Art abstrait et Art figuratif
In: Bulletin de la Classe des Beaux-Arts, Band 42, Heft 1, S. 50-69
In: Bulletin de la Classe des Beaux-Arts, Band 42, Heft 1, S. 50-69
In: Overseas Korean Cultural Heritage 4
In: World of art
Body art, practiced across the world cultures and throughout history, is the most intimate art form, linking the self, the senses, and the social and political. In recent years, it has proliferated in an unprecedented way, borrowing motifs and practices from many different traditions. Explore their role in expressing personal and cultural identity; their longstanding associations with ritual, theatricality, criminality and beauty; and their recent resurgence via the Modern Primitabe movement and the work of contemporary artists such as Marc Quinn and Rebecca Belmore. The diversity of body arts is chronicled here: from Australian and African traditions of painting and scarification to Chinese footbinding, Russian prison tattoos, Harlem drag balls and the inked designs worn by celebrities such as Tupac Shakur and David Beckham
In: Kunst und Gesellschaft
In: The European legacy: the official journal of the International Society for the Study of European Ideas (ISSEI), Band 20, Heft 7, S. 790-791
ISSN: 1470-1316
In: Walden , J (ed.) 2013 , Art and destruction . Cambridge Scholars Publishing , Newcastle upon Tyne .
The connection between art and destruction has occurred in various ways throughout art's history. Most familiarly art is the focus of destruction by acts of iconoclasm insofar as art is the vehicle for religious imagery. As familiar is the destruction of art by oppressive regimes concerned with the aesthetic and intellectual freedom certain works may continue to symbolise. Alternatively of course, destruction may take place via interventions by art's public fighting a political or personal cause or, for the sake of the dismantling of 'the old order' symbolic works or edifices may be destroyed by revolutionary groups. There is also a more intimate history of unexplained defacing or acts of destroying of art works, whether in museums or public places, often referred to as 'art vandalism'. As pertinent are art actions and art movements whose raison d'etre is 'destruction'. This has taken various forms from large themed and ambitious auto destructive art movements to intricate counterpoints to the making of art, which involve the literal breaking with the tradition by breaking the made object. Modernity itself has been characterised as the 'destruction' of tradition. Thus far historically art and destruction, as well as creation, have never been far away from each other. This has been the inspiration for this collection of essays across the practice and theory of art and destruction
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This article examines Cicero's concept of the artes liberales within his larger vision for education. Starting with the codification of a curriculum in the work of Martianus Capella, it explores the reception of Cicero's works in the early development of the canon before turning back to the contexts of Cicero's original thinking on the subjects. In particular, it illustrates how Cicero sought to broaden the curriculum and make the artes relevant for life in first-century BC Rome, combining traditional Greek learning with innovative topics on modern history and political science. In so doing I suggest some of the ways in which Cicero's arguments on the value of a broad education still echo in our ideas of the Liberal Arts today before ending with some reflections on the political context in which they were produced. ; Cet article examine le concept des artes liberales de Cicéron dans le cadre de sa vision plus large de l'éducation. En commençant par la codification d'un programme d'études dans l'œuvre de Martianus Capella, il explore la réception des œuvres de Cicéron dans les premiers temps du développement du canon avant de revenir aux contextes de sa pensée originale sur ces sujets. En particulier, il illustre la manière dont Cicéron a cherché à élargir le programme et à rendre les artes pertinents pour la vie dans la Rome du Ier siècle avant J.-C., en combinant l'apprentissage traditionnel du grec avec des sujets innovants sur l'histoire moderne et les sciences politiques. Ce faisant, je suggère certaines façons dont les arguments de Cicéron sur la valeur d'une éducation large font encore écho dans nos idées sur les arts libéraux aujourd'hui, avant de terminer par quelques réflexions sur le contexte politique dans lequel ces artes ont été produits. ; Il presente articolo esamina il concetto ciceroniano di artes liberales nel più ampio contesto del suo progetto educativo. Prendendo le mosse dalla codificazione di un vero e proprio curriculum nell'opera di Marziano Capella, il lavoro indaga la ricezione delle opere di Cicerone nel primo sviluppo del canone, per poi tornare ai contesti originali del pensiero ciceroniano sulle discipline. In particolare, il lavoro illustra in che modo Cicerone abbia cercato di ampliare il curriculum e di rendere le artes rilevanti per la vita quotidiana nella Roma del I sec. a.C., intrecciando il tradizionale apprendimento del greco con argomenti innovativi relativi alla storia e alla politica contemporanee. Seguendo questa traccia, l'autrice avanza alcune ipotesi sui modi in cui gli argomenti di Cicerone a favore di un programma educativo ampio possano essere ravvisati nell'idea di arti liberali che abbiamo ancora oggi, concludendo con qualche riflessione sul contesto politico da cui tali artes emersero.
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In: International journal of contemporary Iraqi studies, Band 3, Heft 3, S. 259-275
ISSN: 1751-2875
The impact of the artistic heritage of Iraq visible in monuments and in museums and art education in modern Iraq run by Iraqi and foreign artists in the 1940s and 1950s produced a solid foundation of distinguished Iraqi art that combined modern vision with national imprint. As the political
and social situation in Iraq was no more hospitable, particularly through the years of embargo that prevented artists from the basic tools of their art, many young artists left Iraq to neighbouring countries or farther away to pursue their vocation. The author of this article gives examples
of the new wave of Iraqi artists living abroad who continue to present Iraqi concerns and distinctiveness while adding new dimension drawn from their surroundings. The eight artists continue the trajectory of Iraqi art that was initiated by the pioneers.
PrefaceIntroduction: The Art in ArtefactsPart I: Western Perspectives Chapter 1 - The Origins of ArtChapter 2 - Classical ArtChapter 3 - Oriental ArtChapter 4 - Primitive ArtChapter 5 - Prehistoric ArtPart II: Cross-cultural PerspectivesChapter 6 - FormChapter 7 - MeaningChapter 8 - PerformanceChapter 9 - ArchaeologyChapter 10 - The Work of ArtPart III: Artistic Globalisation Chapter 11 - The Art WorldChapter 12 - The Exotic PrimitiveChapter 13 - Marketing Exotic ArtChapter 14 - Artistic ColonialismChapter 15 - The Global and the LocalAfterwordReferencesIndex
In: Documents: revue du dialogue franco-allemand, Heft 1, S. 23-34
ISSN: 0151-0827
World Affairs Online
Art=Text=Art: Works by Contemporary Artists Wednesday, August 17 to Sunday, October 16, 2011Joel and Lila Harnett Museum of Art On view in the Harnett Museum of Art, University of Richmond Museums, from August 17 to October 16, 2011, Art=Text=Art: Works by Contemporary Artists features 72 works created between 1960 and 2011, that include text or reference textual elements. Many of the works reflect developments in modern and contemporary art and critical theory, and relate to concurrent politics, history, and philosophy. Among the more than 40 artists included in the exhibition are Alice Aycock, Trisha Brown, Dan Flavin, Jane Hammond, Jasper Johns, Sol LeWitt, Ed Ruscha, Karen Schiff, Cy Twombly, John Waters, and Lawrence Weiner. Art=Text=Art was organized by the University of Richmond Museums and curated by N. Elizabeth Schlatter, Deputy Director and Curator of Exhibitions, University Museums, with Rachel Nackman, Curator of the Kramarsky Collection, New York. The exhibition and programs were made possible in part by the University of Richmond's Cultural Affairs Committee, and funds from the Louis S. Booth Arts Fund. The exhibition is accompanied by an online catalogue featuring images of all of the works in the exhibition, an essay by N. Elizabeth Schlatter, and entries contributed by University of Richmond alumni and students among other artists, writers, curators, and critics. It is free and accessible at www.artequalstext.com. Read the essay by N. Elizabeth Schlatter by choosing the download button. ; https://scholarship.richmond.edu/exhibition-catalogs/1001/thumbnail.jpg
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"A dazzlingly original reassessment of women's stories, bodies and art, and how we think about them. For decades, feminist artists have confronted the problem of how to tell the truth about their experiences as bodies. Queer bodies, sick bodies, racialised bodies, female bodies, what is their language, what are the materials we need to transcribe it? Exploring the ways in which feminist artists have taken up this challenge, Art Monsters is a landmark intervention in how we think about art and the body, calling attention to a radical heritage of feminist work that not only reacts against patriarchy but redefines its own aesthetic aims. Writing in the tradition of Susan Sontag, Hel ne Cixous and Maggie Nelson, Lauren Elkin demonstrates her power as a cultural critic, weaving daring links between disparate artists and writers, from Julia Margaret Cameron's photography to Kara Walker's silhouettes, Vanessa Bell's portraits to Eva Hesse's rope sculptures, Carolee Schneemann's body art to Theresa Hak Kyung Cha's trilingual masterpiece DICTEE, and shows that their work offers a potent celebration of beauty and excess, sentiment and touch, the personal and the political"--Publisher's description
Art as a social action in the public space is becoming more popular in various forms, especially in the digital space, and especially after the recent events that have had an effect on the whole world. However, theatre as art is changing its forms of accessibility not only due to global events but also due to the changing society from various aspects, i.e., psychological, social, economic, political, etc. The article provides a comparative analysis of the concepts of social art actions and performance art, presents the features of social art actions organisation in performance art organisations in Lithuania and abroad, determines the impact of social art action on human health from the psychosocial and spiritual point of view as well as in a community; it also provides a discussion of similarities and differences of performance as not only theatre but also performance art and social art, social art actions as performance art. Moreover, the article analyses how performance is compared to social art performance, how spectator and participant audiences manifest, what inclusion of performance art as a social art action into human spiritual-psychological space provides. The article provides an analysis of how performance art cooperates with performance art organisations.
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