scholarly journals Gyorgy Peter (2013). Museum, The Learning House. Case Studies in Museum Theory. [Muzeum, a tanulo-haz. Muzeumelmeleti esettanulmanyok. Budapest: Fine Arts

2016 ◽  
Vol 6 (1) ◽  
pp. 127-130
Author(s):  
Anita Hegedűs ◽  
Keyword(s):  
Case Studies ◽  
Fine Arts

scholarly journals Research In Creating Artworks – Comparison 3 Case Studies of Fine Art Creative Process

2017 ◽  
Vol 3 (1) ◽  
pp. 31
Author(s):  
Octalyna Puspa Wardany
Keyword(s):  
Case Studies ◽  
Research Methods ◽  
Significant Role ◽  
Creative Process ◽  
Fine Arts ◽  
Scientific Research ◽  
Fine Art ◽  
Water Color ◽  
Art Exhibitions ◽  
Research Type

In fine arts, creating artworks need doing research. The research has many types. Mostly, it is not the scientific research type. But, nowadays, scientific research is commonly implementing in creating artworks too. It is important to know the various researchs in creating artworks, so it could be able to understand how research has the significant role in creating artworks. This study examines the research in creating artworks through comparation of 3 case studies of fine art exhibitions; (1) the creative process of water color painting exhibition Climen by Surya Wirawan in 2012 which the process held for 4 years (2008-2012), (2) the painting exhibition Melupa by Ugo Untoro in 2013 which the process held for 13 years (2000-2013), (3) the art project Tentang Hutan by gerimisUngu Production 2014 which the process held for 4 years (2011-2014). Each of those 3 creative process has different type of research, methods, and period, artworks as the output, experience of the artist whom get involved, and certain location in Indonesia. These 3 case studies describe that the research in creating artworks can be scientific with fully consideration, or semiscientific in consideration, or unscientific between consideration and uncosideration. And, the certain research implemented in creating artworks is related to the artist (individual and cultural), purpose of the artworks and exhibition, and content of the artworks which appointed.

The armless artist and the lightning cartoonist: performing popular culture at the Crystal Palace c.1900

After 1851 ◽  
2017 ◽  
Author(s):  
Ann Roberts
Keyword(s):  
Popular Culture ◽  
Case Studies ◽  
Fine Arts ◽  
Popular Entertainment ◽  
The Past ◽  
Crystal Palace

Discussions of art at the Crystal Palace have largely focussed on sculpture and architecture from the past contained in its Fine Arts Courts. This chapter explores the role of art via a different trajectory using the paper trail of popular culture contained in the Daily Programme of events and the Crystal Palace’s own magazine, to reveal its connections to two artists who worked at the Palace around 1900. Drawing on contemporary popular journalism of the period, this chapter engages with representations of the artists Bertram Hiles and Herbert Beecroft as part of commercialised forms of leisure available at the Crystal Palace. The case studies of these two artists temporarily working in residence at Sydenham brings into focus the role of the Crystal Palace in modern consumer practices that in turn embraced the visual pleasures of gazing and looking. Far from the high moral tone of the original Hyde Park enterprise, the work of Hiles and Beecroft fused the visual pleasures offered by art with popular entertainment.

scholarly journals Fading urban memories: status of conservation of historic Samsthan/Zamindari Palaces in Small and medium town master plans in Telangana, India

2020 ◽  
Author(s):  
Vasanta Sobha Turaga ◽  
Keyword(s):  
Case Studies ◽  
Fine Arts ◽  
Research Work ◽  
Capital City ◽  
Master Plans ◽  
Doctoral Research ◽  
South Indian ◽  
Historic Areas ◽  
Indian State ◽  
The Government

‘Public memores’ are an imporant aspect in preserving a place’s culture and heritage. Actions of the government and society many times define/redefine identities of places, impacting collective memory of people in perceiving places. Conscious efforts are required to make and keep public memories alive. Insensitive and uninformed Urban Planning can lead to erasing history and heritage not just physically but from public memories as well. This Paper discusses the issues of Fading Urban Memories by taking case studies of two historic towns in the South Indian State of Telangana. Most of the Small & Medium Towns in Telangana, India, developed over the last two centuries from their historic core areas of the Capitals of erstwhile Samsthans/Zamindaris, land revenue admistration units/sub-regional authorities under the British and the Princely States’ Rulesin India till Independence in 1947. These Samsthans/Zamindars/ Jagirdars were ‘Chieftains’ of their own territories and ruled from ‘Palaces’ located in their Capital city/town. The palaces and historic areas of old Samsthan/Zamindari settlements represent local histories whose significance, memory, heritage needs to be preserved for posterity. Gadwa and Wanaparthy were two such towns, which developed mid-17 Century onwards becoming present day Municipalities of different Grades. The Department of Town and Country Planning, Govt. Of Telangana, prepares Master Plans for development of Municipalities. The surviving Fort/Palaces is marked by their present land use in the development plans, unrecognized for thier heritage status, thus posing threat to heritage being erased from collective Urban memory. The case studies presented in this paper are from the ongoing doctoral research work being done by the author at School of Planning and Architecture, Jawaharlal Nehru Architecture and Fine Arts University, Hyderabad, on the topic of ‘Planning for Conservation of Samshtan/Zamindari Palaces of Telangana and Andhra Pradesh’.

The Role of Artists' Collectives in Producing State Socialist Art in 1950s Romania the Bottom-Up, Pragmatic Professionalization of State Commissions

ARTMargins ◽  
2020 ◽  
Vol 9 (3) ◽  
pp. 29-52
Author(s):  
Caterina Preda
Keyword(s):  
Case Studies ◽  
Fine Arts ◽  
The State ◽  
Bottom Up ◽  
Socialist Realist ◽  
Socialist Art ◽  
Definition Of ◽  
State Socialist ◽  
Realist Model

This article analyzes the collective basis of the establishment of the Socialist Realist model of production for the fine arts in Romania in the early 1950s. It discusses the unstudied case of the “artists' collectives” (of production) together with other collective forms, such as the collective studios and the guiding commissions. This is an archive-based study of cultural institutionalism of socialist regimes, based on the analysis of under-explored archival sources such as those of the Romanian Artists' Union (UAP) or the Artistic Fund (FP). Focusing on two specific case studies, those of the artists' collectives “Progressive art” and “Th. Aman”, both founded in 1951, it provides more context to the establishment of the socialist model in Romania. The article finds the state assumed definition of art considered the artist as a simple executioner, and the “artists' collectives” participated in eradicating the individuality of the artist, one of the goals of the new socialist model.

scholarly journals Tomás Saraceno’s Art Work “In Orbit” (2013) against the Backdrop of Space Architecture

Arts ◽  
2019 ◽  
Vol 8 (1) ◽  
pp. 13
Author(s):  
Eva Wattolik
Keyword(s):  
Case Studies ◽  
Technological Progress ◽  
Technological Development ◽  
Fine Arts ◽  
Modern Architecture ◽  
Architectural Analysis ◽  
Art Installation ◽  
History Of ◽  
Technical Specifications ◽  
Space Architecture

When discussing the correlation between technological progress and the development of modern architecture, case studies from the fine arts can be instructive. This article undertakes a close architectural analysis of Tomás Saraceno’s walkable art installation “In Orbit” (2013) by releasing previously unpublished technical specifications. A brief history of envisioned and constructed space architecture of the last hundred years—which can be divided into three phases—serves to locate the installation within the currents of predictive utopia, realized architecture and technological development. It becomes clear that Saraceno not only takes up pre-existing architectural techniques, but also develops them further.

scholarly journals Dalla formazione in scenografia alla Rai. Giosetta Fioroni costumista e Pino Pascali scenografo per la nascente televisione italiana

2020 ◽  
Vol 8 (1) ◽  
Author(s):  
Martina Rossi
Keyword(s):  
Case Studies ◽  
Fine Arts ◽  
Intermediate Stage ◽  
Academic Training ◽  
Commissioned Works ◽  
Artistic Career ◽  
The Impact ◽  
Made In

Giosetta Fioroni and Pino Pascali have worked in different years for the nascent national television. Fioroni was engaged as a costume designer between 1955 and 1957; while Pascali as set designer between 1963-1967. For both – educated in scenography at the Academy of Fine Arts in Rome – these commissioned works precede their debut as research artists. The programs examined, Gli interessi creati and Biblioteca di Studio Uno, represent case studies of Fioroni and Pascali's way of working with the scenic and then with the television language. This contribution intends to examine the works commissioned by Rai to Giosetta Fioroni and Pino Pascali, highlighting how these episodes are exemplary to understand the impact of the academic training from the intermediate stage of their artistic career, up to the synthesis made in the mature works of the two artists.

Laughter and Hatred Are Neighbors

2012 ◽  
Vol 26 (3) ◽  
pp. 589-615
Author(s):  
Shawn Clybor
Keyword(s):  
Case Studies ◽  
Fine Arts ◽  
Communist Regime ◽  
The Political ◽  
Art And Politics ◽  
Avant Garde ◽  
The Third ◽  
The 1960S ◽  
Desperate Attempt ◽  
First Offers

This article considers how Adolf Hoffmeister and E.F. Burian, influential members of the interwar avant-garde, struggled to define themselves as socialist realists in Czechoslovakia 1948-1956, even as they engaged in a parallel struggle to create works consistent with their artistic legacy. It argues that their ideas emerged both in cooperation with and in opposition to the increasingly repressive post-1948 communist regime, whose broader ideals they enthusiastically shared. Using these two intellectuals as case studies, the goal is thus to reframe our understanding of “complicity” under the 1950s Stalinist regime as a complex series of responses to the political, social, and intellectual questions of the era. Neither vacuous mouthpieces of the regime nor political dissidents, Hoffmeister and Burian stood at a critical historical juncture that linked the legacy of the interwar avant-garde to the cultural flowering of the 1960s Prague Spring. The article comprises three sections: The first offers a brief overview of the Stalinist era in Czechoslovakia, taking into account recent historical scholarship that recasts our understanding of the period. The second section examines the art and politics of Adolf Hoffmeister, who played a key role in the Stalinization of the Czechoslovak Fine Arts Union in 1952, revealing his attempts to both criticize and employ the violent rhetoric of the communist Terror. The third section considers E.F. Burian’s desperate attempt to save his interwar Theater D from nationalization, which ironically forced him into a relationship with the Ministry of Defense under the arch-Stalinist Alexej Čepička.

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