Artistic Innovation Research Articles

Shirakaba and Japanese Modernism: Art Magazines, Artistic Collectives, and the Early Avant-Garde by Erin Schoneveld

Reviewed by: Shirakaba and Japanese Modernism: Art Magazines, Artistic Collectives, and the Early Avant-Garde by Erin Schoneveld Chinghsin Wu (bio) Shirakaba and Japanese Modernism: Art Magazines, Artistic Collectives, and the Early Avant-Garde. By Erin Schoneveld. Brill, 2019. x, 262 pages. €105.00, cloth; €105.00, E-book. Art history scholarship has increasingly emphasized the global and transnational dimensions of the development of modern art. A number of scholars in diverse regions have recently published books exploring how modern art discourse and practice emerged more or less simultaneously around the world, including in regions outside Europe and the United States, and have shown that these parallel developments had mutually reinforcing interactions with each other.1 In Japan, Western art has played a crucial role in stimulating new forms of expression and art innovation since the Meiji period, even as Japanese traditional and modern art has influenced other artists around the world. Whereas most of the recent research focuses on individual Japanese artists and art groups or the activities of Japanese collectors of Western art, Erin Schoneveld's book investigates the role of an influential art magazine, Shirakaba, published from 1910 to 1923. As Schoneveld demonstrates, Shirakaba played a crucial role in allowing Japanese artists of the Taisho period to gain insight into developments in modern art occurring overseas and integrate them into then-current discourses on modernism in Japan. Placing the magazine and its associated artistic collective (the Shirakaba-ha) at the center of her analysis, Schoneveld examines how these artists and critics approached and interpreted Western art, the underlying ideologies and theoretical stances they embraced, and their interactions with Western artists. Chapter 1 discusses Shirakaba in the context of the history of the industrialized printed magazine in modern Japan. Beginning with an overview of the broader history of magazines in Japan, including the development of print technology and the "magazine boom" in late Meiji Japan, Schoneveld productively surveys a variety of early art magazines and "coterie magazines" that paved the way for the emergence of Shirakaba. By examining the funding structures and distribution costs in the magazine industry, Schoneveld is able to offer a convincing explanation for why Shirakaba [End Page 239] was able to rise to the top and reach wider audiences by keeping costs low compared to its competitors. Shirakaba was formed by an artistic and literary collective of intellectuals working in diverse fields including literature, philosophy, music, and art. The author emphasizes the collaborative nature of the enterprise, as group leader Yanagi Sōetsu drew upon his personal network of writers, artists, and graphic designers to produce a colorful and attractive magazine. Full-color illustrations in Schoneveld's own book effectively convey the handsome and appealing materiality of Shirakaba, including its high-quality color and black-and-white reproductions of paintings and the diverse styles of its cover designs. Chapter 1 also introduces the ideology that the members of the Shirakaba group shared, which valorized the self and the individual. Schoneveld situates this emphasis on individualism within the broader sociopolitical context of late Meiji and early Taisho Japan, and argues that the apolitical approach of Shirakaba-ha was essential to creating a "sense of place" within the magazine where individual subjectivities could be formed. Chapter 2 examines how Shirakaba sought to put Japanese art and artists in conversation with European modernism. In particular, this chapter focuses on how Paul Cézanne, Vincent van Gogh, and Paul Gauguin were introduced and discussed in Shirakaba. Schoneveld points out a somewhat unexpected phenomenon whereby the Shirakaba coterie seemed more interested in examining the lifestyles, personalities, and biographies of these artists than in analyzing or theorizing their artworks. For Schoneveld, this approach exemplifies the ideology of Shirakaba-ha, which emphasized individualism and seeking one's true self. This chapter also details correspondence between members of the Shirakaba coterie and various European artists, including Heinrich Vogeler and Auguste Rodin. It highlights the obsession of Shirakaba-ha members with Rodin and recounts the story of Rodin's gift of three small bronzes to the Shirakaba group, as well as the group's ultimately dashed hopes of holding a large exhibition of Rodin's works in Japan. Chapter 3 focuses on the...

Synthesis of Calligraphy and Music in the Work of Bahman Panahi

The paper looks into to the work of the modern Iranian calligrapher and artist Bahman Panahi. On the example of his works, one can see the dynamism of the art of calligraphy. This type of Muslim art continues to develop actively and, in combination with other types, such as ornament, music or graffiti, gives rise to new interesting directions. In the work of Bahman Panahi, calligraphy is so naturally combined with music that the artist himself refers his works to the genre of musicalligraphy. “Musicalligraphy” is a term that the artist proposed to refer to his work while studying at the Sorbonne. The activity of Bahman Panahi is, on the one hand, respect for traditions: the artist conducts master classes in the art of calligraphy and creates works using the classical techniques of this art form, and on the other hand, it is an author's view, a synthesis of music and calligraphy, which generates original works. The creative path of the artist, his creations and their theoretical understanding is a vivid example of the combination of tradition and innovation in contemporary art.

Medals, Barriers, Fathers, and Careers: Institutional Inertia and Transformation in the Russia Artistic World in the End of the 19th and the Beginning of the 20th Century

This paper employs quantitative historical-sociological analysis to describe the social background, professional practices, and achievements of Russian artists who participated in exhibitions in 1871–1917, starting with the first private exhibition of the “Peredvizhniki” society whose success stimulated the appearance of numerous artistic groups and associations. The biographies of three generations of painters are studied to check the hypotheses on the transition of the artistic world to the “institutionalization of anomie” (Bourdieu) and “singularity regime” (Heinich). The paper analyses how initial family resources and personal career investments influenced the chances of artists to receive recognition during their lifetime, and museum consecration after their death. The controls for the following parameters were included in the analysis are the class and status of an artist’s father, minority status, the membership of an artist’s father in the artistic milieu, gender, and lifetime recognition. The study shows that contrary to Heinich’s theses on the transition to the “singularity regime”, artists whose paintings are represented in the main Russian fine-art museums do not fit the image of non-recognized asocial mavericks. Lifetime official recognition, studying in leading Russian schools for the fine arts, lessons in foreign ateliers, and involvement in the organizational building significantly increases the chances of an artist to be present at the expositions of the most renowned Russian art museums. The study helps to understand the distinctive features of the youngest generation which produced the most important artistic innovation associated with Russia, the so-called Russian Avant-garde.

Parallel Histories and Survival Strategies : The Szkéné Theatre and the MU Theatre yesterday and today

Receptive venues in Hungary are the „stepchildren” of the theatre structure established in 1949, which has remained essentially unchanged since then. These spaces of the independent performing arts scene could be the breeding ground of artistic innovation, progression, and experimentation, if properly subsidized by the state. This has clearly not taken place over the last few decades: neither the ever-changing funding and legislative environment, nor the public and theatre professionals’ perception of the status of the receptive venues support an improvement in the situation. This study examines and compares the theatrical profiles of two emblematic performing arts centres on the Buda side of the Hungarian capital: the Szkéné Theatre on the second floor of the Budapest University of Technology and the MU Theatre, which grew out of the former Lágymányosi Community Centre.

ТРАНСФОРМАЦІЇ УКРАЇНСЬКОГО НАЦІОНАЛЬНОГО ВБРАННЯ В КОСТЮМІ ДРАМАТИЧНОГО ТЕАТРУ ХХ СТОЛІТТЯ

As an object of scientific discourse, the costume has a wide thematic focus. Its different types (historical, traditional, theatrical) had always been correlated in their development. This article aims to generalize the ways and methods of transformation of the Ukrainian national clothes in theatrical patterns of domestic performances of various historical periods of the 20th century. It was important for us to clarify stylistics and typology of stage apparel related to the use of national forms or particular motives. Methods that we used in the article allow to conduct historical comparative analysis partially using the reconstruction method. Within the scope of formal stylistic method, the category of motive was developed. Within the scope of iconography, an analysis of metaphor in theatrical costume was conducted. At the same time, we separately used the semiotic method to study meanings of clothes of modernism and postmodernism periods. Because meaning of the stage costume of the avant-garde time, created using the coded systems of conventional theatre, formed a new artistic spirituality. The novelty of the indicated problem is conditioned on generalizing context of the posed problem in its historical endurance and cultural typologies. Conclusions of the article are based on the hierarchical system of considered examples that demonstrate different meanings of the costume in performances of main periods of the Ukrainian theatre history: classic character of the image and professionalism of the creation in the Coryphaeus Theatre; blossom of artistic innovations in the costume of avant-garde performances; decline of the image as positive in the totalitarian period of 1930–1950s; revival in 1960–1980s and eventually polystylistics of costumes in the performances of Ukrainian Independence period.

Research on the Improvement of Cultural and Artistic Innovation Ability of Community Residents

Research on the Improvement of Cultural and Artistic Innovation Ability of Community Residents

Moderna umetnost i scenski kostim - slučaj Dragiljevog Ruskog baleta

Sergei Dragilev recognized the vitality of modern art that brought freshness to the culture, so all innovative artists of the time were invited to join his campaign and goal. And he reflected on the fact that ballet breaks the shackles of the traditional concept in the performance of dance, music, costume design, and scenography and imposes an element of challenge by introducing current contemporary tendencies in art and culture. All the famous names of the art of that time brought the latest achievements of modern art into the world of dance: Pablo Picasso, Natalia Goncharova, Henri Matisse, and Giorgio de Chirico. And with them, the design of scenography and costume design took the form of cubism, fauvism, futurism, surrealism, and other avant-garde movements, while refreshing the themes, which overall influenced ballet to become part of popular culture.

МУЗЫКАЛЬНЫЙ СИМВОЛИЗМ А.К. ГЛАЗУНОВА

The article deals with the work of the composer A.K. Glazunov in a relatively new paradigm. In this regard, the author resorted to biographical, musicological methods of research, as well as to system analysis. On the example of his work "Salome", the composer's contribution to the world of symbolism, popular in the late 19th - early 20th centuries, is considered. The Dance of Salome, written for Ida Rubenstein and performed by her in defiance of censorship restrictions, is a prime example of the innovative art of the time. Other outstanding artists of that time also worked on the production -Meyerhold, Bakst, Fokin. The article studies the role of exotic music in the work of A.K. Glazunov. Research findings: A.K. Glazunov created a magnificent symbolist work in the spirit of the advanced ideas of his time, revealing new facets of his talent. In the work of A.K. Glazunov's "Salome" is not the only "exotic" work, there were several more, including "Spanish Serenade" (1888), "Oriental Dream" (1888), "Oriental Tale" from the string quartet "Five Novels" (1886) , "Oriental Dance" from ballet scenes (1904), "Bacchanalia" from the opera "Raymonda" (1898), Oriental Rhapsody (1889), Oriental Suite (1895) and the song "Oriental Romance" in addition to an excerpt from "Seasons", used in "Cleopatra".

Research on Art Innovation of Flower Drum Lantern Costume under the Background of Rural Revitalization

In 2006, Flower drum lamp was listed in the first batch of China's intangible cultural heritage list, becoming the only Han dance species selected in the national intangible cultural heritage protection project pilot project. As an important component, dance costumes also contain rich values, and have unique costume styles and cultural attributes. Through the cultural attributes of Flower drum lamp costume, it shows its protection value, analyzes the design status of Flower drum lamp costume, inherits and innovates Flower drum lamp costume, refines, transforms and applies the classic elements in traditional costume patterns based on the regional cultural characteristics with modern aesthetic concepts and performance skills, and adds regional cultural elements such as Dayu culture and Huaihe River valley culture to make it full of the times.

Practical research on the construction of digital art innovation and entrepreneurship education base

The construction of innovation and entrepreneurship education base is related to the cultivation of innovation and entrepreneurship talents in application-oriented undergraduate colleges. The Application-oriented Undergraduate Colleges and enterprises cooperate to build an innovation and entrepreneurship education base, which ensures the stable and efficient development of practical teaching in Colleges and universities, and is of great significance to the collaborative cultivation of talents by industry, University and research. Constructing the school enterprise joint training mode and promoting the reform of innovation and entrepreneurship teaching curriculum system can comprehensively improve students' innovation and entrepreneurship ability and employability.

Przekład eksperymentalny: techniki, formy, metajęzyki

Experimental Translation: Techniques, Forms, Metalanguages The aim of the article is to introduce a new series of studies on theoretical, methodological, analytical, and interpretive problems of “translation anomalies”. Functioning as a medium of artistic innovation and creative cognition, experimental literary translation has a laboratory meaning both for translators and translation, literary and cultural scholars. It allows to highlight the fundamental problems of artistic creation, the theory of literature, the theory of artistic translation and the theory of intercultural communication. On the one hand, translation experiments confirm the necessity of using interdisciplinary research instruments; on the other hand, they show translation as a fundamental metaphor that describes the innovative and dynamic nature of technology.

History of the specific musical movements in Ukraine in the XX century

The purpose of the article is to provide systematization and synthesis of data concerning the history of the separate directions of musical art in Ukraine in the XX century. Methodology. General scientific methods of research, analytical, typological, semantic, and comparative analysis - are applied to the terminological definition of a conceptual framework of the history of musical art and justification of its theoretical art criticism application. The scientific novelty consists in consideration of musical art in Ukraine in the XX century as a certain welfare community. Conclusions. The article considers the history of certain areas of musical art in Ukraine in the twentieth century. It was established that at the stage of the emergence of musical art in Ukraine, the initial music of a syncretic nature developed. This trend consisted in the fact that music, dance, song, and poetry were in constant unity and, accompanied both ceremonies, rites and rituals, and everyday life. During the twentieth century, Ukrainian music in a significant variety of genres and forms is widespread in our country and beyond. Ukrainian artists actively mastered classical European instrumental genres, including the Baroque suite, chamber sonata, trio, quartet, quintet. It was at this time that the aesthetics of the Art Nouveau era dictated an appeal to the style of impressionism, expressionism, and other directions of Art Nouveau (in association with traditional genres, forms, and means of musical expressiveness). This has had an appropriate impact on the field of music education. The development of Ukrainian professional music is associated with the evolution of Ukrainian statehood, which only in the 20th century received the driving forces for formation. This state dynamics influenced the development of Ukrainian culture (and musical art) as an integrated system that is necessary for the active development of the society of Ukraine and the international community as a whole. Speaking about the interaction following the results of the ХХ century of innovations and traditions (archaics) in the musical art of Ukraine, it should be pointed out that any tradition is an innovation in the past, and any innovation is potentially a tradition in the future. In addition, it is important that novelty and archaic in the composer's work should complement each other. It is through this trend that innovations in musical art differ significantly from innovations in technology, where a return to archaic cannot be considered an innovative development.
 Keywords: art, music, musical works, music schools, the ХХ century, directions, development innovations.

Nawattasilp Norasan: The Innovative Craft Jewelry

The particular characteristic of Manorah's identity and guidelines for designing creative, contemporary, innovative art jewelry are the results of this research. The understanding of Manorah's performing arts was gathered and analyzed for the unique characteristics of Manorah's identity. Analyze strategies to synthesize approaches to designing and creating contemporary, innovative art jewelry. It is qualitative research using an integrated research method that combines concepts and theories from phenomenal science, philosophical approach, and marketing strategy principles with the science of fine arts. There are three groups of informants, including village sages, the local population, and the general population. The results revealed that the distinctive Manorah identity is a costume (bead dress), dance posture, jewelry, and musical instruments, respectively. Applying the DRR (2C (MEAMAI)) principle, the results were analyzed as a conclusion of the object elements, i.e., shape, tone, material, technique, and mental, i.e., the principle of composition and emotion, reflecting the aesthetics obtained from viewing the Manorah performance art. The synthesized strategies into design received a prototype of contemporary innovative art jewelry from the concept of the Manorah cycle, which is to pass and carry-on entertainment shows and ceremonial performances. Contemporary-innovative art ornaments located in different positions on the body, from the head, hand, arm, neck, shoulder, chest, and torso, reflect a concept related to creating and conveying the Manorah identity in a new way.

A Theory of Why Arts Entrepreneurship Matters

Although consensus on a definition of Arts Entrepreneurship (AE) is helpful, formal theories are needed to help AE researchers and educators explain what the general AE process is and why it matters. As discussed in this article, such theories can help us understand the relationship between art innovation, art market creation and art value exchange in Artworlds. Such theories can also help AE educators in particular clarify distinctions and similarities between the systematic practice of AE and business entrepreneurship, challenge past and present assumptions about AE and may encourage AE educators to pivot towards new pedagogical directions.

A Network of Iconography

This article demonstrates how an expanding population of artists in the seventeenth-century Dutch Republic was connected artistically, and how such connections were translated into artistic innovations that fuelled the rapid flourishing of Dutch arts and the art market. It does so by conceptualising and visualising an art-historical network of iconography that, for the first time, connects artists not through social relations but through shared subject matters. Using network analysis, this study revisits the definition of product innovations used by the socio-economic art historian John Michael Montias. It further demonstrates that painters’ choices of subject matter, styles, and qualities were often unrelated while artists’ thematic connections had little to do with their social relations and the location of their residence. Rather, the choices of subject matter were subject to market forces and rooted deeply in an artist’s ability, ambition, and marketing strategy. Lastly, this article visualises the artistic network implied in Rembrandt’s rivals by Eric Jan Sluijter, which helps explain the breakaway success of the Dismissal of Hagar paintings.

Counterpublic Goods in Interesting Times: Transitional Subjectivities Onstage at Highways Performance Space, 1989–1993

A raging global pandemic handled inadequately and indifferently by the Republican-led US federal government, with Dr. Anthony Fauci in a featured role; an antiracist uprising in response to police brutality; a resurgent political Right fomenting and stoking culture wars; activists’ demands for a diverse and equitable art world; increasing fiscal precarity for small, innovative live art spaces; a looming recession; and an escalating housing crisis fueled by accelerating income inequality: welcome to Los Angeles between 1989 and 1993. In this period, AIDS became the leading cause of death for US men ages 25–44; ACT UP (AIDS Coalition to Unleash Power)/LA called public health infrastructure to account and successfully fought for an AIDS ward at Los Angeles County Hospital. A widely circulated video of Los Angeles Police Department officers viciously beating Black motorist Rodney King, and their subsequent acquittal of criminal charges by a suburban jury, ignited five days of antiracist rebellion. The rising number of unhoused people in Los Angeles was becoming difficult to ignore, though not for the city's, state's, or federal government's lack of trying. “Multiculturalism” became a widely embraced—if sometimes cynically deployed—aesthetic and programming imperative.

Translation in Yakutia as a Means of Preservation of the Sakha Language and Culture

Translation as a means of cross-cultural communication serves two purposes: 1. making an additional recording of cultural works of a certain people by creating a copy of these works in a language with a higher number of speakers for further introduction of the culture to a wider public; 2. in a situation of widespread bilingualism, preserving a vulnerable language against assimilation by a dominant language by a bilingual translators conscious counteracting of negative interference and their educational activities in the field of ecolinguistics. In comparison with translation from/to foreign languages, these translational purposes acquire other, new aspects when applied to the languages of the different peoples in one country, depending on the language situation, politics, etc. The article examines the practices used in achieving the above-mentioned purposes of Russian-Yakut, Yakut-Russian translation in the Sakha Republic (Yakutia), a constituent entity of the Russian Federation. The article also describes the role of translation in the spiritual culture of the Yakut people as a proxy of literary and artistic innovations capable of shaping and changing the artistic tastes of readers, as well as a means of integration into the world cultural space, enabling the Yakuts to look at their native culture from the point of view of native speakers of the Russian language and members of Russian (including Soviet) culture. Translation as a sphere of close interaction of languages is of interest to the language policy of this multinational constituent of the Russian Federation. With the adoption of federal and republican laws for language issues in the 1990s, the Sakha Republic (Yakutia) started to give more attention to the translation between the two official languages. As a result of years-long observation of bilingual Yakuts speech culture, it has become apparent that researching linguistical issues of translation, drawing up practical recommendations for translation based on scientific research, and then popularizing them among bilingual Yakuts may become a great help in the preservation of the native language. A review of the Sakha Republics (Yakutia) experience in translation development in a multinational constituent of the Russian Federation leads to a conclusion about the importance of the work of a translator (who translates from and to languages of Russia) in standardization of their native language. Such a translator can consciously regulate the mutual influence of the languages in society.

The Opera "The Barber of Seville" by Giocchino Rossini in Domestic Paradigms

The article reveals the stage interpretations of G. Rossini's "The Barber of Seville" on the Kyiv opera stage in the second half of the 20th — early 21st centuries by the directors Mykola Smolych (1944) and Dmytro Smolych (1955), Dmytro Hnatyuk (1979), (1990), A. Solovyanenko (2019). The author clarifies the relevance of the appeal to opera in the socio-cultural realities of today, substantiates the request of the audience of the information technology era on the chosen topic and the need to rethink the work at the beginning of the Romantic era in accordance with modern theater scene possibilities. The available musicological research of the opera drama "The Barber of Seville" in the context of the creative heritage of G. Rossini is mentioned in the article. A significant gap in the existing works on this topic is the fragmentary nature of scientific investigations of directorial interpretations of the composition in the musical theaters of Ukraine. The methodology of research of key aspects of opera is chosen: directorial incarnations of the specified period in the conditions of Ukraine — retrospective, interpretive; comparison of different domestic paradigms in the interpretation of the work — genre-stylistic, comparative; directions of development of domestic directing in the context of world tendencies — system analysis. The compositional construction of productions, their difference and proximity in relation to the original compositional source are analyzed. Individual approaches to the director's vision are revealed as well as features, principles of directing tasks and conceptual solutions to the reproduction of artistic images in the play. The performers of the parties in different stage incarnations are outlined. The personal directorial accents of the directors in the interpretation of "The Barber of Seville" on the Kyiv opera stage of the second half of the 20th — the beginning of the 21st centuries are determined, taking into account the specifics of theatrical aesthetics of the times of performances. The existence of certain "models", "examples", "paradigms", which were transformed under the influence of external and internal factors, is proved. The first two productions were embodied in the Ukrainian language against the background of traditional abbreviated musical material, simplifying the musical and stylistic structure of the opera buff. The last production is distinguished by a return to the original musical material — the opening of most bills and performance in Italian. The directions of development of domestic directing in the context of world tendencies are determined: original synthesis of traditional and innovative staging approaches in authentic versions of operas; the possibility of combining different styles, genres, forms in modern versions of opera in the context of postmodern aesthetics. The ways of further research of the chosen subject through the prism of synthesizing the experience of domestic and foreign directing with the use of stage design and innovative art technologies are predicted.

Stephen J. Campbell, The Endless Periphery. Toward a Geopolitics of Art in Lorenzo Lotto’s Italy

In recent decades, engagements with Enrico Castelnuovo and Carlo Ginzburg’s seminal and highly influential essay “Centro e Periferia,” have led to one main line of inquiry.1 Studies have mapped out the works of art that populated remote and understudied localities of the pre-modern Italian peninsula, from southern regions to frontier zones, highlighting a rich corpus of artifacts that have long been excluded from the mainstream art history of the period. This scholarship has made clear a simple truth, namely, that the achievements of credited masters active in canonical artistic centres cannot be fully understood if the output by talented peers from peripheral localities continues to be under-evaluated and misconstrued. These studies have not gone far enough, however, in either rethinking or reframing the core assumption of Castelnuovo and Ginzburg’s contribution, that is, the conceptual dualism of centre-periphery that sees centres as sites of artistic innovation and peripheries as places...

Discontinued Mediations: Preludes to Fractured Thinking

This text is offered as an alternative to the normative academic paper. It seeks to establish incompletion as a quantum phenomenon. It arranges thinking into aphoristic moments. Its subject-scope embraces ontology, language, artistic innovation, and subjectivity.