scholarly journals Chinese Propaganda Posters

2021 ◽  
pp. 149-165
Keyword(s):  
Visual Arts ◽  
The University ◽  
Archival Work ◽  
Propaganda Posters

This chapter explores the changing meanings, production, and display of Chinese propaganda posters, with a particular focus on the University of Westminster’s China Visual Arts Project. It covers topics such as archival work, gender and happiness, and education. Chapter contents: 8.0 Introduction (by Harriet Evans) 8.1 The Chinese Visual Arts Project: Graduate Work in Records and Archives (by Freja Howat) 8.2 Women Model Workers and the Duty of Happiness in Chinese Propaganda Posters (by Maria-Caterina Bellinetti) 8.3 A Throw Back to School Days (by Cassie Lin)

Italian Minor Theatre, 2000–14: the Development of ‘Short Forms’ and the Politics of the Stage

2019 ◽  
Vol 35 (03) ◽  
pp. 195-208
Author(s):  
Silvia Mei
Keyword(s):  
Twentieth Century ◽  
Visual Arts ◽  
Modern Dance ◽  
Minor Literature ◽  
Philosophical Concept ◽  
Short Forms ◽  
Research Fellow ◽  
History Of ◽  
Expressive Dimension ◽  
The University

Brevity in experimental Italian theatre is not merely an expressive dimension of scenic creation, but a forma mentis, a conceptual vocation of young companies. The 2000s produced a minor theatre in Italy – first because of the reduced stage size, and second because of the brevity of works such as installation pieces. Moving from the linguistic disintegration of the historical avant-gardes of the twentieth century, this theatre is especially inspired by the visual arts, even though its historical roots remain fragmented and art is still seen in the synthetic language of modern dance and Futurist variety. Short forms actually become a tool for crossing artistic genres and languages. Starting from Deleuze’s and Guattari’s philosophical concept of minor literature, in this article Silvia Mei explores and analyzes work by such Italian contemporary companies as gruppo nanou, Città di Ebla, Anagoor, Opera, ErosAntEros, and Teatro Sotterraneo – all representative of what can be called installation theatre, a new theatrical wave that crosses the boundaries and specificities of artistic language, leading to the deterritorialization of theatre itself, a rethinking of the artistic work as well as its relationship with the audience. Silvia Mei is Adjunct Professor of the History of Theatre Directing and Theatre Iconography at the University of Bologna, having been a Research Fellow at the University of Turin. Her recent publications include ‘La terza avanguardia: ortografie dell’ultima scena italiana’, in Culture Teatrali, No. 14 (2015), and Displace Altofest (Valletta: Malta 2018 Foundation).

Blockade of Leningrad in the visual arts

2020 ◽  
pp. 51-58
Author(s):  
S. T. Makhlina ◽  
Keyword(s):  
Visual Arts ◽  
Civic Duty ◽  
Soviet Art ◽  
Great Patriotic War ◽  
History Of ◽  
The City ◽  
Propaganda Posters

In the history of wars, humanity has more than once met with the blockade of cities of one of the belligerent countries. The blockade of Leningrad introduced a new page in the history of mankind. The artists who lived in the city during the blockade did not stop their work, understanding it as their civic duty, contributing to confronting the enemy and giving hope to achieve victory. Every day on the streets of Leningrad there were propaganda posters, caricatures of enemies, which were created by graphic artists, painters and sculptors. The works created by them entered the treasury of Soviet art and represent its golden fund. Despite all the difficulties of life in the besieged city, exhibitions were organized in it. The years of the Great Patriotic War inscribed a special page in the history of Soviet art, reflected the life of Leningraders in the besieged city and their struggle for victory over the enemy.

Nsukka School

2018 ◽  
Author(s):  
Erin M. Rice
Keyword(s):  
Visual Arts ◽  
Faculty Members ◽  
Igbo Culture ◽  
Decorative Painting ◽  
The University

The Nsukka School, which is named after the University of Nigeria at Nsukka, was a group of artists and faculty members associated with the use of uli—a form of body and mural decorative painting indigenous to the Igbo culture of Nigeria—in their work and are considered disciples of Uche Okeke’s teachings and artistic influence. The Uli experiment sought to address Okeke’s call for ‘natural synthesis’ in the visual arts of Nigeria and the formation of an art appropriate for the post-Independence age. Other members of the group who experimented with uli forms through painting and drawing were Chike Aniakor and Obiora Udechukwu, followed by their students Tayo Adenaike and Olu Oguibe.

More than just a pretty interface: three recent projects at the Visual Arts Data Service

2012 ◽  
Vol 37 (3) ◽  
pp. 28-33 ◽  
Author(s):  
Amy Robinson
Keyword(s):  
Visual Arts ◽  
Data Service ◽  
Institutional Repositories ◽  
National Image ◽  
The Arts ◽  
The Difference ◽  
Copy And Paste ◽  
Image Repository ◽  
The Look ◽  
The University

The establishment of the national image repository hosted by the Visual Arts Data Service (VADS) at the University for the Creative Arts was an early pioneering effort in the 1990s to provide shared online access and preservation for digitised visual arts collections. Over the 15 years since the VADS image repository was first launched, and as the internet has rapidly expanded and transformed, the VADS team has also sought project funding to explore and address new themes and issues that have emerged within the arts education sector. Three of these recent collaborative endeavours are detailed in this article: the Kultur II Group which is supporting the development of institutional repositories in the arts; the Spot the Difference project which is researching the emergence and extent of a perceived ‘copy and paste’ culture; and the Look-Here! project, which has worked with ten partners to foster digitisation skills and strategies in the arts.

Rausch

2020 ◽  
Keyword(s):  
Visual Arts ◽  
Moral Duty ◽  
Human Beings ◽  
Drug Induced ◽  
German Word ◽  
Cultural Phenomenon ◽  
Interdisciplinary Perspective ◽  
Chemically Induced ◽  
Almost All ◽  
The University

From the earliest periods of history human beings have used mind-altering substances. In addition, in almost all religions we find techniques for meditation which may induce states of trance or ecstasy which serve to facilitate experiencing the divine. Yet in many societies, trance, ecstasy and even intoxication are taboo unless they are practiced in social spaces authorized for their use, like nightclubs, or where they are seen as culturally productive, as in the visual arts, music, or literature. Further complicating matters, the legitimacy of drug-induced mind-altering states is controversial among jurists, educators, and physicians. Those arguing in favour often point to the alleged religious basis of Rausch, while those opposing this right often cite a moral duty to sobriety. Whether religious, reckless, chemically induced or all of these, the whole constellation of phenomena is encompassed by the single German word Rausch. In 2019, a series of lectures delivered at the University of Bonn focused on the societal ambivalences surrounding Rausch from an interdisciplinary perspective – as a religious, psychological, social, legal, and cultural phenomenon. The results of this extraordinary series are documented in this volume. With contributions by Clemens Albrecht, Christoph Antweiler, Andreas Bell, Walter Bruchhausen, Robert Feustel, Dorothee Gall, Albert Gerhards, Tobias Janz, Jörg Kinzig, Wolfram Kinzig, Alexandra Philipsen, Irmgard Rüsenberg, Markus Saur, Jochen Sautermeister, Detlef Siegfried, Christoph Schreier, Birgitta Sträter, Nathalie Thies.

scholarly journals The Art-Science Project: Researching the Cross Section between the Visual Arts and Biological Sciences

2019 ◽  
Vol 20 (3) ◽  
Author(s):  
Brett Jeffrey Taylor
Keyword(s):  
Biological Sciences ◽  
Visual Arts ◽  
Large Scale ◽  
Studio Art ◽  
University Of Florida ◽  
Diverse Range ◽  
Science And Art ◽  
Scientific Exploration ◽  
Scale Models ◽  
The University

The created portfolio explores the area of academic art and how it can be translated into the fields of fine art and biological science. The sculptural specimens were created to further understand how art is used in scientific exploration today compared to that of antiquity.During the period of enlightenment, science and art were codependent. Studio art was employed as a form of research and communication. In light of this, the thirty-five spider models were created in the Entomology and Nematology Lab at the University of Florida. The works of art encompass a diverse range of species, scales, and functions.  The works were designed to serve three purposes: life size models were printed and painted to serve as decoys for reproductive research; medium scale models were distributed to international geocaches to gage public opinion on arachnids; and large scale models were utilized as educational tools. The range of models serves different functions but they all answer to principles of art. Thus defining the interdisciplinary nature of art as it relates to scientific study. 

scholarly journals Les singularités du pluriel

2018 ◽  
Vol Épistémologies du pluriel (Introduction) ◽  
Author(s):  
Marie-Louise Pelus-Kaplan ◽  
Gabrielle Chomentowski ◽  
Madalina Vartejanu-Joubert
Keyword(s):  
Visual Arts ◽  
Thematic Issue ◽  
Cultural Consumption ◽  
Xxth Century ◽  
Arts And Sciences ◽  
Information And Communication ◽  
Rural World ◽  
International Audience ◽  
Cette Notion ◽  
The University

International audience Für ihre zweite Thema-bezogene Nummer hat sich die Zeitschrift Sociétés plurielles entschieden, das Thema der Epistemologien der Mehrzahl, zu behandeln, die von einer Disziplin zur anderen stark unterschiedlich sein können. Sechs Artikel wurden angenommen, mit sehr verschiedenen Themen, die sich auf Soziologie, Philosophie, Anthropologie, Kunst, Wissenschaften der Information und der Kommunikation berufen.. Die Autoren behandeln das Paar Singular/Mehrzahl, oder Gleich/Verschieden sowohl auf der Universität wie in der Unternehmung oder noch auf dem Land, im Field der Kultur und der heutigen Photographie so wie in der Typologie der Anthropologie des frühen XX. Jahrhunderts. Alle behandeln dieFrage der Mehrzahl in unseren Gesellschaften mit ihren eigenen Werkzeugen und Fragestellungen. For its second thematic Issue, the Review Sociétés plurielles has chosen to deal about the Epistemologies of the Plural, which can be different according to the different Branches of Learning. Six Articles, dealing with various Topics, have been selected, appealing to Sociology, Philosophy, Anthropology, visual Arts, and Sciences of Information and Communication. The Authors are questioning the Duality Singular/Plural or Similar/Different at the University, in the Enterprise or in the rural World, in the Objects of cultural Consumption as well as in the Field of contemporary Photography, or in the Typology developed in early XXth Century Anthropology. All of them deal with the Question of the Plural in our Societies with their own Tools and Problematics. Pour son second numéro thématique, la revue Sociétés plurielles revient sur la notion de pluriel/ le et sur la manière dont cette notion a été ou estactuellement investie dans différentes disciplines. Six articles aux objets très variés, faisant appel à la sociologie, la philosophie, l’anthropologie, aux arts visuels et aux sciences de l’information et de la communication ont été retenus : les auteurs y questionnent le binôme singulier/pluriel ou semblable/dissemblable à l’université, dans l’entreprise, dans le milieu agricole, dans les biens de consommation culturelle, ou encore dans la photographie contemporaine, et dans la typologie de l’anthropologie du début du XXe siècle. Tous abordent la question du pluriel dansles sociétés avec leurs outils et thématiques propres.

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