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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

"Brings together historians, philosophers, critics, postcolonial theorists, and curators to ask how contemporary global art is conceptualized. Issues discussed include globalism and globalization, internationalism and nationality, empire and capitalism"--Provided by publisher

Art is some sort of social fight. ln that battle we express sadisfaction, aggress,on, desıres. gracefullness, power, chinizam and fear. Every aspect ot these matters depends on specific social contexts. Accordıng to that specific context we can experience art like some sort of amusement or some sort of politic act, what is more value in thal case, art like a modern aphrodisiac for our hidden pleasures or the eternal urge tor searching the truth beyond reality? ldeology is the heart of every art and without it, art would be just a shady form of cheap aesthetic lor hordes ot people For young people that are willing to be new gladiators in art world, stands a thorny path. The Canadian philosopher Marshall Mcluhan predicted the world wide web and it global impact on our society.

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

Intro -- Preface and Acknowledgements -- Table of Contents -- Frequently Cited Material -- Table of Cases -- Table of Legal Instruments -- 1. Introduction -- 1.1. Background and Scope -- 1.2. Copyright and Art -- Suggested Further Reading -- 2. The Copyright System: Justification and History -- 2.1. Introduction -- 2.2. Justifications for Copyright -- 2.3. The History of Copyright -- Suggested Further Reading -- 3. The Modern Law of Copyright -- 3.1. Background -- 3.2. UK Law -- Suggested Further Reading -- 4. Moral Rights and Artist's Resale Right (Droit de Suite) -- 4.1. Moral Rights -- 4.2. Implications of Moral Rights and some UK Cases -- 4.3. Performers' Moral Rights and Performance Works -- 4.4. Moral Rights in the United States -- 4.5. Artist's Resale Right (Droit de Suite) -- Suggested Further Reading -- 5. Art, Technology and the Internet: Copyright, Related Rights and Digitisation -- 5.1. Copyright in Digital and Digitised Works -- 5.2. Copyright, Artificial Intelligence (AI) and Computer-Generated Works -- 5.3. Copying and the Internet -- 5.4. Transmission Right/Communication to the Public Right -- 5.5. Publication Right -- 5.6. Database Right and Art (and Art Market) Databases -- 5.7. Implications of Moral Rights for the Digital Environment89 -- 5.8. Blockchain, Art and Copyright Management -- 5.9. Art, Copyright Legislation and the Digital Future -- Suggested Further Reading -- 6. Some Current Issues -- 6.1. Copyright in Photographs of Public Domain Artistic Works1 -- 6.2. Copyright and Visual Search Engines: Fair Use and Fair Dealing in the Online Environment -- 6.3. Image Sharing, User-Generated Works and Online Artistic Collaboration -- 6.4. Modern and Contemporary Art and Copyright (Including Film, Video and Performances) -- 6.5. Orphan Works -- 6.6. Art, Originality, Infringement and the Development of EU Copyright Law.

Abstract
Straddling the boundaries between art and fashion, a group of young avant guard Australian fashion designers burst onto the scene in the 1970s – 1980s with a blur and blaze of spectacular colours, reflecting the spirit and vibrancy of Australia. Their dazzling brightly coloured one-of-a-kind art clothes captured Australia's exuberance, its vitality and its pioneering spirit; a larrikin kind of quality that is so often inherent in the Australian character. The notion of fashion as art can be attributed to this group of visionaries who explored the broader aesthetics and expressive qualities associated with the visual arts and created a new language of fashion. Rather than following fashion trends, they consciously rejected mainstream norms, and created distinctive Australian art clothes and raised craft to the status of the fine arts. The paper examines the creative work of Australian designers Jenny Kee, Linda Jackson, Katie Pye and Jenny Bannister who created a unique vision of Australian dress that become part of Australian fashion history.

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.

This volume in 'The SAGE Reference Series on Disability' explores the arts and humanities within the lives of people with disabilities. It is one of 8 volumes in the issue-based and cross-disciplinary series, which incorporates links from varied fields making up Disability Studies as volumes examine topics central to the lives of individuals with disabilities and their families