Young Artists(青年藝術家)到底是什麼？
Young Artists 青年藝術家 - Interestingly, younger artists were more likely to believe that older artists have greater artistic experience, maturity, willingness to take risks, and understanding of the art world, whereas older artists tended to think that young artists are more original. [1] This thesis focuses on the extent to which minority/majority background is taken into account in the evaluation of artworks by young artists by gatekeepers in the Rotterdam cultural field. [2] Young artists who reached Israel from the Former Soviet Union (FSU) as children in the 1990s not only retained their mother tongue but also developed a hyphenated first-generation immigrant identity and a transnational state of mind that have found artistic expression in projects and exhibitions in recent years, such as Odessa–Tel Aviv (2017), Dreamland Never Found (2017), Pravda (2018), and others. [3] The Internet, mobile phones, and social media make it possible for young artists to bypass, or subvert, established institutions. [4] I argue that the creative imagination of young artists and their artworks inhabit legally plural worlds, where justice for the bride is evoked by renouncing the workings of state law. [5] During 2000-2015, modern Ukrainian decorative applied art reached a new level, there was a galaxy of young artists who interpret a new jewelry and possess strong position in the European artistic space. [6] DISPLACEMENT, TRAINING AND LEGITIMATION: an analysis of artistic residency programs in Brazil In the universe of Brazilian contemporary art, public or private institutions annually publish notices aimed at young artists, whose purpose is to encourage their displacement to different spaces of social interaction and exchanges, in order to encourage their production. [7] In other words, the clay became a container for meaning and was imbued with life stories and memories of the young artists. [8] For young artists and their educators, the adoption of documentary theatre practices can be deeply appealing given their seemingly privileged capacity to truthfully represent the multi-faceted realities of contemporary life. [9] Thus, local artistic life is in a continuous creative effervescence, supported by the numerous exhibitions of consecrated and young artists who come to the audience with a great variety of styles. [10] Among the marginalia on the pages of these catalogues, are those that relate to these young artists, whose works remain unexplored or little-known. [11] Moreover, the technique of playing rebab is quite difficult causing many young artists are barely interested in learning the technique of playing it and developing rebab -based song. [12] It is a creative effort of young artists to innovate. [13] Lidija Gulbe (1899–?), the wife of the poet Fridrihs Gulbis, was also a modernist but part of a later sort of modernism that formed in the 1920s and 1930s, when a group of young artists and writers established a society and a journal entitled Green Crow (Zaļā Vārna). [14] A number of these are run by young artists and other collaborators. [15] young artists – are they creative or imitative? The article also describes educational dimension of the project. [16] The Goodman Building housed mainly temporary workers before WWII, after it became home to Beat artists, especially veterans on the GI bill, then in the late 1960s a gathering place for young artists who were radicalized by seeing the brutalization of people in the Western Addition. [17] But this new trend has questioned the relation of classical arts with its perennial values which can not be overlooked, however radical the desire of young artists to “break” definitively with the past. [18] One, rooted in the debates around it, presents the “Arsenal” as the beginning of a political “thaw” – an act of emancipation, a demonstration of young artists who rebelled against the socialist realism. [19]有趣的是，年輕藝術家更傾向於認為年長的藝術家有更豐富的藝術經驗、成熟度、願意冒險和對藝術世界的理解，而年長的藝術家則傾向於認為年輕藝術家更具原創性。 [1] 本論文的重點是少數/多數背景被納入的程度 鹿特丹看門人對年輕藝術家作品的評價 文化領域。 [2] 1990 年代從前蘇聯 (FSU) 來到以色列的年輕藝術家不僅保留了他們的母語，而且還發展了一種連貫的第一代移民身份和跨國心態，這些在項目和展覽中得到了藝術表達。最近幾年，如敖德薩-特拉維夫（2017）、夢境從未發現（2017）、真理報（2018）等。 [3] 互聯網、手機和社交媒體使年輕藝術家有可能繞過或顛覆既定機構。 [4] 我認為年輕藝術家的創造性想像力和他們的作品存在於法律多元化的世界中，通過放棄國家法律的運作來為新娘伸張正義。 [5] 2000-2015年間，烏克蘭現代裝飾應用藝術達到了一個新的水平，湧現出一大批年輕藝術家，他們詮釋著一種新的珠寶，在歐洲藝術空間中佔有重要地位。 [6] 流離失所、培訓和合法化：巴西藝術駐留項目分析在巴西當代藝術領域，公共或私人機構每年都會發布針對年輕藝術家的通知，其目的是鼓勵他們轉移到不同的社會互動和交流空間，以鼓勵他們的生產。 [7] 換言之，粘土成為了意義的容器，充滿了年輕藝術家的生活故事和記憶。 [8] 對於年輕藝術家和他們的教育者來說，採用紀錄片戲劇實踐可能會非常有吸引力，因為他們似乎有能力真實地代表當代生活的多方面現實。 [9] 因此，當地的藝術生活在不斷的創意沸騰中，得到了眾多奉獻和年輕藝術家展覽的支持，他們以各種各樣的風格來到觀眾面前。 [10] 這些目錄頁面上的邊緣部分是與這些年輕藝術家有關的那些，他們的作品仍未被探索或鮮為人知。 [11] 此外，彈奏rebab的技術難度很大，導致許多年輕藝術家對學習彈奏技術和開發基於rebab的歌曲幾乎沒有興趣。 [12] 創新是年輕藝術家的創造性努力。 [13] Lidija Gulbe (1899–?)，詩人 Fridrihs Gulbis 的妻子，也是一位現代主義者，但屬於後來形成於 1920 年代和 1930 年代的現代主義，當時一群年輕的藝術家和作家建立了一個協會和一份期刊題為綠烏鴉 (Zaļā Vārna)。 [14] 其中一些是由年輕藝術家和其他合作者經營的。 [15] 年輕的藝術家——他們是創造性的還是模仿性的？文章還描述了該項目的教育維度。 [16] 二戰前的古德曼大樓主要安置臨時工，之後成為垮掉派藝術家的家，尤其是退伍軍人法案上的退伍軍人，然後在 1960 年代後期，這裡是年輕藝術家的聚集地，他們因看到西部加法區人民的殘暴而變得激進。 [17] 但這一新趨勢質疑古典藝術與其永恆價值的關係，無論年輕藝術家與過去徹底“決裂”的願望多麼激進，都不容忽視。 [18] 一個植根於圍繞它的辯論，將“軍火庫”視為政治“解凍”的開始——一種解放行為，展示了反抗社會主義現實主義的年輕藝術家。 [19]