Art Deals Research Articles

From ‘musique concrète’ and Acousmatic Art to the ‘New Music Theater’. The Austrian Composer Dieter Kaufmann

This article follows the way the Austrian composer Dieter Kaufmann has gone with his conceptions taken from musical and extra-musical domains, as literature, visual arts, religion and politics, describing some of his theatrical works. For him the function of music is to improve the society and therefore his works are a critic to politics or to religion. Having studied in Paris by Olivier Messiaen, Pierre Schaeffer, François Bayle and René Leibowitz, he contributed to the development of the electronic music in Austria with his creation and his teaching of electroacoustic composition at the University of Music and Performing Arts in Vienna. He went further than the Parisian ‘musique concrète’, which worked with sound objects, and consciously selected and worked with objects of sound ambient in order to manage the sound environment, to musically shape it. The acousmatic art deals with sound objects, which are recorded and projected in another space, the theatre scene being an ideal space of it. A large part of his works are included in the genre of New Music Theater of the 20th and 21st century, where sound (tone and word) and movement come together, each of them having the same weight. Keywords: musique concrète, sound object, acousmatic art, multimedia, electroacoustic composition

Art dealers as competitors and community builders: Understanding the overlapping social logics of the contemporary art world

AbstractArt dealers are often described as gatekeepers who are focused on their own position as well as the status of their artists and collectors. We argue that this is an incomplete account of art dealing. The goal of this article is to explain how art dealing is a “toolkit” that does not exclusively focus on status building and social capital, but also includes behavior associated with accessing the visual arts field and community development. First, art dealers often have a background that has strong social ties to art, which provides them with intimate knowledge of the art world and social connections with artists, collectors, and other art world actors. For that reason, entry into art dealing reflects intimate knowledge of art practices, what we call “proximate connoisseurship.” Second, art dealerships reflect both competitive and communal factors. Art dealers may choose to work with artists based on their ability to generate income, social capital, and prestige (“competitive logic”), but art dealers may also employ a “communal logic” focused on friendships and creating community. This theory of art dealers is illustrated with excerpts from interviews with 34 dealers randomly selected from the rosters of international art fairs such as Art Basel Miami, EXPO Chicago, Aqua, and the New Art Dealers Alliance show.

Продвижение блога цифрового иллюстратора в социальной сети ВКонтакте

Social networks provide a convenient platform for art dealing and marketing. Many digital illustrators have art blogs where they post and promote their work, which they may also exhibit at traditional offline galleries. The sphere of digital art is highly competitive and open to new effective promotion tools, which makes it a prospective research subject. This study featured an online community of digital artists in the VKontakte social network, as well as the methods they use to attract potential buyers and increase their fandom. The research relied on the information and communication method supported by such sociological tools as expert survey and content analysis. The expert survey made it possible to classify digital illustrators into those with maximal, medium, and minimal popularity, as well as to identify the most effective promotion tools for each group. The VKontakte social network offers a wide range of promotion tools, based on the algorithms of this social network. The popularity of young digital artists depends on such factors as relevant content and joint projects with mature digital illustrators. The research contributes to the development of the genre of digital illustration and the fine art in general.

Realism and Reconstruction: A Comparative Perspective

Realism and Reconstruction: A Comparative Perspective

THE PHENOMENON OF POST-INTERNET ART: ARTISTIC STRATEGIES AND PLACE IN THE FIELD OF CONTEMPORARY ART

The study is devoted to the phenomenon of post-Internet art, its main representatives and key works, and a description of their characteristics. In contrast to the practices of net art, post-Internet art is a “return to the material”: artists create objects inspired by the network and often bearing the “mark” of network aesthetics. However, these objects have physical characteristics; they evoke a tactile sensation in the viewer, serving as a spontaneous affirmation of materiality in our increasingly virtualised world. Post-Internet art is a little-studied area of contemporary art; the emergence of this trend is associated with the development of net-art practices (network art), which have offered new forms of interaction with viewers who got the opportunity to join the artistic process as full participants. The term “post-Internet” should be understood not as a situation “after” the Internet (as if the Internet “ended”) but as a situation after some significant event that changed the usual course of things. “Post-Internet” is a situation after the Internet has ceased to be perceived in a romantic way, as a space of anonymity and permissiveness, “undeveloped land” and is now understood as part of an online-offline “bundle” - with appropriate communication channels, creation of commercial platforms, digital currencies and etc., that is, as part of vernacular practices (everyday experience). From the point of view of its orientation, post-Internet art deals with understanding the consequences of the influence of Internet practices on contemporary art and culture. Net art artists created such works that were intended for the Internet, that is, used the possibilities of the Internet as a means of expression (they studied the structure of the Internet, the features of the code, the specifics of certain browsers, programs, etc.), whereas post-Internet artists seem to “bring” digital objects from the digital environment into the material world and use both online and offline formats for reflection on the effects of almost ubiquitous networking. In the 2010s, the Internet was no longer perceived as a “new” medium; it became more difficult to talk about post-Internet art as a specific movement in art since more and more aspects of our daily life are structurally determined by the World Wide Web, including art as a whole. Of course, the Internet continues to interest artists as a kind of socio-cultural state; however, discourses related to the Internet start to be increasingly woven into a wider range of issues - digital capitalism, ecology, social issues, etc. Therefore, the “marking” of art created under the influence of the Internet or referring to it in one way or another as “post-Internet art” is becoming less and less common, which allows us to speak about the specific temporal boundaries of post-Internet art as an art movement.

Crusoe's Books: Readers in the Empire of Print, 1800–1918 by Bill Bell

Reviewed by: Crusoe's Books: Readers in the Empire of Print, 1800–1918 by Bill Bell Rebecca Nesvet (bio) Bill Bell, Crusoe's Books: Readers in the Empire of Print, 1800–1918 (Oxford: Oxford University Press, 2021), pp. xx + 271, $45 hardcover. On September 30, 1848, London Chartist leader William Cuffay was convicted for conspiring to levy war in connection with his part in the Chartist demonstration of April 10th at Kennington Common. He was convicted by a jury that, as he insisted, was not of his peers, and he was duly sentenced to transportation to Van Diemen's Land. A year after his trial, prior to his embarkation, Cuffay received from his Chartist comrades a compact one-volume copy of the poems of Lord Byron, inscribed to him with great admiration. When Cuffay read that book in his Tasmanian cell, he may have been reassured that his comrades thought him a hero, that his cause had been right, and that, like the Byron of the radical papers, he might someday be vindicated. The volume now resides at the People's History Museum in Manchester, England, as a key Chartist relic. It shows that the context of reading makes meaning, especially for readers severed from everything they have known. [End Page 474] What such readers make of their reading is the subject of Bill Bell's Crusoe's Books: Readers in the Empire of Print, 1800–1918, an indispensable study in media history twenty years in the making and well worth the wait. The title refers to Robinson Crusoe's salvaged library, "a cultural carapace for the individual against the tyranny of distance" (2–3). Crusoe's library is the most famous modern iteration of a trope that stretches from depictions of St. Jerome in a great deal of fine art to Thomas Selby Cousins's Australian cowherd in the sentimental picture "The Bushman's Dream," published in the Illustrated Sydney News in 1869. Bell's case studies of "hermeneutic castaways," mostly historical but sometimes fictional, demonstrate the icon once embodied by Jerome "becoming enmeshed in a colonial context" (4). Bell is intrigued by the contents and discernible usage of colonial libraries, which "often go unexamined in accounts of" colonial reading (9). In 1998, Bell coined the term "geography of communications" to articulate, as he puts it in Crusoe's Books, "the means by which discourses travel, proliferate, and are adapted across space" (23). By examining the libraries of a few distinct populations—emigrants to Australia, convicts, Scottish expatriates, and British explorers of the poles—Bell reveals that the nineteenth-century British Empire's "increased mobility … had considerable material, hermeneutic, and cultural consequences for the production of the newly inflected cultures that emerged as a result of the readers' encounters with novel situations" (25). Indeed, imperial reading was ultimately not a "monolithic apparatus for the imposition of ideology" (25). Hermeneutic castaways exhibited considerable agency. Bell's history of castaway hermeneutics engages with major theorists of media studies, literacy history, and travel and imperialist writing, including Walter Benjamin, Alberto Manguel, and Mary Louise Pratt, and joins recent studies such as Priti Joshi's magnificent The Empire News (2021) in exploring the global contours of Victorian periodical culture. Crusoe's Books is also well worth reading for the fine details of exile reading cultures that Bell unearths. For instance, in 1870s Melbourne, Cole's Book Arcade stocked over two million titles, including used books. This wealth of reading material signals the role that books played in colonial Australians' mechanisms of self-definition. Crusoe's Books will also help scholars of Victorian periodical literature to explore a neglected aspect of the March of Intellect. Convict literacy rates improved remarkably on board ships to Australia. The firm Chambers, publisher of Chambers's Edinburgh Journal, developed a prefabricated library kit for this purpose, and organizations such as the Society for Promoting Christian Knowledge were eager to help Britons supply emigrants with giftbooks. Some previously literate convicts, such as [End Page 475] forgers, contributed to the production of exile periodicals. Some castaways rebelled against the institutions that had exiled them. On Spike Island, Young Ireland leader John Mitchel's contributions to the Jail Journal are "full...

Getting the most out of your grass, strategies for implementation of Management-intensive Grazing (MiG)

To get the most out of grass (one should really say forage), producers need to comprehend some grazing related terminology, understand the basics of a managed grazing system, evaluate the natural resources available to the manager, understand that grazing management is some science and a great deal of art, realize that 1 system does not always fit, each grazing season is different and a learning opportunity, and know that often times the biggest road block to implementation of a grazing system is the gray matter that sits between our ears. This is a quick overview to get a producer thinking of what goes into a managed grazing system. There are a great many detailed resources available through local extension, in books, and from industry personnel.

Mathematics and the Liberal Arts

The Liberal Arts deal with the human being as a whole and hence with what lies at the essence of being human. As a result, the Liberal Arts have a far greater capacity to do good than other fields of study, for their foundation in philosophy enables them to bring students into contact with the ultimate questions which they are free to accept (or reject). Even if these questions have little or no ‘market value’, it should be obvious that the way they are taught and learned is going to have a powerful impact upon the future of the students and society. It is suggested here that mathematics has an integral role in the study of the liberal arts in a first degree at a university where the ‘meal ticket’ is subsequently studied in the graduate or professional school.

The role of restoration and scientific examination for the accurate attribution of a European painting in South America

This work presents the interdisciplinary research and intervention of a big format painting attributed to Salvator Rosa. In addition to the challenging nature of the restoration, due to its format and state of conservation, the painting is a good example of the proliferation of art commerce in Argentina by the end of nineteenth and early twentieth centuries. Art collection and art dealing in this particular period has been studied from the historical point of view; however, extensive material investigation on the paintings that arrived in Argentina in this period of time has not been performed yet. When these pieces go from the private sphere to the collections of public institutions, it is important to conduct an in-depth investigation about them, to offer accurate information and to insert cultural heritage pieces into historical and national context. Restoration led to a deeper comprehension of the painting’s historical and technical features; the pigment samples analyzed by Raman spectroscopy and polarized light microscopy, together with the contributions of the restoration field, cast a doubt over the Salvator Rosa attribution. However, considering technical aspects like the artisanal grinding of pigments, how the color was applied and the absence of synthetic pigments in the original layers, as well as the relationship between iconography and format, the piece can be identified as a no later than eighteenth century European painting. It is doubtful that the piece was made with intentions of forgery; however, it is more likely that the attribution comes from fraudulent documents and registration when the painting was sold.

“Investigate the misusage of technology as a gesture of freedom”: Glitch Dysfunction in New Media Art and Art Education

Abstract Digital dysfunction in contemporary new media art can be used to outline possibilities for productive and even radical applications of the digital in art educational practices. In this paper, I will analyze the work of a number of contemporary new media artists who use the motif of the glitch. I will provide suggestions for pedagogical approaches that relate and respond to these specific artistic tactics: the provocative, playful, and probing ways that new media art deals with various forms of dysfunction. Art educators at many levels can learn much about how digital technologies can be used to make art by studying how digital technologies fail.

Art, Human Condition and Beyond …

Philosophers of different ages have made rigorous attempts to define art aiming to establish a set of characteristics applicable to all kinds of fine arts. However to point a definite meaning of art is elusive task. Similarly the question whether art can be didactic to provide knowledge, or insight is as old as philosophy itself. Art can be appreciated, enjoyed and loved for the powerful emotional values it reflects to the beholders. The production of art deals with creativity, imagination and innate ability of an artist. Art evolves from the culture that inspires artistic expression and art is born from the inner necessity of the artist. To determine the coherent ontological status of works of art has been a problematic issue despite the consistent philosophical practices. The metaphysical categorization of art as “the imaginary experience of the total activity" of the artist recreated by competent viewer is not all inclusive perception of art. The more liberal outlook of art as abstract cultural entities that are created at certain time through human activities seems convincing and relevant.

Синтез традиционного и новаторского как магистральное направление освоения камерно-ансамблевого инструментального творчества Мечислава Вайнберга в вузовской подготовке музыканта

2019 is declared the Mieczyslaw Weinberg’s year due to the 100th anniversary of the composer’s birth, whose works are rarely heard in concert halls of Russia. This fact stipulated the current paper devoted to Weinberg’s works. The study is intended to contribute to the composer’s profile and to add some pedagogical and performing observations and recommendations. A number of special methods of analysis of musical works (structural, harmonic, etc.) are used in the paper, as well as a system approach to the theoretical insight into the process of integration Weinberg’s chamber and ensemble compositions into the professional musical training. Artist and time, composer and performer, musical and artistic interpretation – these are the categories musical and performing arts deal with. In this paper, we focus on the chamber-instrumental genre and, in particular, Weinberg’s Sonata for violin and piano A-dur op. 37 No. 3 to examine the peculiarities of the composer’s musical language. The article indicates the conditions that are essential to solve the tasks performers often face – comprehension of Weinberg’s chamber and ensemble instrumental works’ inherent features, getting the most complete revealing of musical and artistic imagery of his compositions, defining distinguishing features of ensemble performing. Following the state educational standards in the field of training instrumental musicians to meet high-level proficiency requirements, the authors examine synthesis of tradition and innovation in the composer’s chamber ensemble instrumental works, provide deep analysis of a composition that is recognized as a piece of high aesthetic and ethical value. Thus, the authors believe it to be an appropriate work to contribute to the professional and spiritual growth of everyone who turns to this music, including young musicians engaged in chamber ensemble.

Redreaming ways of seeing: Ben Okri’s intuitive creativity

Drawing on A Way of Being Free (1997) and A Time for New Dreams (2011) among other Okrian texts, this article is a discussion of the notion of redreaming ways of seeing through intuitive creativity. The argument is divided into three parts: the role of intuitive creativity; redreaming ways of seeing in The Landscapes Within (1981); and intuition or “the landscapes within”. The deployment of John Berger’s Ways of Seeing and Roland Barthes’s Image, Music, Text posits an Afro-Western worldview in which the title of Okri’s second novel effectively becomes a simulacrum for the lead character’s psyche that supplants character per se, so that the “landscapes within”—the psyche—becomes the eponymous hero of the tale. The contention is that the complex inner workings of the mind of the artist-protagonist, Omovo, is both the signifier and the signified. This is supported by analyses of an Okri poem and extracts from the novel. I argue that, in contrast to its inter-art variants, René Magritte’s 1935 Le faux miroir and La clef des songes, the novel invokes a neo-Platonic/Coleridgean concept of the “enlightening” eye as a correlative of Okri’s notion of the inward visionary quest of the dreaming “soul” “opening towards infinity”. The article concludes by briefly justifying the article’s claim that, in this novel, art deals with inner reality, with “the landscapes within”

Hizbullah’s Post-Islamist Resistance Art

In post-Islamist phase, Hizbullah reformulated some of its central ideas and strategies. Its former top-down strategy of forcibly imposing an Islamic state against the will of significant parts of the Lebanese society has changed toward an integrative, bottom-up strategy, not only in politics but also in arts. Hizbullah’s popular culture and lifestyles by discussing its ‘resistance art.’ Resistance art is ideologically motivated art, which aims at rectifying individuals and reforming society by portraying art as pious-moral productions that are in line with Islamic values, norms, and religious sensibilities. It is ‘clean art’ that portrays good deeds, as distinguished from bad deeds that characterize indecent or lowbrow art.’ Resistance art deals with political and social issues as well as the themes of justice, jihād, sacrifice, and patriotism. Hizbullah exploits the concepts of culturalcitizenship and cultural politics to encourage – in mixed gender spaces – purposeful performing arts: music, dancing, singing, revolutionary theatre, and satire. Probably, Hizbullah is the only post-Islamist party that has an orchestra of more than 100 musicians who play more than 44 instruments. Islam, as it is lived out by its followers, finds a necessary expression in social practices; it is the art form of bodily movement that is more controversial. Hizbullah appears to equate modernity with European art forms rather than indigenous forms. In short, in its ideology and politics, Hizbullah fluctuated between Islamism and post-Islamism. While in its performing arts, Hizbullah conveyed a post-Islamist face. Nevertheless, the party’s post-Islamism remains inconsistent, selective, and pragmatic.

Concepts of Value in European Material Culture, 1500–1900 ed. by Bert De Munck, Dries Lyna

Reviewed by: Concepts of Value in European Material Culture, 1500–1900 ed. by Bert De Munck, Dries Lyna Sarah A. Bendall De Munck, Bert, and Dries Lyna, eds, Concepts of Value in European Material Culture, 1500–1900 (History of Retailing and Consumption), Farnham, Ashgate, 2015; hardback; pp. 304; 21 b/w illustrations; R.R.P. £75.00; ISBN 9781472451965. This edited volume of essays, compiled by Bert de Munck and Dries Lyna, establishes its contribution to the history of material culture on the first page of the introduction, noting that the ways that people have attributed value to objects during the past is 'crucial for understanding not just economic practices but virtually all human behaviour' (p. 1). As such, this interdisciplinary collection considers the changing values of material goods in Europe from the early modern period until the end of the nineteenth century, with the aim of linking economic practices to broader historical trends, while avoiding the teleological trappings of past scholarship. To achieve this, the volume draws together eleven multidisciplinary essays that examine the 'location of value' (p. 10), assessing the meanings ascribed to material goods over time by the individuals, social groups, institutions, and cultural systems that dictated their value. An excellent opening introductory essay by Bert de Munck and Dries Lyna establishes an overview of the material culture field, while the remainder of the book is divided into three parts. Part 1 focuses on expanding markets, with case studies on the linen manufacturing trades in seventeenth-century Münster, eighteenth- and nineteenth-century art auctions in the Austrian Netherlands and Brussels, and branding strategies in early modern Antwerp. All demonstrate the ways that individuals and institutions such as guilds and auctioneers manipulated the market value of their products. Part 2 explores the conventions of institutions through an examination of how the real estate market was controlled in early modern Milan, how the [End Page 218] art market was mediated by Académies in eighteenth-century France, and how increasingly outdated guild conventions slowly made these institutions obsolete in the manufacturing trades of Northern Italy. The final section discusses the ways that objects' value could diverge from market principles, through an examination of early modern glass-making trades, the value of patinated silver in eighteenth-century Britain, and collecting practices in the sixteenth and seventeenth centuries. This volume moves beyond simple, often linear, narratives of supply and demand by showing how value was socially and culturally, as well as economically, constructed in historical contexts and circumstances. This collection provides interesting and thought-provoking discussions that are of significance to those with an interest in the history of material culture, consumption and retail, guilds and local economies, as well as the history of collecting and art dealing, from the sixteenth to nineteenth centuries in Europe. Sarah A. Bendall The University of Sydney Copyright © 2018 Sarah A. Bendall

Structure and connections of Alexander Golitsyn’s agents network on the European art market of the 2nd half of the 18th century

This article presents the structure of Alexander Golitsyn's agents network, its areas of activity on the European art market and the connections of its agents. These protagonists are connoisseurs, notorious personalities, artists and simple agents initially unfamiliar with art dealing. Active mainly in the Netherlands, german territories and Italy, they were in contact with other actors of the artistic world, collectors, Russian diplomats, agents, intermediaries, merchants. Thus, the Golitzine network was part of a larger Russian network, to which it should be linked.

The Science and Art of Obesity

Introduction: There have been so many advances in the field of Obesity. It is the objective of this article to introduce to other health professionals about the latest in science regarding obesity knowledge as well as give them a glimpse on the art of obesity management. At the same time, this article intends to update those in the field of nutrition and weight loss on the current accepted definitions, different classifications, health risk factors, causality in anatomy as well as physiology of fat hormones or adipokines, and review step-by-step the universally accepted 5 A’s in treating overweight patients suffering from obesity. Methodology: Obesity information was broken down into science and art. The science deals with exact knowledge that have been established by discoveries thru the years while the art deals with different ways by which obesity is classified and eventually managed. Results: The science of obesity knowledge deals with the anatomy and physiology of fat hormones (adipokines) including the type of fat that they originate from (visceral, subcutaneous, superficial, and deep) as well as differentiate those that are beneficial from detrimental. The art of obesity management deals with the processes of weight loss, weight maintenance, weight regain, recidivism, and rebound phenomenon. Obesity is differentiated from adiposity and their different classifications based on the body mass index are reviewed, including how different countries use them and its history in the icd. Culmination is the 5 a’s in obesity management with concrete examples. Conclusion: Adipokines originate from fat cells after tissue macrophages devour them when they get too large or too many. Those that originate from visceral fat, deep fat, and upper obesity tend to be detrimental while those that originate from subcutaneous fat, superficial fat, and lower obesity tend to be beneficial. Weight loss needs to be maintained for a year for it to be considered successful with long term sustainability. Obesity is having excess body fat all over that it already increases risk of disease based on health risk factors which is a combination of having a bmi>30 kg/m2 and a large waist circumference based on gender and different step-up cut-offs. The 5 a’s in obesity are ask, assess, advise, agree, and assist.

Making sense of darkness: art, sensation and a particular kind of thought process


 Experience can originate sensations that intensify awareness and thought, casting them to a place of oddness, far from what is common, encoded and comfortable; an intensity thus generated allows for sense to flow in various and different directions. Art deals with these sensations in particular ways. It deviates from the typical modes of sense making and materializes objects, however insubstantial or ephemeral, which encapsulate and conserve those sensations. Yet, for this to occur a process of transmutation must take place. In this article the artistic process is presented as a disembodiment strategy: a certain reality is disengaged from its original context to be reincorporated into another, new entity: the artwork.

Thieves Stealing from Thieves, Victims from Victims: The Culture, Morality, and Politics of Stolen Art in Twentieth Century Poland

Abstract The article examines the legal, moral, and political contradictions of recovering and repatriating works of art and related objects of cultural significance stolen from Poland and its neighbors during and after World War II. Poland suffered the highest rate of loss of any country occupied by Nazi Germany during the war, but a great deal of art was also taken by the Soviets, for whom art theft was a matter of policy. Art plundered by the Nazis was often re-stolen by the communists. Works were taken from both public and private owners. The losses have been compounded by the policies of postwar governments and public institutions in Poland and other countries, which have often prioritized rather vague public rights and claims for wartime compensation over the rights of individuals. In addition, governments and public institutions have lodged competing claims to specific works of art (of varying degrees of validity) against each other, making a just accounting of wartime losses nearly impossible to achieve.

HARDY AS A MODERN NOVELIST

Hardy is the last of the Victorian and one of the most popular novelists of England. He, being an author of unique endowments, was not much esteemed in his life time. Hardy became the victim of stereotypical criticism and was badly ostracized by the ecclesiastical circles and the critics of his time as they merely focused on the depressing features of his fiction. This paper intends to reveal certain aspects of his work which remained neglected for a long time. The present study is designed to focus on those characteristics of his work which win the title of a modern novelist for him. Hardy was quite conscious of the shifting environment around him at the vogue of industrialization that left profound marks on his meditative temperament. His depiction of the 19th century scenario is dominated with clash and collision between innovation and tradition. His art deals with twofold aspects of modernity exposing the sanguine and gloomy consequences of modernity. Owing to such an approach of the writer he is regarded as a social realist and one of the earliest of the modern novelists. Hardy poignantly observes the pathetic condition of the labourers, on one hand, and the modern mechanical advancements, one the other, which were of little benefit for the common man in society. The current study is designed to focus upon his approach to the modern developments in the broad context of social and political changes. Hardy is a modern novelist as he concentrates on the current issues such as gender, class, social and psychological disorders, etc. He is a supporter of class and female liberation.