Artistic Communities: The Example of the Etching Club

2016 ◽  
Vol 41 (1) ◽  
pp. 17-21
Author(s):  
Juliet McMaster
Keyword(s):  
Artistic Communities

Epilogue

2020 ◽  
pp. 226-230
Author(s):  
Cailah Jackson
Keyword(s):  
Art History ◽  
The Political ◽  
Islamic Art ◽  
Historical Sources ◽  
Complex Objects ◽  
Late Medieval ◽  
The Aesthetic ◽  
Visual Properties ◽  
Artistic Communities

THIS BOOK HAS uncovered the aesthetic variety and documentary richness of the Islamic arts of the book of the late medieval Lands of Rūm and produced new ways of understanding this material in its proper cultural and intellectual contexts. It has done so by considering the manuscripts as ‘whole’, complex objects. This approach has entailed looking closely at the codicological and visual properties of the manuscripts themselves, reading their inscriptions and analysing this material within a framework that accounts for patronage beyond dynastic confines – a facet that is sometimes overlooked in the wider scholarly field of Islamic art history. The manuscripts discussed here show that some of Rūm’s cities (particularly Konya) were home to dynamic artistic communities that consisted of local and émigré craftsmen, including converts to Islam and, possibly, Christians. This material also reveals that patrons were often drawn from the political classes, but were, generally speaking, otherwise not well-known from historical sources. In some cases, patrons’ affiliations and intellectual interests challenge simplistic or unambiguous conceptions of the ‘frontier’ and the role of ‘Turkishness’ in late medieval Rūm....

scholarly journals Indian Artistic Communities and Trance Practices: Local Traditions of Gujarat, Assam and Kerala

2019 ◽  
pp. 170-181
Author(s):  
Светлана Рыжакова ◽  
Svetlana Ryzhakova
Keyword(s):  
Martial Arts ◽  
Religious Service ◽  
Anthropological Study ◽  
The Social ◽  
Ritual Drama ◽  
Local Traditions ◽  
Psychological Features ◽  
Regular Training ◽  
Artistic Communities

The paper provides a comprehensive comparative cultural and anthropological study of Indian artistic communities — dynasties of musicians, dancers, actors, performers of epic legends playing ritual drama, martial arts masters. A peculiar common Indian feature is the combination of three factors in their activity: artistic skills passed during regular training; religious service (most artistic activities are in one way or another devoted to certain cults and/or turn out to be part of ceremonies) and skills of controlled trance, specific psychophysical states, which in this case include on-stage reincarnation and the ability to impact spectators. The ethnographic material obtained during the expedition helps to trace the social and psychological features of some dynasties of artistic communities.

scholarly journals “Living big in a loft”

2019 ◽  
Author(s):  
Alex Hoyos Twomey
Keyword(s):  
Cast Iron ◽  
Art World ◽  
Life Magazine ◽  
Collaborative Practices ◽  
The Future ◽  
Lower Manhattan ◽  
Jazz Musician ◽  
Alternative Art ◽  
The 1960S ◽  
Artistic Communities

In the early 1960s, the cast-iron loft district below Houston Street in Lower Manhattan was on the verge of demolition. Artists seeking large, inexpensive spaces to live and work in began moving into vacant industrial lofts, developing a community and new collaborative sites of performance and display that offered an alternative to the mainstream art world. By the end of the 1970s, the neighbourhood now known as “SoHo” was home to an increasingly affluent population living in co-operatively owned loft buildings, while alternative art spaces were closing to make way for commercial galleries and upscale boutiques. This paper explores the dramatic, artist-led transformation of SoHo by focusing on three texts from 1970: the inaugural show at the influential alternative art space 112 Greene Street; an LP recorded by jazz musician Ornette Coleman in his Prince Street loft; and an article from Life magazine that introduced loft living to a wider audience. 1970 is significant as the year in which the underground community of the 1960s became increasingly visible and professional, in an effort to secure the future of the neighbourhood for artists. By exploring the ways in which the space of the loft is articulated in each text, I attempt to understand the contradictory role played by artists in the development of SoHo, who were complicit in the rapid gentrification of the neighbourhood, while simultaneously conceptualising a swathe of genuinely radical collaborative practices that continue to be inspirational to artistic communities today.  

scholarly journals “The Captain Doesn’t Count Alone…”: M. Kuzmin and “The Sailors of Marseilles”...

Literary Fact ◽  
2021 ◽  
pp. 163-180
Author(s):  
Pavel V. Dmitriev
Keyword(s):  
The Press ◽  
History Of ◽  
New Hypothesis ◽  
Artistic Communities

The paper is dedicated to the history of a short-lived Petrograd literary group “The Sailors of Marseilles” (spring-autumn, 1917) united around M. Kuzmin. Despite its ambitious plans announced in the press, and self-positioning as a literary and artistic society, the creative output of the group was quite modest. The degree of commitment within the group remains unclear  – to what extent the members of the Second Workshop of poets were involved in the new literary project? The paper brings out certain coincidences and similarities in the texts of the poets  – regular members of the group, highlights their connections with other artistic communities. A special attention is paid to the name of the group  – “The Sailors of Marseilles”, and a new hypothesis about its origin is put forward. The paper comprises the first publication of a fragment of Marseillaise translated by M. Kuzmin in 1921.

scholarly journals Friendships and portraits in the age of romanticism: Reflections on eight portraits by C. A. Jensen

Romantik ◽  
2015 ◽  
Vol 3 (1) ◽  
pp. 27
Author(s):  
Sine Krogh
Keyword(s):  
Nineteenth Century ◽  
Artistic Identity ◽  
German Romanticism ◽  
Circle Of Friends ◽  
Point Of Departure ◽  
Artistic Communities

Friendships play an important part in our lives, but few of us think about how the cultural convention of friendship makes us act. Studies of the nineteenth century show that during the period of German romanticism it became fashionable amongst poets, writers, and artists to celebrate and visualize friendships. In the 1810s, Rome seemed the perfect incubator for young artists forming friendships and cultivating artistic communities. The most remarkable output of the painter C. A. Jensen’s Italian sojourn, starting in 1818, was eight small portraits of his circle of friends. These portraits reflect the importance of fellowship, of networking amongst friends and also what Rome meant to young artists in terms of finding one’s artistic identity. The aim of this article is to illuminate how a romantic culture of friendship influenced C. A. Jensen’s decision to paint his circle of friends at Rome. Taking Jensen’s portraits as its point of departure, the article touches upon some artistic and sociological aspects of friendships in the age of romanticism.

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