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The review examines the edition of Estonian history of art: Eesti kunsti ajalugu. Kd. 6: 1940–1991: I osa (Tallinn: Eesti Kunstiakadeemia, 2013); Eesti kunsti ajalugu. Kd. 6: 1940–1991: II osa (Tallinn: Eesti Kunstiakadeemia, 2016).The ambitious six-volume project of the history of Estonian art was launched in 1999, and the two-part volume examined here is the largest addition to the series.The richly illustrated series is published in Estonian; however, quite substantial English summaries (28 pages in part I, 31 pages in part II) allow also foreign readers to grasp at least a broad outline of the facts, structure and methodology
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Taking into account the fact that such a complexity as the existence and continuity of „stećci“ is difficult to be analysed in a large spatial and temporal frame, it has been suggested that a multidisciplinary international scientific institution be formed with a single documentary archive. The city of Mostar has been suggested as the center of this scientific centre, which carries regional as well as global benefits. The necessity of the interdisciplinary research of „stećci” has been emphasised in a short review on some of the contemporary scientific research interests. Furthermore, the inevitable process of the protection of the cultural heritage and documents with an accent on the photography has been pointed out too. With quite a number of details, the importance of archaeology has been accentuated on some examples, as well as the importance of the history of art and iconography as disciplines that are the basis for the scientific research of „stećci“. The connection and the modernity of the scientific research of „stećci“ has been clearly outlined in a framework of the European medieval issues, which additionally justifies the suggestion.
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The article deals with the conference “State (Re) construction and Arts in Central and Eastern Europe. 1918–2018” that took place at Royal Castle in Warsaw in 19–21 November 2018. Organised by Nicolaus Copernicus University in Toruń, Institute of Art History and Centre for Europe of the University of Warsaw, the event in embraced a broad spectrum of themes from the impact of the First World War on arts to contemporary methodological challenges in art history.
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The review examines the collective monograph "Desmit epizodes 20. gadsimta mākslā Latvijā = Ten Episodes in Art of the Second Half of the 20th Century in Latvia" (Riga: Latvian National Museum of Art, 2019) authored by a team of leading Latvian art historians and evalued as an important contribution to the study of recent past.
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The purpose of this research is to study the peculiarities and details of the appearance of the girls from the «cover» of the twentieth century, in particular: what was different and what was common in the images of the Ukrainian and foreign masters while working on the cover of books and magazines as well as to determine the functions of women’s image in Ukraine and other countries. The methodology of the research is based on the use of cultural, structural, comparative, and analytical methods of study of female images in the works of illustrators, book publishers and magazines of the 20th century. Scientific novelty consists in expanding the notion of female images in the cover pictures of books, illustrations for articles and fashion magazines of the twentieth century. A comparative analysis of the images of Ukrainian girls and foreign women gives us an idea of the different levels of development and self-sufficiency of women of that time. Conclusions. The article examines the stereotypes of women's images and forms a special type (or rather types) of representation of the female body on the covers. It studies «traditional images» of women, the subtleties of appearance of female images on magazine covers and identifies relevant images for drawing portraits on the cover.
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Kreka is a settlement near Tuzla created by the development of industry initiated by the Austro-Hungarian administration in Bosnia and Herzegovina. In parallel with the development of industrial buildings, residential settlements in Kreka were being built, known as Columns or Workers' Colonies. Simultaneously with the development of the industry and settlement of Kreka, recording of characteristics of Kreka began with phototechnics, ie. cameras. The first photographs of the Kreka area were recorded in 1894. The photographs show the industrial infrastructure of Kreka and the residential units in Kreka in the years 1894 and 1895. The basis for recording the Kreka area during the Austro-Hungarian administration is a photo album with photographs of Kreka and Tuzla, owned by the Skrobic family of Tuzla. The photo album was edited by Stjepan Skrobic, a construction engineer who has spent most of his professional career in Tuzla and where he has a legacy. Photographs were made in sephia tone, measuring 17 X 12 cm in a cartoon frame on a cardboard substrate, measuring 20.5 X 15.5 cm. Kreka photographs are also available at the Austrian National Library in Vienna and were recorded in 1898. The photographs from the library have very similar features to those of the Skrobic family, and were made using the same technique, in the same format.
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The pictures are frequently living in networks. Pictures like to stand by other pictures. In the following study I analyze how the picture-network is realised, which are the connections between the network science (Barabási Albert-László) and the visual studies, how the Gilles Deleuze terms like re-, de-, territorialisation and Rhizom can be reinterpreted in this context and how the picture-hubs are formed.
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There are still to this day a large number of gaps in post-war Memel history in the Lithuanian SSR due to the fact that the subject was neglected prior to 1989 for ideological reasons. Until then, the history of German minorities had remained taboo along with accounts of the mass emigration out of the USSR. As part of a survey and collection project, the Institute of Baltic History and Archaeology in Klaipėda collated private image sources that contain material relating to cultural and social spheres within the investigation period, with the aim of closing and discussing historiographical gaps. The photographs document private strategies that existed beneath the level of large-scale political decision-making. They provide insights into recreational past times, religious customs, private environments as well as relationships between genders and generations. A further theme highlighted by the collection is the mass emigration movement that took place from 1958 to 1960. In the second section of the text, specific images are introduced and discussed. The aim of including these concrete examples is to demonstrate the extent to which private photographs may qualify as objective factual sources in developing our understanding of everyday social history.
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The streets in the historical centers of the cities of Western Europe and the world are of particular interest in the 1960s and 1970s. They set out a number of important principles: (a) preserving the historical substance; (B) increasing public functions and preserving the most valuable architectural and urban features; (C) arrangement of pedestrian zones - PZ; (D) turning PZ into entertainment and trading areas; (E) turning PZ into areas of culture; (E) creating uninterrupted public spaces at the ground level.Modern city space solutions develop further these trends and put the quality of life and its social, economic, political and enviramental aspects of urban spaces in the focus of interest of designers and all urban planners. Political aspects include: (a) planning tools; (B) financial security; (C) communication and (d) monitoring, and social aspects: (a) organizing events, typical places, museums, street artists; (B) creating attractive meeting venues; (C) walking and just hanging out, enjoying the free time; (D) children's entertainment; (E) an environment of social equality. Enviromental aspects include: (a) air quality and hygiene; (B) quality of the urban environment and cleanliness; (C) noise pollution; (D) freedom and enjoyment of movement (public and private transport, pedestrian and bicycle areas). The economic aspects of quality of life include: (a) revitalization of physical and spatial assets (quality, accessibility, efficiency to increase their competitiveness and value); (B) tourism (culture, heritage, shops, entertainment, specific places); (C) entertainment and leisure; (D) work (business, services, commerce, entertainment).
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Digital Captivity. İklim Sanat, Ankara, December 6, 2018 - January 4, 2019
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The article presents itself the way of looking for a strategy which would allow to actualize, analyze and interpret archival photographs. In a focus there are images of medieval temple architecture from the territory on which the civilizations of East and West are converged. As the main source a collection of photographs from the Kosovo and Bitola vilayets of the Ottoman Empire is taken. It was acquired in 1914 by the famous linguist E. A. Volter (1856–1941) in Skopje for the Department of Ethnography of the Russian Museum of His Imperial Majesty Alexander III. Comparing images with each other and with other similar photographic artifacts of the early 20th century the author noted their common subject referred to the heritage of the Serbian dynasty Nemanichi ruled in the 14th century. The photographs thus visualize the phenomenon of Old Serbia, defined as a folklore-ideological construct which has become a part of the national program of the Kingdom of Serbia in the 19th century. Using the example of three photographic scenes, the historical fate of this heritage, its phenomenology and semantics are traced, as well as its role and significance for the modern Serbian society is revealed. Based on this, the conclusion about the deep connection between the temple heritage and the national myth, Serbian identity and its representation is drawn. The problem of interethnic contradictions is touched upon. Interpretation of photographs is carried out by their correlation with folklore and narrative sources within the framework of an integrated approach. The results of the analysis allow to conclude that the materials of the collection significantly contribute to the comprehension of a number of historical and ethnological issues, including global problems of our time, such as the problem of preserving the world cultural heritage.
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The article analyses photographic discourse in contemporary Russian dramatic texts as a specific way of perceiving and constructing the reality, as a means of communication, and as a metalanguage. The conceptualization of photographic images in the dramatic text enabled the scrutiny of specific artistic ploys and photographic techniques applied. The article reveals the nature of correlation between the visual perception of a photograph incorporated in the dramatic text, the characters’ utterances and the author’s remarks. The photographic image fosters the rejection or the “appropriation” (recognition in oneself) of the Other by the characters. It also allows for the implementation of the communicative mechanisms used to create the hyperreality of the photo universum. The performative potential of the photographic discourse of the dramatic text materializes itself in such a hyperreality.
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Photography has only recently come to be considered, besides being a creative work protected under copyright law, also as a possible element of “cultural heritage”. Even in Italy, with its traditionally pervasive regulation of cultural property, while the issue was raised in the 1970s it only entered the legal framework on cultural heritage in the 1990s. During the same period, photographs began to be considered as “cultural goods” under the European legal framework, albeit with mixed attitudes. This article provides a summary of this legal evolution, including an analysis of possible effects of the 2017 reform of Italian cultural property export law on this specific area, and discussing the impact of current regulation on the photography market.
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This reflective paper draws on an evaluation of current online pedagogy but also the authors practice as an artist that revolves around forming a relationship between image and sound. As such ‘Listening’ and ‘Looking’ are used as a broad structure for six short essays that draw on experiences of moving to online delivery to consider the virtual classroom as an amorphous, fluid space that can be both problematic but also present opportunities for innovative teaching and learning. In addition to the six reflective essays; Latency, Volume, Spaces to Speak, Lebenswelt, Screenshare and The Thingness of Making, The Thingness of Teaching the article draws on an anonymous survey of second and third (final) year undergraduate students and an online conversation group initiated with colleagues that teach at undergraduate and post graduate level at both Manchester School of Art and the Royal College of Art. Rather than propose a definite set of conclusions the article suggests that the online platform is inherently a visual one, but using listening as a way of understanding it could open up the possibility of creating a teaching space that is concurrently difficult to grasp but potentially easily accessible and less hierarchical.
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The main goal of this study is to establish a relationship between the use of the portrait and the concept of celebrity, at the end of the 19th century, taking as a corpus of analysis a set of requests for photographs sent by letter to Zola, from correspondents located in different parts of the world. It is intended, through a qualitative analysis of this collection, to identify the functionalities and contexts within this set of correspondents requested in these images, in order to understand the role that photography has taken in the symbolic construction process of this figure as a celebrity.
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