Search results for: artists

Authors: Sapfo Mortaki

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Over the years, Greeks were leaving their homeland looking for better luck, including artists - painters and sculptors. Until mid-1940's, few were the ones who lived, worked, studied and were distinguished abroad. After the end of the Second World War, the group exit towards the cultural centers of the West commences. Since the mid-1970s, and especially in the early 1980s, Modern Greek Diaspora has undergone a new period. The creation of the European Community affects both the character of the immigration of artists as well as the creation of their identity within cultural pluralism. Since 1980 the situation in Greece changed significantly, and the contacts of artists with their homeland became greatly enhanced. Based on the above, this paper examines the cultural identity of the Greek artists in Paris during the 1980s, in comparison to the creation of the identity of the artists of the previous migratory movements, since this decade constitutes a critical point. Their cultural presence in Paris, as reflected in French and Greek daily press and journals of the period, is also investigated. At the same time, their connection with Greece and their contribution to the development and evolution of Contemporary Greek Art is discussed.

Keywords: artistic migration in Paris, cultural identity, cultural interaction, greek artists, greek contemporary art

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Authors: Jung Hyoung Yoon

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This paper examines ways of building socio-economic sustainability for artists with cognitive disabilities who pursue professional artistic careers in Australia. It investigates two case studies of supported studios in terms of management, inclusivity and accessibility to facilitate professional development and create socio-economic values for artists with cognitive disabilities. This study uses semi-structured interviews with key art directors and staff of supported studios to unfold their experiences on the professional development of artists with cognitive disability at the individual, organizational and societal levels. It also analyses secondary data collection related to management, business strategic plans and marketing. This paper discusses the potentials of socio-economic sustainability for artists with cognitive disabilities through their art practice and careers, as well as the central role of the supported studio in order to achieve such goals for individual artists.

Keywords: artists with cognitive disability, inclusive management, professional development, socio-economic sustainability

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Authors: Sonia Bernardo Correia

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This paper is part of ongoing research that aims to understand the role of gender in the composition of the Portuguese contemporary art world and the possibilities and limits to the success of the professional paths of women and men artists. The field of visual arts is gender-sensitive as it differentiates the positions occupied by artists in terms of visibility and recognition. Women artists occupy a peripheral space, which may hinder the progression of their professional careers. Based on the collection of data on the participation of artists in Portuguese exhibitions, art fairs, auctions, and art awards between 2012 and 2019, the goal of this study is to portray female artists’ participation as a condition of professional, social, and cultural visibility. From the analysis of a significant sample of institutions from the artistic field, it was possible to observe that the works of female authors are under exhibited, never exceeding one-third of the total of exhibitions. Male artists also enjoy a comfortable majority as gallery artists (around 70%) and as part of institutional collections (around 80%). However, when analysing the younger age cohorts of artists by gender, it appears that there is representation parity, which may be a good sign of change. The data shows that there are persistent gender inequalities in accessing the artist profession. Women are not yet occupying positions of exposure, recognition, and legitimation in the market similar to those of their male counterparts, suggesting that they may face greater obstacles in experiencing successful professional trajectories.

Keywords: inequalities, invisibility of the woman artist, gender, visual arts

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Authors: Bartholomew Badar

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An NFT is a digital certificate with rights to own an asset, including various valuable digital goods such as art pieces, music items, collectibles, etc. The market for NFTs started developing in 2017 and has lately seen increased growth as crypto-currencies and the blockchain market continue to gain popularity. This study aims to understand potential uses for NFTs concerning the music industry and record labels. Independent artists struggle to distribute and sell their music without the help of a record label. The NFT marketplace could be a great tool to eliminate this problem. The research objective is to identify possibilities for independent artists to own their music rights and share value with an audience. We see a trend of new-school music artists trying to enter the music NFT market by creating visualizers, beats, cover art, etc. To analyze various existing music NFT assets and determine whether or not independent artists could monetize their music without a record label is the main focus of this scholarly paper.

Keywords: blockchain, crypto-currency, music, artist, NFT

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Authors: Rusne Kregzdaite, Erika Godlevska, Morta Vidunaite

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The main aim of this research is to explore existing methodologies for artists’ labour force and create artists’ socio-economic and creative conditions in an assessment model. Artists have dual aims in their creative working process: 1) income and 2) artistic self-expression. The valuation of their conditions takes into consideration both sides: the factors related to income and the satisfaction of the creative process and its result. The problem addressed in the study: tangible and intangible artists' criteria used for assessments creativity conditions. The proposed model includes objective factors (working time, income, etc.) and subjective factors (salary covering essential needs, self-satisfaction). Other intangible indicators are taken into account: the impact on the common culture, social values, and the possibility to receive awards, to represent the country in the international market. The empirical model consists of 59 separate indicators, grouped into eight categories. The deviation of each indicator from the general evaluation allows for identifying the strongest and the weakest components of artists’ conditions.

Keywords: artist conditions, artistic labour force, cultural policy, indicator, assessment model

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Authors: Sapfo A. Mortaki

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From the early 1960s and until the middle of the next decade, the lack of favorable conditions for the development of art along with the imposition of the 1967 military dictatorship resulted in a great flow of Greek artists abroad. The fall of the dictatorship and the change of the political scene after 1974 constitute crucial milestones in the cultural life of the country. In the field of visual arts significant changes are attempted in the state's effort to formulate a national cultural policy. This article examines the presence of Greek migrant artists (painters and sculptors) in Paris during the 1970s. Since the mid-1970s, and particularly in the early 1980s, Modern Greek Diaspora undergoes a new transition phase, when the concept of immigration changes. The aim of this study is to record and give prominence to the presence of the Greek artists -through archival research in the daily and periodical press- as well as present the impact of their artistic activity on French intellectual life and on the country’s society during this period. Furthermore, the presence and work of these artists are discussed in an environment of cultural coexistence which, to a certain extent, can be regarded as the result of the social phenomenon of their migration in the era of postmodernity. Finally, their contribution to the development of the cultural life of Greece, inside and outside its borders, is also being examined.

Keywords: art and society, cultural policy, Greek artists, postmodernity

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Authors: Sapfo A. Mortaki

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This article examines the presence of Greek immigrant artists (painters and sculptors) in Paris during 1970-2010. The aim is to highlight their presence in the French capital through archival research in the daily and periodical press as well as present the impact of their artistic activity on the French intellectual life and society. At the same time, their contribution to the development of cultural life in Greece becomes apparent. The integration of those migrant artists into an environment of cultural coexistence and the understanding of the social phenomenon of their migration, in the context of postmodernity, are being investigated. The cultural relations between the two countries are studied in the context of support mechanisms, such as the Greek community, cultural institutions, museums and galleries. The recognition of the Greek artists by the French society and the social dimension in the context of their activity in Paris, are discussed in terms of the assimilation theory. Since the 1970s, and especially since the fall of the dictatorship in Greece, in opposition to the prior situation, artists' contacts with their homeland have been significantly enhanced, with most of them now travelling to Paris, while others work in parallel in both countries. As a result, not only do the stages of the development of their work through their pursuits become visible, but, most importantly, the artistic world becomes informed about the multifaceted expression of art through the succession of various contemporary currents. Thus, the participation of Greek artists in the international cultural landscape is demonstrated.

Keywords: artistic migration, cultural impact, Greek artists, postmodernity, theory of assimilation

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Authors: Sultana Ismet Jerin, Md. Waseq Ur Rahman

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Artworks of hacker artists are one of the new trends in the field of new media arts. When someone hears a name of hacker or anything related to hacking, what comes to one’s mind is usually not connected to art due to its divisive meaning. While it is fascinating that every year a number of hacker summits and hacker art fest are being organized among the respective community, it is at the same time true that people are yet to understand what hacker art really is. However, this new phenomenon of artwork under the title ‘hacker art’ has little been studied. Understanding this new form of art is important as the artists of hacker art belong to the era of digital revolution which is a very significant part of our history. Therefore, it is important to find out the challenges in defining them and find out solutions to preserve them. In this paper, the key question that has been addressed is why artworks of hacker artists are facing the complicacies to be defined or categorized. Content analysis of the hacker manifesto (a short historical essay written by a hacker) and two hacker art projects has been conducted to find out the issues surrounding the key research questions. The paper ends with discussing the findings and possible solutions to the challenges hacker artists facing.

Keywords: media art, hacker art, hacker artist, new media

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Authors: Jerome V. Cleofas

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Cyberspace has become a more viable arena for budding artists to share musical acts through digital forms. The increasing relevance of online communities has attracted scholars from various fields demonstrating its influence on social capital. This paper extends this understanding of social capital among Filipino music artists belonging to the SoundCloud Philippines Facebook Group. The study makes use of various qualitative data obtained from key-informant interviews and participant observation of online and physical encounters, analyzed using the case study approach. Soundcloud Philippines has over seven-hundred members and is composed of Filipino singers, instrumentalists, composers, arrangers, producers, multimedia artists, and event managers. Group interactions are a mix of online encounters based on Facebook and SoundCloud and physical encounters through meet-ups and events. Benefits reaped from the community are informational, technical, instrumental, promotional, motivational, and social support. Under the guidance of online group administrators, collaborative activities such as music productions, concerts and events transpire. Most conflicts and problems arising are resolved peacefully. Social capital in SoundCloud Philippines is mobilized through recognition, respect and reciprocity.

Keywords: Facebook, music artists, online communities, social capital

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Authors: Patricia Portugal Marques de Carvalho Lourenco

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Money, status, beauty, popularity, widespread public adulation, glitz and glamour portray a perfumed stress-free existence yet not every rock that glitters is a gold nugget and mental disorders are not an exclusivity of middle/low societal classes. Mental illnesses do not discriminate, and behind the superficial visual wealth of the upper-class, there are human beings who experience the ups and downs of life like any other person, except that publicly rather than privately and with an array of fingers pointing at them instead of a mere few. Sammi Cheung, Carina Lau, Fiona Sit, Kara Hui and Louis Cheung are a number of Hong Kong artists that have battled mental disorders, overcame them and used the process to openly discuss the still existing taboo.

Keywords: mental disorders, mental health, public communication, depression, hong kong artists

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Authors: Thomas Soro, Tim Stott, Brendan O'Rourke

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The construction of artistic reputation has been examined within sociology, philosophy, and economics but, baring a few noteworthy exceptions its discursive aspect has been largely ignored. This is particularly surprising given that contemporary artworks primarily rely on discourse to construct their ontological status. This paper contributes a discourse analytical perspective to the broad body of literature on artistic reputation by providing an understanding of how it is discursively constructed within the institutional context of online contemporary art magazines. This paper uses corpora compiled from the websites of e-flux and ARTnews, two leading online contemporary art magazines, to examine how these organisations discursively construct the reputation of artists. By constructing word-sketches of the term 'Artist', the paper identified the most significant modifiers attributed to artists and the most significant verbs which have 'artist' as an object or subject. The most significant results were analysed through concordances and demonstrated a somewhat surprising lack of evaluative representation. To examine this feature more closely, the paper then analysed three announcement texts from e-flux’s site and three review texts from ARTnews' site, comparing the use of modifiers and verbs in the representation of artists, artworks, and institutions. The results of this analysis support the corpus findings, suggesting that artists are rarely represented in evaluative terms. Based on the relatively high frequency of evaluation in the representation of artworks and institutions, these results suggest that there may be discursive norms at work in the field of online contemporary art magazines which regulate the use of verbs and modifiers in the evaluation of artists.

Keywords: contemporary art, corpus linguistics, critical discourse analysis, symbolic capital

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Authors: Kaesha M. Freyaldenhoven

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Chicago is a city in the United States whose cultural identity is largely shaped by public art pieces. Quintessential public works created by internationally renown artists – such as Anish Kapoor’s Cloud Gate in Millennium Park and 'The Picasso' in Daley Plaza – have historically contributed to developing a shared sense of community. In 2017, the city implemented a policy titled 50x50 Neighborhood Arts Project under the Chicago Public Art Plan. The policy promotes investments in contemporary public art to elevate neighborhood cultural assets and create a sense of place. Exclusively community-based artists were commissioned to accomplish the mission of the policy. Administrators felt only local artists would be capable of capturing the true essence of a neighborhood through art. This paper discusses the relationship between the public art and the culture of its respective neighborhood through close examination of aesthetic formal properties and social significance. Research compares the role of international artists with the role of local artists in cultivating the identity of a city through site-specific artworks in Chicago. Methodology unites theoretical research on understanding art and its function in the public space with empirical research on Chicago-based works. Theoretical frameworks provide an art historical foundation to explore the manner in which physical properties convey meaning through the work itself and its placement in an urban setting. Empirical research that examines policy documentation and press announcements released by the Department of Cultural Affairs and Special Events investigates project selection processes pertaining to the artists and neighborhoods. Ethnographies and interviews of individuals from diverse social segments in contemporary Chicago society measure impacts of the works on respective populations. Findings demonstrate works created by local artists activate neighborhoods and inculcate a sense of pride among community residents. Works created by international artists garner widespread media attention that frames the city’s cultural identity across temporal and geographic zones. This research can be utilized to inform future cultural policies pertaining to the commission of public art.

Keywords: Chicago, cultural policy, public art, urban art

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Authors: Annette Davies

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Celebrity entertainment TV news shows such as Access Hollywood, Entertainment Tonight, E! News, etc., have remained extremely popular. While the effects of these shows have been examined in academic literature on various sample populations, the effects have rarely been examined on a sample population of performing artists in the entertainment field. The present research investigates how the consumption of these shows influence the desire for fame and the perception of fame among active performing artists. Two separate chi-square analyses were conducted to yield the following results: 1) as the viewing of these shows increases, the overall desire for fame also tends to increase; 2) performers who believe that these celebrity entertainment TV news shows frame fame positively are more likely to perceive fame as a positive achievement overall. Thus, the results of the second finding are consistent with second-level agenda-setting theory. Limitations and suggestions for future research are also discussed.

Keywords: celebrity, entertainment, fame, performers

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Authors: Olivia Rybak-Karkosz

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This paper aims to present the results of scientific research on family resemblance in the handwriting of painters. Such a problem is known in handwriting analysis, but it was never a research subject in the scope of painters' signatures on works of art. For this research, the author chose Jacek, and Rafał Malczewski (father and son) as many of their paintings are in museums, and most of them are signed. The aim was to create a catalogue of traits similar to the handwriting of both artists. Such data could be helpful for the expert’s opinion in the decision-making process to establish whether the signature is authentic and, if so, whether it is the artist whose signature is analysed, not the other family member. There are known examples of relatives of the artists who signed their works. Many of them were artists themselves. For instance Andrzej Wróblewski’s mother, Krystyna was a printmaker. To save his legacy, she signed many of her son’s works after his death using his name. This research methodology consisted of completing representative samples of signatures of both artists, which were collected in selected Polish museums. Then a catalogue of traits was created using a forensic handwriting graphic-comparative method (graphic method). The paper contains a concluding statement that it could be one of the elements of research in an expert’s analysis of the authenticity of the signature on paintings.

Keywords: artist’s signatures, authenticity of an artwork, forensic handwriting analysis, graphic-comparative method

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Authors: Osa D Egonwa

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In the 21^st century, the disciplinary boundaries of past centuries that we often create through mainstream art historical classification, techniques and sources may have been eroded by visual culture, which seems to provide a more inclusive umbrella for the new ways artists go about the creative process and its resultant commodities. Over the past four decades, artists in Africa have resorted to new materials, techniques and themes which have affected our ways of research on these artists and their art. Frontline artists such as El Anatsui, Yinka Shonibare, Erasmus Onyishi are demonstrating that any material is just suitable for artistic expression. Most of times, these materials come with their own techniques/effects and visual syntax: a combination of materials compounds techniques, formal aesthetic indexes, halo effects, and iconography. This tends to challenge the categories and we lean on to view, think and talk about them. This renders our main stream art historical research methods inadequate, thus suggesting new discursive concepts, terms and theories. This paper proposed the Africanist eclectic methods derived from the dual framework of Masquerade Theory and What Comes Behind Six is More Than Seven. This paper shares thoughts/research on art historical methods, terminological re-alignments on classification/source data, presentational format and interpretation arising from the emergent trends in our subject. The outcome provides useful tools to mediate new thoughts and experiences in recent African art and visual culture.

Keywords: art historical methods, classifications, concepts, re-alignment

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Authors: A. N. Roslen, S. A. Syed-Sahil, A. Musavir

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In Malaysia, there are only few fashion designers who are inspired by the work of artists when creating their collections. The researchers confirmed this statement by interviewing fashion experts in Malaysia. The objectives of this study are to: 1. Investigate the acceptance of fashion inspired by the work of art among consumers. 2. Encourage more designers to use work of art as their inspirations. 3. Promote Malaysian Artists through fashion. Thus, the researchers interviewed Malaysian fashion designers, image consultants, and one famous Malaysian Artist (Awang Damit). All of them had agreed that the fashion inspired by the work of art in Malaysia has a long way to go. Therefore, the researchers’ aim is to attract more fashion designers to use the work of local artists in their creations. The researchers had used interview, survey and experimentation as methods of this study. In the experimentation procedure, paintings of local artist, Awang Damit was used as a source of inspiration in creating a design Line. The result of this study had shown that fashion inspired by work of art is acknowledged and accepted by the designers and consumers.

Keywords: art, fashion, inspiration, local artist

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Authors: Michele L. Dormaier

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The purpose of the research was to design costumes based on historic colors used by artists during the seventeenth century. The researcher investigated European art, primarily paintings and portraiture, as well as the color palettes used by the artists. The methodology examined the artists, their work, the color palettes used in their work, and the practices of color usage within their palettes. By examining portraits of historic figures, as well as paintings of ordinary scenes, subjects, and people, further information about color palettes was revealed. Related to the color palettes, was the use of ‘broken colors’ which was a relatively new practice, dating from the sixteenth century. The color palettes used by the artists of the seventeenth century had their limitations due to available pigments. With an examination of not only their artwork, and with a closer look at their palettes, the researcher discovered the exciting choices they made, despite those restrictions. The research was also initiated with the historical elements of the era’s clothing, as well as that of available materials and dyes. These dyes were also limited in much the same manner as the pigments which the artist had at their disposal. The color palettes of the paintings have much to tell us about the lives, status, conditions, and relationships from the past. From this research, informed decisions regarding color choices for a production on a contemporary stage of a period piece could then be made. The designer’s choices were a historic gesture to the colors which might have been worn by the character’s real-life counterparts of the era.

Keywords: broken color palette, costume color research, costume design, costume history, seventeenth century color palette, sixteenth century color palette

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Authors: Salman Amur Alhajri

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Purpose: This paper explores the art of contemporary Arabic calligraphy in Oman. It explains the aesthetic features of Arabic calligraphy as a unique icon of Islamic art. This paper also explores the profile of one Omani artist, Salman Alhajri, as an example of Omani artists who have developed unique styles in this art stream. Methodology and approach: The paper is based on a theoretical study using a descriptive and case-study approach. Omani artists are fascinated by the art forms of Arabic calligraphy, which combine both spiritual meaning and aesthetic beauty. Artist Salman Alhajri is an example of a contemporary Arabic artist who uses Arabic calligraphy as the main theme in his art. Dr. Alhajri is trying to introduce the beauty of Arabic letters from a new aesthetic point of view. He also aims to create unusual visual effects that viewers can easily interact with. Even though words and phrases appear in Alhajri’s artwork, they are not conveying direct meanings: viewers can create their own meaning or expressions from them by appreciating the compositions of the artwork. Results: Arabic writing is directly related to the identity of Omani artists and their cultural background. This paper shows how the beauty of Arabic letters comes from its indefinite possibilities in designing calligraphic expressions, even within a single word, because letters can be stretched and transformed in various ways to create different compositions. Omani artists are interested in employing new media applications in this kind of practice to find new techniques for creating artwork based on Arabic writing. It is really important for all Omani artists to practice this art style because Arabic calligraphy and its flexibility introduce infinite possibilities that involve further exploration and investigation.

Keywords: Islamic art, contemporary Arabic calligraphy, new techniques, Omani artist

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Authors: Marta Blavia

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Magiciens de la terre, organized in 1989 by the Centre Pompidou, became 'the first worldwide exhibition of contemporary art' by presenting artists from Western and non-Western countries, including three Chinese artists. For the first time, West turned its eyes to other countries not as exotic sources of inspiration, but as places where contemporary art was also being created. One year later, Chine: demain pour hier was inaugurated as the first Chinese avant-garde group-exhibition in Occident. Among the artists included was Cai Guo-Qiang who, like many other Chinese artists, had left his home country in the eighties in pursuit of greater creative freedom. By exploring artistic non-Western perspectives, both landmark exhibitions questioned the predominance of the Eurocentric vision in the construction of history art. But more than anything else, these exhibitions laid the groundwork for the rise of the so-called phenomenon 'global contemporary art'. All the same time, 1989 also was a turning point in Chinese art history. Because of the Tiananmen student protests, The Chinese government undertook a series of measures to cut down any kind of avant-garde artistic activity after a decade of a relative openness. During the eighties, and especially after the Tiananmen crackdown, some important artists began to leave China to move overseas such as Xu Bing and Ai Weiwei (USA); Chen Zhen and Huang Yong Ping (France); or Cai Guo-Qiang (Japan). After emigrating abroad, Chinese overseas artists began to develop projects in accordance with their new environments and audiences as well as to appear in numerous international exhibitions. With their creations, that moved freely between a variety of Eastern and Western art sources, these artists were crucial agents in the emergence of global contemporary art. As other Chinese artists overseas, Cai Guo-Qiang’s career took off during the 1990s and early 2000s right at the same moment in which Western art world started to look beyond itself. Little by little, he developed a very personal artistic language that redefines Chinese ideas, symbols, and traditional materials in a new world order marked by globalization. Cai Guo-Qiang participated in many of the exhibitions that contributed to shape global contemporary art: Encountering the Others (1992); the 45th Venice Biennale (1993); Inside Out: New Chinese Art (1997), or the 48th Venice Biennale (1999), where he recreated the Chinese monumental social realist work Rent Collection Courtyard that earned him the Golden Lion Award. By examining the different stages of Cai Guo-Qiang’s artistic path as well as the transnational dimensions of his creations, this paper aims at offering a comprehensive survey on the construction of the discourse of global contemporary art.

Keywords: Cai Guo-Qiang, Chinese artists overseas, emergence global art, transnational art

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Authors: Sigal Barkai

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'Ironic Historiography' is a hybrid notion combining criticism of historical narratives concerning the Israeli state with ironic artistic expression. The paper will deal with questions of identities of native Israeli visual artists who chose to live out of the country, or to move back and forth to and from it. It will examine the ways these wanderings are reflected in their work. The paper discusses the work of 4 contemporary artists who produce artworks in diverse techniques and media, such as video, performance and installation art. Yael Bartana, Erez Israeli and Tamir Zadok are artists who constantly deal with Israeli nationality and history in their artwork, using ironic components. In comparison, the paper will review the works of Mika Rottenberg, who is now a New York based artist. She is concerned with global social issues and neglected specific national identity altogether. All of them use visual irony as a means of reflecting and criticizing society. The analysis was done in awareness of the life stories of the artists, in an attempt to trace the ways they establish their identities through their art. It was pre-supposed that these identities will be shaped in the in-between space of being an Israeli citizen and a citizen of the world. The study asks how ironic expression appears in their work, what kind of irony do they use and in what ways does it serves them. The methodology combined visual analysis, interviews with the artists, and analyzation of secondary discourses in the media. As theoretical background various fields of knowledge were used, such as literature and language studies, Sociology, and Visual Culture studies. The findings point out that visual and artistic irony has many different goals in the use of historiographic fiction. It can bind an artist to his homeland and native society, or it can help her to detach. It helps healing breaches in the in-between space, or it can be used as a means to completely detach from any identification with a native origin.

Keywords: visual art, irony, identities, Israel

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Authors: Sela Adjei

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This research delves into the nuanced representations of queerness in Ghana, presented through photographs, illustrations, film and music videos on social media and streaming platforms. The study focuses on the works of five Ghanaian artists (Va-Bene Elikem Fiatsi, Angel Maxine, Josephine Kuuire, Bright Ackwerh and Philip Nee Whang) within the context of Ghana's evolving media landscape. Of primary concern is a need to uncover the various aspects of queerness captured within the distinct artistic expressions of these five creatives. This study adopts a qualitative approach by analyzing artistic expressions of queerness in Ghana’s digital media spaces. Content analysis and visual semiotics served as the guiding tools to discuss and decipher the nuanced messages embedded in their works, considering both the visual and narrative aspects. This dual approach takes into account both the visual aesthetics and narrative elements, enhancing our understanding of the complex interplay between queerness and gender representation in the media. This study's contribution is twofold. First, it enriches the discourse surrounding queerness as portrayed by artists within Ghana's vibrant media landscape and situates their works within the broader discourse of global gender identities. Secondly, analyzing the creative output of these five Ghanaian artists broadens our understanding of gender minorities and the various challenges they face in Ghana (currently debating in parliament to pass an anti-LGBTQ+ bill that criminalizes activities related to gender minority groups). While focusing on the intersection of queerness, art, and gender identities, the reflections in this study challenge existing narratives and offer fresh insights into how these artists navigate and challenge societal norms through their creative expressions.

Keywords: queer, film, representation, streaming, media, gender

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Authors: Mathilde Pavis

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From Schumann to Van Gogh, Frida Kahlo, and Ray Charles, the stories narrating the careers of artists with physical or mental disabilities are becoming increasingly popular. From the emergence of ‘pathography’ at the end of 18th century to cinematographic portrayals, the work and lives of differently-abled creative individuals continue to fascinate readers, spectators and researchers. The achievements of those artists form the tip of the iceberg composed of complex politico-cultural movements which continue to advocate for wider recognition of disabled artists’ contribution to western culture. This paper envisages copyright law as a potential tool to such end. It investigates the array of rights available to artists with intellectual disabilities to assert their position as authors of their artwork in the twenty-first-century looking at international and national copyright laws (UK and US). Put simply, this paper questions whether an artist’s intellectual disability could be a barrier to assert their intellectual property rights over their creation. From a legal perspective, basic principles of non-discrimination would contradict the representation of artists’ disability as an obstacle to authorship as granted by intellectual property laws. Yet empirical studies reveal that artists with intellectual disabilities are often denied the opportunity to exercise their intellectual property rights or any form of agency over their work. In practice, it appears that, unlike other non-disabled artists, the prospect for differently-abled creators to make use of their right is contingent to the context in which the creative process takes place. Often will the management of such rights rest with the institution, art therapist or mediator involved in the artists’ work as the latter will have necessitated greater support than their non-disabled peers for a variety of reasons, either medical or practical. Moreover, the financial setbacks suffered by medical institutions and private therapy practices have renewed administrators’ and physicians’ interest in monetising the artworks produced under their supervision. Adding to those economic incentives, the rise of criminal and civil litigation in psychiatric cases has also encouraged the retention of patients’ work by therapists who feel compelled to keep comprehensive medical records to shield themselves from liability in the event of a lawsuit. Unspoken transactions, contracts, implied agreements and consent forms have thus progressively made their way into the relationship between those artists and their therapists or assistants, disregarding any notions of copyright. The question of artists’ authorship finds itself caught in an unusually multi-faceted web of issues formed by tightening purse strings, ethical concerns and the fear of civil or criminal liability. Whilst those issues are playing out behind closed doors, the popularity of what was once called the ‘Art of the Insane’ continues to grow and open new commercial avenues. This socio-economic context exacerbates the need to devise a legal framework able to help practitioners, artists and their advocates navigate through those issues in such a way that neither this minority nor our cultural heritage suffers from the fragmentation of the legal protection available to them.

Keywords: authorship, copyright law, intellectual disabilities, art therapy and mediation

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Authors: Ioannis Andrianakis, Manolis Falelakis, Maria Pavlidou, Konstantinos Papakonstantinou, Ermioni Avramidou, Dimitrios Kalogiannis, Nikolaos Milios, Katerina Bountakidou, Kiriakos Chatzidimitriou, Panagiotis Panagiotopoulos

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Artistic events, such as concerts and performances, are challenging to organize because they involve many people with different skill sets. Small and medium venues often struggle to afford the costs and overheads of booking and hosting remote artists, especially if they lack sponsors or subsidies. This limits the opportunities for both venues and artists, especially those outside of big cities. However, more and more research shows that audiences prefer smaller-scale events and concerts, which benefit local economies and communities. To address this challenge, our project “PerformAnts: Digital Event Manager-Organizer” aims to develop a smart digital tool that automates and optimizes the processes and costs of live shows and tours. By using machine learning, applying best practices and training users through workshops, our platform offers a comprehensive solution for a growing market, enhances the mobility of artists and the accessibility of venues and allows professionals to focus on the creative aspects of concert production.

Keywords: event organization, creative industries, event promotion, machine learning

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Authors: Sanghyun Park

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Influenced by the ideas of collectivism, East Asian contemporary dance is marked by an emphasis on unity and synchronization. A growing element of this discipline that disrupts the path that strives to attain perfection, requiring coordination between multiple parties in order to produce work of their highest artistic potential, with the support from individuals or groups is the presence of disabled dancers. Kawanaka Yo, a Japanese dancer with a mental disability, argues through her '“Dance of Peace' that a dancer should focus on her impulses and natural thoughts through improvisational dancing and eschewal of documentation. Professor and poet Jung-Gyu Jeong, co-founder of the Korea Disability International Art Company, demonstrates with his company’s modernized performances of popular works and musicals that disabled artists do not need perfection so long as they can assert their finesse to mimic or create an equivalence with able-bodied dancers. Yo has studied various forms of modern dance and ballet in Japan and has used her training to ease her mental disability but also accept her handicap as an extension of her identity, representing a trend in disabled dance that favors individuality and acceptance. In contrast, Jeong is an influential figure in South Korea for disabled dancers and artists, believing that disabled artists must overcome a certain threshold in order to reach a status as an artist that is equivalent to a 'normal artist.' East Asian art created by the disabled should not be judged according to different criteria or rubrics compared to able-bodied artists because, as Yo explains, a person’s identity and her handicaps characterize the meaning of, and the value of, the piece.

Keywords: disability studies, modern dance, East Asia, politics of identity

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Authors: Sender Dovchin

Abstract:

The recent bi/multilingual scholarship shows that the knowledge of ‘translingual English’ is understood in terms of transcultural flows of linguistic, semiotic and cultural resources, where these resources re-transform and are recontextualised to form new specific languages and perform new identities in diverse societal contexts. Drawing on linguistic ethnographic data from contemporary popular music artist in Mongolia, this paper addresses two main critical questions: (1) how new forms of specific languages are created when English becomes translingual English in local contexts; and (2) how new varieties of local identities are constructed and performed when English transforms into translingual English. The paper argues that popular music artists in post-socialist Mongolia should better be understood as active cultural producers, contrary to those dominant discourses which position artists in the periphery as passive recipients of popular culture. Positioned within the creative nature of the global digital resources and the increasing transcultural spread of linguistic and cultural modes and features, these young Mongolian popular music artists produce not only new forms of linguistic practices in the local contexts but also create varied new forms of identities of what it means to be a young Mongolian person in the modern society.

Keywords: multilingualism, translingualism, mongolia, english

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Authors: Hukam Chand

Abstract:

Over the past few years, the performance of Indian classical music has been improved a lot due to the technical inclusion of western instruments. Infect, the Indian classical music is all about raags which portray a mood and sentiments expressed through a microtonal scale based on natural harmonic series. And, most of the western instruments are not based on natural harmonic series and the tonal system is the only system which has considerable influence on the Indian classical music. However, the use of western instruments has been growing day by day in one way or the other by the Indian artists due to their quality of harmony. As a result of which, there are some common instruments such as harmonium, violin, guitar, saxophone, synthesizer which are being used commonly by Indian and western artists. On the other hand, a lot of fusion has taken place in the music of both sides due to the similar characteristics in their instruments. For example, harmonium which was originally the western instrument has now acquired an important position in Indian classical music to perform raags. Besides, a lot of suggestions for improving in the Indian music have been given by the artists for technical modification in the western instruments to cater the needs of Indian music through melody approach. Pt. Vishav Mohan Bhatt an Indian musician has developed Mohan Veena (called guitar) to perform raags. N. Rajam the Indian lady Violinist has made a remarkable work on Indian classical music by accompanied with vocal music. The purpose of the present research paper is to highlight the changes in Indian Classical Music through performance by using modified western music instruments.

Keywords: Indian classical music, Western instruments, harmonium, guitar, Violin and impact

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Authors: Tripti Singh

Abstract:

Digital tools are merging boundaries of different mediums as endeavoured artists exploring new areas. Digital fabric printing has motivated artists to create prints by combining images acquired by photograph, scanned images, computer graphics and microscopic imaginary etc to name few, with traditional media such as hand drawing, weaving, hand printed patterns, printing making techniques and so on. It opened whole new world of possibilities for artists to search, research and combine old and contemporary mediums for their unique art prints. As artistic medium digital art fabrics have aesthetic values which have impact and influence on not only on a personality but also interiors of a living or work space. In this way it can be worn, as fashion statement and also an interior decoration. Digital art fabric prints gives opportunity to print almost everything on any fabric with long lasting prints quality. Single edition and limited editions are possible for maintaining scarcity and uniqueness of an art form. These fabric prints fulfill today’s need, as they are eco-friendly in nature and they produce less wastage compared to traditional fabric printing techniques. These prints can be used to make unique and customized curtains, quilts, clothes, bags, furniture, dolls, pillows, framed artwork, costumes, banners and much, much more. This paper will explore the procedure, process, and progress techniques of digital art fabric printing in depth with suitable pictorial examples.

Keywords: digital art, fabric prints, digital fabric prints, new media

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Authors: A. Nabi, S. Panahi

Abstract:

In the recent years, due to the countless changes in the world and various sciences, architecture has faced a new approach and different concepts more than any other times. The direct influence of philosophy on architecture is one of the features of contemporary architecture. Linking these two learnings directly together needs deep reflection. Gilles Deleuze and Félix Guattari are among the people who greatly influenced the thinking of future architects and artists by bringing up new concepts. If we focus on the works of these architects and artists whose works resemble anti-Platonism and who subvert the western philosophy, we can extract concepts which we can see their influence on art and architecture. Using content analysis, this study has come to this conclusion that the ideas of Deleuze and Guattari could influence the contemporary architecture.

Keywords: Gilles Deleuze, Felix Guattari, anti-platonism, post-modern architecture, folding

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Authors: Delaram Hosseinioun

Abstract:

In their collections, Shirin Neshat, Mitra Tabrizian, Gohar Dashti and Newsha Tavakolian adopt a hybrid form of narrative to confront the restrictions imposed on women in hegemonic public and private spaces. Focusing on motives such as social marginalisation, crisis of belonging, as well as lack of agency for women, the artists depict the regression of women’s rights in their respective generations. Based on the ideas of Michael Bakhtin, namely his concept of polyphony or the plurality of contradictory voices, the views of Judith Butler on giving an account to oneself and Henri Leverbre’s theories on social space, this study illustrates the artists’ concept of identity in crisis through time and space. The research explores how the artists took their art as a novel dimension to depict and confront the hardships imposed on Iranian women. Henri Lefebvre makes a distinction between complex social structures through which individuals situate, perceive and represent themselves. By adding Bakhtin’s polyphonic view to Lefebvre’s concepts of perceived and lived spaces, the study explores the sense of social fragmentation in the works of Dashti and Tavakolian. One argument is that as the representatives of the contemporary generation of female artists who spend their lives in Iran and faced a higher degree of restrictions, their hyperbolic and theatrical styles stand as a symbolic act of confrontation against restrictive socio-cultural norms imposed on women. Further, the research explores the possibility of reclaiming one's voice and sense of agency through art, corresponding with the Bakhtinian sense of polyphony and Butler’s concept of giving an account to oneself. Works of Neshat and Tabrizian as the representatives of the previous generation who faced exile and diaspora, encompass a higher degree of misplacement, violence and decay of women’s presence. In Their works, the women’s body encompasses Lefebvre’s dismantled temporal and special setting. Notably, the ongoing social conviction and gender-based dogma imposed on women frame some of the concurrent motives among the selected collections of the four artists. By applying an interdisciplinary lens and integrating the conducted interviews with the artists, the study illustrates how the artists seek a transcultural account for themselves and women in their generations. Further, the selected collections manifest the urgency for an authentic and liberal voice and setting for women, resonating with the concurrent Women, Life, Freedom movement in Iran.

Keywords: persian modern female photographers, transcultural studies, shirin neshat, mitra tabrizian, gohar dashti, newsha tavakolian, butler, bakhtin, lefebvre

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Authors: Armagan Gokcearslan

Abstract:

The art of animation has developed very rapidly from the aspects of script, sound and music, motion, character design, techniques being used and technological tools being developed since the first years until today. Technical variety attracts a particular attention in the art of animation. Being perceived as a kind of illusion in the beginning; animations commonly used the Flash Sketch technique. Animations artists using the Flash Sketch technique created scenes by drawing them on a blackboard with chalk. The Flash Sketch technique was used by primary animation artists like Emile Cohl, Winsor McCay ande Blackton. And then tools like Magical Lantern, Thaumatrope, Phenakisticope, and Zeotrap were developed and started to be used intensely in the first years of the art of animation. Today, on the other hand, the art of animation is affected by developments in the computer technology. It is possible to create three-dimensional and two-dimensional animations with the help of various computer software. Cut-out technique is among the important techniques being used in the art of animation. Cut-out animation technique is based on the art of paper cutting. Examining cut-out animations; it is observed that they technically resemble the art of paper cutting. The art of paper cutting has a rooted history. It is possible to see the oldest samples of paper cutting in the People’s Republic of China in the period after the 2. century B.C. when the Chinese invented paper. The most popular artist using the cut-out animation technique is the German artist Lotte Reiniger. This study titled “Cut-out Animation as a Technic and Development Inside History Process” will embrace the art of paper cutting, the relationship between the art of paper cutting and cut-out animation, its development within the historical process, animation artists producing artworks in this field, important cut-out animations, and their technical properties.

Keywords: cut-out, paper art, animation, technic

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