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Journal articles on the topic 'Archipenko'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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1

Latifić, Amra. "Contextualisation of optico-plastic: The effects of Alexander Archipenko and Ljubomir Micić's cooperation." Zbornik Akademije umetnosti, no. 9 (2021): 79–90. http://dx.doi.org/10.5937/zbaku2109079l.

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One of the most important representatives of our culture in the 1920's is Ljubomir Micić, who connects a wide range of activities. His activity as the editor and founder of Zenit, poet, writer, critic, theorist, collector and organiser of exhibitions, attracted the attention of the world's avant-garde. Micić's project entitled Archipenko - the New Plastic, an album-monograph, appeared in Belgrade in 1923. The monograph had a print-run of 100 copies; it includes Archipenko's artistic opus until 1923 and represents one of the world's earliest, according to Zoran Markuš perhaps even the oldest monograph about sculptor Alexander Archipenko. An additional feature of this monograph is the cooperation between the writer and the world artist, because Archipenko himself participated in the preparation of this publication; he was the one to choose reproductions - 13 sculptures and 2 drawings. On this occasion, Micić wrote the introductory text, and according to Irina Subotić, it is a "manifesto of zenithist sculpture, seen through the optics of this sculptor's oeuvre". The introductory text is entitled Towards Optico-plastic, and Micić writes it in Belgrade on the 20th September. Here he introduces a new theoretical concept of optico-plastic, and in a specific literary way argues that Archipenko's art is one step towards optico-plastic, as he significantly defines a new style of absolute plasticity. Micić combines oculocentric aesthetics and optical illusionism dimension in the new concept, anticipating the third dimension which only eye can perceive. It is clear that Micić possessed the ability to anticipate, not only new concepts in the domain of theoretical and literary discourse, but also future world-renowned artists, even if they were just in their earliest artistic phases at the time. that Markuš What is of additional importance for this term is connects it with the term optical art, emphasising that optico-plastic, four decades earlier, anticipates the term op art. Archipenko exhibited his works in Belgrade in April 1924, as part of the First Zenit International Exhibition of New Art at the Stanković Music School. The international importance of the Zenit magazine, as well as the effects of the Archipenko-Micić cooperation, is evidenced by the fact that soon after the publication of the monograph, Archipenko sent an invitation to Zenit to join the International Society of New Artists in New York, led by Catherine Dreyer and Wassily Wassilyevich Kandinsky and whose one of the presidents was Marcel Duchamp (Henri-Robert-Marcel Duchamp). The lavish talent of these two artists, Alexander Archipenko and Ljubomir Micić, deserves continuous and additional research, as well as new interpretations of their joint work.
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2

Jánszky Michaelsen, Katherine. "Frances Archipenko Gray. My Life with Alexander Archipenko." East/West: Journal of Ukrainian Studies 2, no. 2 (2015): 141. http://dx.doi.org/10.21226/t2hs32.

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<p><strong>Frances Archipenko Gray. <em>My Life with Alexander Archipenko.</em></strong><em> </em>Munich: Hirmer Publishers, distributed by The University of Chicago Press, 2014. 280 pp. Illustrations. Notes. $24.95, cloth.</p>
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3

Klymenko, M. "Alexander Archipenko: Artistic and Aesthetic Principles of the European Avant-garde Epoch." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2021, no. 1 (2021): 69–76. http://dx.doi.org/10.33625/visnik2021.01.069.

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The paradigm formation of Alexander Archipenko’s art (1887–1964) in the context of the European avant-garde was analyzed in the article. The study examined the historiography of the 20th century artistic movement from Cubism, Futurism to Expressionism. The author analyzed the sculptor’s conceptual connection with innovations of the period and underlined the main philo-sophical principles of the epoch, and their impact on the formation of the artist’s figurative plastic concepts. The focus was made on the accumulation of the universal cultural experience of the European avant-garde in the process of Alexander Archipenko’s personality formation. The social and cultural factors of the sculptor’s personality formation were traced. The sculptor’s phenomenon is inseparable from the conglomeration of the European avant-garde thoughts. The sublimity of the intellectual resource development of the period was the driving force in the formation of Alexander Archipenko’s innovation. The author of the present study analyzed the main cultural and artistic groups of the epoch, and revealed Archipenko’s direct participation in them. Archipenko, the inventor of the experimental space, showed the way to sculptors of the 20th century. The sculptor’s philosophic line was projected into multicultural and anthropological dimension. The consolidation of general experience of the existence is embodied in the sculptor’s seeking strategies. Archipenko’s methodology development passed through the multicultural synthesis of the world’s ancient experience. There was a certain inspiration by mythological, ritual and historical prototypes as well. The artist’s semantic field had the only basis where new variations of the form and content arose from. The synthesis of artistic, aesthetic and philosophical principles of European avant-garde in Alexander Archipenko’s art contributed to the formation of the ethno-national basis of his art.
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4

Withee, Jane S. "ARCHIPENKO: SCULPTURE, DRAWINGS, AND PRINTS, 1908 – 1963. Donald Karshan." Art Documentation: Journal of the Art Libraries Society of North America 5, no. 3 (1986): 141. http://dx.doi.org/10.1086/adx.5.3.27947643.

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5

Chueca Izquierdo, Belén. "Orígenes de la abstracción en España: el Grupo Pórtico de Zaragoza (1947-1952)." Boletín de Arte, no. 22 (February 1, 2021): 409–35. http://dx.doi.org/10.24310/bolarte.2001.vi22.11804.

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El presente articulo pretende ofrecer al lector una aproximación a la trayectoria del grupo Pórtico de Zaragoza, con la finalidad de dar a conocer la importancia del mismo en el origen de la abstracción española. El grupo Pórtico estuvo formado por Santiago Lagunas Mayandía, Fermín Aguayo Benedicte y Eloy Giménez Laguardia. Estos tres artistas en el periodo de 1947 a 1952 desarrollaron una plástica que partió de los principios de la vanguardia europea, y de artistas como Picasso, Gris, Archipenko, Braque, Miró y Klee entre otros, y les llevó hacia unos caminos personales dentro de la no figuración haciéndoles así pioneros de esta práctica en España. La crítica centralista de nuestro país hizo que cayeran en el olvido y llevó la atención a otros grupos que se manifestaron abstractos años más tarde.
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6

Doig, Allan. "De Stijl and Russian Art: Alexandre Archipenko, El Lissitzky, Theo van Doesburg; Cubism, Proun, Elementarism." Actual Problems of Theory and History of Art 6 (2016): 606–13. http://dx.doi.org/10.18688/aa166-8-65.

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7

Caratănase, Răzvan-Constantin, and Răzvan-Petrişor Dragoş. "Particularity and Proliferation of Stroboscopic Elements in the Visual, Performing and Cinematographic Arts." Theatrical Colloquia 10, no. 1 (2020): 135–46. http://dx.doi.org/10.2478/tco-2020-0009.

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AbstractIn the work “Art and Visual Perception. A Psychology of the Author’s Creative Vision” by Rudolf Arnheim, following some researches/studies of Gestalt psychology applied in the field of visual arts and/or cinematography, the author states: “It is unlikely that any stroboscopic “short-circuit” will occur as long as objects appear on the screen at a sufficient distance from each other.” An observer-spectator only pays attention to what he/she receives. A speedy stream indicates unity. It is precisely for that reason that the vehement and effective ways are indispensable in order to render indisputably the intermittency-discontinuity. The stroboscopic dynamics overlooks the physical source of the visual tangible material. In that case, the visual identity does not start to be problematic as long as an element-object keeps staying in the same place without any inversion or transposition of its appearance - for example: the video camera that does not change its position but registers the building. For the same reason, we have the actor/actress who crosses the screen keeping his/her con-similarity (just walking down the path) without substantially changing his/her size or shape. The nature of the issues only appears under visual circumstances when they invoke/guide where it does not exist or vice versa. Alexander Archipenko (1887-1964): “In order to perform the movement, static painting must resort to symbols and conventions. It did not go beyond fixing a single “moment” in the sequence of moments that make up a movement; all other “moments” before and beyond the fixed movement are left to the imagination and fantasy of the spectator.”
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8

Petrova, Olga. "Open Form, Its Psychological, Civilizational, and Aesthetic Foundations in the Works of Modern Ukrainian Artists." ARTISTIC CULTURE. TOPICAL ISSUES, no. 20(1) (April 22, 2024): 156–60. http://dx.doi.org/10.31500/1992-5514.20(1).2024.306925.

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The paper presents the concept of an “open work” (according to the idea of Umberto Eco) as a meaningfully undefined, and even non-finito work, which appeared in the artistic practice of the 20th century, at the time of revolutionary and military disasters. The events of the early 20th century in the social, psychological, and artistic consciousness of the leading avant-garde figures caused emotional and psychological shifts and contributed to the emergence of new ways of artistic expression. In art, works with different vector characteristics emerged: palimpsest, simulacrum, deconstruction, etc. Since then, the nature of general development of art became that of a rhizome. Similar principles of artistic thinking were predicted by H. Wölfflin in art (19th century) and in the aesthetics by A. Schopenhauer, F. Nietzsche, A. Bergson, and other philosophers of the early 20th century. The aesthetic concept of an “open work” and its special poetics reoriented the European art critics’ opinions regarding the analysis of modern artistic practice. Art studies focused on the artistic form in the very process of its formation (incompleteness). The process of forming an artistic work became the subject of meticulous analysis as something that is interesting to the modern viewer, who is a “synergistic person.” In the context of the poetics of an “open work,” the paper highlights the significance of the avant-garde discoveries of Oleksandr Arkhipenko as a pioneer of world modern sculpture. The connection of his philosophical and plastic thinking with dynamic social and scientific shifts in the life of mankind, with the “physics of space” of Albert Einstein, is visualized. The revolutionary role of caesuras (voids) in the volumes of Archipenko sculpture is defined. Under the angle of the concept of an “open work,” the article visualizes new forms of dialogue between modernists of the 21st century, in particular, Ukrainian artists and their recipients. The analysis of the works of modern Ukrainian artists (O. Zhyvotkov, O. Dzhuraeva, I. Grechanyk) illustrates the practical use of an “open form” as a modern practice in the time of psychological tension and uncertainty, in the state of stressful situations of the 2022–2024 war in Ukraine. “Staying before nothingness” (K. Jaspers’s expression), life on the threshold of existence caused irrationalism and “poetics of incompleteness” in the works of the mentioned artists. It was important to determine such a substantial characteristic of the work as ambiguity in its perception and reading. The paper reveals the psychological and plastic foundations of the authors’ artistic thinking when producing an “open work.” The productivity of a certain artistic paradigm is proven.
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9

Klymenko, Mariya S. "Archetypes in Alexander Archipenko’s Art." Зборник Матице српске за ликовне уметности 2021, no. 49 (2021): 239–44. http://dx.doi.org/10.18485/ms_zmslu.2021.49.13.

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10

Klymenko, Mariya. "ALEXANDER ARCHIPENKO’S HERITAGE: THE SHAPE-FORMING DOCTRINE." Knowledge, Education, Law, Management 1, no. 1 (2021): 56–61. http://dx.doi.org/10.51647/kelm.2021.1.1.11.

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11

KLYMENKO, Mariya. "On the issue of historiography of Alexander Archipenko’s art." Humanities science current issues 1, no. 36 (2021): 86–92. http://dx.doi.org/10.24919/2308-4863/36-1-12.

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12

Hoffmann, Seraphima. "Alexander Archipenko's Flat Torso of 1914: a dematerialized sculpture." Sculpture Journal 16, no. 1 (2007): 21–33. http://dx.doi.org/10.3828/sj.16.1.3.

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13

KLYMENKO, Mariya. "THE IMPACT OF ALEXANDER ARCHIPENKO’S ART ON THE FORMATION OF MARTHE DONAS’ ARTISTIC PLATFORM." Ethnology Notebooks 157, no. 1 (2021): 142–47. http://dx.doi.org/10.15407/nz2021.01.142.

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14

Chang, Yongjoon. "The Diffusion and Significance of People of the Korean Peninsula to the Japanese archipelago during the Paleolithic Age." Yeongnam Archaeological Society, no. 80 (January 30, 2018): 5–43. http://dx.doi.org/10.47417/yar.2018.80.5.

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The Japanese archipelago began to be occupied by people for the first time after the people migrated from the Korean Peninsula in the Paleolithic Age. Peopling of Japan is presumed to be around the middle Paleolithic or late Paleolithic. There was the Korea strait between the two areas, the Korean Peninsula and the Japanese archipelgo, and it used to be limited for coming and going for the people. However, the sea level changes throughout the Upper Pleistocene caused different patterns in human migration and interaction. In both areas, similar types of stone tools including tanged point, bilateral point, stemmed point, and composite point have been excavated in the late Paleolithic period. It is assumed that these types of stone tools might have been transmitted to Japan from the Korean peninsula. Paleolithic people of the Japanese archipelago were influenced by the stone technique of the Korean peninsula, but made their tools with the local raw materials. Paleolithic people utilized blades and microblades which were common in Northeast Asia. The various shapes of projectile points of the Japanese archipelago found in the Late Paleolithic layers could be influenced by the Korean Peninsula. Therefore, it can be assumed that the hunting method to throw a spear were transferred from the Korean peninsula to the Japanese archipelago based of the technological evidence. The manufacturing techniques of the points verify that they were from the Korean peninsula eventhough the tools were made of the local raw materials. Based on the technological tradition, I conclude that the people who lived on the Korean Peninsula crossed the Korea Strait for the first time during the end of the Middle to the Late Paleolithic.
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15

Setiady, Deny, and Ediar Usman. "Lingkungan Terumbu Karang sepanjang pantai gugusan Pulau-Pulau terluar di Perairan Kepulauan Aruah, Kabupaten Rokan Hilir Provinsi Riau. Coral reef environment along coastal outer, in Aruah Archipelgo Waters area, Rokan Hilir District Riau Province." Jurnal Lingkungan dan Bencana Geologi 9, no. 1 (2018): 21. http://dx.doi.org/10.34126/jlbg.v9i1.185.

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Abstrak Secara geografis, Kepulauan Aruah merupakan gugusan pulau-pulau kecil terluar yang terletak di perairan Selat Malaka, yang berbatasan dengan Malaysia. Metoda penelitian geologi kelautan terdiri dari, Pemetaan geologi pantai dan lepas pantai, penentuan posisi, pengukuran pasang surut, pengukuran kedalaman dasar laut dan pengukuran luas terumbu karang. Hasil pengukuran luas gugusan Terumbu karang di sekitar Kepulauan Aruah pada waktu pasang yaitu: Pulau Jemur (31.3800 ha), Pulau Kalironggo (39.0229 ha), Pulau Sarong Alang (0.5081 ha), Pulau Pandan (3.5940 ha), Pulau Labuhan Bilik (15.5340 ha), Pulau Tukong Mas (19.4271), Pulau Pasir (25.853), Pulau Batu Adang (43.1740), Pulau Batu Berlayar (70.9140), dan Pulau Batu Mandi (9.0770 ha). Pulau Tukong Simbang terdapat 7 gugusan pulau kecil, dimana pada saat air laut mengalami surut terendah membentuk satu kesatuan pulau dengan luas mencapai 104,9 ha. Kedalaman dasar laut di daerah penelitian maksimum 80 meter, dengan perbedaan pasang surut maksimum dan surut minimum adalah 5,9 meter di daerah penelitian. Keberadaan batuan Tersier di pantai dan terumbu karang menjadi penyangga keberadaan dan ketahanan gugusan pulau-pulau kecil. Pantai dan lepas pantai Kepulauan Aruah. Hampir seluruh bagian pinggir dari pulau-pulau kecil di sekitar Pulau Jemur dikelilingi oleh lingkungan terumbu karang, sehingga menambah pesona keindahan perairan dan pantai kepuauan Aruah. Kata Kunci: Kepulauan Aruah, Lingkungan Terumbu Karang, Pulau terluar, dan geologi kelautan Abstract Aruah Islands located in the Malacca Strait waters is outer islands cluster and the border Malaysia. Study method consits of coastal geology mapping positioning Low – high Tide measurenment, sea bottom measurenment and Coral reef wide measurenment. High tide coral reef cluster measurenment in Aruah archipelago are: Jemur Island(31.3800 ha), Kalironggo (39.0229 ha), Sarong Alang Island (0.5081 ha), Pandan Island (3.5940 ha), Labuhan Bilik Island (15.5340 ha), Tukong Mas Island (19.4271), Pasir Island (25.853), Batu Adang Island (43.1740), Batu Berlayar Island(70.9140), dan Batu Mandi Isand (9.0770) ha). There are seven small island Tukong Simbang Island, when low tide forming one island with 104.9 ha square. Maximum depth of seawater is 80 meter dept and differences between low tide and high tide is 5,9 meter in study area. The existence of Tertiary rocks on the beach and coral reefs into existence and resistance as a buffer of small islands cluster. Almost all of the edges of small islands around the Jemur island is surrounded by coral reefs environment, that adding to the charm and beauty of coastal and waters Aruah Islands Keywords. Aruah archipelago, Coral reef environment, outer island, and marine geology,
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16

"Archipenko: themes and variations, 1908-1963." Choice Reviews Online 26, no. 10 (1989): 26–5480. http://dx.doi.org/10.5860/choice.26-5480.

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17

Gontovaya, Larisa. "The paradox of tradition: Alexander Spendiaryan, Lev Revutsky, Igor Stravinsky." Journal of Art Studies, February 13, 2023, 50–59. http://dx.doi.org/10.54503/2579-2830-2022.2(8)-50.

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The article is devoted to relevance of the folklore tradition in the work of composers of various national schools, namely, A. Spendiaryan, I. Stravinsky, L. Revutsky. Tradition is considered from the perspective of the main characteristics of metamodern as one of the important semantic guidelines for the listener, who is in the conditions of semantic uncertainty and oscillation in modern culture. The article attempts to highlight the paradoxical nature of tradition, which lies in its avant-garde potential against the background of “habitualness” of innovations in modern culture. From the history of arts, examples of using traditional elements by the avant-garde in the works of A. Archipenko, K. Malevich, M. Saryan, A. Erdeli are given. The interpretation of folklore in the works of Spendiaryan, Stravinsky and Revutsky reveals both common and different features, which indicates the innovative potential of tradition. Spendiaryan and Revutsky follow the integrity of the original folklore source and its active development, creating a new colorful material, while Stravinsky explores it and, on its basis, creates a new synthesis of word, movement and sound. The conclusion is made that tradition may sound modern, it may sound more “avant-garde” than many of the presented innovations․
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18

KLYMENKO, Mariya. "TYPOLOGY OF PLASTIC SHAPE IN ALEXANDER ARCHIPENKO’S ART." Ethnology Notebooks 176, no. 2 (2024). http://dx.doi.org/10.15407/nz2024.02.377.

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19

"Euwallacea fornicatus. [Distribution map]." Distribution Maps of Plant Pests, No.December (July 1, 2013). http://dx.doi.org/10.1079/dmpp/20143031649.

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Abstract A new distribution map is provided for Euwallacea fornicatus (Eichhoff). Coleoptera: Curculionidae. Hosts: tea (Camellia sinensis), avocado (Persea americana), litchi (Litchi chinensis). Information is given on the geographical distribution in Asia (Bangladesh, Cambodia, China, Guangdong, Hong Kong, Sichuan, Xizhang, Yunnan, India, Assam, Karnataka, Kerala, Maharashtra, Tamil Nadu, Uttar Pradesh, West Bengal, Indonesia, Israel, Japan, Bonin Islands, Ryukyu Archipelgo, Malaysia, Myanmar, Philippines, Sri Lanka, Taiwan, Thailand, Vietnam), Africa (Comoros, Madagascar, Reunion), North America (USA, California, Florida, Hawaii), Central America and Caribbean (Costa Rica, Guatemala, Panama), Oceania (Australia, Federal States of Micronesia, Fiji, Niue, Palau, Papua New Guinea, Samoa and Solomon Islands).
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