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Search Results: 1 - 10 of 5204 matches for " modern and contemporary art "
All listed articles are free for downloading (OA Articles)
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Mixing it Up at "Africa Remix: Contemporary Art of Africa"
Ceri Ashley
Papers from the Institute of Archaeology , 2005, DOI: 10.5334/pia.240
Abstract:
O mercado de galerias e o comércio de arte moderna: S?o Paulo e Rio de Janeiro nos anos 1950-1960
Bueno, Maria Lúcia;
Sociedade e Estado , 2005, DOI: 10.1590/S0102-69922005000200006
Abstract: in brazil, the 1950's from the nationalism of vargas to the developmentism of jk, passing through the definitive implantation of a modernized urban society. tuned with the atmosphere, a generation is born, impregnated with a new habit of consumption. in this universe, the basis for the first structure of art market in the country was created in the cities of s?o paulo and rio de janeiro, having as conductores the private galleries of modern and contemporary art.
El cine como realización del fin del arte
Arias,Juan Carlos;
Signo y Pensamiento , 2006,
Abstract: many have asserted that the ideal of art, defended by modernism, has reached its end. the story founded by modern art does not apply any more to certain contemporary practices, something that has led to think that, beyond the necessity of a new story involving art in its diverse manifestations, what has to be acknowledged is the end of narratives as stories and the incapacity to produce a new narrative to replace the modern scheme to include one legitimating the shape of art pieces produced today. this new purpose of narratives is the one we can understand, following arthur danto, as the 'purpose of art', a concept that designates the moving from modern art to contemporary art. the goal of this essay is to understand the place occupied by the cinema within this transition - actually more a conceptual than a chronological transition- analyzing the notions of purity and impurity of art.
Da fotografia como arte à arte como fotografia: a experiência do Museu de Arte Contemporanea da USP na década de 1970
Costa, Helouise;
Anais do Museu Paulista: História e Cultura Material , 2008, DOI: 10.1590/S0101-47142008000200005
Abstract: this article presents the first findings of a research still under development about the process of legitimation of photography as a kind of art by the artistic scene in brazil. the art museums of the city of s?o paulo were chosen for starting that research. initially, we will be investigating the presence of photography at the contemporary art museum of s?o paulo and at the biennial of s?o paulo, as the origin of the contemporary art museum is tided to those two institutions. following, the arrangement of the photographic technical reserve of the contemporary art museum in the 1970s will be analyzed. this study will be focusing on the work of walter zanini, as the first director of the museum, and on the particularities of mac-usp position in the art system in brazil which resulted in the understanding of photography as belonging to the sphere of contemporary art in an experimental way and not as an autonomous work of art, according to the principals of the so called artistic photography.
Religious Dimensions of Classical and Contemporary Islamic Art  [PDF]
Maha A. Al- Senan
Art and Design Review (ADR) , 2015, DOI: 10.4236/adr.2015.32006
Abstract: This paper focuses on the work of Egyptian Islamic contemporary artist Ehab Mamdouh who grew up in Saudi Arabia, then moved to Cairo, where he was exposed to religious, historical concepts and art forms, then came back to work in Saudi Arabia to observe the societal struggle raging between traditional and emergent concepts, and the influence of Islam and ideology thereon. The artist conveys a fundamental tenet of Islam, embodied by the five daily calls to prayer, replete with attributes borrowed from classical Islamic art but infused with the contemporaneity of modern art—all in the context of contemporary Islamic art. In Moqeem, Mamdouh replaces the abstract geometric elements of classical Islamic art with an abstract portrayal of the praying worshipper. Mamdouh’s artistic style merges the Islamic milieu of the artist’s upbringing in Saudi Arabia and Egypt with his deep knowledge of the region’s history and architectural heritage. Moqeem is a “veiled” extension of Islamic art, in accordance with the standards by which the latter was classified in the past, yet it is shaped by the cultural development of our society and by the intellectual growth that the artist experienced on an individual level. Through this work, Mamdouh incites us to think and wonder—the true mark of a successful visual artist today.
Exercícios de conten o, satura o e reitera o: algumas aproxima es entre Bruce Nauman e Samuel Beckett Exercises of restraint, saturation, and suppression: some approximations between Bruce Nauman and Samuel Beckett
Liliane Benetti
ARS (S?o Paulo) , 2011, DOI: 10.1590/s1678-53202011000200011
Abstract: Partindo de Slow Angle Walk (Beckett Walk) [Caminhada angular lenta (Caminhada Beckett)], de 1968, um dos primeiros vídeos filmados por Bruce Nauman em seu ateliê, este ensaio busca examinar possíveis convergências formais e temáticas entre alguns de seus trabalhos e a obra de Samuel Beckett, especialmente o emprego da repeti o, da redu o e da conten o como procedimentos fundamentais para se atingir uma espécie de satura o da experiência que conduz ao esgotamento por meio da recombina o exaustiva de poucos elementos. Departing from some aspects suggested by Slow Angle Walk (Beckett Walk), 1968, one of Bruce Nauman's first videos shot in his atelier, this essay aims at examining some formal and thematic convergences between Nauman's procedures in a motley universe of works and in Samuel Beckett's pieces, particularly the use of repetition, suppression and restraint as fundamental mechanisms to promote some sort of saturation of experience, leading to depletion, by means of an exhaustive recombination of a few elements.
Graphics Communication an Appraisal of an Art of Learning in Contemporary Nigerian Education  [PDF]
Emmanuel Bankole Oladumiyte
Art and Design Review (ADR) , 2014, DOI: 10.4236/adr.2014.23005
Abstract: The concept of communication graphics is characterized by the technology that is infused with inormation and communication technology which cover any product that stores, retrieves, mani- pulates, transmits or receive information that helps in disseminating knowledge through graphic device visuals. That generates interest which is the key note to instruction, motivation, stimulation and ultimate finding relevance through the provision of changing experiences in knowledge disseminating. It is a genetic term that incorporates many professional fields of wide spectrum which ranges from product designs that communicate with various forms of electronic gadgets and tools from the information and communication technology sector such as project computer, television channels and other emerging media that allows organization to share information in learning process. The study highlights the historical background of graphic communication and the appraisal of graphic design communication in contemporary Nigeria. It discusses the role that communication plays in Nigerian contemporary education. It goes further to discuss the issues in graphic communication as regards to art of learning and finally concludes with the efficacy of graphic communication in contemporary Nigerian education.
In the Age of Schizophrenia, Icebergs, and Things that Grip the Mind
Sue Hajdu
PORTAL : Journal of Multidisciplinary International Studies , 2008,
Abstract: Encountering Saigon in the early 1990s, I was confronted with an unfamiliar concept of time in photography. I am not talking about moments, the tripping of shutters, the splattering of light onto a frame of film. No, I am referring to historical time. Time as epochs. Time that lingered thick and dense like heavy wedges or chunks that could barely be budged.
Complutense Art Centre – A new space for the heritage and the contemporary art in the Complutense University of Madrid
Alejandra Gómez Martín
University Museums and Collections Journal , 2012,
Abstract: Complutense Art Centre (c art c) is located in the centre of the University City. In 2009, it began with a new room of temporary exhibitions approximately 400qm for showing contemporary artists and the heritage of the university. In a second phase, 700qm will be adapted in a permanent exhibition space. The aim is to show a selection of the most emblematic works of our heritage.
Between Humans and Other Things: Conservation as Material Fabric in Contemporary Art
Cecilie Gravesen
Journal of Conservation and Museum Studies , 2012, DOI: 10.5334/jcms.1011201
Abstract: The text considers the role of the artist observer in scientific research, by using examples from the author's recent artwork in which conservation constitutes the material fabric. Gravesen employs an anthropological view on the museum conservator grappling with objects that are considered to be imbued with a spirit, and views the schism between a scientific approach and a transcendental belief system as emblematic for the bigger question as to how we currently deal with the legacy of colonialism on western ground. The author subscribes to a view of 'spirited' objects as imbedded agents in the ethnographic museum, enabling change on a social and cultural level, and suggests artistic license as a facilitator for an understanding of the living presence of objects that is beyond the idea of metaphor or representation.
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