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Articles 1 - 3 of 3
Full-Text Articles in Art Practice
The Artistry Of Mediation: A Look At Mediation’S Effectiveness For Resolving Cross-Cultural Disputes Through The Leonardo Da Vinci Conflict Between France’S Louvre Museum And Italy’S Uffizi Gallery, Sophia D. Casetta
Pepperdine Journal of Communication Research
Art is powerful, as it symbolizes the history and identity of the country that claims it. However, through timely transitions, such as trade and wars, the ownership of meaningful artworks blurs, with museums fighting to claim their heritage to put on honorable display for their people. Mediation can be a peaceful means to resolve art ownership disputes, as it accounts for respecting the individual cultures of the countries represented in the dispute. Using the key medication traits described within this essay, a prepared mediator involved in such a cross-cultural conflict should be able to help resolve the issue at hand. …
El Quijote En Alcalá De Henares: Graffiti, Arte Urbano Y Autorrepresentación, Juan Fernandez Cantero
El Quijote En Alcalá De Henares: Graffiti, Arte Urbano Y Autorrepresentación, Juan Fernandez Cantero
Vernacular: New Connections in Language, Literature, & Culture
En el presente trabajo se realizará un estudio de los procesos culturales existentes en la ciudad de Alcalá de Henares en la actualidad a través del arte urbano. Concretamente, se analizarán las representaciones del Quijote, personaje universal de Miguel de Cervantes, en el casco antiguo y en los barrios periféricos de la urbe. Se demostrará cómo la figura del Quijote es un medio para la autorrepresentación de la ciudad. Más allá de las decisiones políticas sobre el arte urbano en el centro histórico de la ciudad, se verá cómo la iconografía del Quijote se consolida como un elemento cohesivo para …
Śāntiniketan And Modern Southeast Asian Art: From Rabindranath Tagore To Bagyi Aung Soe And Beyond, Yin Ker
Śāntiniketan And Modern Southeast Asian Art: From Rabindranath Tagore To Bagyi Aung Soe And Beyond, Yin Ker
Artl@s Bulletin
Through the example of Bagyi Aung Soe, Myanmar’s leader of modern art in the twentieth century, this essay examines the potential of Śāntiniketan’s pentatonic pedagogical program embodying Rabindranath Tagore’s universalist and humanist vision of an autonomous modernity in revitalizing the prevailing unilateral and nation-centric narrative of modern Southeast Asian art. It brings into focus the program’s keystones on the modern, art and the artist, which have been pivotal in discoursing on the Burmese alumnus of the ashram-turned-university, and explores how the same might be applicable to fellow artists in Myanmar and the region.