Number Of Artists Research Articles

A Study on the Thought of Dam

노장사상은 송 대 이후 문인 사대부들이 서화 예술창작에 참여하면서부터 예술의 내용과 형식의 측면에서 중국 서화 예술에 큰 영향을 끼쳤다. 노장사상이 중국문화에 끼친 영향은 다양하다. 도교까지 그 영향력을 확장한다면 더 많은 측면이 있겠지만, 본 연구에서는 몇몇 서화가들에게 초점을 맞추어 살펴봤다. 그들이 노장사상을 자신의 예술창작에 어떻게 표현하였고, 지향한 예술정신은 무엇이었는지를 살펴보도록 하겠다. 대상의 외형만이 아닌 내면의 본질과 그림을 그리는 사람의 인격을 반영하여 맑은 기(氣)를 표현하고자 했다. 이에 따른 최고의 정신 경계라고 할 수 있는 ‘담(淡)’을 추구하는 회화관을 노장의 시각에서 분석해보았다. 중국 서화가들을 보면 유가의 규범화된 세계를 벗어나 창의적 예술창작 심리상태는 파격적인 형태의 묘사로 나타나는데 이 바탕에는 노장철학이 그 바탕을 이루고 있다. 동기창이나 팔대산인 모두에게 공통으로 적용되는 사유는 바로 노장의 예술정 신이었다. 노장철학을 바탕으로 한 서화가들은 폭넓은 이해와 포용성을 바탕으로 그들 예술의 지평을 한 차원 넓혀갔다. 그들은 자신의 목소리를 개성적인 필치로 표현해냈다. 노자는 否定의 정신을 가지고 기존의 진리를 부정하고 집단에 빠지지 않는 주체적인 나를 강조하는 정신은 자신의 목소리를 과감하게 드러내는 형태로 나타났다. 이들은 시대정신과 미의식이 기존의 서화가들보다 앞서 있었다. 오늘날 우리의 관점에서 볼 때 노장을 통한 담의 정신을 나타낸 서화가들이 추구한 창의적 예술정신은 다시 되새겨 볼 필요성이 있다.As the literati of China after Song Dynasty started to take part in the creation of the art of painting and calligraphy, Lao Zhuang Thought had a great impact on the field in China in the aspects of content and form. Lao Zhuang Thought had various influences on the Chinese culture. Although many more aspects are expected to be discovered if the research area is expanded to that of Toism, this research focused on a few number of artists in the field of painting and calligraphy. The research examines how Lao Zhuang Thought was expressed in their art creations, and the spirit of art they pursued. The artists attempted to express the clear and pure “Ki(氣, spirit)” by going beyond the mere description of the appearance of the subjects to express the character of the painter. The research analyzed the perspective of painting in pursuit of “Dam(淡)”, which can be referred to as the area of the ultimate height of spirit. The works of the Chinese painting and calligraphy artists contain the descriptions in unconventional forms, as they reflect the artists’ minds freeing themselves from the normative world of Confucianism to pursue creativeness, and Lao Zhaung Thought is behind such motivation. The common thread that can be applied for the figures Dong Qi Cang or BaDaShanRen was the art spirit of Lao Zhaung Thought. Based on their wide understanding and acceptability, the painting and calligraphy artists with their basis in Lao Zhaung Thought expanded their prospect of art to a new dimension. They expressed their own voices in individual and creative strokes. The spirit of Negation(否定), which lays emphasis on a autonomous self who denies the existing truth and is not involved in groups, emerged in the artworks as bold displays of the voices of the artists. They were much ahead than the existent artist of the same field, in their spirit of times and sense of beauty. From today’s perspective, the creative spirit of art pursued by the literati of China at the time, which represented the spirit of “Dam” through Lao Zhaung Thought, are worthy of reconsideration.

The Droit De Suite or Resale Royalty Right Under the Brazilian Framework

The resale royalty right – also referred to by its French designation droit de suite – was first implemented about a hundred years ago in France, with the intention of protecting so-called struggling artists and their families. The idea was to remedy the situation where these people lived in total poverty while their works of art were acquired for stunning sums of money at auction houses and art galleries. However, there is considerable controversy on whether such provisions still have a place in the current art market or whether they should be abolished entirely. The art market has indeed changed a lot since the beginning of the 20th century (when the first provision on droit de suite was enacted). Nowadays, there are a number of artists who have benefited from the vicissitudes of the art market, such as the artist entrepreneur. In April 2017, the World Intellectual Property Organization held a conference for the purpose of discussing the current position of these rights in the world. The present paper intends to first discuss the current status of such rights worldwide, including in terms of international treaties. The paper will then focus specifically on the Brazilian legal framework, which has maintained the resale royalty right in force for many decades. Throughout the text, the author will advance arguments in favor of and against the resale royalty right in order to showcase different perspectives and opinions on this still controversial subject.

The Counter/Actual: Art and Strategies of Anti-Colonial Resistance

Summary The article explores how a number of artists have employed the counter/actual as a form of past-talk in a conscious intervention into socio-political and ethical issues arising from the Israeli occupation of Palestine. I argue that such uses of the counter/actual more effectively foreground the injustices arising from the occupation while not only problematising the process of representation but also deconstructing the ways in which histories are intimately intertwined with relations of power and practises of legitimisation; they do not simply reproduce “the (f)actual” but work to repossess the past from the dominance of hegemonic interests.

FROM ŁÓDŹ TO LEIDEN – ON INTERNATIONAL CONNECTIONS OF THE POLISH INTERWAR AVANT-GARDE

This article is dedicated to international connections between selected representatives of Polish and Western avant-gardes in art and literature of the interwar period. Both the nature and the scale of such relations have been exemplified by a number of artists from the “a.r.” group – Katarzyna Kobro, Władysław Strzemiński, Henryk Stażewski and Jan Brzękowski, as well as their relationships with the representatives of Dutch and Belgian formations, inter alia “De Stijl” group. The origin of those connections has been briefly presented, along with their nature, dynamics and an impact they made on artworks and theories of chosen artists. Their description is based on archival documents and publications, from which a picture of direct relationships between the leading artists of the European avant-garde emerges – some of them personal, some correspondence-based; they have also been presented in form of a diagram that illustrates the text.

ÇAĞDAŞ SANATTA ALTERNATİF MALZEME OLARAK TEKSTİL VE ZANAATTEN SANATA DÖNÜŞÜMÜ

Binlerce yildir insanlarin temel ihtiyaclarini karsilayan tekstil ve ham maddesinden uretilmis -sanayi ya da insan yapimi- lif materyalleri, bugun sanatsal anlamda bircok sanatciya yaratici uretim olanaklari saglamaktadir. Dunyada ortaya cikan farkli kulturlerin yansimalari ile tekstil, cok genis bir yelpazede sanatcilarin teknik ve yontem arayislarina cevap vermektedir. Dokuma, orme, kecelestirme ya da dogal ve yapay liflerin bir araya getirildigi uygulamalar ile tekstil uretim gelenegi, kuresel kulturleri bir araya getiren bir disiplin olarak varligini ortaya koymaktadir. Lif (fiber) sanatlarini iceren calismalar artik pek cok sanatsal etkinlikte (sergi, bienal, fuar sergileri vb.) ilgiyle izlenmektedir. Tekstil uretim bicimleri “kadin” kimligi ile ozdeslestirilmis oldugundan, sanat duzeyinde deger gorebilmesi cok uzun yillar ugras gerektirmistir. Ancak son yillarda ozellikle Avrupa’da, tekstil urunlerini bir arac olarak kullanmaya baslayan sanatci sayisi artmistir. Bu makalenin amaci, plastik kaygi tasiyan sanatcinin farkli teknikler ve malzemeler ile sanatsal uretim yapabilecegine isaret etmektir. Anahtar Kelimeler: Kimlik, Lif, Tekstil Sanati, Zanaat, Sanat.

HEGEMONI di MEDIA SOSIAL: KASUS AKUN GOSIP INSTAGRAM @LAMBE_TURAH

Abstract The latest news about the celebrities can not only be obtained from television infotainment only, but also through gossip accounts in social media. One of them in Instagram account @ lambe_turah. This account is very profitable for business because it can be a media promotion of various products. But by revealing the privacy of people without thinking about the implications and reactions of society because it becomes a problem. Until here hegemony (power) as a social media seems to dominate this phenomenon. Therefore, the purpose of this study is to get an overview of the economic, social and political hegemony of social media on the @lambe_turahgossip account. This research method using literature study. The results conclude that the economic strength of @ lambe_turah can be seen from the messages distributed simultaneously, when and where it can be accepted by its followers consisting of various audiences’ class. With the number of millions followers, @lambe_turah enter the line of endorsement programs that generate economic benefits. Political hegemony @ lambe_turah can be seen freely they post any news about the celebrities either the positive or negative. This unlimited power has made @lambe_turah several times having problems with a number of artists especially if the news is negative. While the cultural hegemony in @ lambe_turah is symmetrically illustrated by the many postings that are like and commented on indicate that netizen's attention is very high. @lambe_turah also has a major influence in the formation of public opinion. Keywords: hegemony, social media, gossip account, instagram, lambe_turah

FENOMENA BLACK CAMPAIGN DALAM PEMILIHAN KEPALA DAERAH 2015

Numbers of artists who are involved in political activities in Indonesia are increasing. The relationship between artists and politicians can be complementary. In general, the artists tend to contribute more to boost votes in the elections, including in local elections of district heads (Pilkada) 2015. However, in a mass mobilization, issues of black campaign are inevitable. This paper is a descriptive study about black campaign against the candidate for Vice Mayor of Palu, Sigit Purnomo Said Syamsuddin, Ungu band vocalist known as Pasha. Mass media play an important role in spreading black campaign. In fact, now many voters are an obstinate audience. They are quite selective in anticipating the black campaign.

Tracing the Essay in Contemporary Performing Arts

Tracing the essay in contemporary performing arts explores how the characteristics of the essay appear in the current field of performing arts. In the middle of the 16th century, Michel de Montaigne developed the essay as a new literary form in order to deal with the tumultuous 16th century. ‘To essay’ means ‘to assay’, ‘to weigh’, as well as ‘to attempt’, suggesting an open-ended, evaluative search. By ‘essay’, Montaigne meant the ‘challenging of ideas’, for himself and for society. It was a wide-ranging form that reflected upon fundamental questions of life and human imperfection. Its weapons are humour, irony, satire and paradox; its atmosphere is contradiction and the collision of opposites. Montaigne’s Essai influenced and inspired and number of writers and philosophers to experiment with the essay as a (literary) form, amongst them Lukács, Adorno, Robert Musil, Max Bense and Aldous Huxley. By the 1920’s and 1930’s, the characteristics of the essay appear in film practices where we witnessed an intersection between documentaries and avant-garde cinema. In the following decades the essay becomes increasingly visible and defined as ‘Essay Film’. Within the field of contemporary performing arts, the essay is currently taking an important stance. The nature and the purpose of the essay inspires a number of artists in their artistic practice. The article Tracing the essay in contemporary performing arts maps via the work of theatre maker Thomas Bellinck and choreographer Michiel Vandevelde two essayistic modes in order to investigate how and in what kind of modalities the essay appears within contemporary performances.

A Concise Taxonomy for Describing Data as an Art Material

Abstract How can we describe data when used as an art material? As the number of artists using data in their work increases, so too must our ability to describe the material in a way that is understood by both specialist and general audiences alike. Based on a review of existing vocabularies, glossaries and taxonomies of data, we propose our own concise taxonomy. To conclude, we propose the adoption of this concise taxonomy by artists, critics and curators, and suggest that ongoing refinement of the taxonomy takes place through crowdsourced knowledge sharing on the Web.

Today’s artist identity as multicultural and hybrid identity

AbstractAfter modernism, the definition of a work of art and the manner in which art is being created has changed. Artists today, no longer being nourished by their cultures alone, not identified as ‘genius’ or considered to be highly talented. They take part in the new world with their multiple identities. Art, via circulations that exceed the borders of nation states, is being moved away from indigenous values and authentic innocence towards a globalized and monopolized world. Notably, the cold war coming to an end in the 1980s, demolition of the Berlin Wall in 1989, the opening of national borders and globalism which feeds on electronic communication, have been shaping the contemporary world into a new form. All of these factors contribute to the creation of new type of artist, with legitimized hybridity within art. The issue is not the identity itself, but how it is being represented. This is due to the risk of ghettoization, brought along by claiming a culture and identity for oneself. The hybrid identities confronting us are political strategies out to tear down stereotypes such as race, gender, ethnic origin and conventional way of thinking. There is currently an increase in the numbers of artists, who manage to fit a variety of cultures into their lives, reside in a cosmopolitan manner within multiple geographical locations and create in several countries at once. The art world, having been de-centered, away from the West; upon discovering artists from Africa, South America and Asia, and conveying them towards the globalized world, is at the same time harboring a problem of standardization and similitude. The leisure of traveling the earth can be an advantage for an artist; however the lack of having roots and the insecurity caused by a nomadic lifestyle can turn into a disadvantage.
 Keywords:multicultural, hybrid identity, contemporary art.

The Trace Beneath: The Photographic Residue in the Early Twentieth-century Paintings of the “Bombay School”

This essay examines the interface between the indexical and the gestural, through the practice of early twentieth-century painters active in the Bombay Presidency and adjoining princely states such as Kolhapur and Aundh. It draws upon archival materials such as biographies, memoirs, and photographs documenting artists at work in the studio, as well as remains of posed photographs that were produced as aide-mémoire for paintings. It throws light on the fraught place of photography as aesthetic practice in the art academy, its association with colonial protocols of scientific accuracy, capture and control, and its use to construct suggestive representational hybrids of the anatomical and the painterly outside the academy. The article explores patterns of patronage and of the use of photography in the practices of art production, publication, and exhibition, looking, in particular, at the role of the photographic basis of the portrait painting, and how photography became a supplement to “life-study” or the practice of drawing from nude models. The gendered politics of this interface, between artist, technology, and female model is a recurrent thread of analysis, drawing on critical debates that were published in Marathi periodicals of the time. The article explores the braiding of technologies in artistic practice in different sites, from the academy and the artist’s studio through to publication and exhibition in galleries, and illustrated magazines. While the essay considers a number of artists, including Ravi Varma, Durandhar, and Thakur Singh, it focuses, in particular, on Baburao Painter for his engagement with photography and painting in a career which traversed theater, painting, photography, and film production.

Excremental Art: Small Wonder in a World Full of Shit

The representation of urinating and defecating people by artists is a rather old phenomenon, for they pop up in the work of, for instance, Rembrandt. For the twentieth century the same can be observed, however with this remarkable difference with past ages, that the number of artists (playwrights, painters and performance artists to mention only a few) working with shit (as well as with bodily fluids and matter) enormously increased. Especially in the second half of this century it became very popular to use shit in plays, paintings and performances. This paper deals with the question, whether the artworks of so-called shit artists working in the West generally speaking are just a kind of wild manifestations of decadence and the abject, as so many people claim, or that they are meant to bring across a particular message with regard to the society and culture in which they are produced. On the basis of the work of the German philosopher Peter Sloterdijk and others the hypothesis will be launched that one cannot understand this remarkable blossoming of shit in the arts without taking into consideration the fact that we are living in an era of neo-capitalism, which implies a horrific transformation of consumption goods bought with the help of money (this eternal companion of shit) into all kinds of waste and ordure.

Slips, Breaks, and Tangles: Creative Collaboration and the Aesthetic Process of Trans-Subjectivity

As a form of creative practice, collaboration holds the promise to extend capacities, challenge hierarchies, and create new forms of community. At best, however, it is a fraught experiment frankly characterized by discord and strife, often reinstating the same power dynamics it seeks to confront. The questions that this article pose are: How does one attend to the needs of the individual alongside the challenges set forth by the group without the requirement to balance failure and breakdown against success and coherence? What processes might facilitate this balance? From within the conditions of certain types of failure, in which discord runs high and the individual self lacks cohesion, poetic, relational networks arise. Such networks include in their processes the shadowy, unnerving aspects of discord along with the sharing of capacities. This article argues that, beyond the intentions of collaborative partners or the institutions hosting them, shared labor opens ways to contend with difference as creative material and not just as that which opposes normality. The author considers a number of artists' groups, projects, and collaborative methods in which the subject slips out of a volitional, rational place to demonstrate how difficult creative networks can give rise to strange processes of what she calls “trans-subjectivity.” The author accounts for situated styles of collaborative practice wherein the radicalized subject can creatively, unexpectedly, and continuously develop beyond the confines of institutional power.

‘Let What Happens Happen’: The Whitelaw Archive

This article examines the archival material donated by the estate of Billie Whitelaw to the University of Reading, after the actor's death. The material sheds light on the actress' approach to Beckett's plays, and illuminates the nature of the working relationship between Whitelaw and Beckett. However, the material is also of interest because it sheds light on a series of questions raised by Jonathan Heron and Nicholas Johnson in the recent performance edition of Journal of Beckett Studies (JOBS 23.1). These questions concern the nature of genetic labour in the archive, as related to performance. In other parts of the archive, genetic labour aims to uncover the stages through which a piece of writing attained its published (or abandoned) form. In the theatre, the process of rehearsal is itself a process of genetic labour, which aims to interrogate, not the author's preferred version of the text, but the version agreed by a number of artists working in collaboration. In the theatre, the question of the actor's performative intention, and the labour through which that intention is realised, is an important part of any archival exploration. The Whitelaw archive is valuable, this article argues, because it enables us to trace the formation of a particular approach to Beckett's texts, undertaken through a process of genetic labour on the texts themselves, rather than on the character or situation that the texts suggest.

Teachers’ Curriculum Stories: Perceptions and preparedness to enact change

Within the specific context of The Australian Curriculum: The Arts, this paper explores how teachers of the Arts and teacher educators encounter and enact curriculum change. Adopting Ewing’s notion that curriculum is a complex web of varying stories and storylines that are impacted on by teachers’ underlying philosophy, we suggest that Arts teachers embrace the intent behind The Australian Curriculum: The Arts. This paper unearths and explores insights gleaned from teachers looking inward and reflecting on their own personal curriculum journeys. The learning dimensions of conceptualising, experimenting and developing, reflecting, resolving and communicating are applied to investigate the implementation of the new curriculum. This article shares data from a number of Arts teachers’ interviews with the authors in relation to their thoughts on the implementation of the new curriculum. Two key themes emerged from these interviews, these being navigating challenges and the implications of personal attributes in encountering and enacting change. Interestingly, a number of qualities associated with Arts practitioners such as creative and lateral thinking, resilience and flexibility emerge as significant contributing factors in regard to how teachers encounter, enact and become curriculum change.

Socialism and the Possibility of Utopia in Wesker Trilogy

Every modern epoch seems to produce a small number of artists whose work provides society with an antidote to the ignorance of its own exhaustion. Arnold Wesker is one of these writers who offer this therapeutic service to an ailing body. The Wesker Trilogy (1960) has charted the gradual fading of Communist faith and youthful energy among a group of Jews in the East End of London (1936-1959). In this article the author has applied sociological approach, remarkably moral and philosophical socialism, to The Wesker Trilogy in order to reveal Wesker’s most ambitious achievement and impressive contribution to the English New Wave Theatre and all his working-class audiences. Therefore, the quest for a radically reconfigured socialism, which Wesker articulates with force and passion in The Trilogy, appears by the late 1960s as a quest for survival, not only for the Left itself but for all humankind. Meanwhile, he works to protect human freedom and dignity and to promote a life worth living. Although he follows many of the goals of socialism, he willingly subordinates his socialist principles of solidarity and communal cooperation to defending the rights of the individual. In Wesker’s estimation, no political or religious cause―not even Judaism or socialism―is worth the sacrifice of individual liberty. Finally, what is discussed here is Wesker’s notion of utopia. He thinks that the belief in the utopian ideal could provide a meaning and order for life. DOI: 10.5901/mjss.2016.v7n3s1p296

New Religious Movements and the Visual Arts

Contrary to popular conceptions, modern artists are often religious. Some of them are part of mainstream religions including Catholicism, Protestantism, Judaism, and Islam. Others try to establish new religions and forms of spirituality based on art itself. A significant number of artists, while alienated from traditional religions, were either part of, or deeply influenced by, new religious movements and esoteric groups. Scholars have particularly focused on the influence of the Theosophical Society on the visual arts, but other movements have also been significant.

The Art of Power and the Power of Art

An essay commissioned by the Royal United Services Institute, an independent think tank on international defence and security. The piece claims the value art brings to the subject of conflict, highlighting a number of artists who variously address many different aspects of conflict in their work such as Omer Fast on the subject of cyber warfare and Dinh Q Le bringing memories of the Vietnam War back into consideration.

Going beyond the archival grid: Carl Beam and Greg Curnoe’s decolonization of a colonizing space

A number of artists working in Canada have focused on the archive as a space that requires decolonization. This paper examines key archival artworks made by Anishinaabe artist Carl Beam (1943–2005) and settler-Canadian artist Greg Curnoe (1936–92). Though these artists approached the archive and decolonization from markedly different positions, both made work from which an epistemological shift occurred for themselves and their viewers. I argue that their works demonstrate the relevance of the archive as a site from which a decolonial future can emerge.

Bread from the Lion’s Mouth: Artisans Struggling for a Livelihood in Ottoman Cities ed. by Suraiya Faroqhi

Reviewed by: Bread from the Lion’s Mouth: Artisans Struggling for a Livelihood in Ottoman Cities ed. by Suraiya Faroqhi Enno Maessen Bread from the Lion’s Mouth: Artisans Struggling for a Livelihood in Ottoman Cities. Edited by suraiya faroqhi. International Studies in Social History, volume 25. New York: Berghahn Books, 2015. 366 pp. $110.00 (cloth). This engaging collection of articles follows a general increase of interest in and new approaches to the research on guilds, crafts, and craftspeople in general and the Ottoman Empire in particular. As indicated by Suraiya Faroqhi in the introduction to this volume, a growing number of scholarly researches have been published since the editor finished her monograph on Artisans of Empire: Crafts and Craftsmen under the Ottomans.13 Faroqhi explains that over the past twenty years a new discursive understanding on guilds in the Ottoman Empire has been taking shape, connecting men—and sometimes women—with the material culture they produced. The volume currently under review follows that trend and discusses a broad range of topics related to the historical developments of guilds in the Ottoman Empire. Two attractive merits of this volume are that the authors discuss developments that range from as early as the fifteenth century to as late as the twentieth century and their geographical scope ranges from Hungary to Bursa and from Damascus to Cairo—though most of the contributions concentrate on Istanbul, an obvious result of the availability and great number of primary sources on the Ottoman Empire’s capital. The book starts off with the editor providing an overview of the state of the art in an impressive introduction, which is useful not only for this volume but also as a general [End Page 143] introduction to the most significant themes in the historiography on Ottoman artisans. The book is subdivided into three sections. The first is the most comprehensive and consists of six chronologically arranged case studies. İklil Selçuk’s chapter discusses the process and timing in which hierarchically organized guilds started to surface in the context of fifteenth- and sixteenth-century Bursa. Selçuk concludes that a broader transition in terms of centraliƵation, bureaucratiƵation, and specialiƵation in the Ottoman Empire introduced a marked difference in the organiƵation of artisans in the late fifteenth century versus the late sixteenth century. Géza David and Ibolya Gerelyes discuss the relevance of material culture for the study of social history by looking at sixteenth- and seventeenth-century Ottoman pottery found on Hungarian soil. They argue that ceramics can provide information on settlement and trade networks, as well as the level of organiƵation, regulation, and technical proficiency of artisans. Moreover, they can also provide clues on the presence of various ethnic groups and, to some degree, the level of interaction between these groups. Colette Establet focuses on Damascene artisans around the year 1700 by looking at inventory records of the qadis (judges). She indicates that the number of artisans and shopkeepers living and working in Damascus was high and that the intermingling of soldiers and common men was a daily reality, as was widespread poverty. Nina Ergin’s contribution focuses on the mapping of Istanbul’s hammams (Turkish bathhouses) and their employees and includes a set of maps that reveal the size and geographical distribution of Istanbul’s 177 hammams as registered in the record. Despite some shortcomings, including the lack of comparative data, these maps offer insight into the spatial distribution of hammams and the age and ethnicity of their employees, and thereby suggest a wide array of possible directions for future research. Suraiya Faroqhi discusses the work of artisans working in textile production in Bursa around 1800 and argues that poverty was the most common reality of artisans, though some managed to gather considerable wealth and social power. The last monography by Nalan Turna deals with Istanbul’s shoe guilds in the early nineteenth century and shows how changes in urban economic activity affected guilds as they struggled to maintain their monopolies during economic hardship. Reforms in the Ottoman Empire created new opportunities for the state and artisans. The second part of the book starts with Gülay Yılmaz Diko...