Open Access. Powered by Scholars. Published by Universities.®
- Keyword
-
- Art History (2)
- Exhibition history (2)
- Modernism (2)
- "Degenerate" Art (1)
- 1978 (1)
-
- Alzaia (1)
- André Malraux (1)
- Arab (1)
- Arab art (1)
- Arcicoda (1)
- Art (1)
- Art against apartheid (1)
- Art canon (1)
- Artist solidarity (1)
- Avant-Gardes (1)
- Beirut (1)
- Biennale (1)
- Biennial (1)
- Canon (1)
- Carletto Caliari (1)
- Centers and Peripheries (1)
- Chile (1)
- Church history (1)
- Cima da Conegliano (1)
- City (1)
- Claude Lazar (1)
- Collective Identities (1)
- Colour reproduction (1)
- Cultural Analytics (1)
- Cultural Geopolitics (1)
Articles 1 - 10 of 10
Full-Text Articles in Arts and Humanities
Les Expositions Turnus, Une Page D’Histoire Transnationale Des Beaux-Arts En Suisse À La Fin Du Xixe Siècle. Et Comment Découvrir Les Humanités Numériques, Béatrice Joyeux-Prunel
Les Expositions Turnus, Une Page D’Histoire Transnationale Des Beaux-Arts En Suisse À La Fin Du Xixe Siècle. Et Comment Découvrir Les Humanités Numériques, Béatrice Joyeux-Prunel
Artl@s Bulletin
Cet article présente le travail de la classe d’introduction aux humanités numériques de l’Université de Genève sur les expositions Turnus en Suisse à partir des années 1840. Près de 50 catalogues ont été retranscrits, décrits et structurés à l’aide de scripts Python, puis géolocalisés. Les données ont été ajoutées à BasArt, le répertoire mondial de catalogues d’expositions d’Artl@s (https://artlas.huma-num.fr/map). Elles permettent de mieux comprendre les premières années de ces expositions et leurs dynamiques locales, fédérales et internationales. Le Turnus fut une plaque tournante pour les artistes suisses, voire un tremplin vers le marché européen de l’art.
War And Peace. The Film Iconeme Of The Urban Square As Image Of Europe In Transition (1944-1948), Paolo Villa
War And Peace. The Film Iconeme Of The Urban Square As Image Of Europe In Transition (1944-1948), Paolo Villa
Artl@s Bulletin
A central feature of European urban landscapes, the square represents the public space par excellence. At the end of WW2 and in the immediate postwar time, the role of cinema in representing and reimagining urban squares was crucial. Through film images, they became the stage and the mirror of a Europe in transition. This contribution, examining Italian, French, German, and Czechoslovak cases, posits the square as an essential iconeme in postwar nonfiction cinema and visual culture, acting as a fil rouge to visually retrace the path of Europe from war to peace, and into new forms of political tension.
Perspectives On Changing Cultural Spaces In 19th Century Europe, Christophe Charle
Perspectives On Changing Cultural Spaces In 19th Century Europe, Christophe Charle
Artl@s Bulletin
To define the limits of European cultural spaces requires a pragmatic and empirical approach, founded on a comparative overview of the circulations of symbolic goods, of the agents involved in the processes of diffusion and mediatization of these goods, and of their modes of transmission or valorization. In this essay, I illustrate the effects of changing conditions on the specific field of 19th-century opera, one of the first international forms of cultural practice in Europe. I then consider the origins and causes of unequal cultural circulations in other fields, notably the presence or absence of mediators in these processes of …
Opposing Strands: The Mediterranean As Site Of Cultural Conflict Around 1900, Neil F. Mcwilliam
Opposing Strands: The Mediterranean As Site Of Cultural Conflict Around 1900, Neil F. Mcwilliam
Artl@s Bulletin
From antiquity to the Third Republic, this article follows visual and literary representations that measured space, time and ideological oppositions that spawned an image of the Mediterranean as an area of transmission and cultural tension. It focuses on three theorists: the head of Action Française, Charles Maurras; the novelist Louis Bertrand; and critic and cultural impresario Joachim Gasquet. Each contributed to the formation of an image of the Mediterranean basin as the birthplace of European heritage and a battlefield in a struggle against the forces of democracy and cultural hybridization.
Provincializing New York: In And Out Of The Geopolitics Of Art After 1945, Béatrice Joyeux-Prunel
Provincializing New York: In And Out Of The Geopolitics Of Art After 1945, Béatrice Joyeux-Prunel
Artl@s Bulletin
In this article, I argue that the putative global centrality of New York in art after 1945 is a construct, as it is for Paris prior to 1945. Monographs and national approaches are unsuccessful in challenging such powerful myths as these. A global, transnational and comparative approach demonstrates that the struggle for centrality was a global phenomenon after 1945, a battle that New York does not win (depending on one’s point of view) until after 1964. Rather than considering centres and peripheries as a fixed category, I propose to consider them as a strategic notion which artists and their promoters …
How To Build A World Art: The Strategic Universalism Of Colour Reproductions And The Unesco Prize (1953-1968), Chiara Vitali
How To Build A World Art: The Strategic Universalism Of Colour Reproductions And The Unesco Prize (1953-1968), Chiara Vitali
Artl@s Bulletin
What role did UNESCO play in the art world of the post-war era? This article makes use of published and archival sources in order to clarify the utopia of a “World Art” that shaped UNESCO and led to the “Archives of Colour Reproductions of Works of Art”, a project of worldwide collect and diffusion of images of “masterworks” inspired by Malraux’s “Museum without walls”. This case study focuses on one particular aspect of the project, the “UNESCO Prize”, conceived by the Brazilian art critic and Marxist intellectual Mario Pedrosa for the 1953 São Paulo Biennial.
« Dégénérés » En France. Tentatives De Définition D'Une Identité Collective Par Les Artistes Germaniques Exilés En France À La Fin Des Années 1930, Hélène Duret
Artl@s Bulletin
Cet article examine les stratégies d'identification mises en œuvre par les artistes allemands et autrichiens exilés en France au moment où les expositions d'art « dégénéré » circulent dans l'Allemagne hitlérienne. Dans un contexte de tensions internationales et d'accueil méfiant des réfugiés allemands en France, certains collectifs d'artistes se définissent tour à tour comme fers de lance de l'« autre Allemagne », d'un héritage français de liberté artistique ou d'une « Internationale » artistique. En revanche, ces artistes ne franchissent pas le pas d'un « retournement du stigmate » (Goffman) vis-à-vis du qualificatif nazi « dégénéré ».
Past Disquiet: From Research To Exhibition, Kristine Khouri, Rasha Salti
Past Disquiet: From Research To Exhibition, Kristine Khouri, Rasha Salti
Artl@s Bulletin
An exhibition of an exceptional scale and scope took place in Beirut in the middle of the civil war and today, its archival and documentary traces have been almost entirely lost. The International Art Exhibition for Palestine opened in the Spring of 1978, comprising some 200 works donated by artists hailing from nearly 30 countries, to be a seed collection for a museum in exile. This is a transcript of a presentation of the transformation of research into an exhibition format and a virtual walkthrough of the show Past Disquiet: Narratives and Ghosts from the International Art Exhibition for Palestine, …
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.
The Geography Of Art In Communist Europe: Other Centralities, Other Universalities., Jerome Bazin
The Geography Of Art In Communist Europe: Other Centralities, Other Universalities., Jerome Bazin
Artl@s Bulletin
Through the analysis of one woodcut created in the GDR in 1973, the article offers a comprehensive approach to the spatial processes of creation, diffusion, and reception of an ordinary and modest image. In which spaces did actors (the artist, administrators, audience) place an image like this one? The main hypothesis is that realist art in a socialist context is characterised by two trends: on the one hand, the trend to embed art in a very local space, and on the other, the trend to universalise art in a communist way. The two divergent trends produced a special kind of …