Art Movement Research Articles

Stratégies des marques face à leur appropriation par un artiste : Analyse réalisée à partir d’œuvres appartenant au mouvement du pop art et à ses héritiers

This research focuses on the rapprochement between commercial world of brands and that of art, two worlds that are a priori distinct. Indeed, essentially since the 20th century, the artistic sphere tends to be more and more intertwined with brands that can be used for products, services, retail chains, organizations, geographical areas, individuals... The rise of this intertwining can be explained by the spread of postmodernism in Western societies since the second half of the 20th century, its dimensions of fragmentation, acceptance of difference, paradoxical juxtaposition of opposites and hyperreality playing a particularly important role. This intertwining causes two types of relations. Indeed, some can be initiated by brands, and in general, they give rise to collaborations, while others can be instigated by artists without having solicited the brand. The first relationships having generated to numerous researches, this article will focus on the second ones which are less often studied. Specifically, it proposes to answer the following question: what strategy(ies) can a brand adopt when faced with its appropriation by artists? To answer this question, this research will begin with a literature review dedicated to art intended not only to explain appropriation in the art field, but also to present the artistic movements most likely to realize such appropriation (pop Art, neo-pop Art, hyperrealism, street art and urban art). The highlighting of movements turns out, indeed, to be a prerequisite for the implementation of the strategies which will be detailed in the second part. In conclusion, some contributions, limitations and future research directions will be outlined.

Mutual interference between memory encoding and motor skills: the influence of motor expertise.

In cognitive-motor dual-task situations, the extent of performance decrements is influenced by the attentional requirements of each task. Well-learned motor skills should be automatized, leading to less interference. This study presents two studies combining an episodic memory encoding task with well-practiced motor tasks in athletes. Study 1 asked 40 rowers (early teenagers to middle adulthood) to row on ergometers at slow or fast speeds. In study 2, Taekwondo athletes (n = 37) of different skill levels performed a well-practiced sequence of martial arts movements. Performing the motor task during encoding led to pronounced performance reductions in memory in both studies, with costs of up to 80%. Cognitive costs were even larger when rowing with the fast compared to the slow speed in study 1. Both studies also revealed decrements in motor performances under dual-task conditions: Rowing became slower and more irregular (study 1), and the quality of the Taekwondo performance was reduced. Although higher-level athletes outperformed others in motor skills under single-task conditions, proportional dual-task costs were similar across skill levels for most domains. This indicates that even well-practiced motor tasks require cognitive resources.

Artificial Intelligence and the Emergence of Co-Creativism in Contemporary Art

This paper argues for the emergence of a new art movement termed Co-Creativism, emblematic of the profound synergy between humans and artificial intelligence (AI) in shaping artistic narratives. Emerging as a successor to post-postmodernism and metamodernism, I propose Co-Creativism began its ascent around 2018 and has since solidified its prominence by 2023, notably influenced by the post-COVID landscape. The era transcends viewing AI as a mere instrumental entity, instead recognising it as an integral co-contributor in the creative realm. Through a methodical approach encompassing case studies and content analysis of artist statements, this paper aims to define the key characteristics and underlying themes of Co-Creativism. By examining the interplay between the global context, the art world, the notion of the artist, art-making practice, the audience, and co-creativist art, the goal is to provide a comprehensive understanding of Co-Creativism.

MAKNA SIMBOLIK TARI SESANDURAN DI KABUPATEN TUBAN

This research aims to reveal the symbolic meaning that exists in the Sanduran Dance. Sesanduran dance is a dance form inspired by Sandur art in Tuban Regency. Using vocal music and accompanied by roof gongs and drums. This study describes and analyzes about: (1) the form of Sesanduran Dance which includes: movement, dancers, costumes, expressions or feelings, place of performance, (2) describes the symbolic meaning of Sesanduran Dance from the view of inner and outer aspects.To answer the form of Sesanduran Dance using theory by Slamet Md. Describing the symbolic meaning of Sesanduran Dance using theory from Allegra Fuller Synder. This research is a descriptive qualitative research. Data collection through documentation of works, literature studies, interviews and observations of Sandur and Sandur Dance.The results of this study show that the form of dance cannot be separated from the dance former consisting of movement, dancers, costumes, expressions or feelings, the place of performance. The symbolic meaning of Sesanduran Dance is seen from the outside aspect looking at the expression side of society. The compiler of Sesanduran Dance was inspired by the bancik scene in Sandur art in Tuban Regency. This section gives the understanding that humans in their lives are full of journeys that must be passed according to the cycle of life. There are nine motion motives that undergo levels of stimulation, transformation, and unity. Seven sets of motion are the foothold of bancik scenes and two motion motifs are typical movements of Sandur art in Tuban Regency.Keywords: Sesanduran, Form, Meaning.

Riding against patriarchy

Equestrian portraiture has historically upheld gender norms by depicting powerful men and excluding women artists. 17th and 18th-century equestrian portraits of women depicted them as passive objects, often overshadowed by their male counterparts. These portraits reinforced traditional gender roles and upheld the patriarchal hierarchy prevalent during that time. This paper examines how Ghanaian contemporary artist Sarfowaa challenges patriarchal traditions through feminist self-portraiture in appropriated historical equestrian paintings. Through visual analysis of composition, techniques, symbols and contextualize selected artworks, this article explores how Sarfowaa subverts the equestrian genre by inserting herself into these male-dominated paintings. Her self-portraits provide a powerful statement of resistance that reclaims authority and agency for women. By contextualizing Sarfowaa's work within feminist art movements and theory, this paper analyzes how her art dismantles traditional gender roles and norms. The results demonstrate that Sarfowaa's portraits further the aims of feminist portraiture through their bold questioning of patriarchal power structures. This research expands current scholarship on the intersections of art, portraiture, feminism, and political resistance. It appeals to academics, artists, and audiences interested in the capacity of contemporary art to drive social change.

Solarpunk visions in youth fiction. The pedagogical utopia of Nausicaä of the Valley of the Wind

The essay examines the traits and pedagogical potential of the solarpunk artistic and narrative movement by analyzing the specific case study of Hayao Miyazaki's animated film Nausicaä of the Valley of the Wind (1984). The article first presents solarpunk and its association with environmental themes and successively applies the genre's theoretical framework to the case study, as Nausicaä of the Valley of the Wind shares some of the movement's approaches and aesthetics in relation to sustainability. The essay concludes with a pedagogical reflection on the potential of solarpunk to imagine and create sustainable worlds. Although this artistic movement is not explicitly aimed at a young audience, solarpunk stories (or a solarpunk reading of different narratives) could lead to a new understanding of the ongoing climate change and to a constructive call for environmental responsibility starting from a young age.

Knowing the World and Educating the Self: Reportage in Chinese Left-Wing Culture in 1936

Although “reportage” as a term was first introduced in China in 1931, it gained new momentum in early 1936 with the translation of Egon Erwin Kisch’s theory on reportage. This translation was soon followed by a surge in Chinese reportage written by figures such as Zhou Libo, Xia Yan, and Qian Junrui. In 1936, Chinese reportage writing and theory moved away from the earlier emphasis on class consciousness to a new focus on the value of observation and social analysis. This change aligned with the Soviet Union’s rediscovery of world literature by bourgeois writers amidst the global anti-fascist battle. More importantly, as a part of the Popularization of Literature and Art Movement, reportage was beneficial to a large number of educated youths who had lived in the cities such as Shanghai and then retreated to the hinterland after the Sino-Japanese War broke out in 1937. Through its incorporation of sociological achievements, this new form of reportage became a tool that educated young people could use to inform themselves and seek to enlighten the masses.

Integrating business and liberal arts within a Cambodian higher education institution: Insights from action research

This study applied a framework previously established in a Cambodian secondary education institution using an action research methodology to develop and deliver an online and face-to-face course in a Cambodian public university during and after COVID-19 lockdowns in 2020 and 2021. The course sought to integrate business and liberal arts through enquiry-based learning to help learners explore the history and development of business through various art movements and social lenses. Findings from focus groups in this action research study suggest that integrated business-liberal arts education can be effective in creating holistic learning but requires Cambodian educators to consider the teaching context and scaffold the learning, particularly for critical thinking and research. Recommendations are made to strengthen the future delivery of this course and other courses delivered in Cambodian higher education.

«Московский сюр» Михаила Дашевского

In the article, the researcher analyzed the photographic heritage of the Moscow photographer M.A. Dashevsky presented in the book Native Retro. 1962–2002. Photo Saga (2020) through the prism of surrealist aesthetics, and draws parallels between his works and the works of foreign photographers connected with this art movement. Despite the fact that in Russia, surrealism as a separate trend was not fully represented, it is possible to reveal the elements close to its conceptual program in various types of Russian art of the 20th century. In his photographs, M.A. Dashevsky offered the author’s version of “surrealism” or, more precisely, a particular “Moscow surrealism”. It was formed in the context of both the photographer’s own poetics and the specifics of the development of Russian photography in general. Like many works by surrealist photographers, Dashevsky’s photographs can be read both as an authentic story about his era and as its subjective interpretation. The researcher reveals parallels between historical photographic surrealism and the works of Dashevsky at the levels of the choice of motives, conceptions and artistic techniques. Their common motives and themes include interest in monuments, mannequins, shop windows, cafes, antique shops, flea markets, images of picturesque destruction, and absurd situations. Among their general strategies it is important to mention the search for “paradoxical juxtapositions” generated by reality itself, the choice of an unusual angle of shooting, the work with inscriptions in the urban space, and the involvement of the viewer’s associative thinking. Dialectics of the real and the phantom, internal and external, public and private, which is close to surrealist aesthetics, endows the works of M.A. Dashevsky with semantic versatility. The photographer also actively uses the strategy of one reality penetrating into another, generating surreality, which is developed in his photographs of “glass life” and “overlays”. An integral part of the works by M.A. Dashevsky is the author’s humor — kind and lyrical or close to surrealistic black humor.

«Запечатленный кризис»: кинематограф К. Рейгадаса на стыке культурных парадигм

This article examines the work of the Mexican filmmaker Carlos Reygadas. The representative of the new auteur cinema, the developing direction of “slow cinema”, he is the exponent of those social and cultural problems on which the attention of European directors of the first third of the 21st century is focused. The example of Reygadas’ films shows the changes that society has undergone in recent decades in the transition from the postmodern to the metamodern culture. The interdisciplinary approach to the study of his work is designed to more fully reveal the ideological and thematic orientation of the films and to illuminate the cultural and historical process of the first decades of the 21st century, which will constitute the novelty of the study. Based on the ideas of T. Vermeulen and R. van den Akker that the metamodern seeks to remove the contradictions between different art movements, past and present cultures, the author of the article attempts to demonstrate how this trend manifested itself in the work of Reygadas. At the same time, the reference to the mythology of Mesoamerica and the “philosophy of liberation” of Latin America shows that Vermeulen and van den Akker’s concept of culture transformation through the resolution of contradictions reflects the situation of a crisis in which modern society is involved. In the director’s films, this is reflected in the inability of the individual to make contact with the Other and the reality around them. Moreover, the films of the 2000s showed an attempt to get out of the former social and cultural paradigm, but by the end of the 2010s, the problem of interpersonal relations was not resolved, and reality acquired the status of “elusive”. This allows us to draw a preliminary conclusion that society is still in a state of a crisis, experiencing a change of cultural formations, and the transition from postmodernism to metamodernism cannot be considered a completed process.

ПАТЕНТНАЯ ИНФОРМАЦИЯ В РАЗВИТИИ ВИДОВ СОВРЕМЕННОГО ИСКУССТВА

The article focuses on the integration of technical solutions into the sphere of art. The issue is that the art is attributed to the copyright, practically not using the full potential of industrial property and state protection of technical solutions. A patent is not only a legal document certifying priority and authorship, but the description to it is a full-fledged information resource that contains reliable information about the development. The article identifies the advantages and methodological grounds for using patent information in research activities, which can help reveal previously unknown features of the creativity of figures or art movements, for example, technologies for creating works of art in the field of sculpture, graphics and painting or Theremin prototypes. Based on the presented descriptions of inventions in music, painting, sculpture, for which protection documents were issued by the Russian Empire, the USSR and the Russian Federation, conclusions were drawn that patent information is a source of both cultural understanding of art and the creative process in creating new works of art.

Советское искусство на художественных выставках и в экспозициях российских музеев и галерей 1990–2020-х годов

The article systematizes the approaches to the study and presentation of Soviet art material in the post-Soviet period and gives a periodization of changes in these approaches. The author refers to the types of exhibition recycling of Soviet art, mainly in the practice of the State Russian Museum, the State Tretyakov Gallery, and the Central Exhibition Halls of Moscow and St. Petersburg. In general, two types of temporary exhibitions of Soviet material stand out: research exhibitions and attraction exhibitions. The purpose of research exhibitions is to introduce previously unknown or marginalized layers of artistic culture into scientific circulation and the public sphere. In relation to this work, these are research exhibitions of the Russian-Soviet avant-garde and artistic movements of the 1920s-1930s and non-conformism of the 1940s-1980s. The goals of attraction exhibitions (the proposed term is based on S. Eisenstein’s well-known method of “the montage of attractions”) are associated with the creation of an entertaining visual environment that affects the viewer, offering them ways of understanding the Soviet past ideologized in the Soviet style. The purpose of the article is also to show how the cultural policy of temporary exhibitions affects the re-expositions of the State Russian Museum and the State Tretyakov Gallery, that is, the formation of certain patterns or scenarios for the presentation of the art of the Soviet past.

Jesse Gardiner. Soviet Theatre during the Thaw: Aesthetics, Politics and Performance

This is a study of the effects on the Soviet theatre of the political “Thaw” following Stalin’s death in 1953. It concentrates on a number of case studies to show how previously repressed artistic movements were revived and how a new freedom of expression, both in staging and playwriting, navigated through censorship and inconsistent state policy.

Deutsch-dänische Kunstbeziehungen 1820 bis 1920

Deutsch-dänische Kunstbeziehungen 1820 bis 1920

Balaganjur Training to Foster Young Generation Spirit in Ulian Village | Pelatihan Balaganjur untuk Menumbuhkan Semangat Generasi Muda Di Desa Ulian

Ulian Village is located in the northern corner of the city of Bangli, to be precise, in the Kintamani District. The Kintamani region has its characteristics, where most people work as farmers. Likewise, most of the people in Uian Village also work as farmers. There is a lack of artistic movement figures in Ulian Village, which may make Ulian Village still sparse/less visible in the arts, especially in karawitan art. So from this, the authors implemented the KKNT Program in Ulian Village, which aims to provide more insight into the Ulian village community and to foster the enthusiasm of the younger generation through Balaganjur training in Ulian Village. So that from the problems that arise, the author provides general knowledge about the art of karawitan to the village community, especially in practicing appropriate techniques directly, providing percussion training, both adult seka gong and youth seka gong and the author will provide one percussion work the author is Tabuh Balaganjur Melasti. Through this KKNT Program, the authors can implement their knowledge and will positively impact the Ulian village community, increasing artistic creativity, especially in musical arts.

Civic Education and Artistic Innovation on New York City’s Dancemobile, 1967-1988

The Dancemobile—an initiative of the Harlem Cultural Council and New York City (NYC) Department of Cultural Affairs—was a flatbed truck that brought free dance concerts to over one million New Yorkers, in all five boroughs, between 1966 and 1988. The program had an artistic aim to showcase the work of Black choreographers within communities of color, and thus became a vital forum for defining “Black dance” within the broader Black Arts Movement. But Dancemobile also had a political mission within the framework of violence prevention and “cool out,” aiming to provide communities with an outlet for channeling grievances into fellowship with neighbors. Dancemobile choreography addressed issues of importance to their audiences, including drug addiction, mass incarceration, and police brutality. This article examines Dancemobile’s origins, operations, and outcomes, revealing how the program used live performance as cultural activism, combatting the isolating effects of urban renewal with entertainment and political education.

Cultural Identity and Racism

This paper delves into the intricate relationship between cultural identity, racism, and the various factors shaping these dynamics, particularly within the context of the United States. Cultural identity is explored as a pivotal aspect of individual and collective existence, profoundly influenced by racial constructs and historical legacies. Racism, deeply embedded in societal structures, is identified as a significant impediment to fostering harmonious cultural relations. This paper emphasizes the critical role played by films, academic works, artworks, and increased cultural diversity in shaping and improving cultural identities. Examining the concept of race, the paper underscores its historical and cultural underpinnings, pointing out its impact on societal divisions and inequalities. Stuart Hall, who promoted Afro-Caribbean cultural identity through cinema, is discussed. Cultural practices, historical events, and film depictions of the Black experience are examined as crucial to cultural identity maintenance and rediscovery. The paper also emphasizes race diversity and Black intellectuals' role in cultural reshaping. Cultural identity is complex, and double consciousness and Black Atlantic diaspora experiences are crucial. Music is especially effective at expressing cultural diaspora and continuity. Jazz and contemporary Black art movements helped shape cultural identity. The paper argues that art, intellectual pursuits, and written history help people feel connected and understand diverse cultures. Despite these positive influences, racism still hinders cultural identity, the paper says. The paper argues that cultural identities must be preserved by avoiding racism and promoting cultural relativity. Lack of cultural integration also erodes cultural identities. The paper concludes by emphasizing cultural identity preservation and recommends a multidisciplinary approach involving media, history, academia, and art for overcoming racism to promote diversity and cultural integration.

The Life and Art of Mary Parks Washington (Fall 2018)

This essay presents a critical biography of African American visual artist Mary Parks Washington, with an emphasis on her creative development from 1942 to 1979. Washington's extant art is discussed in the context of her educational background, social network, and political affiliations, as well as the history of activist curation in the wake of the Black Arts and Black Power movements. As an undergraduate at Spelman College in the 1940s, Washington was mentored by muralist Hale Woodruff, who encouraged her to continue her studies at the Art Students League of New York, Black Mountain College, and the Universidad Nacional de México. These experiences introduced Washington to key figures of the international and American avant-gardes, including Josef Albers, Diego Rivera, and Jacob Lawrence. In 1958, Washington settled down with her family in the Bay Area, where she met poet Sarah Webster Fabio, a leading figure in the Black Arts Movement on the West Coast. Washington and Fabio's collaborative friendship over two decades culminated in 1979's Offshoots of Roots Unknown, a series of “poem-paintings” that elegize Washington's family in early twentieth century Atlanta and, formally, deal with the technical (and ethical) problem of remembering and representing history. Drawing extensively on archival materials from the Auburn Avenue Research Library on African American Culture and History, this essay recognizes Washington's contribution to post-WWII African American art and documents her unique artistic trajectory, traversing aesthetic, social, and political formations from pre-Civil Rights Atlanta to the post-Black Arts Movement Bay Area.

Plein Air Sculpture as an Element of Landscape Design in the Vinnytsia Region of the Late Twentieth and Early Twentyfirst Centuries

The purpose of the article is to analyze the specifics of the phenomenon of plein air sculpture in the context of landscape design in the Vinnytsia region of the late twentieth and early twenty-first centuries. Research methods. The study uses such methods as historical and comparative, empirical, factual and descriptive, and field research analysis (field survey of sculptures and interviews with artists). The scientific novelty of the study lies in the systematisation of new factual data on plein air sculpture in the context of landscape design. For the first time in domestic art history, genre and style features of some sculptural works that have not yet been published are considered. Primary source information from artists, in the form of actual interviews, was recorded. Conclusions. The study highlights the plein air sculpture formation process as a small architectural form of the parks’ design environment. On the basis of the artistic analysis, the influence of plein air sculpture on landscape design is comprehensively revealed, and various factors of in teraction “sculpture-space” are discovered. The evolution and prerequisites of the phenomenon of sculpture symposia in the world, in particular in Britain, Austria, and Norway, are demonstrated. As a result of the study of the origins of the emergence of sculpture plein airs in Ukraine, it is proved that the “Podilskyi Oberih” art movement, which emerged in the village of Busha, Vinnytsia region, had a positive impact on the cultural formation of the environment. In the course of the study, an art historical analysis of individual representative samples of the author’s sculptures created in different time periods was carried out. This made it possible to outline stylistic trends that gave impetus to the search for ideological and plastic trends, taking into account the factors of interaction between “sculpture-space”. The article studies the development of the Bushanskyi Park landscape environment design and describes several implemented design projects of small architectural forms.

“Edible Aesthetics”: Blurring Boundaries between Pastry and Art

The inquiry into whether food can be classified as “art” has long been a subject of debate. From its roots tracing back to Plato, this question has attracted the attention of both artistic movements and philosophers, especially throughout the twentieth century. In this paper, I aim to revisit this contentious issue by exploring the realm of pastry making as a form of art. Within the broader discourse on this topic, pastry emerges as a distinctive medium. Since sweets have historically transcended their mere nutritive functions, pastry may establish an immediate connection between art and food. Simultaneously, it reiterates the persistent challenges of encompassing the edible domain within conventional aesthetic theories. Throughout various contexts and periods, confectionery has evolved through the reproduction or imitation of visual arts, often reflecting the prevailing artistic climate of its flourishing periods. Moreover, due to its intimate association with rituals and celebratory occasions, pastry carries a profound cognitive and metaphorical framework that enhances its expressive potential, capturing the attention of many artists. By exploring the intersection of pastry and various artistic genres, drawing on illustrative examples ranging from modern European pièce montées to American cake design and Japanese wagashi, I critically examine the possibility and potential aesthetic qualities of this marginal genre, thereby opening up broader inquiries into the loose categorizations and fluctuations within the intricate domain of art.