1,720,963 research outputs found
Comparing the Cologne Sonderbund of 1912 and the Second Post-Impressionist Exhibition in London
Get PDFThe article examines the agendas of the International Art Exhibition of the West German Sonderbund held in Cologne in 1912 and the Second Post-Impressionist Exhibition organised in London the same year, by contrasting their historical contexts and comparing their theoretical backgrounds. While the shows varied slightly in approach, both sought to give a systematic overview of the latest trends in art, which was then marketed mainly by private dealers. They addressed similar issues, such as defining the inherited tradition and topical dilemmas about the autonomy of painting and its decorative potential. The paper will discuss the emphasis on the progressive timeline and international outlook on modern art they formulated. It will also revisit the role of these exhibitions in light of the currently expanding discussion of the mechanisms that shaped the canon of European modernism
Nota introduttiva
No full textIl volume raccoglie i contributi del Convegno Internazionale dei Dottorandi del Dipartimento di Filosofia e Beni Culturali dell’Università Ca’ Foscari Venezia e dello State Institute for Art Studies di Mosca Text and Image. A Dialogue from Antiquity to Contemporary Age (6-7 giugno 2019)
My Boyfriend Came Back From The War: una narrazione visiva di Olia Lialina
No full textThe contribution proposes the analysis of Net Art’s world-famous masterpiece
of one of its founders: My Boyfriend Came Back from the War (1996) by Olia Lialina.
Combining black and white images and words, it evokes the encounter of two lovers who
have been separated so long by the war. With her work, Lialina shows us the potential for
interaction of the new screen – that of the computer. She experiments with a non-linear
narration, where users edit the story frames thanks to hypermedia platform, resulting in
a new relationship between author and public. Considering such operations, the paper
aims to highlight the work’s ludic connotation beside the impact of filmic narrative on
the web
Introductory Remarks
No full textThe volume includes papers presented at the II International Conference of PhD students of the Department of Philosophy and Cultural Heritage of Ca’ Foscari University of Venice and the State Institute for Art Studies in Moscow Taking and Denying: Challenging Canons in Arts and Philosophy (23-25 September 2020)
La matrice espressiva nel livre d’artiste di Iliazd
Get PDFDue to the involvement of Iliazd in a range of major artistic movements, from Russian Futurism to Dada during its Parisian period, his work may be considered within a
range of different study frameworks. These experiences led to an interest in printed art and later to publishing. The ‘architecture’ of the books he produced was influenced by the character of the
zaum
poetry he practised in his early years. His contribution to the genre of modern artist’s book is unquestionable, although it has not enjoyed the atten-tion of much scholarship. This paper seeks to analyse the expressive devices in Iliazd’s mature work in illustrated books and to trace their origins, showing how they led to the emergence of liberal and original correspondences between writing and visual forms
Chiara Fumai. Medium, Media, Medium
Get PDFChiara Fumai was one of the most relevant Italian artists of her generation, her work having been shown at both the Venice Biennale’s Italian Pavilion and Documenta. In her practice, the performer often quoted feminist texts while playing the role of a woman possessed. I give an account of Fumai’s use of video, comparing it to Rosalind Krauss’s essay Video: The Aesthetics of Narcissism. I explain the artist’s work as a dialectic overcoming of the analogy the critic institutes between the notion of art medium and the figure of the Medium. Highlighting that both Fumai and Krauss see Acconci’s early works as a benchmark, I illustrate how the two built an archeology of contemporary mediality
Timur Novikov. L’attualità del passato
No full textThis contribution focuses on the activity of Timur Novikov (1958-2002) and his dynamic approach to Western or national patterns, to classicism or avant-gardism. His artistic activity stands as the perfect case study when discussing appropriations and negations in the development of an artistic canon. The focal point for interpreting Novikov’s dynamical activity is his trademark parodic approach to his work, through the use of the so-called stiob, and in the text this aspect will be analysed on the basis of Linda Hutcheon’s theory of parody ([1985] 2000). Examining Novikov’s career, taking and denying different aesthetic canons, is essential to understand the development of Russian contemporary art
La pittura neorinascimentale di Dmitrij Žilinskij
No full textDmitry Zhilinsky establishes himself as an artist in the first half of the 1960s by creating a series of paintings which differ distinctly, in their form and content, from the canons of the Socialist Realism. Zhilinsky's artistic style was unique because he was inspired more than by the classical Russian and Soviet figurative tradition by the Renaissance art. While art critics and art historians often mention a strong influence of the Renaissance art on Zhilinsky, a truly in-depth and systematic study on this subject has not yet been conducted. In this paper, we analyse some of his most significant works in order to identify stylistic and compositional quotes from Renaissance masterpieces in them and to propose new interpretations of their subjects
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
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