Carroll, Noël. Living in an Art World: Reviews and Essays on Dance, Performance, Theater, and the Fine Arts in the 1970s and 1980s. Louisville, KY: Chicago Spectrum Press, 2012, 338 pp., $22.50 paper.

2013 ◽  
Vol 71 (3) ◽  
pp. 291-294
Author(s):  
CURTIS L. CARTER
Keyword(s):  
Fine Arts ◽  
Art World ◽  
Dance Performance ◽  
Performance Theater

Stuckism (A Conversation)

ARTMargins ◽  
2013 ◽  
Vol 2 (1) ◽  
pp. 58-81
Author(s):  
Octavian Eşanu
Keyword(s):  
Contemporary Art ◽  
Fine Arts ◽  
Art World ◽  
Short Introduction ◽  
Corporate Support

In this text, which takes the form of a conversation and is preceded by a short introduction, the ARTMargins collective seeks to draw the readers' attention to a global artistic community known as Stuckism. The contribution highlights some of the most conspicuous issues raised by the Stuckists. For more than a decade Stuckism has critiqued the mainstream contemporary art world, accusing it of being at the mercy of global speculative capital; Stuckism also questions the mainstream aesthetics of conceptualism and its insistence upon de-materialized artistic practices. Instead Stuckism calls for respect for traditional or fine arts media, providing in the meantime an example of forging global cooperation among artists from various countries, without or even in spite of a lack of corporate support.

scholarly journals Subjugated in the Creative Industries: The Fine Arts in Singapore

2011 ◽  
Vol 3 (2) ◽  
pp. 119-137 ◽  
Author(s):  
Can-Seng Ooi
Keyword(s):  
Fine Arts ◽  
Economic Value ◽  
Creative Industries ◽  
Work Place ◽  
Art World ◽  
The Public ◽  
The Arts ◽  
Art Practices ◽  
City State ◽  
The City

The arts and culture are considered core in a creative industries strategy. But the promotion of the creative industries brings about revised notions of creativity. These revised notions are being applied to the arts. Creativity is now seen to be largely manageable. All individuals are made to believe that they can be creative. Not only that, creativity is seen to be a money spinner. Workers should tap into their creativity and bring about innovations in the work place. Pupils are taught to tap into their creativity and to think outside the box. Such views on creativity galvanize the public and enthuse many people into the creative industries. Such notions of creativity contrast against the fine arts. Regardless, as this paper examines the situation in Singapore, shows that fine artists in the city-state are finding themselves internalizing a market logic and have tied their art practices to economic value. Fine arts practices will not be as lucrative or popular as their counterparts in the other creative businesses; they will remain poor cousins in the creative industries. Essentially, the fine arts are being subjugated in the creative industries and the Singaporean art world is being changed.

scholarly journals Peter Tomory : the New Zealand years, 1956-1968

2021 ◽  
Author(s):  
◽  
Courtney Johnston
Keyword(s):  
New Zealand ◽  
Fine Arts ◽  
Main Theme ◽  
Art World ◽  
Art Writing ◽  
Close Study ◽  
Policy Statements ◽  
History Of ◽  
The 1950S ◽  
The University

<p>This thesis concerns Peter Tomory's nine years as Director of the Auckland City Art Gallery, between 1956 and 1964. The main theme that emerges in this study concerns the emphasis Tomory placed on professional practices, both at the Gallery and in the visual arts in New Zealand as a whole. The discussion is broken into four chapters. The first chapter sets the context for Tomory's directorship: his professional background, the New Zealand art world of the 1950s, and his initial vision for the Gallery. The second chapter is devoted to Tomory's development of the Gallery's permanent collection, and the third explores the ambitious programme of temporary exhibitions undertaken at the Gallery during his tenure. These broad topics are considered with reference to Tomory's policy statements, and through the close study of selected case studies. The final chapter examines the history of New Zealand art that Tomory developed over his twelve years in New Zealand (including both the texts he published while at the Gallery, and those he wrote while lecturing at the University of Auckland School of Fine Arts from 1965 to 1968) and his call for a more professional approach to art writing in this country. A bibliography of Tomory's published texts is included. A special effort is made in this study to consider Tomory's activities at the Gallery and his writing within their original historical and art-historical contexts, and also with reference to the way these actions and texts have been interpreted and employed by later commentators, especially post-nationalist critics. In this way, it is revealed that the history of New Zealand art formulated in the 1950s and 1960s was less homogenous, more complex and more contentious than it has more recently been portrayed.</p>

scholarly journals Peter Tomory : the New Zealand years, 1956-1968

2021 ◽  
Author(s):  
◽  
Courtney Johnston
Keyword(s):  
New Zealand ◽  
Fine Arts ◽  
Main Theme ◽  
Art World ◽  
Art Writing ◽  
Close Study ◽  
Policy Statements ◽  
History Of ◽  
The 1950S ◽  
The University

<p>This thesis concerns Peter Tomory's nine years as Director of the Auckland City Art Gallery, between 1956 and 1964. The main theme that emerges in this study concerns the emphasis Tomory placed on professional practices, both at the Gallery and in the visual arts in New Zealand as a whole. The discussion is broken into four chapters. The first chapter sets the context for Tomory's directorship: his professional background, the New Zealand art world of the 1950s, and his initial vision for the Gallery. The second chapter is devoted to Tomory's development of the Gallery's permanent collection, and the third explores the ambitious programme of temporary exhibitions undertaken at the Gallery during his tenure. These broad topics are considered with reference to Tomory's policy statements, and through the close study of selected case studies. The final chapter examines the history of New Zealand art that Tomory developed over his twelve years in New Zealand (including both the texts he published while at the Gallery, and those he wrote while lecturing at the University of Auckland School of Fine Arts from 1965 to 1968) and his call for a more professional approach to art writing in this country. A bibliography of Tomory's published texts is included. A special effort is made in this study to consider Tomory's activities at the Gallery and his writing within their original historical and art-historical contexts, and also with reference to the way these actions and texts have been interpreted and employed by later commentators, especially post-nationalist critics. In this way, it is revealed that the history of New Zealand art formulated in the 1950s and 1960s was less homogenous, more complex and more contentious than it has more recently been portrayed.</p>

Chen Li Ying Georgette (1906–1993)

2018 ◽  
Author(s):  
Yvonne Low
Keyword(s):  
First Generation ◽  
Fine Arts ◽  
Art World ◽  
Art Practice ◽  
Oil Paintings ◽  
Art Scene ◽  
Eastern Philosophies

Georgette Chen was a Chinese émigré artist who settled in Singapore in 1953 and taught at the Nanyang Academy of Fine Arts (NAFA) until 1981. Described as the most influential, pioneering female artist in Singapore, Chen brought modernist ideas to the nascent Malayan art world and was instrumental in fostering modernism in local art practice. Her oil paintings, her strongest and most proficient artform, were initially influenced by the Realist and Barbizon Schools. Later her paintings became informed by French Post-Impressionism—especially Fauvism—most notably in their approach toward color. Her mastery of modernism culminated in a synthesis of Western and Eastern philosophies, which was best represented by her portraits, tropical still lives, and plein air paintings of everyday scenes in the Malayan landscape—all of which conveyed a distinct local flavor. Chen was known as the first generation of "Nanyang artists," most of whom were affiliated to NAFA as teachers, and who were responsible for bringing to Malaya a sophistication and cosmopolitanism that was deemed missing from the local art scene.

Alfred H. Barr, MoMA, and the Entrance and Exit of Outsider Art (1936–1943)

2021 ◽  
Vol 10 (1) ◽  
pp. 2-25
Author(s):  
Dieter De Vlieghere
Keyword(s):  
New York ◽  
Modern Art ◽  
Fine Arts ◽  
Art Museum ◽  
Museum Of Modern Art ◽  
Art World ◽  
Outsider Art ◽  
Creative Agency ◽  
Changing Role

Fantastic Art, Dada, Surrealism (1936), curated by Alfred H. Barr at the Museum of Modern Art (MoMA), New York, was the first major exhibition of outsider art at the epicentre of the art world. The entrance of outsider art in the art museum coincided with the changing role of the curator: from a custodian of fine arts to an exhibition author with creative agency. The disconnection of outsider art from canonized art history and the peculiar appearance of the works and their makers inspired new curatorial narrations and settings. Barr’s inclusive vision of modern art and curation was, however, strongly criticized, and a few years later that vision was replaced by a hierarchical one demanding the exclusion of outsider art from the art museum. The developments at MoMA between 1936 and 1943 exemplify how outsider art served as a catalyst for the curatorial turn in which the division between the roles of curator and artist began to shift.

The Stalin Prize and the Soviet Artist: Status Symbol or Stigma?

Slavic Review ◽  
2011 ◽  
Vol 70 (4) ◽  
pp. 819-843 ◽  
Author(s):  
Oliver Johnson
Keyword(s):  
Fine Arts ◽  
Socialist Realism ◽  
Symbolic Capital ◽  
Fine Art ◽  
The Self ◽  
Art World ◽  
The Public ◽  
Soviet Art

How did the Stalin Prize function in the Soviet fine art establishment of the 1940s and 1950s and how were the awards interpreted by members of the artistic community and the public? This examination of the discussions of the Stalin Prize Committee and unrehearsed responses to the awards reveals an institution that operated at the intersection of political and expert-artistic standards within which the parameters of postwar socialist realism were negotiated and to some extent defined. The Stalin Prize for the Fine Arts played an important part in the development of the leader cult and contributed to the self-aggrandizement of an elite minority. The symbolic capital of the Stalin Prize was compromised by its role, perceived or actual, in the consolidation of a generational and ideological hegemony within the Soviet art world and the establishment of an aesthetic blueprint for socialist realism.

scholarly journals THE SOCIAL CAPITAL STRUCTURE IN THE CONTEMPORARY FINE ARTS FIELD: THE LEGITIMATION AND PRESTIGE LOGICS IN THE POWER 100 EGO NETWORKS

2016 ◽  
Vol 2 (2) ◽  
pp. 142-159
Author(s):  
Débora Salles ◽  
Rose Marie Santini
Keyword(s):  
Contemporary Art ◽  
Social Relations ◽  
Fine Arts ◽  
Social Connections ◽  
Art World ◽  
Ego Networks ◽  
The People ◽  
The Social ◽  
Digital Environments ◽  
On Line

This article analyzes social relations among the most influential people in the contemporary art field. It tests the hypothesis of whether commercial connections can be an index of the relations of influence and legitimacy in the visual art world and whether these relations affect the cultural capital they possess and the position they occupy in the field. The Power 100 ranking – a guide to the most influential figures in contemporary art – and the commercial relations among the people listed were used to design six ego networks. Data regarding the social connections was collected from the Artsy online platform. The article identifies the mechanisms of social legitimation and artistic influence, as well as the cultural and social implications of social networks in the contemporary artistic field, now perceived in digital environments. A ESTRUTURA DO CAPITAL SOCIAL NO CAMPO ARTÍSTICO CONTEMPORÂNEO: AS LÓGICAS DE LEGITIMAÇÃO E PRESTÍGIO NAS REDES EGO DA POWER 100  Resumo Este artigo analisa as relações sociais entre as pessoas mais influentes no campo da arte contemporânea. Ele testa a hipótese de as ligações comerciais poderem ser um índice das relações de influência e legitimidade no mundo das artes visuais, e se essas relações afetam o capital cultural que essas pessoas possuem e a posição que ocupam no campo. O ranking Power 100 – um guia das figuras mais influentes na arte contemporânea – e as relações comerciais entre as pessoas listadas foram usados para criar seis redes ego. Dados relativos às conexões sociais foram coletados na plataforma on-line Artsy. O artigo identifica os mecanismos de legitimação social e influência artística, bem como as implicações culturais e sociais das redes sociais no campo artístico contemporâneo, agora percebidos em ambientes digitais.

Hammad, Mahmoud (1923–1988)

2018 ◽  
Author(s):  
Anneka Lenssen
Keyword(s):  
Rural Schools ◽  
Coming Of Age ◽  
Fine Arts ◽  
Arabic Language ◽  
Fine Art ◽  
Sao Paulo ◽  
Art World ◽  
São Paulo

Mahmoud Hammad, born in Jarabulus, Syria, was among the first Arab artists to adopt the letterforms of the Arabic language as a basis for modern compositions. His experiments predate the pan-regional 1970s florescence of horoufiyah (visual manipulations of the Arabic letter in fine art) by more than a decade, and his early Arabic writing paintings, first exhibited in Damascus, Beirut, São Paulo, and Venice in the early 1960s, deconstructed the letters to produce semi-geometric abstract compositions. Hammad would continue to explore Arabic writing for the duration of his career, though his later paintings struck a more studied balance between formal and communicative properties. Coming of age during the Syrian struggle for independence, Hammad played the roles of both artist and organizer in the Syrian art world. He started exhibiting in Damascus as early as 1939, and was a member of Studio Veronese, the country’s first fine arts club. In 1952 he was granted a study fellowship to the Academy of Fine Arts in Rome, which he completed in 1956. After returning to Syria, Hammad taught in rural schools, later joining the faculty of the new College of Fine Arts in Damascus in 1960. He became dean of the college in the 1970s, a role he retained until 1981. He died in Damascus, Syria.

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