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eroticism --- Iconography --- Mapplethorpe, Robert --- Art and state --- Art patronage --- Arts --- Censorship --- kunstsociologie --- kunst en politiek
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History of Japanese Art after 1945 surveys the development of art in Japan since WWII. The original Japanese work, which has become essential reading for those with an interest in modern and contemporary Japanese art and is a foundational resource for students and researchers, spans a period of 150 years, from the 1850s to the 2010s. Each chapter is dedicated to a specific period and written by a specialist. The English edition first discusses the formation and evolution of Japanese contemporary art from 1945 to the late 1970s, subsequently deals with the rise of the fine-art museum from the late 1970s to the 1990s, and concludes with an overview of contemporary Japanese art dating from the 1990s to the 2010s. These three parts are preceded by a new introduction that contextualizes both the original Japanese and the English editions and introduces the reader to the emergence of the concept of art (bijutsu) in modern Japan. This English-language edition provides valuable reading material that offers a deeper insight into contemporary Japanese art.
Art, Japanese --- Art and state --- Art --- Arts --- Politics and art --- State and art --- Art and society --- Cultural policy --- Education and state --- Monoha (Group of artists) --- History --- Government policy --- J6008.90 --- Japan: Art and antiquities -- history -- postwar Shōwa (1945- ), Heisei period (1989- ), contemporary --- Art, Japanese / 20th century --- Art, Japanese / 21st century --- Art and state / Japan / History / 20th century --- Art and state / Japan / History / 21st century --- art [discipline] --- art museums [institutions] --- anno 1900-1999 --- anno 2000-2009 --- Japan
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sculpting --- Sculpture --- public spaces --- Iconography --- monuments --- Monuments --- Art --- Art and state --- Political aspects --- History --- Aspect politique --- Histoire --- Politique gouvernementale --- History. --- kunst en politiek --- kunst in de openbare ruimte
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- The utopian institution? / Cecilia Gelin##- Art and its institutions / Nina Montmann##- The changing normative foundations of Nordic welfare state institutions / Nanna Kildal##- Curating with institutional visions / a roundtable talk with: Roger M. Buergel, Anselm Franke, Maria Linda, Nina Montmann##- Spaces of conflict / Mike Bode and Staffan Schmidt##- "A museum is not a business, It is run in a businesslike fashion" / Andrea Fraser##- Opacity: current considerations on art institutions and the economy of desire / Nina Montmann##- Institutional desires / Sven-Olov Wallenstein##- Game within the game: institution, institutionalisation and art education / Beatrice Von Bismarck##- This is not an exhibition. On the practical ties and symbolic differences between the agency of the art institution and the work of those on its outside / Jan Verwoert##- The trouble with institutions, or, art and its publics / Simon Sheikh##- Friends of the divided mind / an email conversation between Marita Muukkonen and Chris Evans##- There is no alternative: the future is self-organised. Part 1. / Anthony Davies, Stephan Dillemuth, Jakob Jakobsen##- Collective interest / 16 Beaver group in conversation with Tone Hansen and Trude Iversen.
Art and society. --- Art --- artists' collectives --- curating --- Art and society --- Art and state --- Arts facilities --- Art, Modern --- Economic aspects --- Management --- art criticism --- museology --- Museology --- Art criticism. --- kunstsociologie --- tentoonstellingsorganisme
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sculpting --- Sculpture --- monuments --- Rodin, Auguste --- anno 1800-1999 --- France --- Art and state --- Art and society --- Art --- Art et société --- Politique gouvernementale --- Rodin, Auguste, --- Art patronage --- Salons --- History --- Art et société --- Art and state - France - History - 19th century. --- Art patronage - France - History - 19th century. --- Salons - France - Paris.
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National Socialism --- art [fine art] --- History of civilization --- Art --- anno 1930-1939 --- anno 1940-1949 --- Germany --- Brunswijk --- National socialism and art --- World War, 1939-1945 --- Art and state --- Art, German --- Nazisme et art --- 2eme guerre mondiale --- Art allemand --- Exhibitions --- Art and the war --- Exhibitions. --- Expositions --- Art et guerre --- Politique gouvernementale --- art [discipline]
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sculpting --- Sculpture --- Painting --- sociology --- communism --- art [fine art] --- Iconography --- painting [image-making] --- Art --- dictatorships --- anno 1900-1999 --- anno 2000-2099 --- North Korea --- Arts --- Art and state --- Arts and society --- Socialist realism in art --- Art, Korean --- K9800.05 --- K9808.90 --- K9800.15 --- K9139.50 --- K9110.15 --- Korea: Art and antiquities -- North Korea --- Korea: Art and antiquities -- history -- North Korea (1945- ) --- Korea: Art and antiquities -- policy, legislation, guidelines, codes of behavior -- North Korea --- Korea: History -- historiography, theory and philosophy -- North Korea --- Korea: Archaeology and antiquities -- policy, legislation, guidelines, codes of behavior -- North Korea --- Art and society --- Art and revolutions --- Communism and art --- Socialism and art --- Art and sociology --- Society and art --- Sociology and art --- Social aspects --- Korea [North ] --- Arts - Korea (North) --- Art and state - Korea (North) --- Arts and society - Korea (North) --- Socialist realism in art - Korea (North) --- Art, Korean - Korea (North) --- K9139.90 --- art [discipline] --- kunst en politiek
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Dit werk is een essay over motieven en redenen van cultuurbeleid. Het is bekend, de steeds terugkerende opmerkingen dat cultuur wel fijn is, maar niet zo nodig als pakweg goede wegen of gezondheidszorg. Cultuur is versiering en toevoe-ging, maar geen fundering noch noodzaak. Het overkomt Bart Caron zo vaak, op een etentje met vrienden, tijdens de toertocht met de wielerclub, aan de cafétoog, in de winkel of op de trein, dat mensen hem vragen of dat geld voor cultuur wel goed besteed is. Die artiesten toch, toffe mensen, maar wij moeten ze toch niet onderhouden met onze belastingen?!Overdreven? Niets is minder waar. Zelfs hoogopgeleide Vlamingen twijfelen aan de meerwaarde van een kunst- en cultuurbeleid. Nog steeds leeft de gedachte dat kunst en cultuur zoiets zijn als de kers of de slagroom op de taart. Het is best lekker, maar met wat minder kan het ook.Daarom heeft Bart Caron dit boek geschreven. Hij legt uit waarom cultuurbeleid geen luxe is, maar noodzaak. Hij deed dat uit bewondering voor kunstenaars en culturele werkers. Wat zij doen is het summum van menselijk kunnen. En uit respect voor het publiek: de ongelooflijke gewaarwordingen die kunstenaars de participanten leveren, zijn op geen enkele andere manier te realiseren.De centrale vraag ‘waarom cultuurbeleid geen luxe is?’, lokt veel bijkomende vragen uit. Bart Caron verdedigt de stelling dat een cultuurbeleid tegelijk regulerend, marktcorrigerend en marktversterkend is. Het gaat in op cultuurparticipatie, elitaire kunst en democratisering, en op een divers cultureel Vlaanderen. Er is aandacht voor de stille sociaal-culturele (r)evolutie, voor kunsten en sociaal- artistiek werk, en voor het onroerend erfgoed. Het staat ook stil bij de vraag of besparen in cultuur wel kan.Niet de kers op de taart is een essay over ‘motieven en redenen’ van cultuurbeleid. Het is een uitgebreid essay, gelardeerd met ironische, puntige stukjes. Over contrabas spelen, over de duisternis in de (beeldende) kunsthuizen, over archeologie, over televisie en over het nieuwe circus, en nog veel meer.
cultuurparticipatie --- kunstbeleid --- Sociology of cultural policy --- cultuurbeleid --- Flanders --- kunst --- cultuur --- cultureel erfgoed --- 601 Cultuurbeleid --- #SBIB:316.7C310 --- #SBIB:35H436 --- 497.3 --- cultuurmanagement --- Vlaanderen --- België --- Cultuurbeleid --- Kunst --- 497 --- 351.85 --- Cultuur --- 612 --- Cultuurbeleid: algemeen --- Beleidssectoren: welzijn, volksgezondheid en cultuur --- cultuurbeleid - in landelijk verband --- Muziekpedagogie: handboeken --- Kunstbeleid --- Vlaanderen. --- Art and state --- Belgium --- Cultural policy --- departement PHL Music 11 --- Art --- art [fine art] --- philosophy of art --- art [discipline]
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How should we understand the purpose of publicly engaged art in the twenty-first century, when the very term "public art" is largely insufficient to describe such practices? Concepts such as "new genre public art," "social practice," or "socially engaged art" may imply a synergy between the role of art and the role of government in providing social services. Yet the arts and social services differ crucially in terms of their methods and metrics. Socially engaged artists need not be aligned (and may often be opposed) to the public sector and to institutionalized systems. In many countries, structures of democratic governance and public responsibility are shifting, eroding, and being remade in profound ways--driven by radical economic, political, and global forces. According to what terms and through what means can art engage with these changes? This volume gathers essays, dialogues, and art projects--some previously published and some newly commissioned--to illuminate the ways the arts shape and reshape a rapidly changing social and governmental landscape. An artist portfolio section presents original statements and projects by some of the key figures grappling with these ideas.
community art --- Philosophy and psychology of culture --- public art --- art commissions --- public spaces --- Arts and society --- Art and state --- kunst --- kunstgeschiedenis --- kunsttheorie --- eenentwintigste eeuw --- kunst en politiek --- 7.01 --- Art --- Arts --- Politics and art --- State and art --- Arts and sociology --- Society and the arts --- Sociology and the arts --- Government policy --- Social aspects --- Art and society --- Cultural policy --- Education and state --- MAD-faculty 17 --- kunst en maatschappij --- kunst en cultuur
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Abboud, Shafic ; Affandi ; Akyavas, Erol ; Al-Moudarres, Fateh ; Andre, Carl ; Appel, Karel ; Araeen, Rasheed ; Acay, Wilfredo ; Armajani, Siah ; Baj, Enrico ; Bearden, Romare ; Berman, Mieczyslaw ; Berni, Antonio ; Beys, Joseph ; Biggers, John ; Bill, Max ; Bontecou, les ; Boshier, derek ; Boudnik, Vladimir ; Bowling, Frank ; Burri, Alberto ; Chandra, Avinash ; Cherakaoui, Ahmed ; Raouda Choucair, Saloua ; Clark, Lygia ; Conner, Bruce ; Cordeiro, Waldemar ; Cordell, Magda ; Darié, Sandu ; delaney, Beauford ; Divis, alen ; Edwards, Melvin ; Efflatoun, Inji ; Egonu, Uzo ; El Salahi, Ibrahim ; Emokpae, Erhabor ; Enwonwu, Ben ; Fahlstrom, Öyvind ; Fangor, Wojiech ; Fattah, ismail ; Frankenthaler, Helen ; Gattin, Ivo ; Golub, leon ; Herrera, Carmen ; Hesse, Eva ; Lawrence, Jacob ; Ufan, Lee ; Mancabo, Ernest ; Neel, Alice ; Mitchell, Joan ; Pape, Lygia ; Selim, Jewad ; Schneemann, Carolee ; Shiraga, Kazuo ; Sirri, Gazbia ; Atsuko, Tanaka ; Stella, Frank ; Tobey, Mark ; Whitten, Jack ; Vedova, Emilio ; Younan, Ramses ; Zlotnikov, Yuri
art history --- Art --- anno 1940-1949 --- anno 1960-1969 --- anno 1950-1959 --- Art, European --- Art, American --- Art and war --- War and art --- Art, Modern --- Haus der Kunst München --- Munich. --- House of German Art (Munich, Germany) --- Neuer Glaspalast (Munich, Germany) --- Munich (Germany). --- Direktion Haus der Kunst (Munich, Germany) --- Art and history --- Art and state --- Chicago Imagists (Group of artists) --- Figuration libre (Group of artists) --- Fort Worth Circle (Group of artists) --- Hairy Who (Group of artists) --- Monster Roster (Group of artists) --- Philadelphia Ten (Group of artists) --- Pictures Generation (Group of artists) --- Haus der Deutschen Kunst (Munich, Germany) --- Haus der Kunst (Munich, Germany)
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