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The article contains the conceptual vision of socialist realism as one of the key characteristics of art, transformed in the postmodern cultural era. Social realism is a cultural manifestation of the historical development of Soviet republics, including the Ukrainian SSR. The essence of socialist realism is seen as a manifestation of ideology in the Soviet conditions. Besides, the article considers the phenomenon in the context of postmodernism, relying on the findings of various scholars, and describes the interaction between postmodernism and socialist realism. Despite the general view that postmodernism (literally "coming after modernism") emerged in the United States and Western Europe in the 1960s-1970s, there could be another way this movement evolved in fine art and architecture. The fact that the artists from the post-Soviet space managed to adapt to the global cultural field of postmodernism so swiftly proves that the totalitarian system failed to eliminate the plurality of opinions. A post-Soviet variant of postmodernism was largely defined by the influence of socialist realism. The recently proclaimed era of post-truth that allegedly started after the new millennium produced fascinating political and artistic experiments in the post-Soviet space. Hence, it would be logical to assume that some previously developed mechanisms were activated there. Post-truth as an instrument of politics in that sense resonates with the socialist realism used as an instrument of class struggle. Research methods include description, synthesis and analysis.

You've read about Jack Welch, Lou Gerstner and Steve Jobs - but what can you learn about business from van Gogh and Picasso? The Fine Art of Success shows why you should look to pop-stars like Madonna or artists like Damian Hirst for guidance on innovation, competitive advantage, leadership, and a host of other business issues. Managers, marketing professionals, and students will see how these creative artists can help their organizations. Chapters include Madonna - Strategy at the dance floor; Damian Hirst - The shark is dead/How to build yourself a new market; Beuys - Understanding creativit.

AbstractThis article discusses the emergence of Budapest as an art center as an integral part of the greater project of the making of the Hungarian capital after the Compromise of 1867. In the political setup of the Dual Monarchy, major cultural institutions were founded and a distinct urban culture, centered around cafés, was born in Budapest. It was there that actual or potential patrons, as well as receptive audiences, of the arts were to be found, which in turn led the city to also become a magnet for artists. "Artists' tables," subject to great public attention and the source of coffeehouses' reputations, became sites of casual networking and the cultivation of personal relationships between artists, patrons, and various mediators in the arts.

"Australian governments at all levels have been engaged with arts and culture in many different forms since the beginning of European settlement. The way this has occurred is documented and analysed here, both from an historical and critical perspective. Changing understandings of culture and the significance of Indigenous Culture to Australia receive special attention. While the focus is primarily directed to Federal Government engagement, there is also consideration paid to both state and local government involvement. There is attention paid to the censorship of arts practice by governments as well as the direct interventions by politicians in arts practice. Different approaches to the arts by governments are also considered, as well as the development of a cultural policy. The impact of the recent pandemic is addressed and various research reports about the arts sector and its relationship with government are also noted. There is then a final discussion about some issues that governments could address in the future, that might ensure a more sustainable Australian arts sector. This book will be of particular interest to scholars of contemporary arts, arts management, cultural history, public policy and cultural policy"--

In 1988, the El Paso, Texas, city council accepted a proposal to build twelve statues of historically important individuals as part of a downtown revitalization initiative. Juan de Oñate was selected as the centerpiece statue of the XII Travelers Memorial of the Southwest. The decision to honor the Spanish colonizer triggered a local controversy about the nature and function of public art in shaping community identity. Nonetheless, in hopes of boosting tourism, city leaders funded construction of the statue and it was installed in 2006. Using the concepts of hegemony and fantasy heritage to analyze the debate, we argue that the Oñate statue promotes the Hispanic framing of the city's history at the expense of its Mexican past and continues the historic exclusion of Chicanos from public space.

The Czech Group of Fine Artists published their journal, Umělecký měsíčník (Art Monthly, 1911-1914) to justify their abstraction and their interest in French cubism in response to criticism that denigrated their work as incomprehensible and foreign. In this article, Naomi Hume argues that the Group's strategy was fundamentally at odds with how avantgardes have been understood to operate in scholarship on modernism. Rather than asserting a break with the past, the Group applied new Viennese art historical approaches—particularly those of Alois Riegl, Max Dvořák, and Vincenc Kramář—to draw parallels between their work and prior art objects that departed from mimesis. They equated their radical style with what Riegl called anachronisms in art's development, moments when an independent will to form emerges from the mainstream. By bringing French cubist ideas into dialogue with the inherent spirituality of their own national tradition, the Group saw themselves as reinvigorating Czech art.