DRAWING AND CONTEMPORAY GRAPHIC IN CONTEMPORARY EASTERN AND WESTERN COUNTRIES. Dr. Bibiana Crespo – Lecturer at the Fine Arts Faculty of the (original) (raw)
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2024
ART in the EAST and EAST in ARTS III Beauty and Usus: In Search of Understanding (AEEA / ИВВИ) September 16–18, 2024 The 3rd conference “AEEA: Beauty and Usus: In Search of Understanding” (2024), as before, will unite museum experts, curating collections of art from Asia and Africa, academic and educational institutions’ researchers, dealing with multiple and diverse topics and different periods in history of art of the East. This year’s conference will attempt to formulate both the general and more concrete aesthetical principles of beauty, its existence and/or understanding; both ideal (art in all its diversity) and functional (material culture and everyday objects). We encourage the participants to speculate on the perception of the Beautiful VS Utilitarian in the East to determine ways of possible interaction between these categories in Eurasian and African cultures. The forthcoming Conference is not limited by chronological boundaries: This year we invite speakers to reflect on the formulas that have governed art and material culture, from the Ancient World to the 21st century. Alongside with the Conference the premises of IOS RAS will host several exhibitions “Belated Flowers”, “From Mali to Nepal: Aesthetics of the Utilitarian” and the youth photo show “The East Within”.
Heidelberg University Publishing, 2019
From early modern to modern times, drawing was firmly anchored in the realities of European society as a cultural technique . Based on this fact, the present volume asks for the first time about the significance of drawing and drawing education in other cultural areas. Indigenous methods of drawing and sign-learning in Arabic, Asian, Latin American, North American and European countries are addressed, as well as historical transfer processes of didactic methods, aesthetic norms and educational institutions of drawing instruction. CONTENTS: Tobias Teutenberg Introduction: Towards a Global Perspective on the History of Drawing and Drawing Education Lamia Balafrej Figural Line: Persian Drawing, c. 1390–1450 Nino Nanobashvili The Epistemology of the ABC Method: Learning to Draw in Early Modern Italy Peter M. Lukehart Evidence of Drawing: Giovanni Battista Paggi and the Practice of Draftsmanship in Late Sixteenth-Century Italy Alexander Klee Forming a Common Language: The Teaching of Drawing in the Habsburg Empire from 1850 Johannes Kirschenmann, Caroline Sternberg “You Have to Draw with More Attention, More Dedication”: The Relevance of Drawing for Artistic Education at the Academy of Fine Arts Munich and its Significance in International Contexts Werner Kraus Picture and Drawing Education in Nineteenth-Century Java Elena S. Stetskevich Drawing Education at the Russian Academy of Sciences in the First Half of the Eighteenth Century Veronika Winkler Drawing Books and Academic Demands in the Viceroyalty of Peru Oscar E. Vázquez Drawing, Copying and Pedagogy in Mexico’s and Brazil’s Art Academies Harold Pearse Drawing Education in Canadian Schools: Late Nineteenth to Mid-Twentieth Century as Seen Through Drawing Textbooks Rikako Akagi, Kenji Yamaguchi The Evolution of Drawing Education in Modern Japan: The Impact of Traditional and Introduced Methods on the Artworks of Elementary Students in the Meiji Era Ok-Hee Jeong A Historical Review of Cultural Influences on Korean Art Education Xin Hu Drawing in China: Art and Art Education in the Wake of Modern China Judith Rottenburg The École des Arts du Sénégal in the 1960s: Debating Visual Arts Education Between “Imported Technical Knowledge” and “Traditional Culture Felt from Within” Charlotte Bank Art Education in Twentieth Century Syria Open Access Publikation: https://doi.org/10.17885/heiup.457 -
Contemporary art in Central Asia
Contemporary art in Central Asia in Routledge Handbook of Contemporary Central Asia, ed. by Rico Isaacs, Erica Marat, 2021
Post-socialist Central Asia, a diverse region of different cultures with a shared Soviet past, diverse post-Soviet trajectories, has a small in scale, but vibrant contemporary art scene. The art scenes for each Republic is dispersed rather than united, but they share common discursive narratives and structural problems. Such problems include a lack of institutional development and support, a low quality of art education, government restrictions on media, religion and public expression and a limited of the traditional public sphere (Laruelle 2019: 3). In this context where there is a shrinking ‘traditional’ public sphere and limited space for public debates, contemporary art constitutes an arena for an alternative public sphere, producing new narratives and discussions, symbols and meanings and provoking debates on online platforms and social networks (Tsay 2019: 269). This chapter introduces the reader to contemporary art and art practices in the postsocialist Central Asian countries of Kazakhstan, Kyrgyzstan and Uzbekistan. It also examines the role art and artists play in the formation of an alternative public sphere which produces narratives and meanings, reflects on social and cultural transformations, raises critical issues and generates public debate and discussion. The focus of the chapter is on the agency of independent artists in which artists establish a public space for free creative expressions, cultural protests and social critique. This chapter focuses on art and artists who create counter-narratives and new discourses in the closed societies of Central Asia, where with limited freedom of expression artists can still form an alternative artistic model of the public sphere.
2022
In this article, I analyze the ways young applied artists and designers from the Komi Republic visualize and represent ethnicity in their works. My focus is particularly on those artists and designers who are involved in producing ethnic souvenirs and in working out “new ethnic brands” of the republic. I discuss the obvious “crisis of ethnic identity” in works of applied art: the symbols and images used in modern “ethnic souvenirs from the Komi Republic” are not those used in Komi mythology and folklore, and “ethnic replicas” are not produced using traditional techniques and decorative designs. Furthermore, designers from the Komi Republic obviously prefer constructing their own “ethnic images” and so-called “decorative patterns,” which could become recognizable “brands” or “trademarks” of the republic in the souvenir market. In my opinion, the only way to overcome this obvious “identity crisis” in the works of young artists and designers is to study more carefully the authentic technologies and techniques that gave rise to the unique aesthetic of Komi folk art.
Contemporary Art Between «East» and «West». Signs ⋅ Images ⋅ Codes
Polish Avant-Garde in Berlin, 2019
Thoroughly oriented towards visual science and semiotics, Monika Leisch- Kiesl’s chapter takes us into the current debates of Global Art History and Postcolonial Studies. For a second time, this time virtually, she visits selected major international exhibitions of 2017, specifically the 57th Venice Biennale and documenta 14 in Kassel, to ask about the “Polish” artists available there. She analyses selected works along the lines of the notions “Signs - Images - Codes” developed in her 2016 monograph ZeichenSetzung | BildWahrnehmung and shows how these concepts allow us to encounter different societies and cultures, which gives justice to both the feeling of proximity and the experience of otherness.