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61.
Yulia Karpova 《European Review of History》2013,20(4):627-647
This article investigates the background of Soviet industrial design in Soviet art theory. Instead of considering design's interconnection with technology and science, or with consumption and everyday life, the author traces its conceptualisation as a new artistic phenomenon. Using archival records of professional discussions, polemical articles in the art press and design projects, the author looks at how industrial design was incorporated into the Soviet order of things. She concludes that accommodation of the Western model was the way to reform the system of socialism from inside, typical for the Soviet intelligentsia of the 1960s. 相似文献
62.
Jennifer Harris 《International Journal of Heritage Studies》2013,19(3):214-229
There is extensive commentary on the role of unauthorised art, but little on the coincidence of heritage value and guerilla art. This paper analyses the relationship of the two in a 2007 statue which is a monument to a lost place for which there is no surviving historic fabric. The statue functions not just as a place of memory, but of guerilla art; a complex interplay has emerged between an official piece of government art and unsanctioned community performance. Growing heritage emphasis on social value over the previous dominance of original fabric suggests that the delight with which the statue has been greeted illuminates evolving heritage philosophy, monument language and the emergence of the importance of the heritage community especially for its potential performance value at a site. The dramatic contribution that the statue has made to the city has an impact on the fields of landscaping, planning, history and heritage. 相似文献
63.
Thymio Papayannis 《International Journal of Heritage Studies》2013,19(5):475-477
Tate Britain’s 2011 poster campaign boldly states ‘This is Britain’ and reproduces two works from the collection, one historic, one modern or contemporary, with a strip of Union Jack flag at the bottom. The design suggests a sense of coherence in the collection and in British art in general. This article questions the purpose of this supposed coherence, by questioning its art historical basis, and focusing on its consequences for the reception and perception of historic, modern and contemporary British art amongst Tate’s audience, both within and without the gallery space. The ideas presented draw on press commentary, visitor statistics and museum advertising practice and look at three points in Tate’s history: the Millbank gallery’s 1897 opening, the 2000 rebrand as Tate Britain and the current moment of this poster campaign. This article will argue that the transhistorical juxtapositions seen in these posters are a central tenet of how Tate builds its own identity and that of British art, and that these posters are used as a satellite exhibition space, but with a curatorial approach other to that of the gallery itself, so that the collection is displayed to attract the maximum potential audience. 相似文献
64.
AbstractThis paper addresses questions of women’s visibility in constructed histories, as well as levels of recognition concerning their participation in politics through historical narratives. In particular, historical narratives representing women in protest in the context of waterfront heritage zones associated with the shipbuilding industry are examined, based on examples of two public art projects: Strong Women of the Clydeside: Protests and Suffragettes from Govan’s Hidden Histories led by the artist t s Beall in the Govan area of Glasgow, Scotland and Shipyard is a Woman by Arteria Association and Metropolitanka in Gdansk, Poland. 相似文献
65.
Anthony Smith 《Nations & Nationalism》2013,19(1):87-106
From the late eighteenth century onwards, increasing numbers of visual artists came to identify with their nations and with the homeland and its people. This development was strongly influenced by growing national cultural support and regulation of the arts by academies, art schools, museums and art markets in Western Europe. On a subjective level, the Rousseauan movement of a ‘return to Nature’, Herder's espousal of vernacular cultural self‐expression and, above all, the widespread Romantic cult of authenticity, were potent influences on the inner self‐identification of visual artists after 1800, and were manifested in the novel importance accorded to landscape and rural genre painting in Western Europe. Here I consider the role of national sentiment, the ‘return to Nature’ and the cult of authenticity, first in landscape paintings by Paul Sandby, J. M. W. Turner and John Constable in early nineteenth‐century Britain, and then in the rural genre paintings of Jean‐Francois Millet and Jules Breton in nineteenth‐century France and Josef Israels, Anton Mauve and Vincent Van Gogh in the later nineteenth‐century Netherlands. Their work reveals how nineteenth‐century visual artists became inwardly identified with the ‘land and its people’, and how they in turn contributed, especially through prints and engravings, to the dissemination of national imagery and a cultural nationalism. 相似文献
66.
Jürgen Lawrenz 《European Legacy》2018,23(6):658-673
Arthur Danto’s Transfiguration of the Commonplace is a new theory of art, seeking to catch the flavour and essence of its contemporary phenomenology. It is obliged, however, to pit itself in toto against aesthetic philosophy, leaning on the derivatives from deuteropraxis and institutional definition while committing itself to a concept of arthood extracted from exoteric ideas, which are held to comprise the artworks’ individuation and identity. This paper examines the principal notions in support of his contentions and contrasts them to the chief principles of aesthetic philosophy. In this juxtaposition, it transpires that conviction eludes Danto, as his suppression of aesthetic criteria yields unsuspected aporias from a disconjugate amalgam of inherence, ontology, epistemology and concept integration. Thus the leap from “mere real things” to the plateau of arthood is never accomplished, as it falters at the step where a perceiving subject has a stake in, and the power of authorisation, of this conception of art. 相似文献
67.
Luis Abel Orquera 《Journal of World Prehistory》1987,1(4):333-413
Archaeological data reveal two distinctive cultural adaptations on the Pampa and Patagonia of Argentina: terrestrial hunter-gatherers in the former and most of the latter region and maritime hunter-gatherers along the southern extreme. Both adaptations were achieved by the end of the fifth millennium B.C. Thereafter, a stable equilibrium was maintained, with a slow drift toward greater emphasis on resources providing the maximum return for the least effort. The high productivity of the Fuegian environment sustained a population 30 times greater than occupied the Pampa and continental Patagonia prior to Araucanian penetration in the sixteenth century A.D. The long-term stability is attributable to the absence of environmental or demographic pressures or encroachments by neighboring groups, which might have made more intensive exploitation of the environment necessary. 相似文献
68.
南朝法华经普门品变相——论刘宋元嘉二年铭石刻画像的内容 总被引:1,自引:0,他引:1
自东晋至南朝,观音信仰已普及民间,名称由光世音转变为观世音,刘宋元嘉二年铭石刻画像正值过渡期,其内容所示,南朝佛教不仅具有贵族佛教的性格,而且已存在于极为平民化的信仰基础之上。 相似文献
69.
70.
Stephen Bann 《Interdisciplinary science reviews : ISR》2017,42(1-2):54-65
ABSTRACTMy book, Experimental Painting (1970), was the product of a decade of coming to terms with the history of modern art and with contemporary manifestations of the avantgarde. While at Cambridge from 1960 to 1967, I published art criticism, initially in locally published magazines, and then went on to review art exhibitions both nationally and internationally. This led to being co-editor of Form, which produced further opportunities. The term ‘experimental’ that I adopted in 1970 was intended to suggest the paradigm of scientific discovery which suited some, if not all, of the artists I studied. This article considers concepts directly imported from contemporary scientific enquiry that seemed relevant to me at the time, notably those from experimental psychology, psychoanalysis and structural linguistics. I relate them to the character of intellectual life at Cambridge in a period which saw much debate about the relationship between Sciences and Humanities as ‘Two Cultures’. 相似文献