论版面艺术

版面设计要从艺术原则出发,探讨设计的艺术规律,把握时代要求和发展趋势,才能在不断创新中提高设计的艺术水平,进入艺术美的殿堂。     

地方美术课程资源开发的实践与研究

相关条文指出：要贯彻理论联系实际的原则,教学内容的选择要注意联系学生生活的实际,以反映当地社会与经济发展的实际等内容。在新一轮的课程改革中,地方美术课程资源的开发和利用是所有美术教育者都在关注的重要内容之一,因为这是实施新课程的一个重要环节。     

为职工文化建设搭构共同施力的平台

工会组织承载着向职工群众传播先进文化、提高其精神文化生活质量的职能。只有鼓足搞好职工文化建设信心,准确定位职工文化建设方向,着力打造文化建设长效机制,实现社会各方力量有效联动,才能使职工文化建设产生良性循环,从而满足职工群众日益增长的精神文化需求。     

浅谈农村公安派出所所长应具备的领导艺术

农村公安派出所所长要不断加强学习,勇于实践,从英模身上吸取养份,增长自身的领导才干,使自己具有:自觉服从、虚心接受、创造性贯彻的艺术;职权相称、层层负责、知人善用的艺术;统筹兼顾、协调一致、科学安排的艺术;自强不息、开拓奋进、把握大局的艺术;当家理财、科学运筹、讲究效能的艺术。     

The Value of Art and Culture in Everyday Life: Towards an Expressive Cultural Democracy

ABSTRACT

Ever since the earliest forms of mass media, the dichotomy of mass culture/high culture has been a topic of debate. The concept of cultural democracy has developed as a way to acknowledge a variety of cultural activities. Despite attempts to develop a broader understanding of culture, cultural policy still seems to reproduce the dichotomies, and to value one over the other. In this article, we would argue for an expanded understanding of cultural democracy, which may serve as a starting point for a turn of perspective of arts advocacy and cultural policy—the perspective we call an expressive cultural democracy.     

Art and Community Development in Santa Ana,California: The Promise and the Reality

The authors build on the summer 2005 The Journal of Arts Management, Law, and Society article "Muddy Waters: Consigned Artwork and the Vagaries of the Legal System in Massachusetts," which discussed the Consignment of Fine Art Law in Massachusetts. Since that time, revisions to the law have been enacted, in reaction to high-profile cases and a desire in the Massachusetts legislature to streamline the economics of the gallery system. The authors provide an update on the new statute in Massachusetts.     

African tourist art as tradition and product of the postcolonial exotic

ABSTRACT

Figurative art made in Central and West Africa for the global market is a form of tourist art – a category that has been plagued in art historical research by misconstrued concepts such as the authenticity of traditional/precolonial art. Following its categorisation as a commodity, studies focused on the decontextualisation of the object, thus marginalising the producing culture. In this article I investigate the role of the artist in preserving tradition and the role of the trader who, as cultural broker, exoticises the object. Since it can be argued that these are acts of decolonising, African tourist art can be regarded as a product of the postcolonial exotic, as defned by Graham Huggan (2001). Accepting the inescapability of postcoloniality, tourist art can be repositioned as a successful attempt to preserve and promote African cultural traditions and identity in the new era.     

Mao Zedond’s Xunwu Country Report of 1930: A Long-lost Document from a Critical Year in Jiangxi Reappears

From 1922 to 1927, an alliance between the Guomindang (GMD) and the Soviet Communists advanced a mass-media campaign aimed at wresting control from a regime dominated by warlords and unifying the Chinese nation. Soviet-inspired propaganda posters then flourished during the Northern Expedition as a novel approach to engage with the masses and facilitate the state's policy. By analyzing the symbolic expressions in these political images, this paper examines the differences and similarities between the earlier printed political images and later propaganda posters and argues that both the GMD and the Chinese Communist Party (CCP) regimes relied on propaganda networks and personality cults in order to maintain power. In the aftermath of the Qing dynasty, China endured instability and turmoil as warlords and political factions predominated. By the time of the Northern Expedition, the leaders of the GMD and CCP had become convinced that only rigid party organization with military discipline could achieve the goal of national unity.     

“David Byrne really does love PowerPoint”: art as research on semiotics and semiotic technology

This article presents a reading of David Byrne's Envisioning Emotional Epistemological Information, an art work created with MicroSoft's presentation software PowerPoint, as an instance of creative research on semiotics and semiotic technology. It reveals commonalities and differences between Byrne's ideas about PowerPoint and related ideas from linguistics and semiotics, and is intended as a contribution to research on PowerPoint, and on semiotic technologies generally, as well as to efforts aimed at developing criteria for evaluating art as research on semiotics.     

Immigrant protest: an introduction

The last decade has witnessed an explosion of ‘immigrant protests’, political mobilizations by irregular migrants and pro-migrant activists. This special issue on ‘immigrant protest’ has emerged in response to this rise in the visibility of immigrant protests, and its central aim is to contribute to the growing body of scholarship on migrant resistance movements and to consider the implications of these struggles for critical understandings of citizenship. This introduction maps out some of the central issues and themes emerging from the contributions to this issue, exploring the tensions between integrationist and autonomous approaches and theories of migrant activism and resistance and between migrant and activist strategies of invisibility and visibility. By bringing immigrant protests to the heart of debates about citizenship, we hope to further extend discussions about the limits and the possibilities of citizenship as the material and conceptual horizon of critical social analysis and political participation and practice today.