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Journal articles on the topic 'Art material'

Author: Grafiati

Published: 30 June 2021

Last updated: 29 July 2025

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1

Küttel, Nora Mariella. "Material agency in art installations: exploring the interplay of art, space, and materials in Detroit." Geographica Helvetica 79, no. 2 (2024): 149–60. http://dx.doi.org/10.5194/gh-79-149-2024.

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Abstract. Decades of decline, disinvestment, and racism have left Detroit with an abundance of abandoned buildings, ruins, vacant lots, and illicit trash dumps. Though these structures and materials might have forfeited their previous purposes, they can act as catalysts, substances, and co-creators of artworks. The paper is thus interested in examining the intricate interplay between art, space, and materiality in Detroit further. Drawing from the practices of local artists Olayami Dabls and Scott Hocking, the paper adopts a new materialist framework to investigate the dynamic agency of matter

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2

Li, Ming Juan. "On the Discussion of Abstract Form and Art Empathy of the Ramie Materials in Modern Fiber Art." Applied Mechanics and Materials 644-650 (September 2014): 4844–47. http://dx.doi.org/10.4028/www.scientific.net/amm.644-650.4844.

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form and Art Empathy of the Ramie Materials in Modern Fiber ArtLi Mingjuan,FangZhi Road, Wuhan City, Hubei Province, China, Art and Design College of Wuhan Textile University78207664@QQ.comKeywords: Modern fiber art, Ramie fiber, Abstract form, Empathy manifestationAbstract. Fiber art is both a traditional art and modern art, while the material is the first language for fiber art,since the material is the basis of fiber art, which is also the carrier of fiber art and the external materialized result of fiber language.With the development of modern fiber materials are becoming increasingly rich

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Schmidt, Filipp. "The Art of Shaping Materials." Art and Perception 8, no. 3-4 (2019): 407–33. http://dx.doi.org/10.1163/22134913-20191116.

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Material perception — the visual perception of stuff — is an emerging field in vision research. We recognize materials from shape, color and texture features. This paper is a selective review and discussion of how artists have been using shape features to evoke vivid impressions of specific materials and material properties. A number of examples are presented in which visual artists render materials or their transformations, such as soft human skin, runny or viscous fluids, or wrinkled cloth. They achieve this by expressing the telltale shape features of these materials and transformations, of

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Qi, Hao, Juan Li, and Qiao Mei Zhang. "Study on the Jingdezhen Ceramic Materials." Applied Mechanics and Materials 329 (June 2013): 96–100. http://dx.doi.org/10.4028/www.scientific.net/amm.329.96.

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As an ancient creative medium in the traditional Chinese art, ceramic material has a long and glorious history, which is an important part of traditional Chinese cultural resources. Now re-examine the folk art, ceramic materials show understanding of the colorful ceramic material morphology expressive and unique charm of materials technology, the combination of art and technology, the unity of the folk art and ceramic materials. It has become an important issue. Millennium Jingdezhen, for example, this paper studies folk art show in the ceramic material.

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Krispinsson, Charolotta. "Temptation, Resistance, and Art Objects: On the Lack of Material Theory within Art History before the Material Turn." Artium Quaestiones, no. 29 (May 7, 2019): 5–23. http://dx.doi.org/10.14746/aq.2018.29.1.

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Niccolò di Pietro Gerini's painting “The Temptation of Saint Anthony” (1390-1400) serves as a point of departure for this essay. It depicts Saint Anthony during a lapse of self-control as he attempts to resist an alluring mound of gold. Since the mound is in fact made of genuine gold leaves applied to the painting's surface, it works both as a representation of temptation as well as an object of desire affecting the beholder. The aim of this essay is to explore different approaches to materiality before the material turn within the art history discipline by examining two opposing directions wi

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6

Yang, Dong, Kun Yuan, and Xiao Dong Liu. "Thinking Development of Fiber Art due to Installation Art." Advanced Materials Research 332-334 (September 2011): 1223–26. http://dx.doi.org/10.4028/www.scientific.net/amr.332-334.1223.

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Although installation art and fiber art are two different modern art categories, as they are both based on sculpt of materials instead of portray, they are usually connected together. With consideration on design, existence form and material concept of installation art, this paper discusses the expansion and performance of these methods in fiber art creation.

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Huang, WeiZhen. "Contemporary Texture Representation in Fiber Art." Advances in Education, Humanities and Social Science Research 7, no. 1 (2023): 573. http://dx.doi.org/10.56028/aehssr.7.1.573.2023.

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The traditional understanding of fiber art includes the use of materials and techniques that have fiber properties. However, materials have always been subordinate, passive, and at the service of the work. In contemporary fiber art, the use of materials is so widespread that it has long undermined the traditional perception of fiber. The different textures and textures of the material, as well as its different structures, are gradually being discovered during the creative process. This paper focuses on the expression of fiber art materials as well as the uniqueness and difference of the textur

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8

Grigorova, Yana. "Art and “non-material labour»." Bulletin of PNRPU. Culture. History. Philosophy. Law, no. 4 (2017): 69–73. http://dx.doi.org/10.15593/perm.kipf/2017.4.08.

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9

Brett, David. "Art and Society: Material Evidence." Circa, no. 62 (1992): 20. http://dx.doi.org/10.2307/25557713.

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10

Gudeman, Stephen. "Epilogue: Art and Material Culture." Museum Anthropology 16, no. 3 (1992): 58–61. http://dx.doi.org/10.1525/mua.1992.16.3.58.

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11

Zetina Ocaña, Sandra, Elsa Minerva Arroyo Lemus, Tatiana Falcón Álvarez, and Eumelia Hernández Vázquez. "La dimensión material del arte novohispano." Intervención Revista Internacional de Conservación Restauración y Museología 1, no. 1 (2010): 17–29. http://dx.doi.org/10.30763/intervencion.2014.10.120.

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12

Hainge, Greg. "Art Matters: Philosophy, Art History and Art’s Material Presence." Culture, Theory and Critique 57, no. 2 (2016): 137–41. http://dx.doi.org/10.1080/14735784.2016.1161903.

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13

Dahlia W. Zaidel. "Art in Early Human Evolution: Socially Driven Art Forms versus Material Art." Evolutionary Studies in Imaginative Culture 1, no. 1 (2017): 149. http://dx.doi.org/10.26613/esic.1.1.22.

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Zaidel, Dahlia W. "Art in Early Human Evolution: Socially Driven Art Forms versus Material Art." Evolutionary Studies in Imaginative Culture 1, no. 1 (2017): 149–58. http://dx.doi.org/10.26613/esic/1.1.22.

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15

Wang, Chong. "An analysis of the language of industrial materials in mixed media art." Highlights in Art and Design 1, no. 1 (2022): 29–31. http://dx.doi.org/10.54097/hiaad.v1i1.1662.

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With the development of the times, mixed-material art works and excellent artists are emerging in the field of art nowadays, and mixed-material art using industrial materials as creation materials is more favored by artists because it has artistic effects that cannot be achieved by natural materials. This paper takes industrial materials as an embedding point, explores their use and artistic expression, and analyzes the linguistic expression of industrial materials in mixed media art from a holistic perspective, using typical cases of artists as objects.

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Mustafa, GÜRGÜLER. "Traditional Textile Art Carpet and Conceptual Art." International Journal of Humanities and Art Researches 8, no. 1 (2023): 85–97. https://doi.org/10.5281/zenodo.7742039.

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The gap arising between human relations is a product of post-industrial technology. The reflection of this situation on the human spirit emerges as a global problem. The proposed solutions are insufficient for the modern individual at the social level. As the crisis of the new generation modern age forces people to search continuously for a new identity, it also directs artists to draw attention to different disciplines, including the material, but this search deepens the gap that emerged. We need to be in a constant state of change, examine different cultures and, when necessary, include them

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Werdiningtiyas, Ratih Kartika, and Denna Delawanti Chrisyarani. "Workshop Tari Anak di SD Negeri Sudimoro 01 Kecamatan Bululawang Kabupaten Malang." AKSIOLOGIYA : Jurnal Pengabdian Kepada Masyarakat 1, no. 2 (2017): 97. http://dx.doi.org/10.30651/aks.v1i2.840.

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SDN Sudimoro 1 Bululawang subdistrict has not done extracurricular activities of dance art, from some guardians initiative to involve his children to follow the dance and dance arts in the local dance studio. At the time of art performances, the school finds it difficult to find a dance coach because of the lack of coaches, locations that are too far from the citizens and lack of material about children's dance. Based on the condition of SDN Sudimoro 1, it is very important to be held about dance training for elementary school students, especially low grade. This devotional activity is held fi

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18

Tian, Ya Zhou, and Xu Jun Tian. "On the Language Performance of Composite Materials in the Art." Advanced Materials Research 530 (June 2012): 14–18. http://dx.doi.org/10.4028/www.scientific.net/amr.530.14.

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The art is inextricably linked with the material and the process. The material is rapidly changing with the advancements of the modern technology, and it changes and refreshes people's views on the art. Many artists have realized that the material is not just a medium of artistic expression, but the language of the art. The modern art, not limited to the only way of presentation through the traditional material, conveys the artist's view of life and the world through the integrated use of materials combined with modern ideas and concepts, which has made the language of the material itself bein

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19

SHIM, Jungah. "A study on the Concept of ‘Material Imagination’ by Gaston Bachelard and the Value of Natural Materials and Techniques in Three-Dimensional Art." Society for Art Education of Korea 89 (March 1, 2024): 177–210. http://dx.doi.org/10.25297/aer.2024.89.177.

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This study researched the interaction between the artist and the material in the creation of three-dimen-sional art based on Gaston Bachelard's 'material imagination' and the phenomenology of images. The crea-tive act of humans with spirit, body, and soul dealing with natural materials deserves to be called a 'crea-tive struggle'. The material imagination evoked by water, fire, air, and earth can allow artists to encounter archetypal images, and enhance the artist and their artworks. The researcher suggests that a more pro-found world of art can be unfolded if the artist selects natural materi

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Aykanat, Fatma. "How to Recycle Ourselves through Art: Rubbish Inspirations in Contemporary Art." AM Journal of Art and Media Studies, no. 5 (April 15, 2014): 11–20. http://dx.doi.org/10.25038/am.v0i5.57.

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This article will focus on the work of two contemporary artists; of Vik Muniz and Jeff Wall, to discuss the change of material and inspiration in contemporary art and the effects of this change. Both of those two artists take rubbish, human waste, masses of debris which have been thought to be the end-products, useless residue of human actions and civilization, and then they transform those so-called dead materials into original artistic products. In a way, they use those dead materials for an artistic rebirth. Through Muniz’s re-makings of famous art works through junk materials, or by way of

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Trouton, Lycia. "Castaways: Art from the Material World." TEXTILE 19, no. 3 (2021): 301–9. http://dx.doi.org/10.1080/14759756.2021.1891677.

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22

Fritts, Lauren. "Knolling: The Art of Material Culture." Art Education 72, no. 1 (2018): 50–58. http://dx.doi.org/10.1080/00043125.2019.1537670.

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Pénzes, Ingrid, Susan van Hooren, Ditty Dokter, Henk Smeijsters, and Giel Hutschemaekers. "Material interaction in art therapy assessment." Arts in Psychotherapy 41, no. 5 (2014): 484–92. http://dx.doi.org/10.1016/j.aip.2014.08.003.

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24

Bier, Carol. "Art: crafts, technology, and material culture." Iranian Studies 31, no. 3-4 (1998): 349–59. http://dx.doi.org/10.1080/00210869808701915.

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25

Zhou, Mengqi. "Aesthetic Art of Glass Materials in Interior Design." Frontiers in Science and Engineering 2, no. 11 (2022): 1–6. http://dx.doi.org/10.54691/fse.v2i11.2970.

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Glass is an ancient and practical material, which has been widely used in interior space design. The development of new glass materials leads to new aesthetic content and cultural connotation. The development of glass materials has become a diversified interior design material. This paper expounds the application characteristics of glass in modern interior design to interpret the aesthetic art of glass materials in interior design. This paper discusses the practicability, decoration and environmental protection, analyzes the design cases, and provides theoretical support for the application of

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26

Franinović, Karmen, and Roman Kirschner. "Material Activity in Art and Design Practices." Zeitschrift für Kunstgeschichte 83, no. 3 (2020): 310–19. http://dx.doi.org/10.1515/zkg-2020-3002.

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AbstractThe theoretical movement of New Materialisms claims that society has to think differently about the way it treats our common material environment. The conception of matter as something active and transforming is at the core of these proposed changes. But in order to have an impact, conceptual frameworks must be accompanied by materially engaged practices. Recently, art and design projects have started bringing attention to active aspects of materials and environments. Our own research – in projects such as Enactive Environments and Liquid Things – concerns itself with chemical and biol

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27

Zein, Azza. "Rematerialization, Art, and Affective Economies." Kohl: A Journal for Body and Gender Research 5, Summer (2019): 118–31. http://dx.doi.org/10.36583/2019050210.

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The paper highlights artworks that engage with materials to comment on the dematerialization of the economy and the invisibility of labour. The emphasis is on artworks which disturb these conditions through a process of rematerialization, defined as “attending to materials.” How to revalue what has been dematerialized, devalued, or deemed invisible? To revalue invisible labour is to find a material that can engage with the affective relation surrounding labour and space, a material that can experience the invisibility rather than represent it. By correspondences of materials, actions and the b

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28

Fabiana, Senkpiel. "Food as an Art Material. Matters of Affordances and Material Images." Art Style, Art & Culture International Magazine 7, no. 7 (2021): 89–114. https://doi.org/10.5281/zenodo.6371630.

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Art Style | Art & Culture International Magazine Abstract Starting from a discussion of artworks from the 1960s until today in which food has been used as material, this paper explores the possibilities and limitations of Gibson’s concept of “affordances” for analyzing them from the viewpoint of an image-theory oriented art history. Three modes of using food as an art material are discussed, each highlighting different aspects of the affordance concept: in the first mode, the edibility affordance of food is maintained despite its change of context (everyday/art); the seco

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Wang, Aishi. "Ontology of New Art and Survival of Art." SHS Web of Conferences 162 (2023): 01040. http://dx.doi.org/10.1051/shsconf/202316201040.

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Art is not an image work, but an image that people can see and an apparent result of the transcendent image presented by art; art is the ideological and spiritual product that’s processed from the high-end level of consciousness and thinking and generated by the entanglement movement of human body and cosmic materials. Also, it is an original form behind the physical image works, intended to reconcile the relationship between spiritual illusion and the material world; acting on all human life activities in accordance with the law of increasing progression under the cosmic stipulation, its ulti

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Griniuk, Marija. "UNIVERSAL EDUCATIONAL MATERIAL. EXHIBITION BY PER ISAK JUUSO FOR YOUTH AND CHILDREN." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 2 (July 3, 2023): 328–37. http://dx.doi.org/10.17770/sie2023vol2.7114.

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This article explores the strategies employed by educators at the Sámi Center for Contemporary Art in Karasjok, Norway, in the production of educational materials related to an exhibition by Sámi duodji artist Per Isak Juuso. The study examines the process of creating materials that are suitable for various age groups of children and youth, and applicable to both local Sámi and international visitors. The research question is: How can the content of educational material within an art exhibition be designed to appeal to diverse audiences of children and youth? The aim of the study is to identif

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Whitaker, Pamela. "Homebody: Art Therapy and the Art of Possessions." OBM Integrative and Complementary Medicine 09, no. 03 (2024): 1–11. http://dx.doi.org/10.21926/obm.icm.2403056.

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This concept paper is proposing the inclusion of the home studio as an art making location for art therapy trainees who assemble personal belongings, within the context of their domestic lives. A collection of belongings can become an installation which brings together associations to identities in juxtaposition. The material culture of art therapy trainees, the objects which they live by, is a new contribution to art therapy pedagogy, as it designates the art of personal collections as a life archive (or accumulation) that is close at hand and already available. This collection of household a

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Kim, Yangja. "A Study on the Environmental Conditions for Art Material Supply in Art Therapy: With a Focus on the Amounts of Art Materials." Journal of Humanities and Social sciences 21 10, no. 6 (2019): 1299–308. http://dx.doi.org/10.22143/hss21.10.6.96.

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ERDOĞAN, MEHTAP, and TUBA BAHAR. "DIFFERENT MATERIAL APPROACHES IN EMBROIDERY ART; PAPER SAMPLE." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 12, no. 3 (2022): 781–94. http://dx.doi.org/10.7456/11203100/015.

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Mankind, who has been trying to position itself on earth since its existence, has turned to various efforts in order to meet its basic needs. As a result of these efforts, various branches of art have emerged. All kinds of effects, from the person who makes it to the raw material used, played a big role in the classification of these branches of art. Embroidery art, which is evaluated under the title of thread arts, was defined as feminine arts in ancient times due to the delicate structure of thread. After the Art and Craft movement, the postmodernism and emergence of the feminism movement th

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Asmarandani, Diah. "PERUBAHAN FUNGSI DAN BENTUK SENI PAHAT, SENI PATUNG SUKU ASMAT DI PAPUA SEBAGAI PRODUK KERAJINAN." Jurnal Dimensi Seni Rupa dan Desain 5, no. 1 (2007): 1–14. http://dx.doi.org/10.25105/dim.v5i1.1470.

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AbstractAs tradition art, artistic of people sculpture and statue Asmat earn grouped in primitive culture/artefact - primitive art, this thing is because ofform of physical from material culture function and material culture is more majored, and also forming process is not addressed for aesthetic function; in the growth primitive art from people Asmat become appearance idea primitivism in the world of art. Art, craft and design masterpiece with theme primitive art/primitive culture from people Asmat many produced in so many forms like: furniture, mural, paintings and households appliances as e

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Yanuar Ikhsan Pamuji, Bachrul Restu Bagja, and Luqman Wahyudi. "MATERIAL NARRATIVES IN THE CREATION OF WORKS OF ART: ANALYSIS OF THE ROLE OF MATERIALS IN THE FORMATION OF VISUAL AND CONCEPTUAL MEANING." Acintya Jurnal Penelitian Seni Budaya 16, no. 2 (2025): 190–204. https://doi.org/10.33153/acy.v16i2.6638.

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The creation of works of art by artists always involves forming a narrative that they want to convey to the audience. The narrative depends on the artist's interest in the chosen theme and how the theme is articulated through visual elements. Usually, narratives in works of art are realized through metaphorical forms that describe the idea or message to be conveyed. On the other hand, materials in the creation of works of art are often considered as supporting elements that complete the metaphor. This research aims to explore how materials in works of art can form their own narrative, not just

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Freire, Mela Dávila, and Pamela Sepúlveda Arancibia. "Artwork or document? Latin American materials at the Study Centre of the Museum of Contemporary Art of Barcelona (MACBA)." Art Libraries Journal 37, no. 4 (2012): 15–20. http://dx.doi.org/10.1017/s0307472200017685.

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The Study Centre at the Museum of Contemporary Art of Barcelona has, since its inception in 2007, amassed a wealth of material relating to Latin American art. Its collecting policy addresses the relationship of contemporary works of art to their documentation and aims to compensate for the lack of a tradition of public collecting of documentary and bibliographic material relating to 20th-century contemporary art practices. The collection now includes influential artist publications such as concrete poetry, magazines, mail art, books of photography and even fiction written by artists, as well a

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Rumor, Leonardo, and António Andrade-Campos. "On the need for material model databases: A state-of-the-art review." Advances in Mechanical Engineering 14, no. 10 (2022): 168781322211305. http://dx.doi.org/10.1177/16878132221130575.

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The majority of FEA simulation software offers a library of material properties. However, the included materials are generic or the most common and do not represent the entire materials market. The problem is fairly solved by the material suppliers that usually provide the material properties of their products or by data available in materials databases. However, the information provided by the materials databases does not include experimental data nor provide information on the testing procedures. Due to this absence, users can not verify the information or its accuracy on the material databa

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Hoyer, Rüdiger. "Problems of electronic art reference." Art Libraries Journal 26, no. 3 (2001): 24–26. http://dx.doi.org/10.1017/s0307472200012293.

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This paper evaluates the access provided to electronic reference material in art libraries in Germany and elsewhere. The extremely heterogenous state of education and knowledge concerning these materials is discussed, both from the point of view of library staff and that of the specialised public. Finally a proposal is formulated for a co-operative way of giving access to at least the metadata of these resources, and for their thematic indexing.

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Nicholas, Mary A. "Metaphor and the Material Object in Moscow Conceptualism." Arts 11, no. 5 (2022): 88. http://dx.doi.org/10.3390/arts11050088.

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Discussions of conceptual art both East and West have focused on the notion of “dematerialization” of the artwork and the substitution of “art as idea” for concrete works of art. Yet such an approach oversimplifies the role of materiality in works of conceptual art generally and underestimates the transformative role of the concrete object in early Moscow conceptualism in particular. An examination of the Nest, an influential group of artists active from 1974 to 1979, as well as other analytical conceptualists who highlighted materiality in their unofficial art practice suggests that their use

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Huo, Mei Lin. "Research on Recycled Materials in Public Art." Applied Mechanics and Materials 329 (June 2013): 71–74. http://dx.doi.org/10.4028/www.scientific.net/amm.329.71.

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Public art" of the recycled material in the context of globalization is formed under modern ecological concepts, environmental movement, and artistic experiments together. It will change the status quo of the lack of dialogue between materials science with art, recycled materials from the point of view of public art, research and development, and applications make proactive in environmental design. In this study, "renewable materials" mainly focused on the public art materials field, its scope and methods of public art. Recycled materials include not only well-known natural renewable materials

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Ermiş, Didem. "Expanding the Boundaries of Feminist Understanding of Art in the Posthumanist Era: Art and Care." Feminist Tahayyul Akademik Arastirmalar Dergisi 5, no. 2 (2024): 213–39. http://dx.doi.org/10.57193/feminta.2024.213.

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In this article, the characteristics that make a work of art feminist in the posthumanist period will be analysed through artworks in which artists show a specific ort his both the materials of their medium and non-human living and non-living things. In addition, a discussion will be carried out about the fact that when the medium and the material become the work itself in a way that reveals different content and expression potentials, it can be characterised as feminist. This discussion will be addressed through the complex relationship between instrumental reason, which can be defined as the

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CANPOLAT, AYŞE. "USE OF CLAY MATERIAL IN PROCESS ART." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 11, no. 3 (2021): 786–96. http://dx.doi.org/10.7456/11103100/003.

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43

McGrath, Mary. "Material Matters: The Conservation of Modern Art." Circa, no. 109 (2004): 50. http://dx.doi.org/10.2307/25564183.

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TOSA, Masahiro, and Kazuhiro YOSHIHARA. "Extremely-High Vacuum Station for Material Art." SHINKU 35, no. 6 (1992): 588–93. http://dx.doi.org/10.3131/jvsj.35.588.

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Adamson, Natalie, and Steven Harris. "Material Imagination: Art in Europe, 1946-72." Art History 39, no. 4 (2016): 640–53. http://dx.doi.org/10.1111/1467-8365.12265.

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Kelomees, Raivo. "Discussing five issues of post-material art." Technoetic Arts 14, no. 3 (2016): 251–62. http://dx.doi.org/10.1386/tear.14.3.251_1.

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Austen, Kat. "Mathematics as the raw material for art." New Scientist 212, no. 2838 (2011): 52. http://dx.doi.org/10.1016/s0262-4079(11)62800-5.

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Thompson, Barbara. "Material Differences: Art and Identity in Africa." African Arts 36, no. 3 (2003): 80–96. http://dx.doi.org/10.1162/afar.2003.36.3.80.

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Gursu, Sarper, Timur Yildirim, Vedat Sahin, and Emine Koc. "Art in Science: Orthopaedics Through Philatelic Material." Clinical Orthopaedics and Related Research® 471, no. 12 (2013): 3755–59. http://dx.doi.org/10.1007/s11999-013-3280-4.

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Hood, Emily Jean. "Tornado diary: Material vulnerability and art education." International Journal of Education Through Art 21, no. 1 (2025): 103–12. https://doi.org/10.1386/eta_00189_3.

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Abstract:

In March 2023 in Little Rock, Arkansas, my family’s home was destroyed by a tornado. Around that same time in North America, natural disasters seemed common: catastrophic flooding in Vermont, tornadoes throughout the South and Midwest, expansive wildfires in Canada. Environmental disaster has become part of the global human experience. In this visual essay, I revisit the shattering of my own illusions of material stability through prose and photographic images that were produced around the time of the tornado by myself and my children. The prose is written from a second-person perspective, ins

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