Art World Research Articles

Многофункциональность предметного мира романа Н. Мусина «Вечный лес»

The aim of the research is to determine the features of the material world and its functions in the novel “The Eternal Forest” by N. Musin. The poetics of the objective world is considered as an important component of artistic thinking, one of the significant cultural components in the writer’s creative work. Bashkir literary studies and literary criticism to a certain extent have already touched upon the issues related to the problems of poetics, the peculiarities of the artistic world of the prose writer. The paper is original in that it is the first to provide a holistic description of the objective world in the Bashkir writer’s prose, to reveal the artistic specifics and functions of the world of things. As a result of the research, it has been determined that the features of the artistic functioning of the material world in N. Musin’s prose are based on the artistic experience of literature in the late XX century in the depiction of the objective environment. A hero’s characterization through objective details becomes a peculiarity of N. Musin’s artistic worldview, in his writings, the world of things symbolizes both the inner world of a character and the philosophy of the author’s creative work. It is noted that in the works of the writer, the world of things is multifunctional, on the one hand, it highlights the author’s position and, on the other hand, it becomes a significant characteristic of the environment.

Contemporary art from the Global South in the art auction market from 2020 to 2022

In recent years, emerging artists from the Global South have garnered substantial attention in the art market. This study seeks to examine the market value and ecosystem evolving around these emerging artists by analyzing the sales results of 51 artists between 2020 and 2022. This research aims to establish patterns linking unprecedented sales results with exhibition history and highlights the essential network required for these artists’ commercial success. The study reveals that the emergence of artists in the global art market results from a deliberate effort by a network of stakeholders. Our exhibition database led us to a group of 438 stakeholders who promote this sample of artists. By examining artists’ origins, backgrounds, and careers, this study provides context for analyzing the impact of artistic migration on artists’ visibility, the importance of being promoted by a variety of specialists, and the surge of African artists in the global art market since 2020. Our findings indicate that the structure of the art world has shifted toward a decentralized global art market characterized by a diverse range of actors and inputs dispersed globally. This diversification has disrupted traditional power structures in the art world, opening up new possibilities for emerging artists from the Global South, thereby contributing to a more equitable and inclusive art market.

The kNOw school

In January 2023 the Anga Art Collective met with Kelly Hussey-Smith for an online conversation abouttheir practice and collective approach to art making. Anga Art Collective’s work explores artist-ledpublic pedagogy through friendship and modes of collectivity, performance, and interventions in publicspace. Emerging from fifteen years of art, friendship, public interventions, and inter-disciplinarydialogue the fifteen-member collective use creative practice and public pedagogy to explore localcontexts and issues in Assam. Their practice shows how collective approaches to knowledgeproduction, learning and creativity can be dynamic forces in generating and sustaining relations.In 2020 the collective established The kNOw School as a response to monolithic narratives andrepresentations of national identity in contemporary India. Over time, the school has developed into aseries of pedagogic and epistemological questions about knowledge production, knowledgehierarchies, and contextual learning. Concerned with local knowledge and regional plurality, theirprojects and interventions range from workshops with young people to curatorial projects that bothstrengthen regional bonds and challenge art world hierarchies. Through these site-specificcollaborations and interventions, they generate collective questions about how public pedagogy mightcontribute to practices of equality and solidarity and contribute to a vision of a more egalitarian society.In this conversational interview, edited from an online video conversation between five members of theAnga Art Collective in Assam, and journal co-editor Kelly Hussey-Smith in Naarm, we explore Anga ArtCollective's (d)evolving practice as a form of relational, durational and iterative public pedagogy.

Ravenna‘daki “Parco Della Pace”: Claude Rahir Tarafından “Le Chaos Et La Source De Vie” Adlı Mozaik Çeşmenin Restorasyonu Dış Mekânlara Açık Çağdaş Sanat Eserlerinin Korunması ve Restorasyonuna Yönelik Modern Yaklaşımlar

The “Parco della Pace” was born in Ravenna in 1988, under the initiative of the Municipality of Ravenna and with the support of International Association of Contemporary Mosaicists (AIMC) and UNESCO. Considered a real open-air museum, it preserves nine monumental works of contemporary mosaic made by internationally renowned artists. A plan for the redevelopment and enhancement of the entire park has recently been approved: the agreement between the Municipality of Ravenna, the University of Bologna, the Flaminia Foundation, and the RavennAntica Foundation made possible the restoration of the fountain mosaic “Le chaos et la source de vie” by Claude Rahir, realized in 1984. The first part of the intervention focused on a careful study of the archival documentation that provides an understanding of the artist’s spirit and volition. The restoration techniques, put in place to re-establish the artwork compromised by years of neglect and vandalization, have allowed us to compare products and methodologies now standardized with others of recent experimentation. Special attention had to be given to the problem of the integration of gaps, relating the theory of restoration applied to protected cultural heritage with the world of contemporary art. In support of the intervention a three-dimensional survey of the artwork has been created using the “Structure from motion” technique. The project ended with the enhancement and redevelopment of the entire area through the setup of a dedicated website and explanatory panels.

Bias against AI art can enhance perceptions of human creativity

The contemporary art world is conservatively estimated to be a $65 billion USD market that employs millions of human artists, sellers, and collectors globally. Recent attention paid to AI-made art in prestigious galleries, museums, and popular media has provoked debate around how these statistics will change. Unanswered questions fuel growing anxieties. Are AI-made and human-made art evaluated in the same ways? How will growing exposure to AI-made art impact evaluations of human creativity? Our research uses a psychological lens to explore these questions in the realm of visual art. We find that people devalue art labeled as AI-made across a variety of dimensions, even when they report it is indistinguishable from human-made art, and even when they believe it was produced collaboratively with a human. We also find that comparing images labeled as human-made to images labeled as AI-made increases perceptions of human creativity, an effect that can be leveraged to increase the value of human effort. Results are robust across six experiments (N = 2965) using a range of human-made and AI-made stimuli and incorporating representative samples of the US population. Finally, we highlight conditions that strengthen effects as well as dimensions where AI-devaluation effects are more pronounced.

Ferdynand Ruszczyc: A Polish Painter at the Crossroads of Cultures

The oeuvre of beloved Polish painter Ferdynand Ruszczyc (1870–1936) reflected the patriotic Neo-Romantic landscape trend of the fin-de-siècle prevalent in Germany and the Nordic countries (Denmark, Finland, Norway, Sweden). It should be considered in the context of Nordic visual culture for two reasons: (1) until the affiliation of Central and Eastern European nations with the Soviet Union in the wake of World War Two, nations bordering the Baltic formed a single, fluid territory of cultural exchange, and (2) Ruszczyc’s oeuvre displays significant commonalities with dominant patriotic and Neo-Romantic trends of progressive artists around the Baltic Sea, where landscape became a vehicle for expressing dreams and emotions, as well as love of homeland. This article situates Ruszczyc’s national and artistic identity at the crossroads of cultures and artistic impulses, regional as well as international. Ruszczyc was born in Bohdanów near Vilnius (now Belarus) to a Polish father and a Danish mother. Like many Polish artists from the Russian partition, he was educated at the Imperial Academy of Fine Arts in St. Petersburg, where he studied with Ivan Shishkin (1832–1898) and Arkhip Kuindzhi (1878–1910). He also travelled to Sweden. Ruszczyc was influenced by the Russian art circle Mir Iskusstva (World of Art, est. 1898) and is often compared with Nordic (e.g., Akseli Gallen-Kallela; Finnish, 1865–1931) and German (e.g., Otto Modersohn; 1865–1943) artists. His visions of nature are sometimes raw monumental images of the northern landscape or fairy-tale fantasies containing symbolic allusiveness and a mythical, poetic element that evoke intimate memories of the land of his childhood. In his paintings, Ruszczyc presented the changeability of seasons, orchards, soil and streams, clouds formations, and tree trunks with palpable emotion. By exposing the material substance of nature, his paintings also reveal its mystical aspect, its ability to transform in accordance with the cyclical, cosmic rhythm of growth, maturation, death, and rebirth.

Jayanta Mahapatra’s Poetry : A Mythic Mirage of Social Introspection on the Bedrock of Reality

Jayanta Mahapatra’s impregnation of socio-cultural backdrops that he discerns in his locale fetches him face to face with history and myth when his “self” is connoted in the act of attention. The intimacies amid the self and reality - the reality that flees but comprises self and culture form the bedrock of Mahapatra’s poetry. To him, it is the investigation of myths and it is leashed with the world of art and sculpture. He keeps on his quest for a divine spirit and for charm in the relationship between man and man, and God and God, men and sculptured art. Mahapatra holds forth to have the condemnation that tradition is and continuance, it is entirety and one has to fathom the present in terms of the past and the past in terms of the present. There is a dense token of introspection in his poetry. The elementary poetry of Mahapatra is a satiric repercussion on past and current racial, religious, cultural, and societal life. The poet's attempt to extract meaning from his emotional and intellectual existence is often shown in Oriya culture. He exercises the Oriya life caught in the current of time as the impulsive millstone for his poetry. Keywords: Indian culture, social introspection, poetry, sensibility, self-exploration, discovery

Material worlds: Domestic objects and the question of auto/biography in contemporary art

At the turn of the twenty-first century, due to the expansion of postcolonial consciousness, artists identified as "non-western" gained a new visibility in the Euro-American art world that was far from unproblematic. Installations and multimedia practices revolving around domestic space and daily objects were internationally celebrated as a novel source for reflections on the notion of home. Based on the assumption that artists' lived experiences of migration, separation, or loss made their use of the domestic inherently transgressive, these disparate works were framed as autobiographical or self-representational. With this, the institutional landscape seemed to undergo a total transformation in reevaluating the use of personal materials in art practices. Dismissed as confessional or narcissistic when articulated as a key critical strategy by feminist Euro-American artists just a decade earlier, it was precisely this personal and domestic quality that seemed to be seen as valuable and relevant in the context of an art world with newfound pretensions of inclusion and globalisation. Focusing on Ishiuchi Miyako's work Mother's 2000-2005: Traces of the Future as a case study, I argue that the reasons behind this notable shift were twofold: first, the shift in artistic language, from the political explicitness of earlier feminist artworks to the use of material subtlety and conceptual ambivalence, allowed for these works to travel well from national to international exhibitions; at the same time, the use of personal and domestic objects seemed to justify their framing through biographical narratives that, in turn, served to comfortably categorise them, while also offering grounds for viewer engagement.

K11 alternative diplomacies: Penetrating the global arts markets

This article explores structure, motivations and cross-cultural mechanics of operations of alternative cultural diplomacy in China, performed by K11. The K11 Art Mall franchise, opened in Hong Kong in 2008 by Chinese billionaire Adrian Cheng, has established its visible presence in the global arts markets by supporting contemporary Chinese artists and sponsoring major international arts residencies and large-scale events and exhibitions. Deconstructing and exploring the neo-liberal multilateral nature of K11 diplomacy, the research questions how K11 operates and navigates the international communication complexities within the global arts market. It analyses how this diplomacy is different from government-led bilateral cultural diplomacy of China and why it creates less frictions and contradictions on the international level. The article reveals that the rapid integration of K11 into the international art market is a combination of different factors. Beyond the economic power of K11 to sponsor major international events in collaboration with prestigious partners, it also possesses more flexibility and tolerance to navigate the normative environments of the ‘epistemic community’ of the global arts world, which do not always work well with national authoritative regime’s pressures. However, positioning itself as an apolitical player with a global vision, K11 is dominating a niche within the national art market, where it does not compete with state authorities. Moreover, it generates a high economic and cultural capital in China by nurturing contemporary Chinese arts and raising their prestige and value on the international level.

Chișinău: City of the THree Conservatories

The study deals with the subject of the establishment and activity of the three musical institutions (Conservatory) in the interwar period in Chișinău. The idea of opening a musical institution belonged to the Romanian composer and conductor George Enescu, after his first visit to Chișinău. The capital of Bessarabia was assessed by the inspectors in Bucharest as having a high musical potential. The teaching staff of these musical education institutions was made up of representatives of national minorities, which meant a special approach to their knowledge of the Romanian language. The conservatories faced material difficulties, logistical difficulties and difficulties in gaining recognition from the institutional state, which is why they did not have a large-scale effervescence. The institutions of musical education were a platform for the launch into the artistic world of established personalities. It was created departments of singing, piano, violin, cello, fanfare theory, dramatic art, orchestral classes, ensembles, choir, accompanist and chamber, opera. Symphonic and opera concerts from the repertoire of classical composers were presented in the institutions, but Romanian compositions had priority. The educational and cultural institutions responded to the identity imperative of the time, launching established names of Romanian music.

«Человек неукорененный» в романах Саны Валиулиной и Петра Алешковского

The article deals with the problem of the ‘unrooted man’, which is conceptual for modern transcultural literature in Russian. The authors put an analytical emphasis on the modern identification crisis of phenomena that are associated with the self-identity of writers who model a multi-ethnic world in their texts with biographical coordinates. The protagonist of this world (the author’s reflective alter ego) loses his ancestral roots due to historical migration of peoples in the 20th century. The article analyzes the mythological concepts of the sacred space of the alien hero, the motive of initiation through internal and/or external migration, the existentialоgemes and ontologemes of ‘embedding’ into another ethnic group, the semiotics of the collective world image based on the novels by Sana Valiulina “I’m not afraid of the Bluebeard” and Pyotr Aleshkovsky “The fish. History of one migration”. Researchers use the analytical principles of the transcultural approach as a studying strategy of the artistic world not only by polydomic and multilingual writers, but also by Russian authors who seek to present the Russian person’s vision of the Other, his alien (different) culture, ontology, but in the prism of a common history, including the historicity of existence (M. Heidegger).

Technical Analysis and Development Advantages of Online Virtual Exhibition from the Digital Technology Perspective

Institutions and peoples lives have been impacted by public health initiatives to contain the COVID-19 virus. The outbreak may qualify as a mega event due to its potential for global impact and transformation. The contemporary art world has especially felt the impact of the epidemic, as the entire cultural activity has been suspended due to the outbreak, including exhibitions and museums of various themes. During this period, art institutions and collectives around the world have responded by providing alternative materials for artistic works through various technological technologies and online. Emerging, high-tech methods such as multimedia art are applied to display design to help the art world continue to develop during the pandemic. This article aims to reflect on the challenges and opportunities of online virtual exhibitions of contemporary art. From the case analysis of 3 online exhibitions (2 museums, 1 art biennale), analyze the development advantages of online virtual exhibitions. Most online virtual exhibitions can use virtual reality (VR), augmented reality (AR), Fabric VR projects, including: 3D Fabric VR, 360-degree Fabric VR, a network-based digital collection system, and other technologies to enhance the exhibition experience. And create related websites or apps to allow visitors to visit online exhibitions. These studies will contribute to a broad understanding of existing online virtual exhibitions, including the technologies used and future application development.

Evaluation of exhibition space design within the scope of art museums in North Cyprus

In the recent decades, educational institutions have played a role in fostering artistic production in Northern Cyprus since 1974. An illustration of this contribution is the Günsel Art Museum, established within the Near East University. This museum has not only served as a venue for art exhibitions but has also played a crucial role in promoting the creation and appreciation of art in the region. The research was conducted through a comprehensive case study, with a specific focus on the Günsel Art Museum. The results of the study reveal a positive influence of the museum on artistic production in North Cyprus. It has provided a platform for local artists to showcase their works and implemented educational programs that have introduced young individuals to the world of art. This article aims to explore the artworks and exhibition spaces in the NC post-1974, emphasizing the contributions of educational institutions established in NC during that period to artistic endeavors.

Slow Collecting: Sustainability and the Need for a Paradigm Shift by Iberian Collectors

Collectors are major actors in the global art market as they often spend large sums of money fostering the business. Concerning sustainable collecting practices—i.e., the balance between what is the best for people and for the environment—collectors’ actions seem contradictory. Firstly, ontologically, to collect is to accumulate artworks; secondly, art—the object of the collectors’ desire—and the global art world are not closely aligned with the climate crisis. The art ecosystem encourages trips to participate in art events worldwide, increasing the carbon footprint impact, and rarely uses recycled materials, causing waste. The economic model of the art market lacks sustainability, raising the question: how can we promote a sustainable collecting attitude? In this exploratory study, we will observe art market players, especially the Iberian Peninsula collectors’ actions, in terms of their contribution to reducing the environmental impact of purchases. Based on data, reports, interviews, and published sources, we will investigate collectors’ awareness of the subject and evaluate their adopted actions. As, to date, no analysis has been carried out on the trends of Iberian collecting in the field of climate sustainability, we have focused our study on finding data from the primary source par excellence: the collectors themselves. The aim is to fuel the need for a paradigm shift, concluding on a slow collecting attitude.

The modernity artistic metanarrative and the 19th century novel structure

The article proposes the concept of "artistic metanarrative", similar to the well-known concept of Lyotard's metanarrative, but used to describe some mechanisms of the novel structure. The novel of the 19th century is considered as the central phenomenon of the modern culture, but due to the problematics of the moral norms conflict generated by the autonomous personality’s value representations of the new era of culture and the past moral principles, which remain active in the 19th century. For the novel hero, this is essentially a conflict of two cultures, - a moral conflict developing in his mind and behavior and more or less dramatically demanding the impossible from the hero to join the unjoinable. The subject of the analysis are the forms of the work scheme, where artistic reflection on the novel heterogeneous value vectors, relationships, narratives and cultural norms occurs in the perspective of some kind of ordering and some kind of value harmonization of the whole. In the categories of S. Broitman's historical poetics, this creative problem corresponds to the concept of "autonomous involvement", which determines the features of the poetics of artistic modality, but in the case of a "conflict of cultures" it acquires a special acuteness in the individual consciousness. Metanarrative reflection on the value relations operating in the artistic world of the novel occurs at the level of the organization of the text construction forms that creates a situation of self-generation of meaning in the field between the author and the reader. This meaning goes beyond the boundaries of the certain stories directly depicted in the novel and has no direct verbal expression. At the same time, at the metanarrative level of the novel's integrity, the practices of smoothing out the conflict by creating a composition of value relations, where opposites are relatively balanced, are quite obvious. The "conciliatory" nature of this relationship in the 19th Century novel does not guarantee the prospects of harmonious human existence, but makes one realize the problem in all its depth.

Collecting copper alloy portrait heads

Abstract Much has been written about the spectacular naturalistic copper and copper alloy heads of Wúnmọníjẹ̀ Compound, Ilé-Ifẹ̀, Nigeria, which stunned the art world after they were unearthed in 1938, on the cusp of the Second World War. However, little scholarly attention has been afforded to the controversial aftermath of their discovery, when multiple foreign parties endeavoured to collect and export many of them from Nigeria, while legislation to prohibit the export of antiquities was lacking. Drawing on archives from the USA and the UK, this article reveals important details of the collecting of several of the heads in the late colonial period. Coinciding with renewed calls for the restitution of Nigerian cultural patrimony from foreign institutions, it sheds light on the British Museum’s acquisition of one such head, the acquisition of two by the American anthropologist William R. Bascom, and the purported export by a German export company, of several heads which remain unaccounted for to this day.

Influencer creep: How artists strategically navigate the platformisation of art worlds

This article uses qualitative empirical research to explore the ways that Instagram has shaped both artistic labour and artistic practice. I draw from sociological perspectives on art worlds, critical platformisation literature and feminist cultural studies to argue that influencer cultures have originated key social practices that now animate creative labour more broadly. This process is defined as influencer creep. Influencer creep has the following three key tenets – self-branding, optimisation and authenticity. The article shows how artists draw from self-branding techniques rooted within influencer cultures, take up strategic techniques of algorithmic optimisation and share more of their authentic (yet highly stylised) selves online. I conclude that influencer creep has generated accelerated demands to consistently perform and maintain an artistic identity across social media platforms, which deepens well-documented existing inequalities in cultural and creative work.

ПЕЙЗАЖ В РОМАНЕ Т. ГАРДИ «ПОД ДЕРЕВОМ ЗЕЛЁНЫМ»

The article is devoted to the poetics of landscape in T. Hardy’s novel “Under the Greenwood Tree” – the first literary work that entered the writer’s “Wessex Novels” cycle. It considers the story and the biographical context of the novel creation, analyses the creation techniques of landscapes and landscape sketches, identifies the functions of landscape descriptions in the system of images and the artistic world of the novel. It discovers that landscape “transcends the borders” of the nature image and operates as an independent character, spiritualized nature appears as the value centre of the literary work, and landscape descriptions introduce superplot content into the novel – eternal and timeless.

The impact of technology development upon art essence intricacy on arts: The perspective of art practitioners in Malaysia

This paper presents and discusses the relative issues of the development of modern technology that directly impact the creation of artwork. The artistic value has always been argued and discussed as the era changes occasionally. The artistic world has again learned the value of integrating and applying technology to artists' artworks. The technology enforcement, in alignment with the demands of the new generations, kept contextual and conceptual artworks secondary. This paper will elaborate on the relationship between technological applications and artworks' impact. As the digital era shifted rapidly, more advanced technological applications were valued more than conceptual value. Art appreciation has become more tangible rather than elaborate. Thus, it is important to simulate a conceptual framework to understand the phenomenon properly. Multiple understandings of the theory of the development of technological implications support the conceptual framework. This study conducted exploratory research by collecting primary data through a focus group interview with Fine Artists, Graphic Artists, and Hybrid Artists in an open session and discussing by elaborating on the topics mentioned. An underlying understanding of the conceptual framework has been achieved, and a new conceptual framework has been developed. This paper is limited to the technological implications of the value of artworks and the artist's experience. The advanced conceptual framework of the Art Intricacy Performance Model will define artwork to recognise the proper understanding of its value and direction.

Analysis of the Artistic Characteristics of Literati Paintings

As a unique form of Chinese traditional painting, literati painting has its own distinctive features and far-reaching influence compared with other schools. Through the combination of literati painting with nature, personal feelings and social environment, it expresses the unique artistic style and unique aesthetic concept. At the same time, the literati paintings also reflect the extensive knowledge and noble sentiment of the Chinese literati and officialdom, and carry a wealth of historical and cultural connotations. It is believed that the active study and inheritance of literati paintings will promote the development and innovation of Chinese painting and contribute more wonderful works and ideas to the art world. This article through to the literati painting origin, the main style characteristic and the creation theme thorough analysis, demonstrated the literati painting in the Chinese traditional painting unique status and the importance.