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MIXER, Marko Pogačar: Bomba u jeziku; CEMENT, Igor Đorđević: Trač partija na kvadrat; ŠTRAFTA, Dejan Vasić: Može li se putem slikarstva predstaviti istina; VREME SMRTI I RAZONODE, Miloš Živanović: Dobacivanje iz publike
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MIXER, Igor Duda: Radnici i turisti; ŠTRAFTA, Dejan Vasić: Sekvence društva u permanentnoj tranziciji; ARMATURA, Igor Marojević: Kažeš Katalonija, misliš Kosovo; VREME SMRTI I RAZONODE Ivan Antić: Dr Feelflood, Vladimir Milojković: Čega se plašim na jednoj klupi; BLOK BR. V, Studiostrip: Monika via Italia
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The temples are most outstanding form of India’s sacred architecture. Temples are conceived as a receptacle for an image of the saviour or deity who is worshiped there. Generally, temple is defined as a building dedicated to deity and worship or it is a place of worship. Masrur, in the Kangra district, is an important site in the Himalayan region with a view to study Hindu temple architecture. Masrur is amazing monolithic rock-cut curvilinear Shikhara type temple; probably it is singular example in the North India of its kind. The temple of Masrur is an extensive rock-cut temple complex with the central part, roughly 160X105 ft., showing a large east-facing Shiva temple as nucleus enclosed by eight subsidiary shrines. On the extremities of the longer side are excavated two medium sized temples, each facing the transverse direction and surmounted by four satellite shrines. The architectural and iconographical plan of the complex, the Masrur complex fits in between the Gupta architecture and the typology of overall character of the temples dated to the tenth and eleventh centuries those of Central India, Rajsthan and Gujrat. Regarding the dating of the Masrur, Professor C Shivarammurthi writes “Since the carving is very pleasing and follows the Gupta idiom- though very much more advanced in style- this must be eight-century work”.
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In the history of the United States a prominent place is occupied by the frontier (the frontier) as a meeting point of the white settlers and what were to them virgin lands. The legendary tales of settling the West, in particular their visual depictions, have become – with the passage of time – an important part of the American Founding Myth. Their traces are found in Hudson River paintings and in those produced by Rocky Mountain School, but also in the Western films aesthetics that drew upon the former. Based on the example of John Ford’s westerns’ aesthetics, the author of the article conducts an analysis of cinematic depictions of American frontier land melted into the landscapes featured in classical Hollywood productions about the Wild West. The departure point for her considerations is the overview of the New World’s basic institutions in Stagecoach. In The Searchers, in turn, what comes to the foreground are Ford’s interests in the art of painting, for he transform Monument Valley into nothing short of a mythical land. A kind of summation of the path traversed by the American Landschaft, from the realm of nature to the centre of western civilisation, is the blockbuster How the West Was Won, being both an apogee and the twilight of the narrative on the United States’ divinely‐given mission.
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The main purpose of this paper is to present a well-known Italian artist Ludwig Longo, who was once really active in Tbilisi, to the public life. Unfortunately, he has gradually been forgotten but he left precious heritage. According to this purpose the author of this article, considered to reconstruct Tbilisi passages of Longo’s biography in order to make a famous this painter for modern Georgian and Italian arts historians. Main materials were found by the Fund of New Georgian Art Department of Art Museum, newspaper materials, etc. As a result of this research revealed that L. Longo was deep involved in and have obtained his place in Tbilisi. He mainly was painting portraits, as well he had covered with drawings Tbilisi Saint Trinity Church and Al. Nevelly Military Temple or "Soboro" as it was called.
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Unfortunately, this year will see a complete different organization of the 23rd edition of the concert in Melpignano, Puglia; it will be held behind closed doors, due to the pandemic that has had a stark impact worldwide, precisely as it strongly affected most regions of Italy. Therefore, the concert will be broadcast on the Italian channel Rai 2 on Friday 28th August at 10.45 pm. The musical performance is a symbol of a tribute paid to the traditional music of Salento. The renowned composer Paolo Buonvino, along with, will bring joy to their viewers admiring the performance from home by including an emotional soundtrack, as the concert takes inspiration mainly from both various musical traditions and the current situation in Salento, thus the two musicians strive to encapsulate the image of people’s misfortunes over the past few months, during lockdown, as everyone seems to have forgotten how to smile lately. Moreover, the accompaniment will also cover a mixture of popular customs of the pizzica dance and the world of cinematography. Two notorious orchestras will be performing from the stage of Melpignano, namely the Orchestra Popolare “La Notte della Taranta” and the Orchestra Roma Sinfonietta. The decision to postpone the live performance of the festival was made in order to avoid further transmission of the COVID-19 virus. At the same time, the festival is dedicated to the lion-hearts who fight against the viral disease. The final concert will be held three years from now, in 2023.
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The aim of this article is to look at the photomontage – the technique itself, its history and protoplasts. It became widespread in Poland in the interwar period as a result of technological development and, significantly, the idea of communism, which was gaining more and more supporters at the time. It is not entirely clear who invented the photomontage; for that reason, the author presents various, usually divergent concepts.
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Sanat tarihinin gelişimi içerisinde, ilk örnekleri mitoloji ve dinsel konularda görülen şiddet sahneleri, zaman içerisinde devlet ve iktidarların güç sınamasında sistemli bir yöntem olarak başvurdukları savaş olgusu şeklinde dönüşerek süreklilik kazanmıştır. En ilkelinden en modernine kadar, savaş ve şiddet gerçekliği, toplumların gündemlerinde yer bulduğu oranda sanat ve sanatçıların da ilgi alanı içinde olmuştur. Sanatın işlevlerinden biri, içinde yaşanılan çağa tanıklık etmesi, bellek oluşturma ve kayıt tutma aracı gibi tüm zamanların bilgi ve belgeleri açısından başvurulması gereken önemli kaynaklardan biri olmasıdır. Yaşamı anlamlı kılma eylemi olarak sanat; doğrudan ya da dolaylı olarak toplumsal ölçekte, kültür üretimine denk düşen zihinsel sürecin tümel bir ifadesidir. Dünya tarihinde, gerçek yaşanmışlıklardan alınmış şiddet ve savaş konularının sanattaki temsilleri ciddi bir birikime ulaşmış boyutlardadır. Sanat tarihinde Paolo Uccello’nun San Romano Savaşı (1440), Albrech Altdorfer’in İskender’in Issus Savaşı (1529), Diego Velazquez’in Breda’nın Teslimi (1634), Francisco Goya’nın 3 Mayıs Katliamı (1814), Kathe Kollwitz’in Savaş ve Keder (1903), Max Beckmann’ın Gece (1919), Otto Dix’in Savaş Triptiği (1929), Pablo Picasso’nun Guernica (1937), Leon Golub’un Vietnam (1973) Kara Walker’in Masumların Katliamı (2016) gibi yapıtlar farklı dönemlerden seçilmiş etkili şiddet temsilleri olarak ele alınabilirler. Bu çalışmalar arasında sayılan Picasso’nun Guernica adlı yapıtı, üretildiği tarihten bugüne değin, hem modern savaşlar ve şiddetin neden olduğu acıların hem de insanlığın barış özleminin sembolü haline gelmiş kült bir yapıttır.
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The present research aims to analyze the thematic structure and mediatic diversity of a segment of case studies based on the exhibition activities in the Aparte Gallery of "George Enescu" National University of the Arts in Iasi, respectively artistic projects made by students, professors or guest artists at the Faculty of Visual Arts and Design, in the last 15 years, projects seen as ways to channel nowadays intergenerational educational efforts. Beyond the variety of artistic formats that include exhibitions, workshops, conferences, symposia, and artistic residencies, these creative events encourage the experimentation and interdisciplinary artistic research of young artists within the Faculty of Visual Arts and Design or from the local, national and international art scene. The purpose of this article is to relate the thematic diversity of these formats of artistic events, with the institutional context of university and contemporary art education, marked by specific searches for new artistic medius, adaptation to digital culture and today’s economic and social realities.
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An extremely interesting and captivating aspect is that of the conceptions on numbers in the great schools of thought of European culture, similar to those in Asia, Africa, the two Americas, Australia and Oceania. With immemorial roots, these theories regarding the nature and purpose of numbers in the manifest world have always had a complex nature, which included philosophical, mathematical, theological, as well as artistic aspects. "Cultural archaeology" studies I have been conducting over two decades have confronted me with the evidence of such a compositional and symbolic science which supposes the conjugation of certain doctrinaire elements with their geometric and symbolic projections, as well as relationships with multiple areas of existence, the numerical principles of this sacred science being found in the constituting patterns of the vegetal or animal realm, while also conditioning the growth proportions of the human body.
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MIKSER, Aleksandar Todosijević: Ko se plaši istorije?; ŠTRAFTA, Vladan Jeremić: Antinomije autonomije; ARMATURA, Aleksandra Sekulić: Avganistan Kensington; ZID, Branko Milisković: Transfiguracija; VREME SMRTI I RAZONODE, Porša Olajviola: Da moji roditelji nisu razdvojeni
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MIKSER, Dušan Grlja: O jednoj drugoj pandemiji – Ekonomska ideologija nezavisnosti i širenje bolesti zavisnosti; ŠTRAFTA, Aleksandra Sekulić: Oktobrova nesetnica; ZID, Novo doba: Robodoba; VREME SMRTI I RAZONODE, Eboni Stjuart: Volim ponedeljke
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The article examines the activities of the Bulgarian painter Boris Mitov Eliseev (1901-1978) immediately before and after his establishment in the United States in 1937. Focused entirely on the European modernism of the Paris School of the early twentieth century, the fate of every freelance artist in Bulgaria was inconceivable without constant attempts to expand the horizon and continuous exchange between the center and the periphery. Boris Eliseev's decision to settle overseas marked the end of his career as a freelance artist in Bulgaria and he returned to painting only much later, towards the end of his life. Without claiming to be exhaustive, the article reviews some of Boris Eliseev's early initiatives to present Bulgarian art in the United States, most notably the first Bulgarian exhibition in New York in 1938. These events are the initial major markers of his life outside his homeland and their results determines the painter's development in the new environment, respectively its remoteness from the center.
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The relationship between illustrations and text can play a variety of roles and carry a wide range of meanings. Illustrations can visualize the main idea of the text or its literal reading. They can complement or explain the work. Moreover, they can enrich the literary text or fuse with it. The literary text and illustrations make a complex and a coherent whole that is a combination verbal and visual arts. A possible and practical interpretation of the nature of this connection can be found in the novel by Joseph Váchal, Bloody Novel. The illustrations in it are made by the author himself, which allows viewing them as a single semiotic construct in conjunction with the text that, thus, could carry a hidden message that adds a level of meaning to the novel. The book contains approximately 79 xylographic illustrations.
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The complex contextualization of the work of James Lee Byars (1932–1997) in contemporary artistic practices was determined by its timelessness in both form and concept. Considered by Kevin Power as one of the key artists of the second half of the twentieth century alongside figures such as Joseph Beuys and Andy Warhol, his legacy seems to have declined probably because of the discomfort caused by the approach to his work, since any previous consideration and attempt at cataloging, escapes through the loopholes on which they are based. Byars’ performances and pieces were mostly structured around the cryptic concept of perfection. The artist’s mission, in this case, takes on the roles of a shaman and a magician who questions the illegibility of a world whose materialism seems to have expelled any consideration of the sacred, thus articulating a work that, far from providing answers, raises questions about the ultimate meaning of life. Gold, geometry, time (and its transience), space (re-signified by his cultural heritage), language and the body expressed a proposal in which installations and actions are the instruments he uses primarily to question us about the big questions. Byars in this sense has been considered a mystic, since he places us at the doors of a new perception to make us uncomfortable and provoke us, to transmit us the questions about being in the world.
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I examine a large number of paintings from the 19th-century Hungarian art parallel with its literary equivalents which represent alps and mountain peaks. The Tátra mountains in the former Hungary were not cultic places in a traditional sense, their importance was individual and subjective. However, as a geographical region and, in the context of the 19th century cultural and social movements (embourgeoisement, journeys and tourism, secularization) it has a cult in art and the development of natural world views. Landscape, instead of the common rites of fixed dates and places became a space for individual (later mass) cults and paintings are their representations.
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