism (1915-20) -- 6. The Gender and Geopolitics of Neutrality: Jacoba van Heemskerck, the Sturm Circle, and Spiritual Abstraction (1913-23) -- 7. The Formation of the Modern Woman Patron, Collector, and Dealer: From Brücke to Second-Generation Expressionism -- Epilogue -- Acknowledgments -- Notes -- Index -- Photo Credits.

From Herbert Agar's book, Land of the Free, this print presents a view into the agrarian lifestyle of American farmers in the early-1900s. During this time, Americans were dealing with the aftermath of World War I and during the Great Depression. In order to combat the economic crisis at the time, President Roosevelt authorized the New Deal, a series of programs enacted between 1933 and 1938. As part of this deal, the Public Works of Art Project (PWAP) was created to employ artists and promote nationalism among classes. Artists were hired to incorporate aspects of the "American scene" into their works. These were featured in various locations, including the White House and House of Representatives. This print showcases the agricultural struggle of the time. Full economic recovery relied upon the recovery of agriculture, but raising farm prices only meant higher food prices and a lower appeal to farming. Additionally, farmers faced a continual cycle of debt brought upon by the need to obtain modern farming machinery in order to mass produce crops for the increasing population. Still, some farmers were less affected by the consequences of war and modernity and continued to live simple lives. Contrasting his other works showcasing cityscapes, industrialism, and architecture, Agar's print displays a rural landscape with no substantial modernization. Much like the other prints in the book, the monochromatic color evokes a nostalgic feeling through the scene. Various farmers are depicted working the land in hand-spun clothing and with rudimentary tools. The background depicts an uneven, rough terrain with farm houses blending into the hills. Although man has the upper hand over nature, they are seen working together in unison to provide for one another. Contrasting, their city counterparts, the farmers do not show the need for more industrialization. Farming was a proud occupation, showcasing people's love for the land with this simple form of patriotism. Similar to that on Agar's city print, a haunting feeling lingers due to the lack of expression in the piece. The simplistic design and absence of details makes the print less about this one particular farm and more about the unification between farmers to preserve the symbolic American pastoral landscape. Additionally, the farmers seem too occupied with their work; unnerved and unaware of the forthcoming industrialization bound to seep its way into the countryside. Their minimally disrupted landscape about to torn apart. —Luisa Estrada, 2019 Postcard of illustration from Herbert Agar's thirty-two paged book "Land of the Free." This book was published by Houghton Mifflin Co. The original painting is owned by the United States Government. Farmers work the land in a hilly, almost surrealist distortion of typical American scenery. Description under the illustration reads, "PWA artists interpret the American scene. Through the courtesy of the Public Works of Art Project, the above painting, owned by the United States Government, is reproduced from among the thirty-two pages of illustratons for 'Land of the Free' by Herbet Agar. (Houghton Mifflin Co.)". ; https://digital.kenyon.edu/arthistorystudycollection/1112/thumbnail.jpg

The autonomy of artistic field is expressed in the degree to which the artist obeys the laws of action and changes in the field of power and social space. The work of a painter can be directly influenced by other actors in the artistic field, therefore, the opinion of other painters is analysed and compared to their own position in the art space. The purpose of this article is to determine the viewpoint from which a painter sees the Latvian artistic field and himself/herself therein. The study is based on 28 author's interviews with Latvian painters. The article considers whether painters regard the artistic field as separated from the social space and whether they feel themselves and their colleagues as equal players. The research indicates that the autonomy of the artistic field is not possible. Painters are equal players with other actors in the artistic field.

Dieses Buch präsentiert einen ganzheitlichen Ansatz, um Künstler zu selektierenund identitätsorientiert ("organisch") aufzubauen. Es geht in der Selektion auf musikalische, persönliche und wirtschaftliche Aspekte ein und bereitet ein fünfdimensionales Modell zum anschließenden Artist Development auf. Im Kern steht der Aufbau einer langfristigen, erfolgreichen Karriere des Künstlers. Zur Entwicklung dieses Modells wurden Interviews mit ausgewählten, etablierten Künstlern und Managern sowie leidenschaftlichen Fans geführt. Außerdem wurden viele Erkenntnisse aus zahlreichen wissenschaftlichen Arbeiten, Fachbüchern und weiterer relevanter Branchenliteratur gezogen. Dieses Buch richtet sich an alle Künstler und Künstlerinnen, Musikmanager und -managerinnen sowie allen Personen, die sich für Musikverwertung und die musikwirtschaftliche Praxis interessieren. Es basiert auf der Dissertation von Dr. Johannes Ripken, der seit mehreren Jahren in der Musikbranche und als freier Dozent tätig ist.

This book examines the artistic policies of the Italian Communist Party (PCI) during the early post-war years (1944-1951), after the defeat of Fascism in Europe and the outbreak of the Cold War. It brings together theoretical debates on artists' political engagement and an extensive critical apparatus, providing the reader with an historical framework for wider reflections on the relationship between art and politics. After 1944, the PCI became the biggest Communist organisation in the West, placing Italy in an ambiguous position regarding the other European countries. Nevertheless, the immedi

Abstract
This article explores the notion of 'place', extending its scope to include the ocean, history and diaspora, in relation to six contemporary Māori and Pacific artists who were involved in the Pacifique(S) Contemporain exhibitions in Normandy, France in 2015. Structured into three sections, it addresses the three curatorial thematics that provided the overarching frame for the exhibitions. 'The ocean is a place' focuses on Angela Tiatia and Rachael Rakena, and acknowledges the importance of Epeli Hau'ofa's writing in relation to the ocean and Oceania as a crucial marker of identity both within its geographic location and beyond. 'History is a place' considers moving image installations by Michel Tuffery and Greg Semu, in particular referencing how they rework and reimagine colonial and art historical representations and conventions. 'Diaspora is a place' compares the photographic practices of Ane Tonga and Edith Amituanai, whose work reflects on and captures the dynamics that emerge as Pacific communities draw on and adapt cultural traditions, and negotiate relationships mediated by their migration and diaspora experiences.

Artists of all genres express their emotions through their creations and market their works online. We argue that in marketing their work online, it is important to understand not only the emotional responses of the artistic works themselves but also that the sentiment evoked on their websites matters. Developing the correct website sentiment can have favorable consequences. It can increase the interest of potential consumers, assure that appropriate expectations are set for the actual consumption experience, and lead to increased sales and word of mouth marketing. Online sentiment that is ill‐aligned to the emotions the actual offering evokes can have adverse consequences, including disappointment with the actual offering and buyer's remorse. To better understand the online sentiment of artists' websites, we begin by briefly revisiting the interplay between art, emotions, and the issue of online "sentiment." Then, we describe a study of a sample of artists' websites that had the objective of gauging both the nature of and the extent of the emotions present in its text, as well as gaining an indication of the sentiment of the website. We describe the use of a relatively new content analysis tool to do this. Following this, we explore the data gathered, with the specific purpose of determining whether the emptions expressed on artists' websites can significantly predict sentiment, if so, which emotions tend to be the strongest predictors. We conclude by discussing some managerial implications of the results and by identifying avenues for future research.

British awareness of Russia and of its cultural heritage was greatly increased in the last decades of the nineteenth century and the first decades of the next. Many of the leading lights in English literary and artistic circles register in their correspondence and diaries and, indeed, at times also in their creative work their encounters with Russian culture and with many of its contemporary exponents who visited England during these years. This article is devoted to the impact made by the artist Boris Anrep, famed above all for his mosaics in the National Gallery. The first part of the study charts Anrep's biography in some detail and the impact he made on the Bloomsbury and Garsington sets in particular. The second part examines the relationship between Anrep and the great Russian poet Anna Akhmatova and the corpus of poems inspired by Anrep. In the extensive final section, the real-life encounters between Anrep and Aldous Huxley at Garsington form a prelude to a detailed analysis of Huxley's first novel Crome Yellow, in which Anrep provided the prototype for the painter Gombauld.

Résumé À partir d'une recherche sur un programme d'éducation artistique dans des écoles préélémentaires de la ville de Lyon, cet article montre comment ce contexte singulier produit un déploiement du travail artistique au-delà des seules dimensions technique et créative. Le travail ethnographique, en suivant les déplacements du travail de l'artiste, offre des données spécifiques permettant de contribuer à la redéfinition du travail artistique. L'analyse des identités professionnelles et des compétences multiples qui s'y rattachent révèle les enjeux d'une tension entre travail artistique, travail pédagogique et tout ce que la logique de « projet » transporte avec elle. Cette réalité ouvre une réflexion sur la question du métier que constituerait le fait d'être « artiste en école préélémentaire », et sur la place de l'art et des arts dans les processus de transmission et d'apprentissage. Mais elle met aussi au jour les incertitudes, oscillations, brouillages et combinaisons singulières qui caractérisent le travail au quotidien et, plus largement, le rapport au travail artistique lui-même.