Open Access. Powered by Scholars. Published by Universities.®
- Discipline
-
- History of Art, Architecture, and Archaeology (10)
- Social and Behavioral Sciences (5)
- Cultural History (4)
- History (4)
- Modern Art and Architecture (4)
-
- Asian Art and Architecture (2)
- Contemporary Art (2)
- Digital Humanities (2)
- Geography (2)
- Other History of Art, Architecture, and Archaeology (2)
- African Languages and Societies (1)
- American Art and Architecture (1)
- Ancient, Medieval, Renaissance and Baroque Art and Architecture (1)
- Anthropology (1)
- Architecture (1)
- Art Education (1)
- Art Practice (1)
- Comparative Literature (1)
- Diplomatic History (1)
- Dramatic Literature, Criticism and Theory (1)
- Education (1)
- European History (1)
- Fine Arts (1)
- French and Francophone Language and Literature (1)
- Geographic Information Sciences (1)
- History of Christianity (1)
- International and Area Studies (1)
- Latin American Languages and Societies (1)
- Music (1)
- Keyword
-
- Paris (3)
- Nandalal Bose (2)
- Rabindranath Tagore (2)
- 1920s (1)
- 19e siècle (1)
-
- Affandi (1)
- Afrique (1)
- Amérique latine (1)
- Anonymat (1)
- Architecture (1)
- Archéologie (1)
- Art (1)
- Art Dealer (1)
- Art Gallery (1)
- Art History (1)
- Art Market (1)
- Art américain (1)
- Art market (1)
- Art visuel (1)
- Artistic field (1)
- Australia (1)
- Bagyi Aung Soe (1)
- Biennale (1)
- Biennale of Dakar (1)
- Calcutta (1)
- Carletto Caliari (1)
- Chen Banding (1)
- Chittaprosad Bhattacharya (1)
- Church history (1)
- Cima da Conegliano (1)
Articles 1 - 18 of 18
Full-Text Articles in Entire DC Network
South Ways - Art Undercurrents Across The South, Kevin D. Murray
South Ways - Art Undercurrents Across The South, Kevin D. Murray
Artl@s Bulletin
A series of projects attempted to explore a southern perspective for global visual art. The South Project was a series of gatherings across the latitude to develop a south-south network and conversation. This was followed by an intellectual push through Southern Theory to diversity academic frameworks beyond the trans-Atlantic. The application of this to visual arts was explored with the project South Ways, which involved developing particular verbs for creative engagements - to bestow, to open, to swap and to glean. Such ventures involve a promise yet to be realised - that the orientation of visual arts towards the South …
Biennale D’Art Bantu Contemporain : Passeport Ethnique Et Circulations Artistiques En Afrique Sub-Sahélienne, Nora Greani
Biennale D’Art Bantu Contemporain : Passeport Ethnique Et Circulations Artistiques En Afrique Sub-Sahélienne, Nora Greani
Artl@s Bulletin
Hosted by four African capitals and designed as a turn-over by Africans of « their » history, the Biennale of Contemporary Bantu Art created in 1985 is an emblematic example of transnational artistic exchanges not dominated by the colonial powers. Each of its seven editions were based on a simple premise, yet subject to controversy: the existence of a common culture between the Bantu. This article studies this event focusing to highlight the historical and political context in which it occurs. Through the analysis of various aspects of the Bantu Biennale, we will identify the extent of the identity (or …
The Biennial Of Dakar And South-South Circulations, Thomas Fillitz
The Biennial Of Dakar And South-South Circulations, Thomas Fillitz
Artl@s Bulletin
The Biennale of Dakar is considered as a particular site for examining South-South circulations of artworks. Being the biennial of contemporary African art, only artists from Africa and its Diaspora are eligible for its central, international exhibition. Several factors, however, are strongly influencing these selections, among others the Biennale’s specific selection procedures, as for instance the appointment of the members of the selection committee. Considering critical voices of local artists about the Biennale’s performance will lead to discussing several problems that affect South-South circulations of artworks.
Literary And Theatrical Circulations In The Democratic Republic Of Congo, Rwanda And Burundi, From The Belgian Colonial Empire To The Africa Of The Great Lakes., Maëline Le Lay
Artl@s Bulletin
This article on literary and theatrical circulations in Africa’s Great Lakes region begins by retracing the history of these practices, taking several examples from the colonial period. It then analyzes contemporary modalities of the circulation of texts (via procedures such as reprising narrative patterns and adaptation), and cultural actors, in the different transnational arts networks that are more or less closely tied to the humanitarian sector, or to international cooperation. Finally, it proposes a critical questioning of the concept of artistic circulation.
The Gentleman, The Craftsman And The Activist: Three Figures Of The Sino-Indian Artistic Exchange In Colonial Bengal, Nicolas Nercam
The Gentleman, The Craftsman And The Activist: Three Figures Of The Sino-Indian Artistic Exchange In Colonial Bengal, Nicolas Nercam
Artl@s Bulletin
This article analyses some aspects of the Chinese-Indian exchanges, which took place in the first half of the 20th century, in the artistic circle of Calcutta and Shantiniketan, in Bengal. From the beginning of the last century, the Bengali elite was under the influence of Okakura Kakuzo’s Pan-Asian theories, in its approach to Chinese art. From the 20’s, under the auspices of Rabindranath Tagore the first direct contact between Chinese and Indian artistes took place and lasted until the 40’s. From the 30’s, the Bengali avant-garde, in its search of a new aesthetic in relation with social and political …
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.
Sud-Sud. Trop Politique ?, Béatrice Joyeux-Prunel
Sud-Sud. Trop Politique ?, Béatrice Joyeux-Prunel
Artl@s Bulletin
La référence à un axe Sud-Sud est devenue très politique, en particulier lorsqu’elle s’exprime sur des scènes mondiales – où les ennemis sont présents, et où les pays du puissant Nord ont une présence obsédante. On peut se réjouir de cette dissension. Elle nourrit des identités partagée, et des projets de justice indispensables. Mais elle a aussi ses pans aveugles. Dans notre contexte académique, le surmoi postcolonial et décolonial est devenu lourd, parfois trop lourd ; et producteur de poncifs. Travailler sur les circulations artistiques « Suds-Suds » en commençant par étudier des circulations, suivre des objets et leurs resémantisations, …
Les Rues Des Tableaux: The Geography Of The Parisian Art Market 1815-1955, Léa Saint-Raymond, Félicie De Maupeou, Julien Cavero
Les Rues Des Tableaux: The Geography Of The Parisian Art Market 1815-1955, Léa Saint-Raymond, Félicie De Maupeou, Julien Cavero
Artl@s Bulletin
Building upon a preliminary socioeconomic analysis of the art dealers in Paris between 1815 and 1955 (ARTL@S Bulletin 2, n°2), this paper presents the findings of a spatial study of the Parisian art market in this period. Using serial geographical data drawn from a single, consistent source – the Bottin du commerce – we mapped the spatial evolution of art dealers over 140 years, using a geocoding system with composite locators. The article explores the different spatial dynamics of this market, and seeks to shed light on the links between the evolution of the Parisian economy as a whole and …
Between Paris And London: Contacts And Exchanges Of South American Artists In Europe (1950-1970), Maria De Fatima Morethy Couto Dr
Between Paris And London: Contacts And Exchanges Of South American Artists In Europe (1950-1970), Maria De Fatima Morethy Couto Dr
Artl@s Bulletin
This paper calls attention to a network of artists, dealers, and critics from Europe and South America thanks to whom, from the 1950s to the early 1970s, Paris and London welcomed and fostered a certain form of South American avant-garde art. Accordingly, it discusses the European reception given to five South American artists active in Paris and London —Lygia Clark, Hélio Oiticica, Sérgio Camargo, Jesús Rafael Soto and Julio Le Parc—whose artistic practices were sometimes related to kineticism. It highlights the impact they had on the European art scene, as well as the role of several cultural agents who were …
Les Peintures De Paysages De Johann Moritz Rugendas : Un Exemple De Transferts Artistiques Entre Europe Et Amérique Latine Au Xixe Siècle, Lucile Magnin
Artl@s Bulletin
Cet article examine deux séries de peintures de paysages réalisées par le peintre voyageur Johann Moritz Rugendas dans les années 1830 : un corpus d’esquisses à l’huile peintes lors de son voyage au Mexique, et un autre ensemble de peintures effectuées lors de sa traversée des Andes entre Santiago du Chili et Mendoza. Il pose la question du transfert et de l’adaptation de techniques apprises et de courants de pensées intégrés en Europe, à des paysages de type nouveau vierges de toute représentation artistique. Il traite également de l’impact qu’eurent les œuvres de cet artiste dans les pays latino-américains où …
Exhibition Catalogues In The Globalization Of Art. A Source For Social And Spatial Art History, Béatrice Joyeux-Prunel, Olivier Marcel
Exhibition Catalogues In The Globalization Of Art. A Source For Social And Spatial Art History, Béatrice Joyeux-Prunel, Olivier Marcel
Artl@s Bulletin
With the rise of global art studies, there has been a quest to find a common ground to compare different contexts, events or individual trajectories. The expansion of exhibition catalogues and the artistic, social, and geographical information they contain make them an exceptional source to establish and articulate patterns of artistic mobility. Stemming from antipodal and diachronic research fields, from the internationalization of modern art (1850-1970) to that of contemporary African art, we contend that exhibition catalogues give commensurable sources to trace the globalization of art on the long term, from its spatial, social, and economic dimension to the circulation …
De Paris À L'Europe : Sur Les Traces Des « Américains À Paris », Entre Mobilités Récréatives Et Quêtes Artistiques En Europe (De L'Après-Seconde Guerre Mondiale Aux Années 1960), Elisa Capdevila
Artl@s Bulletin
Travels of American artists across Europe in the 1950s and 1960s have only left traces in the archives. These trips represent however an important part of their education and life as artists. It is difficult to estimate precisely how many Americans were present in Europe at the time as the sources available are only fragmentary. The archives show how these artists approached this foreign space and and how valuable these trips were to them. They also reveal the importance of the Mediterranean countries in their experience of Europe and the new meaning these places took with the arrival of a …
Tracing Paintings In Napoleonic Italy: Archival Records And The Spatial And Contextual Displacement Of Artworks, Nora Gietz
Artl@s Bulletin
Using a Venetian case study from the Napoleonic Kingdom of Italy, this article demonstrates how archival research enables us to trace the spatial life of artworks. The Revolutionary and Napoleonic policy of the suppression of religious corporations, followed by the appropriation of their patrimony, as well as the widespread looting of artworks, led to the centralisation of patrimony in newly established museums in the capitals of the Empire and its satellite kingdoms. This made the geographical and contextual displacement, transnationalisation, and change in the value of artworks inevitable.
Bas Les Masques ! Pour Une Relecture Socio-Économique Du Montparnasse Des Années 1920, Léa Saint-Raymond
Bas Les Masques ! Pour Une Relecture Socio-Économique Du Montparnasse Des Années 1920, Léa Saint-Raymond
Artl@s Bulletin
This paper attempts to reconstruct the Parisian art world of the 1920s through the prism of the social sciences. Geography, sociology and network analysis shed new light on a caricature drawn by Sem, entitled Les Montparnos, which was published in 1929 in L’Illustration. The reconstruction of the artistic field strips away the masks, and leads us to conclude that Sem, the star of the Parisian Belle Epoque, was trying to reverse the stigma of his increasingly marginalized position by mocking a new generation of rising stars—such as Foujita, Man Ray, and Kiki de Montparnasse—who were starting to dominate …
Le Concert Et La Tournée. Perspectives Sur La Direction De Concerts Albert Gutmann, Laetitia Corbière
Le Concert Et La Tournée. Perspectives Sur La Direction De Concerts Albert Gutmann, Laetitia Corbière
Artl@s Bulletin
In the nineteenth-century, transformations in the musical economy led to the development of international tours, and the appearance of the first managers for artists. By analyzing the business strategies of Albert Gutmann in Vienna, Munich and Paris, this paper will show that such impresarios, in order to move from their local institutions to the international arena, had to adapt to the tastes and habits of each audience. Professional middlemen had a decisive influence on these aesthetic choices and, in the context of European tours, they contributed to the reassertion and strengthening of national identities on the musical stage.
Logique Circulatoire De La Photographie Imprimée. Le Cas Des Revues D’Avant-Garde Tchèques., Fedora Parkmann
Logique Circulatoire De La Photographie Imprimée. Le Cas Des Revues D’Avant-Garde Tchèques., Fedora Parkmann
Artl@s Bulletin
The members of the Czech avant-garde group Devětsil accorded great importance to photographic illustrations in the magazines they published throughout the 1920’s. Securing photographs from foreign contributors played a key role in the group’s strategy to develop and maintain an international network. This paper examines these photographic reproductions as traces of a transfer of formal and iconographic innovations in photography from abroad to Czechoslovakia.
Sur Les Traces De La Fabrique Artistique : Quelques Réflexions Sur La Dimension Spatiale Et Matérielle De L’Histoire De L’Art, Vincent Veschambre
Sur Les Traces De La Fabrique Artistique : Quelques Réflexions Sur La Dimension Spatiale Et Matérielle De L’Histoire De L’Art, Vincent Veschambre
Artl@s Bulletin
This text gives a reading of the notion of trace in the perspective of a geographer’s scientific trajectory, committed to grasping individual and social relations to space. Applying this notion to art history probes into the identification of who inscribes art in space, and for what purpose. Such an approach bears similarities with archeology, which cares for the lesser known or recognized traces, and is able to recast the wealth of social actors that have been concealed by history.
The Geographical Information Of Art History: How To Trace The Making Of Knowledge And Facts, Olivier Marcel
The Geographical Information Of Art History: How To Trace The Making Of Knowledge And Facts, Olivier Marcel
Artl@s Bulletin
The objective of this trans-disciplinary, trans-regional and trans-periodical issue of Artl@s Bulletin is to confront a wide range of sources (catalogues, institutional archives, photographs, interviews, etc.), methods (qualitative, quantitative, comparative, multi-situated, cartographic, etc.) and areas of investigation (careers, movements, markets, etc.) in order to highlight the pivotal and problematic role of traceability in the spatial study of art.