Modern art and contemporary art

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‘Afro-Ghanaian influences in Ghanaian paintings’

‘Afro-Ghanaian influences in Ghanaian paintings’

article makes interesting reading on Nkrumah s deliberate employment of art in the establishment of a political hegemony but with some resistance to this particularly with the representation of his portrait on the Ghana stamp. What happened was based on the ideas of Antubam and Nkrumah who hold the view that in creating a new national identity and cohesion art should play an integral role built upon traditional foundations. Kwami demonstrates the variety of works and different public receptions including some that were against traditional expectations but also had public following in his work Kumasi Realism . While some were contrary to traditional expectations the book suggest that contemporary art in Kumasi aims at meeting urban public needs different from traditional art. It can also be inferred that it is some of these new modern art works which departed from or supported
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The Societal Dimension of Art: On Mara Raţiu’s Art as Social Activity

The Societal Dimension of Art: On Mara Raţiu’s Art as Social Activity

The book’s first chapter is dedicated to showing how what we refer to as “contemporary art” has emerged. The author holds that what has best indicated the passing from modern to contemporary art is the “de- materialization” of the aesthetic object and the increasing influence exhibitions have had in revealing the process-like character of art and the artists’ work (page 33). Additionally, aesthetics itself is “de-aestheticized” when mass culture replaces aesthetic experience, which has happened progressively since the year 2000. De-aestheticization rather presupposes zapping artistic phenomena than “reading” them and “deciphering” their meanings (pages 58-9). While I understand why the author avoids connecting zapping in art with domains of life outside the artistic sphere (but where nonetheless the so-called “zapping” attitude is increasingly present), I do believe that de-aestheticization also occurs in what Hans Belting depicted as the purpose of contemporary artists themselves to eliminate all art criticism with the exception of the one conducted by means of their own work. Although not thoroughly examined, this dimension is nonetheless hinted towards in the book and other such research directions are inchoatively present.
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Liaisons Dangereuses, Conservation of Modern and Contemporary Art: a study of the synthetic binding media in Portugal

Liaisons Dangereuses, Conservation of Modern and Contemporary Art: a study of the synthetic binding media in Portugal

Within the scope of the present work, several workshops were organized at the DCR with the participation of Sofia Agrela since 2005 (Figure 4.9). Together with the students from the department, we had the opportunity to get a deeper insight on Rodrigo‟s painting technique. The process was followed from the preparation of the support, including applying the wood bars to reinforce the hardboard structure, preparation of the paints and painting. The help of Sofia in the course of these workshops was fundamental for a better understanding of the paints preparation, specifically on the colour mixtures, binder/water and binder/pigment proportions, i.e . to find the „correct painting‟ in which concerns colour and texture. After systematic experimentation and selecting the painting Os quintais (1989) as representative, the colours of one of the final „correct paintings‟ were reproduced. For the paints preparation Vulcano V7 was used as the binding medium; the ochre colours chosen for the reproduction were ocre rouge 2202 and ocre jaune 2202 from Lefranc & Bourgeois, both belonging to the pigment collection found at Rodrigo‟s studio; titanium white from Casa Varela and nero di marte from Zecchi were the limits used. As described by Joaquim Rodrigo each of the colours were prepared individually in separate containers and were mixed as paints following the rules explained above (Chapter 4.2.1.1) in order to reproduce the colours from Os quintais (Figure 4.10).
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The performative turn at Inhotim: installation art and Baudelairean modernity /  A virada performativa em Inhotim: as instalações e a modernidade baudelairiana

The performative turn at Inhotim: installation art and Baudelairean modernity / A virada performativa em Inhotim: as instalações e a modernidade baudelairiana

As seen in Manet’s painted mirror, fragmentation and sketch-like brushwork have “surprise” effects. These techniques shock the viewer because they contradict expectations for the finished, illusionistic work of art. The painted mirror also shocks by denying the viewer’s traditional way of entering the painting through one-point perspective and an illusionistic extension of the objects’ and figures’ space. Likewise, the barmaid’s reflection does not line up with her actual figure and the reflected man’s figure is omitted from the front of the bar where he should be standing. These distortions aside, the painted mirror presents a kaleidoscopic view of a thoroughly modern venue. The Folies Bergère, a popular Parisian cabaret, was a new urban space where high life and low life converged in a dynamic spectacle of lights, costumes and actors’ and viewers’ animations. Commonplace references are also inscribed in this scene: contemporary viewers would have recognized the painting’s relationship with popular posters, advertising the
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The curator/patron: Foundations and contemporary art

The curator/patron: Foundations and contemporary art

The names of certain artists, chosen by private foundations to make site-specific temporary projects, come round with regular familiarity. UK artist Rachel Whiteread’s first project with Artangel in 1993 led to a number of subsequent public and private commissions, both temporary and permanent: Water Tower, 1999, for the Public Art Fund and Monument, 2001, a temporary commission instigated by the Royal Society for the encouragement of Arts, Manufactures and Commerce (RSA) and now run by the Greater London Authority and the Unilever Series commission at the Tate Modern, 2005. Although neither Whiteread’s Monument or her Tate Modern exhibition were commissioned by private foundations, her very inclusion in a public commission process denotes acceptance, endorsement, and reputation in the mainstream art world. A similar pattern appears in the commissioned works by UK artist Michael Landy. Landy’s Break Down (2001) was presented by Artangel in a former C&A store on Oxford Street, London. Landy has visited Australia twice at the invitation of Kaldor Art Projects, with projects still in their development stage. 29 German artist Gregor Schneider, award-winner at the 2001 Venice Biennale, presented Die Familie Schneider (2001), consisting of two identical houses in an ordinary residential street in the East End of London, commissioned and produced by Artangel in 2004. In 2007, Schneider was subsequently commissioned by Kaldor Art Projects to present an installation on Bondi Beach, Sydney.
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Space and art – interrelations between architecture and contemporary art at Inhotim

Space and art – interrelations between architecture and contemporary art at Inhotim

85 Taking a closer look, Oiticica’s approach to art is responded by the architects who attempted to do the same in their building design, by using familiar material and geometry arranged in an unfamiliar setting. We could not help but see a formal relationship between this gallery with the Vals spa project by Peter Zumthor (1996); despite the differences in scale and program, the similarities of stone coated geometric volume projecting out of a hillside with green roof coverage follow the same general aesthetic language. According to Carlos Alberto Maciel, in fact, “the design of Vals spa was a direct reference in the choice and paging of the façade’s material, in our case, the stone lagoa santa, very common in coatings of modern houses’ walls in Belo Horizonte, and a trivial material that we tried to give a new application.” He also stated that, though the previous knowledge of the spa project might have been important to the detail development and formal solution of the gallery, still, it was not an intentional analogy to Zumthor’s work. He argues that most of the decisions were based on the curatorial and physical demands, including the placement of the building and the choice for a green rooftop (image 5.15).He comments that the integration of the building to the topography was motivated by a preliminary curatorial idea to reduce the project presence to the people who arrive from the upper levels of the park, avoiding volumetric competitions with the outdoor works.
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A tournament of shadows: Alighiero Boetti, the myth of influence, and a contemporary orientalism

A tournament of shadows: Alighiero Boetti, the myth of influence, and a contemporary orientalism

This paper examines the evolution of the historical and theoretical literature that has developed about the work of the avant-garde Italian artist Alighiero Boetti produced in Afghanistan from 1971 until 1994. Characterised by a set of interrelated cultural and historical fictions, I propose that this collective narrative has evolved to constitute a contemporary orientalist mythology. This is particularly evident in the literature following his death in 1994, and most recently in anticipation of his retrospective exhibitions in the Museo Reina Sofia, Tate Modern, and the Museum of Modern Art in 2011–12. Prior to his death, the literature on Boetti primarily took the form of catalogue essays, journal articles and biographies. These drew heavily on a small number of interviews conducted with the artist, plus accounts and memoirs given by his wives, partners, and curatorial collaborators. Since his death, the literature has further proliferated, and today a greater emphasis is placed on a growing number of secondary authorities. Recent monographs, catalogue essays, and auction house texts draw heavily on the anecdotal accounts of his agents and facilitators, as well as his employees and archivists. In exploring what I describe as the mythologies informing the contemporary reception of his work, I examine the claims of his influence over the distinctive indigenous genre of Afghan narrative carpets which were produced both within Afghanistan as well as by diasporic Afghans in Iran and Pakistan in the years following the 1979 Soviet invasion until the present. The attribution of political intent in the later Boettis, whether attributed to the artist or on the part of his agents, is a recent invention worthy of challenge. Finally I argue that such interpretations of his attitudes and practice might be described as a form of late orientalism, a mode of representation occurring through the appropriation of tradition and the projection of cosmopolitan values and avant-garde practices onto this most conflicted and exoticised cultural context of the contemporary era.
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Whose global art (history)?: Ancient art as global art

Whose global art (history)?: Ancient art as global art

beyond ancient Greece and contemporary theory. One might argue, in fact, that it is precisely Donald Preziosi s breadth and depth of knowledge of the field of art history, as well as the value he places on all geographical areas and periods of art, that allows him to engage so fully and effectively in the discourses that impact the discipline of art history as a whole and that speak across our areas of specialization. This is why I would like to dedicate this essay, which argues for a greater role for pre-modern art in the mainstream theoretical discourse on global art, to Donald Preziosi, whose interest in art across time and space has informed his scholarship and that of his many students in order to advance the complex history of art in the world.
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Alois Riegl, ‘Lovers of art, ancient and modern’ , Translated with an introduction by Karl Johns

Alois Riegl, ‘Lovers of art, ancient and modern’ , Translated with an introduction by Karl Johns

particularly popular because they could be used as ceremonial dishes. Silver and bronze objects are mentioned with great frequency, particularly the so-called Corinthian bronzes. Yet never in all of this is there any reference to a contemporary piece. Most of these objects were associated with names from the archaic and classical period of Greek art. Among the sculptors, Polyclitus, Myron and Phidias are mentioned most often, while it is Polygnotus and Apelles among the painters. Quintilian was struck by the fact that some people considered the old fashioned work of Polygnotus to be more valuable than the paintings of Apelles, and declared this to be the result of a sort of coquetry among connoisseurs as we can also see it occurring today. Works in silver with rubbed and worn details were also valued more highly since they were considered to be older than objects in better condition which made the impression of being more recent.
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art hfgabreu  and intergranular

art hfgabreu and intergranular

According to the usual practice of age hardening materials, the steel is solution treated at high temperatures and aged at lower temperatures. The solution treatment is carried out at 1040 °C with oil quenching. This treatment results in a martensitic structure that can be hardened by subsequent aging. Aging temperatures vary from 480 °C to 620 °C. The material may be purchased in the fol- lowing conditions: A, H900, H925, H1025, H1075, H1100, H1150 and H1150-1150 (double aged). These codes correspond to com- mercial heat treatments related in Table 1 [4]. The condition H900 corresponds to aging at 480 °C (900 °F) for 1 h. At this condi- tion the material achieves the highest mechanical resistance due to the e -rich fine precipitation [2]. However, for some components,
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art fnafreire structural and

art fnafreire structural and

(where 0 \ x \ 1) alloys were prepared by a new ceramic procedure. The samples were studied using X-ray diffraction and Rietveld analysis, scanning electron microscopy (SEM), energy dispersive X-ray spectroscopy, infrared and Mo¨ss- bauer spectroscopy. The X-ray analysis indicates that the all the samples present a hexagonal structure. The IR spectra showed three main absorption bands in range of 400– 600 cm –1 corresponding to SFO100 and BFO100. The Mo¨ssbauer spectra showed a superposition of five subspec- tra associated with the five sites of the iron ion, which in the ferric state. The SEM studies showed that the hexaferrites presented grains that varied in the range of 260–305 nm. The dielectric properties: dielectric constant (e 0 ) and dielectric loss (tg d) were measured at room temperature in the fre- quency range from 100 Hz to 40 MHz. The samples present a nonlinear behavior for the dielectric constant at 100 Hz, 1 kHz and 1 MHz. The dielectric constant is not following the linear mixing rule for the samples. The structural, dielectric and magnetic properties of the composite barium
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Arte Contemporânea e Paisagem Urbana: visualidade e visibilidade / Contemporary Art and Urban Landscape: visuality and visibility

Arte Contemporânea e Paisagem Urbana: visualidade e visibilidade / Contemporary Art and Urban Landscape: visuality and visibility

A emergência de novos objetos no campo da historiografia e da museologia, envolve até mesmo nossas atitudes perante a vida e perante a morte, rituais e formas de sociabilidade, constituindo novos territórios que além de anexarem outros, ficam misturados mesmo, como corpos híbridos. Com auxílio dos artistas, que, de modo multivalente, apontam muito mais para frente, discutimos fronteiras. Os movimentos na arte contemporânea vieram tornar manifesto que o valor de uma obra de arte não é, e de fato nunca o foi, passível de ser aferido objetivamente. Há um trabalho de Cildo Meireles, que só foi exposto no Musée d´Art Moderne et Contemporain de Strasburg, intitulado `Antes´(1977-2002) no qual cada degrau nos remete a uma repetição fractal e em escala de todos os elementos envolvidos: mesa, chão e escada apresentam-se numa sequência simultaneamente ascendente (estamos subindo) e descendente (temos a impressão de estarmos de onde acabamos de sair). Com esse trabalho Cildo indica que o valor da arte está no resíduo, na memória. Na arte estão extratos da memória, rastros de outros tempos, uma memória que seria também social.
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Tradição e fundamentos éticos hipocráticos aplicáveis à terminalidade da vida

Tradição e fundamentos éticos hipocráticos aplicáveis à terminalidade da vida

The concept of disease as punishment, very clear in Homeric Greek thought, suffered progres- sive change with the evolution of philosophical ideas in the post-Homeric Greece. Since ancient times it is questioned: why humans get sick? The reflections of the pre-Socratic philosophy and the establishment of Hippocratic medicine as tékhnē iatrikē understand that the disease does not happen because of you or by imposition of a capricious and angry deity, but for a necessity of nature - anánkē physeos. Thus, it is a facts that human nature let the man always vulnerable to diseases, produced by anánkē (necessity) - kat’anánkēn - in obedience to what is forcible in nature or týkhē (misfortune, acci- dent) - katà thýkhēn – according to luck or fortune of human nature 20 .
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Where is cinéma going?

Where is cinéma going?

A final and revealing pairing of circumstance looks at the de- glamourized remakes of Hollywood films by artists Miwa Yanagi and Pierre Huyghe. Yanagi stages ‘schoolplay’ versions of scenes from Cassavetes’ Gloria and Luc Besson’s Leon, while Huyghe deconstructs Sidney Lumet’s Dog Day Afternoon in his astounding piece The Third Memory. There may be similarity of purpose, but the difference in ambition is deafening. Yanagi recalls a moment in her student days when film culture participated in the construction and definition of a young person. Those two films have a particular cult status in Japan. Huyghe remakes key scenes from the bank robbery in Lumet’s film, starring the real John Wojtowicz, who was played by Al Pacino. Huy- ghe’s two-screen projection, the remake and the actual story of the heist told by Wojtowicz, has its own prologue.
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XIV Festival de Inverno de Campos do Jordão: variações sobre temas de ensino da ...

XIV Festival de Inverno de Campos do Jordão: variações sobre temas de ensino da ...

Pelo sentido atribuído por Aguirre, o termo “cultura popular” abarca a “cultura da mídia”. Some Characteristics of modern and postmodern art/education. Material distribuído durante pales[r]

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ARTS MANAGEMENT: CONTEMPORARY ART GUIDES ALIBI – THE PORTUGUESE CASE

ARTS MANAGEMENT: CONTEMPORARY ART GUIDES ALIBI – THE PORTUGUESE CASE

• Measurement of micro-conversions – Given its nature, it does not make sense for Alibi to measure macro-conversions (e.g. purchase completed). As a means of communication, its success relies on visitors’ interactions with the website. They can subscribe the newsletter, watch content, like a post, share the website, etc. These micro-conversions create a bond between Alibi and its audience. It may not directly translate into money to AntiFrame, yet, in the long run, this will be one of the first measures presented to the venues in order to have them promoting their exhibitions on Alibi’s website, which is where the money comes from. Thus, measuring the micro-conversions and acknowledging their impact on the project’s revenues will help the improvement of their implementation on the website. • The last metric to be evaluated concerns venues’ results. Therefore, AntiFrame should
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The role of the curator in the context of contemporary art

The role of the curator in the context of contemporary art

The reason behind this process of artists occupying curatorial territory by running galleries and curating exhibitions is a way of taking control over what happens to their art after it leaves their care as well as a new way of relating and engaging the audience. In the artist circle it is believed that curators have too much authority and responsibility for creating the artist’s work in the social field. “Artists may channel mysterious energies, but others get to make the choices. Choice trumps creation and choice is linked to all rewards, including an enlarged audience for the chosen artists' work.” 62 Artists function as curators in an attempt to gain visibility and own the process of distribution rather than be subject to it. It offers them the possibility to show their own work in the context of their choosing. An artist can round up other artists work based around similar themes and directions to their own, and then submit this as a proposal for a group show to museums and galleries. It is a solution for an emerging or young artist to get their work into the appropriate show and location. The other side of the coin when treating the subject of the artist-curator is the fact that the belief of the artist in being a better curator does not necessarily make him so. It is thought that the freedom from institutional conventional and a better understanding of the needs of the artist allows them a better process of curating, one that does not involve the repetition of what is perceived to be conventional hierarchies.
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Exhibiting Western Desert Aboriginal painting in Australia’s public galleries: an institutional analysis, 1981-2002

Exhibiting Western Desert Aboriginal painting in Australia’s public galleries: an institutional analysis, 1981-2002

Not only had Australian Perspecta exposed the biases that impeded the recognition of Western Desert acrylic painting, it also provided a justification for including these canvases in the contemporary art arena. Despite efforts to establish the art credentials of Western Desert panting, the criterion of cultural authenticity continued to overshadow these early endeavours. The term ground painting , used to describe the dot-paintings of Papunya, was meant to provoke comparisons with the traditional (ceremonial) ground art of the Western Desert region. Thus, although the paintings were not themselves made from traditional materials, they at least purportedly followed an established style and were derived from a traditional (ritual) art form. For the time being, the case for cultural compatibility would allow art curators to sidestep the issue of cultural authenticity. This followed the logic that the new was at one with the traditional:
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Uma utopia possível: o cosmopolitismo na arte contemporânea / A Possible Utopia: Cosmopolitanism in Contemporary Art

Uma utopia possível: o cosmopolitismo na arte contemporânea / A Possible Utopia: Cosmopolitanism in Contemporary Art

foi exibido em 2011 em Washington, no Salão das Nações do Kennedy Center for the Performing Arts, de cujo teto pendem as bandeiras de todos os países. O local da exposição confere um significado transnacional ao discurso de Gandhi, já que os murais que exibem o texto estão posicionados sob as bandeiras, reforçando a relevância do texto para todos, mas, ao mesmo tempo, demonstrando as consequências de não lhe dar atenção – as letras-ossos representam o assassinato de Gandhi quase 20 anos depois do discurso, o perigo enfrentado pelos ideais pacifistas e, finalmente, as vítimas da violência. Public Notice 3 foi criado em 2010 especialmente para ser exibido no Art Institute of Chicago, em mostra aberta no dia 11 de setembro, fazendo coincidir duas datas: por um lado, o trauma recente dos ataques aos Estados Unidos, e, por outro, o discurso de Swami Vivekananda, naquele mesmo edifício, durante o Parlamento Mundial das Religiões, no dia 11 de setembro de 1893. É justamente o texto do representante do hinduísmo 72 nesse congresso que Jitish Kallat utiliza como base de sua instalação. Para
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Rev. Bras. Estud. Presença  vol.8 número1

Rev. Bras. Estud. Presença vol.8 número1

In any way, it seems to be a link between time, presence and quality of movement whose goal is the creation. In Hamilton’s work, the creation is searched by the now and not by the conditional verb tense. For Fabião, the forms of the past and the future are factors that can happen endangering the quality of the actor’s presence. One way of keeping the quality of the presence would be to conjugate them as forms of the present. But how? Considering a session of instant composition, it can be observed and experi- enced that a possible solution would be the repetition of a same happening that has occurred in this same presentation, fruit of an encounter between interpreters, or from one solo in that specific space, that happened in a past, either the beginning of the play or seconds ago. Sometimes, precious movements happen, in a certain time and space, as a pause. Then, one can always set them into action as devices of memory, so that, when passing where the movement happened, it will be always possible to follow its trace, to have the memory of what happened, to repeat the same in a distinct way. This way, it is like it were possible to feel and to see the impression of this body and mind being touched as a reenacting of a past moment. The danced movement, its gestures, the use of the voice are materials that hap- pen in the space that can be, however, filed in the body. A material that be- comes an archive, then, would concern the possibility of coming back to a certain situation, especially when it is a remarkable, clear or even more im- agetic situation. In this sense, one can file a material in the body to be able to use it in the future, just like there would be the possibility of coming back in time or retracing a past trajectory. The archive notion becomes re- lated here with stories carried in the body, as well as with sequences of movement composed in this time and space of the instant composition.
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