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Journal articles on the topic 'Artist's writings'
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1
Damisch, Hubert, and Jean Dubuffet. "Writings and correspondence: 1961-1985." October 154 (October 2015): 8–68. http://dx.doi.org/10.1162/octo_a_00236.
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This dossier comprises a selection of the correspondence between Hubert Damisch and Jean Dubuffet as well as six essays written by Damisch on Dubuffet between 1962 and 1985. Both the correspondence and texts are here published in English for the first time. “Jean Dubuffet and the Awakening of Images” (1962), Damisch's second article on Dubuffet, discusses the relationship between material object and idea, or painting and image, in Dubuffet's art since the 1940s. “Work, Art, Artwork” (1962) examines Dubuffet's return to figuration following his abstract works of the late 1950s. “Paris Circus” (1962) is an extended review of the recently completed series Paris Circus, and “Second Method” (1964) investigates Dubuffet's cycle of the Hourloupe in the light of questions of perception present in Maurice Merleau-Ponty's The Eye and The Mind. “DUBUFFET (Jean)” (1969) was written as an entry of the Encyclopedia Universalis. The final essay, “Starting Ground” (1985), was written at the time of the artist's death. It evokes, among other themes, contemporaneity and posterity and Dubuffet's complicated embrace of an artistic career. This essay lays the ground for subsequent texts by Damisch on Dubuffet. The correspondence, which is interspersed amidst the writings, is complete save for a few technical letters concerning the editing of Dubuffet's writings by Damisch in 1967. Damisch himself defines it as “work correspondence.” In these letters, artist and writer debate specific terms, discuss the artist's work and the writer's essays, and provide a glimpse of their complex personal relations.
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Borggreen, Gunhild. "The Myth of the Mad Artist: Works and Writings by Kusama Yayoi." Copenhagen Journal of Asian Studies 15 (March 10, 2001): 10–46. http://dx.doi.org/10.22439/cjas.v15i1.2126.
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Kusama Yayoi has been active as an artist for more than 50 years, and is highly acclaimed both in her native Japan and in the United States, where she spent more than a decade of her career. A large corpus of critical reviews, catalogue texts, interviews and autobiographical writings by and about Kusama has been published over the years, and this paper investigates a specific topic in these texts concerning the discourse of madness. A persistent myth of Kusama as a'mad' artist emerged in the early and mid-1980s, but has influenced the interpretations of her whole oeuvre. Based on three texts written by Kusama, this paper shows that the artist herself did not describe her artistic processes in psychopatholocial terms at the early stages of her art production. I shall argue for more accurate interpretations of Kusama's art, based on the artist's own accounts as well as trends on the contemporary internatinoal art scene.
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Budge, Gavin. "“Art’s Neurosis”: Medicine, Mass Culture and the Romantic Artist in William Hazlitt." Articles, no. 49 (April 9, 2008): 0. http://dx.doi.org/10.7202/017856ar.
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AbstractAlthough criticism has traditionally focussed on the Romantic celebration of artistic genius, there is also an emphasis on artistic abjection in Romantic writing. This essay argues that the Romantic theme of abjection is linked to the claims of early nineteenth-century Brunonian medicine that conditions of nervous over- and understimulation are the cause of diseases such as consumption and hypochondria, a case which is made with particular reference to the writings of William Hazlitt. Brunonian medical theory also informs Romantic period analyses of a newly emergent mass culture, enabling Romantic depictions of artistic abjection to be understood as a denial of the Romantic artist's involvement in a mediatization of experience which potentially distances the audience from the intuition of reality to which Romanticism ultimately appeals. This ambivalence about the position of the Romantic artist is reflected in the Romantic period debate surrounding the aesthetic category of the picturesque, which is shown to draw on Brunonian ideas about nervous stimulation in a way which makes it exemplary of conflicted Romantic attitudes towards the effects of mediatization.
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Minturn, Kent. "Dubuffet avec Damisch." October 154 (October 2015): 69–86. http://dx.doi.org/10.1162/octo_a_00237.
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This article examines philosopher Hubert Damisch's extensive scholarship on Jean Dubuffet, including his editorial travails and annotations of the four volumes of the artist's complete writings, Prospectus et tous écrits suivants. Further, it is argued that Dubuffet's art and writings influenced the development of Damisch's particular counter-historical methodological approach to the history of art.
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Guy-Bray, Stephen. "Beddoes, Pygmalion, and the Art of Onanism." Nineteenth-Century Literature 52, no. 4 (March 1, 1998): 446–70. http://dx.doi.org/10.2307/2934061.
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Thomas Lovell Beddoes's almost unknown poem "Pygmalion" (1825) is one of the first nineteenth-century treatments of the Pygmalion myth. For his version Beddoes draws on Ovid's Metamorphoses, on Rousseau's Pygmalion, scène lyrique and Confessions, and on Beddoes's father's Hygëia (1802), a work on medicine and public health. Beddoes uses his father's writings on masturbation and its connections with literature to compare the artist's solitary labors with the solitary vice of masturbation. Beddoes's fusion of the discourse of artistic creation and the medical discourse that warned of the dangers of masturbation enables him to suggest that poetic activity drains the artist of his strength and prevents him from achieving any direct relation to the world in which he lives. Beddoes's apparent ambivalence about the value of artistic endeavour can be seen in his own vacillations between a literary and a medical career and his ultimate lack of success in either field.
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Moholy, Lucia. "El Lissitzky." October 172 (May 2020): 111–16. http://dx.doi.org/10.1162/octo_a_00395.
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Likely published in anticipation of a 1967 volume of primary documents relating to the Russian artist El Lissitzky, Lucia Moholy discusses the artist's biography, career, influences, major works, reception, and relation to the Bauhaus. Drawing on her involvement in the fields of publishing and printing, she also introduces his then little-known books and graphic art, as well as his conception of the “Proun.” Although not stating it explicitly, much of her knowledge draws on having known Lissitzky personally in the 1920s and his writings from that period. The text stands as one of the earliest discussions of Lissitzky outside of the Russian language.
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Abdokova, Marina B. "Portrait and landscape in Boris Zaitsev’s publicistic writings: style and ethos." RUDN Journal of Studies in Literature and Journalism 25, no. 1 (December 15, 2020): 17–32. http://dx.doi.org/10.22363/2312-9220-2020-25-1-17-32.
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The article represents genre-style etymology of Boris Konstantinovich Zaitsev (1881-1972) publicistic legacy (that includes essays, profiles and critical notes). Style-forming expressions of this outstanding representative of 20th century Russian literary abroad are analyzed within the context of his ethical and philosophical principles. Zaitsev’s portrait and landscape sketches are considered for the first time as figurative-poetic and genre-compositional components of the artist's “visual palette”. One of the effective methods of comprehending the style and ethos of the writer is the disclosure of multi-genre subtexts that reflects the creative worldview of B. Zaitsev, in which aesthetics is closely intertwined with metaphysics, and this, in turn, determines the adjacent disciplinary tools for the study of “literary painting”, actualizes parallels with non-verbal art forms (painting, music). The intertextual phenomenology of B. Zaitsev's publicistic texts is not limited to the artful, masterly and technical depiction. The nature of refined subject-figurative “painting”, as follows from the analysis, is based on the spiritual contemplation of the writer and reflects a rare for the art of the 20th century harmony of the artistic and transcendent.
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Ziolkowski, Eric. "Wach, Religion, and "the Emancipation of Art"." Numen 46, no. 4 (1999): 345–69. http://dx.doi.org/10.1163/1568527991201428.
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AbstractDespite the abundance of lore about Joachim Wach's lifelong passion for literature, music, and other arts, the pertinence of his aesthetic reflections to his formation as historian of religions is often ignored or under-appreciated. Yet his involvement with the Kreis surrounding the poet Stefan George was perhaps one of the chief early factors that led Wach to liken the study of the history of religions to contemplation of literature and the arts. It is even possible that ideas of the literary historian Friedrich Gundolf about the relationship between the artist and the artist's work helped stimulate Wach's early thinking about the relationship between religious experience and the theoretical, practical, and institutional expressions of that experience. Indeed, throughout his own scholarly writings Wach displays an irrepressible tendency toward combining religionswissenschaflich theorizing with aesthetic reflection, and toward encompassing literary, musical, and other artistic examples within the scope of data to be considered by scholars of religion. This article analyzes the development of that tendency in Wach's scholarship, paying special attention finally to his notion of the modern Western "emancipation of art" from religious influence. This notion, while reflecting a general optimism that characterizes his view of the diversifying, developmental course of numerous other religious and cultural phenomena over time, may ultimately be too strong or reductive for describing what has actually occurred over the past several centuries in the relation between artistic and religious phenomena.
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Galyamov, Artur Amirovich, and Mikhail Fedorovich Ershov. "M. A. Tebetev: sociocultural origins of painting of the Khanty artist." Человек и культура, no. 5 (May 2020): 104–11. http://dx.doi.org/10.25136/2409-8744.2020.5.32286.
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The subject of this research is the works of the unique Khanty artist Mitrofan Alekseevich Tebetev (1924-2011), viewed from the perspective of its sociocultural origins. The artistic path of the artist took place at the intersection of two intertwined cultures: patriarchal culture of the Ob Ugrians and the culture of Soviet official circles. M. A. Tebetev quite organically infused both cultures. It may seem that his visual art is characterized by propensity for the naive style. However, such assessment in many ways devaluates analysis of the content of artist's paintings. Therefore, certain alienation from the excessive narrow-focus art discourse can propel the analysis of his works to a different, general cultural level. The crucial role in this research is played by the works of such theoreticians as P. Tillich, Dvořák, A. Hauser, and V. N. Prokofiev, which outlined the theoretical and methodological framework for this article. The sources for this research became the works of M. A. Tebetev, exhibition catalogues, and reproductions of his paintings, as well as writings dedicated to his works. The main conclusion consists in the thesis that the works Of M. A. Tebetev feature the attributes of visual historical-ethnographic sources. The evolution of Russian painting from photographic accuracy towards latent iconographic simplicity and open archetypical paganism reflects profound changes in the worldview of the late XX – early XXI centuries.
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Fiorani, Francesca. "The Colors of Leonardo's Shadows." Leonardo 41, no. 3 (June 2008): 271–78. http://dx.doi.org/10.1162/leon.2008.41.3.271.
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The author examines Leonardo da Vinci's lifelong interest in the depiction of blurred, colored shadows from the point of view of painting technique and optics. She analyzes Leonardo's refinement of the oil technique to capture the instability of colored shadows from the early Annunciation of 1472–1473 and examines the artist's theoretical writings on shadows from the 1490s onward. The author shows how Leonardo analyzed the blurred edges of colored shadows with the geometric rigor that earlier authors afforded only to the clear-cut edges of astronomical shadows. She argues that the very kind of shadows that captured Leonardo's attention indicates his underlying pictorial concerns, despite the fact that his instructions often seemed directed toward teaching a way of seeing rather than a way of painting.
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McLEOD, KEMBREW. "‘*1/2’ a critique of rock criticism in North America." Popular Music 20, no. 1 (January 2001): 47–60. http://dx.doi.org/10.1017/s0261143001001301.
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As a particular type of gatekeeper, rock critics play a significant role in shaping the representations of artists for an admittedly small, but influential, population, as well as establishing an artist's place in music history. In Sound Effects, Simon Frith (1983) maintains that rock critics are ‘opinion leaders’ and are the ‘ideological gatekeepers’ of the community for which they write. Additionally, I argue that rock critics function as Gramscian ‘organic intellectuals’ who articulate the ideas held by the population of which they are a part (Gramsci 1971, pp. 5-14). The community that rock critics represent and speak for is made up of an overlapping network that comprises those connected with college radio, record collectors, local music scene participants, musicians and various record company employees, among others. Frith (1996, p. 18) argues in Performing Rites that if ‘social relations are constituted in cultural practice, then our sense of identity and difference is established in the process of discrimination’. By understanding the ways in which evaluations are made within the communities that rock critics are a part of, we can gain a better understanding of the communities themselves. Because there are no sustained scholarly writings that examine rock criticism in North America from a historical, sociological or communicative perspective, it is important to begin examining the profession of the rock critic, as well as the discourse generated by rock criticism.
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Stong, Jesse. "Writing as a Tool for Transformation." Canadian Review of Art Education: Research and Issues / Revue canadienne de recherches et enjeux en éducation artistique 42, no. 2 (May 27, 2016): 41. http://dx.doi.org/10.26443/crae.v42i2.3.
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The author (Social Worker, Art Educator, Theatre Artist) discusses the creation and evolution of the Identity Writing workshop; a life writing exercise that helps students, artists, and teachers integrate their personal/political experiences of change into meaningful and authentic artistic expressions. Reflections stemming from the junctions between the author’s personal and professional lives provide compelling insights into moments of transformation through art-making. A simple writing activity is included for new, emerging, or established artists and creative teachers.
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Rojewski, Oskar Jacek. "“Quien será un gran pintor...” Análisis de las condicionantes y de las capacidades necesarias para ser artista según Durero." Revista de Humanidades, no. 42 (May 4, 2021): 59. http://dx.doi.org/10.5944/rdh.42.2021.25543.
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Resumen: La historiografía artística de la Edad Moderna, plasmada en tratados, paragonae, discursos y correspondencias entre humanistas, permite a los historiadores del arte reconstruir y analizar distintos aspectos de la producción artística italiana de esa época. En el caso de los territorios del Norte de Europa, la ausencia de esta documentación no permite precisar con claridad de detalle fenómenos análogos para los pintores flamencos o acerca de la llamada escuela alemana hasta las primeras décadas del siglo XVI. La poca documentación conservada imposibilita una definición profunda de los aspectos teóricos y estéticos ligados a la producción de los artistas. Además, la estructura gremial del Norte disuadía el proceso de individualización de los artistas. Alberto Durero, artista vinculado a la corte de Maximliano I y posteriormente a la corte de Carlos V, se considera el primer autor de tratados teóricos sobre la creación artística al Norte de los Alpes. Gracias a sus viajes a Italia, Durero entró en contacto con las corrientes de pensamiento acerca de la teoría del arte, que le llevaron a redactar varias publicaciones: Proyecto para el tratado sobre la pintura(1508-1513), Los cuatro libros sobre medidas. Instrucciones de medir con compás y regla(1525) y Cuatro libros sobre las proporciones humanas (1528). El objetivo de este estudio es analizar los tres tratados mencionados con una atención especial a las recomendaciones del autor respecto a la formación del artista. A partir del corpus dureriano, traducido por Bialostocki en 1954 ,este estudio permitirá revisar la difusión y aplicación de las sugerencias en el ámbito de los artistas durante las primeras décadas del siglo XVI.Abstract: The artistic historiography of the Modern Age, formed by theoretical treatises, paragonae, speeches and correspondence between humanists, permit the Historians of art to reconstruct and to analyse various aspects of Italian artistic production. In the case of Northern Europe, the absence of that kind of documentation does not allow to precise clear analogous phenomena for Flemish painters or for German school, until the early decades of the sixteenth century. Not much preserved documentation makes impossible to define well theoretical and aesthetic aspects relate to the artistic production. Besides, the guild structure on the Northern Europe dissuades the process of artists individualization. Albrecht Durer, connected to the court of Maximlian I and to the Charles V court artist, is considered as the first author of artistic theoretical treaties on the North of the Alps. Thanks for the trip to Italy, Dürer came into contact with modern art theory, which resulted in writing several treaties: Project for the Treatise on Painting (1508-1513), Four Books on Measurement. Instructions for Measuring with Compass and Ruler (1525) and Four Books on Human Proportion (1528). The aim of this study is to analyse the three mentioned treaties with special attention on the author's recommendations for appropriated formation of the artist. The base is the Durer´s corpus, translated by Bialostocki in 1954. This study will review the dissemination and implementation of Durer´s suggestions for artists during the first decades of the sixteenth century.
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Sayers, Janet. "Creative States of Mind: Psychoanalysis and the Artist's Process by Patricia Townsend, and: The Outwardness of Art: Selected Writings of Adrian Stokes ed. by Thomas Evans." American Imago 77, no. 4 (2020): 809–15. http://dx.doi.org/10.1353/aim.2020.0039.
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Spector, Buzz, and John Wilde. "Artists' Writings." Art Journal 48, no. 4 (1989): 349. http://dx.doi.org/10.2307/777020.
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Spector, Buzz. "Artists' Writings." Art Journal 49, no. 4 (December 1990): 348–55. http://dx.doi.org/10.1080/00043249.1990.10792717.
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Protopapa, Efrosini. "A Choreographer's Score: Fase, Rosas Danst Rosas, Elena's Aria, Bartók." Dance Research Journal 47, no. 2 (July 27, 2015): 80–84. http://dx.doi.org/10.1017/s0149767715000236.
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In the past decade, a growing discourse has developed among choreographers, dance artists, and their collaborators, who are eager to articulate their processes, practices, and working methods through different types of writing and publication. Artists’ books, objects, and online platforms—from Thomas Lehmen's Schreibstück (2002) and FUNKTIONEN tool box (2004), to BADco's Whatever Dance Toolbox (2011) in collaboration with Daniel Turing, and the Forsythe Company's project Motionbank (2010–2013)—have contributed to what we may describe today as the “publishing of choreographic ideas,” as proposed by Scott deLahunta (2015). Jeroen Peeters, editor of Are We Here Yet? (2010), which focuses on the work of Meg Stuart, emphasizes the discourse intrinsic to dance making, while Mårten Spångberg invites artists to “write their own history,” with projects such as The Swedish Dance History (2009–today), to give but one example. Alongside these developments, practice-as-research, which involves dance making and writing, is becoming more established within university settings; and presentations of/on artistic research are now common in conferences, symposia, and other sites of knowledge exchange. We could argue then that the development of an artist's theory of knowledge, which scholars such as Susan Melrose (2007) have been encouraging since the early 2000s, is now well under way both within and without the academy.
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Fine, Abigail. "Beethoven's Mask and the Physiognomy of Late Style." 19th-Century Music 43, no. 3 (2020): 143–69. http://dx.doi.org/10.1525/ncm.2020.43.3.143.
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This article shows how discourse on Beethoven's late works has been underpinned by material fascination with the composer's body, most apparent in the cult veneration of his dying face, which was commodified in the form of his mask. From 1890 to 1920 in Germany and Austria, Beethoven's mask became a ubiquitous item of decor for the music room, a devotional object linked with the face of Christ in the popular imagination. This mislabeled “death” mask was cast during Beethoven's lifetime, a stoic visage that put a face to the legend: that is, to the legendary 1868 account by Anselm Hüttenbrenner that recounted Beethoven's death as a heroic battle with the storm clouds. Two conflicting physiognomies—the stubborn Napoleonic commander and the suffering Christ-like redeemer—led to a critical divide that saw late works as either transcendent of, or marred by, suffering. When we unmask a prehistory of late style, we see how modern discourse on lateness still orbits around this tension between the spiritual and material, between transcendence and decay, and how this critical tradition crystallized around Theodor W. Adorno's stark resistance to the transcendent deathbed that was epitomized by the writings of Ludwig Nohl. Lateness, then, has a hidden backbone in a popular fascination with the artist's body. This same fascination led many to imagine Beethoven's final compositions as almost tangible traces of his person, hearing his late Adagios as “grave-songs,” as the composer's dying voice.
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Almeida de Mello, Júlia. "Mediações poéticas sobre o corpo gordo de Elisa Queiroz e Fernanda Magalhães." ouvirOUver 13, no. 1 (May 25, 2017): 256. http://dx.doi.org/10.14393/ouv20-v13n1a2017-19.
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O presente artigo traz uma interseção entre o projeto poético das artistas brasileiras Elisa Queiroz e Fernanda Magalhães. Ambas possuem produções autorreferenciais que permitem reflexões acerca da corpulência. As artistas provocam os espectadores através de trabalhos feitos em diferentes suportes e superfícies e parecem tensionar as normas e padrões estéticos vigentes na sociedade contemporânea. Para a leitura dos projetos, são considerados os escritos de autores como Donna Haraway (2009), Chantal Mouffe (2007), Whitney Chadwick (2001) e André Rouillé (2005), que tratam de gênero, política e práticas artísticas como política. Os resultados revelam a possibilidade em realizar uma conversa entre as obras das artistas, partindo dos seus corpos para alinhavar discursos concernentes a identidade, gênero e poder.
ABSTRACT
This article provides an intersection between the poetic project from Brazilian artists Elisa Queiroz and Fernanda Magalhães. Both have self-referential productions that allow reflections about corpulence and seem to tighten standards and aesthetic standards prevailing in contemporary society. For the reading of the projects are considered the writings of authors such as Donna Haraway (2009), Chantal Mouffe (2007), Whitney Chadwick (2001) and Andre Rouillé (2005), dealing with gender, political and artistic practices as politics. The results reveal the possibility to hold a conversation between the artists works starting from their bodies to tack speeches concerning identity, gender and power.
KEYWORDS
Art, Elisa Queiroz, Fernanda Magalhães, body, gender.
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Honey, Maureen. "Women and Art in the Fiction of Edith Wharton." Prospects 19 (October 1994): 419–50. http://dx.doi.org/10.1017/s0361233300005172.
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Edith Wharton's treatment of the artist has received considerable critical attention, particularly in light of her focus on male artists and the disparity between her early short stories that are dominated by tales about artists and her novels that center on other subjects. Some of these studies have looked at the writer as artist and Wharton's views on the art of writing. While such a focus can be justified by the numerous writers who people Wharton's fiction, it is instructive to examine other dimensions of her reference to art and artists, especially painting, as a way of illuminating the commentary on women's roles that pervades Wharton's work. Like other writers of her era, Wharton constructed many narratives around creative artists or linked her main characters to artistic endeavors in order to interrogate American culture, its materialism, its devaluation of art, and its restrictive sphere for women. It is my contention, however, that Wharton's concern with development of the female artist was subsumed in some of her novels by rhetorical techniques that used art as a sounding board for her social critiques. Specifically, she constructed pivotal scenes around paintings in the narrative and made subtle reference to prominent themes in Victorian artwork as ironic counterpoint to and illumination of the story being told. In this essay, I explore the way in which Wharton drew on artistic representations of women with deep cultural resonance for her audience that served to underscore her critique of Victorian mythology and to garner sympathy for the characters victimized by that mythology.
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Ayupova, Kamilya F., Maria A. Kozyreva, and Tatyana I. Akimova. "The Artist and His Oeuvre in G. K. Chesterton’s Biography: G. F. Watts." Journal of History Culture and Art Research 6, no. 5 (November 28, 2017): 310. http://dx.doi.org/10.7596/taksad.v6i5.1259.
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<p>The article offers a close analysis G. K. Chesterton’s largely overlooked biographical essay <em>G. F. Watts </em>(1904). The authors study the genre specifics of the biography of an artist, as well as the problems of biographical theory. In <em>G. F. Watts</em>, which the authors define as the literary portrait of the artist, Chesterton traces his subject’s personality through his art. He views Watts’ creativity through his Victorianism. Analyzing the artist’s oeuvre Chesterton also reveals his own artistic methods, which he would later use in his novels. Being the critic’s early work, the book allows a closer view of the shaping of his philosophical ideas and artistic principles, which would take form in his later writings. The authors come to the conclusion that, for all its undeniable merits, the biography in a whole is rather subjective, and hence, its value lies in Chesterton’s general insights on fine art. </p>
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García, Esteban, and David Whittinghill. "Art and Code: The Aesthetic Legacy of Aldo Giorgini." Leonardo 44, no. 4 (August 2011): 309–16. http://dx.doi.org/10.1162/leon_a_00207.
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In 1975 Aldo Giorgini developed a software program in FORTRAN called FIELDS, a numerical visual laboratory devoted entirely to art production. Working extensively as both artist and scientist, Giorgini was one of the first computer artists to combine software writing with early printing technologies, leaving an aesthetic legacy in the field of the digital arts. His individual process was innovative in that it consisted of producing pen-plotted drawings embellished by the artist's hand with painting, drawing, and screen-printing. This paper is the product of a multi-year study of Giorgini's primary source materials provided by his estate. The authors examine the methods used by Giorgini during the 1970s that allowed him to create computer-aided art, in the hope that publishing this work will ensure that future generations of digital artists, technologists and scientists can be educated in Giorgini's contribution to the history of the digital arts.
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Henderson, Linda Dalrymple. "Editor's Introduction: I. Writing Modern Art and Science – An Overview; II. Cubism, Futurism, and Ether Physics in the Early Twentieth Century." Science in Context 17, no. 4 (December 2004): 423–66. http://dx.doi.org/10.1017/s0269889704000225.
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This issue of Science in Context presents a sampling of current work by art historians examining modern artists' engagement with science as well as the relationship of photography to both science and art. The essays' topics span the mid-to-later nineteenth century to the 1960s and, thus, in a series of case studies provide an introduction to aspects of artistic modernism. Indeed, it is impossible to understand fully many of the radical innovations of modern art without some knowledge of an artist's cultural context, and developments in science have often played a critical role in defining that milieu. Collected together, these essays also represent methodological models of historical work on art and science that serve as useful examples in this developing field.
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Damm, Thomas Teilmann. "Overgangens kunst. Modernitet og skepsis i Richard Wagners æstetik." K&K - Kultur og Klasse 39, no. 111 (June 25, 2011): 113–25. http://dx.doi.org/10.7146/kok.v39i111.15759.
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TRANSITIONAL ART MODERNITY AND SCEPTICISM IN RICHARD WAGNER’S AESTHETICSRichard Wagner is unique among creative artists in that he published copious volumes of theoretical writings to accompany and explain his artistic work. The present paper probes these writings and asks why Wagner should feel the need to constantly explain and justify himself. The answer is found to lie, not so much in the psychological make-up of the artist, as in the very kernel of his aesthetic impulse: the sceptical rejection of tradition and convention, and the reclaiming of an authentic, “purely human”, artistic form. Wagner inhabits a position of ambivalent modernity: he demands the destruction of old totalities of meaning while simultaneously structuring new ones. Nietzsche branded it “the lie of the great style”, a more recent and sympathetic commentator (Richard Klein) has spoken of Wagner’s “pluralist modernism”. The present paper agrees with Theodor W. Adorno that the “total work of art” is indeed a “phantasmagoria” but finds that Wagner, in his theorizing about it, lays bare certain inescapable conditions, risks as well as possibilities, of art and expression in the modern world.
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Alban, Gillian M. E. "Struggling, Stupendous Female Artistic Aspirations." Kadın/Woman 2000, Journal for Women's Studies 19, no. 2 (October 10, 2017): 32–53. http://dx.doi.org/10.33831/jws.v19i2.251.
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Women’s struggles to express themselves artistically, whether in the visual arts or in literature, has never been easy. This writing evaluates women’s creative efforts, from Virginia Woolf’s fictional Judith Shakespeare, to the playwrights Aphra Behn and Elizabeth Inchbald, whose plays scarcely outlived their own era. In the twentieth century, Woolf shows Lily Briscoe painting despite discouragement, and Margaret Atwood and A.S. Byatt’s female characters describe similar artistic struggles to achieve success. The real-life efforts of Sylvia Plath show her creating through the traumas of her life, while Frida Kahlo undertakes a parallel struggle to create her amazing paintings through dreadful pain. These two consummate artists, Plath and Kahlo, immortalize woman’s agonizing self-expression in their verbal and visual portraits, overcoming considerable obstacles. This work presents the historical toils and fictional accounts of women artists in their attempts at artistic self-expression, proving that such efforts come at a high cost to the artist even to this day.
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Alban, Gillian M. E. "Struggling, Stupendous Female Artistic Aspirations." Kadın/Woman 2000, Journal for Women's Studies 18, no. 2 (October 10, 2017): 32–53. http://dx.doi.org/10.33831/jws.v18i2.251.
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Women’s struggles to express themselves artistically, whether in the visual arts or in literature, has never been easy. This writing evaluates women’s creative efforts, from Virginia Woolf’s fictional Judith Shakespeare, to the playwrights Aphra Behn and Elizabeth Inchbald, whose plays scarcely outlived their own era. In the twentieth century, Woolf shows Lily Briscoe painting despite discouragement, and Margaret Atwood and A.S. Byatt’s female characters describe similar artistic struggles to achieve success. The real-life efforts of Sylvia Plath show her creating through the traumas of her life, while Frida Kahlo undertakes a parallel struggle to create her amazing paintings through dreadful pain. These two consummate artists, Plath and Kahlo, immortalize woman’s agonizing self-expression in their verbal and visual portraits, overcoming considerable obstacles. This work presents the historical toils and fictional accounts of women artists in their attempts at artistic self-expression, proving that such efforts come at a high cost to the artist even to this day.
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Haselwanter, Oriana, and Marja Soila-Wadman. "Design thinking and artistic interventions - tools for understanding and developing organizational creativity?" Swedish Design Research Journal 12 (June 28, 2016): 32–42. http://dx.doi.org/10.3384/svid.2000-964x.14232.
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Organizations in both the private and public sectors need to find new, creative ways of handling challenges in the complex environments of global competition. Engaging creative professionals like designers and artists - with the aim of developing organizational creativity as a strategic tool - has attracted a lot of interest in different kinds of organizations.In our study, we followed a weekly intervention process led by an artist, within a trade union. The union wanted to bring change to its working processes, with the ultimate goal of increasing membership numbers.The study is based on qualitative methods inspired by ethnography. Creativity, design thinking and artistic intervention literature form the main theoretical framework. Between the members of the workgroup and the artist, we have noticed a lot of discontent and differences in ways of understanding business versus creative goals.We propose that knowledge of design processes, conceptualised in design thinking writings, can help to communicate what is going on during an artistic intervention process, thus narrowing the gap between different understandings. However, a certain amount of friction and conflict will be both necessary and desirable during a creative process.
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Mocherniuk, Nataliia. "To apprehend and to retain a considerable length of time: the memoirs of Sviatoslav Hordynsky." LITERARY PROCESS: methodology, names, trends, no. 16 (2020): 90–96. http://dx.doi.org/10.28925/2412-2475.2020.16.13.
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The paper covers the subject and genre varieties of memoirs by Sviatoslav Hordynsky. Such genres are highlighted as the memoirs itself, travel writing, diary notes, portrayals of famous artists, letters, obituaries, oral stories, interviews with the author. The main art subject-matter in the memoirs has been accentuated. The travel writing was practiced in his early works, the memories of the Western Ukrainian art processes of the interwar period pertain to the creative period in emigration. The narrative features of the artist’s memories have been traced. Hordynsky’s memoir texts are perceived as an independent proof supported by art history facts. These are not pieces of writing for “own cheek”, albeit works for the future with an intention to record important events and outstanding names for the Ukrainian culture. It has been observed that these memories are not characterized by a fragmentary composition and large forms, but on the contrary, the author structures logical texts, elaborates on compositional links, usually analyzes in small non-fiction forms. The writer practices an autobiographical attitude of testimony rather than confession, so the subjectivism of narration is not expressive. There is a great intermedial potential of texts. Sviatoslav Hordynsky’s memoirs can serve as a documentary material for art history and reveal the secrets of the artist and writer’s work. These texts clarify the intentions of the artist’s appeal to literature and represent a holistic vision of the artist’s personality.
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Muhamad, Noor A'yunni, Azian Tahir, and Noor Enfendi Desa. "Art Appreciation: The Expression of Etching in Printmaking through Mohd Fawazzie Arshad’s Artwork." Idealogy Journal of Arts and Social Science 6, no. 1 (April 28, 2021): 35–42. http://dx.doi.org/10.24191/idealogy.v6i1.252.
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In art world, Intaglio is one of the printmaking techniques that focuses on incising metal surfaces such as copper, steel or zinc plate. By using intaglio technique in producing printmaking artworks, that includes etching, drypoint or even mezzotint approach, the only thing that matters is the development of form through the understanding of lights and dark which leads to the exploration of value in art and design. On 14th September 2020, an artwork exhibition titled SI+SA was held at Galeri Shah Alam, with the aim of this exhibition is celebrating art from the different backgrounds of artistes during Covid-19 pandemic phenomenon. Mohd Fawazzie Arshad is one of the featuring artistes who participated in this exhibition and presented his remarkable intaglio artwork which emphasises the value of element and principle in arts. In this writing, the author was granted with the opportunity to conduct an interview with Mohd Fawazie Arshad to discuss the insight in his artworks and how does his artwork embark a different perspective in intaglio printmaking. This interview scrutinised on what are the elements that inspired the artist to produce his artwork and what are the references that artist has used in terms of developing idea and style in his artwork making. In this writing also, Mohd Fawazie Arshad will also explain the process of his artwork making based on his studio practises. It is important to understand the artist’s studio environment in order to explore the techniques and medium which has been practised by the artist in his artwork making. Findings from this research will produce a complete exclusive write up about Mohd Fawazie Arshad past and present artwork. It will enliven the art industry and academic writing especially in the field of Malaysian Printmaking art scene.
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Sereda, Oksana. "«True art» — «the need for the soul to express itself»: Hryhoriy Smolsky’s publicism." Proceedings of Research and Scientific Institute for Periodicals, no. 9(27) (2019): 422–36. http://dx.doi.org/10.37222/2524-0331-2019-9(27)-26.
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The article deals with the journalistic achievements of the Ukrainian artist, local historian and publicist Hryhoriy Smolsky, analyzes the problems and genre of his articles in the Lviv press during the 1920s and 1970s. The long and thorny path of H. Smolsky to art was revealed. It is highlighted that this artist managed to restore his historical and artistic studios in Lviv only at the age of 28 years due to the then military situation in the Western Ukraine. It is emphasized that H. Smolsky was one of the five first students of the O. Novakivsky Art School and this was the defining moment in the formation of his artistic priorities. It became clear that the young artist’s collaboration with the Lviv press began in the late 1920s — he was part of the editorial board of «Literaturni Visti» and published two reviews on its pages. His publications about the history of the beginning and activities of the O. Novakivsky’s Art School in the «Novy Chas» newspaper and the «Svit» journal were rediscovered. It is accentuated on another facet of H. Smolsky’s talent — the writing of travel notes, which appeared in the 1930s in the «Dilo» and «Nazustrich» periodicals. It is highlighted that these features comprehensively revealed the artist’s journalistic talent. The H. Smolsky’s articles written during the German occupation, specifically in the «Lvivski Visti» diaries, were also introduced into the scholarly circulation and analyzed. It is revealed that with the advent of Soviet rule, the artist kept «silent» for 15 years and was not present in artistic life. A number of publications by H. Smolsky of the late 1950s and 1970s were studied. They prove that the author was able to maintain his socio-cultural position even in the conditions of the rigid ideological framework. The artist’s significant contribution in illuminating the history of the O. Novakivsky Art School’s achievements is highlighted. It is summarized that H. Smolsky is a talented publicist, and although his journalistic legacy (rediscovered today) has only 22 articles, those are an important source of study of the Ukrainian artistic environment of Galicia in the 1920s–1940s. Key words: H. Smolsky, journal, article, art, O. Novakivsky Art School.
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Speight, Elaine, and Charles Quick. "“Fragile Possibilities”: The Role of the Artist’s Book in Public Art." Arts 9, no. 1 (February 27, 2020): 32. http://dx.doi.org/10.3390/arts9010032.
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Writing during the millennium, not long after the installation of Antony Gormley’s The Angel of the North, artist and publisher Simon Cutts criticised the dominance of monumentalism within the field of public art. Decrying the lack of critical engagement offered by public sculpture, he called for an alternative approach, focussed upon process rather than product. Almost two decades later, it could be argued that mainstream understandings of public art have expanded to incorporate more ephemeral approaches, such as performance, sound art and social interventions. Within this context, the artist’s book has come to occupy a significant role within the production, dissemination and interpretation of such work. This has been accompanied by a growing interest in the artist’s book as a public artwork in its own right. These two distinct yet interrelated approaches form the subject of our essay. Drawing on examples of artists’ books held in the Special Collections at Manchester Metropolitan University and the library collections at Henry Moore Institute as well as from our own curatorial practice, we argue that, far from ancillary artefacts, artists’ books play a pivotal role within the production of public art and provide an important space in which to critically engage with the complexities of place.
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Marie, Farzana. "Modernity, Sexuality, and Ideology in Iran." American Journal of Islam and Society 30, no. 2 (April 1, 2013): 123–25. http://dx.doi.org/10.35632/ajis.v30i2.1141.
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Modernity, Sexuality, and Ideology in Iran represents a significant momentin artistic resurrection and re-vision. It examines the life and work of a discardedIranian female popular artist known as Shahrzad (b. 1946). Throughcritical attention previously denied to Shahrzad, Talattof honors her creativecontributions and, by extension, recognizes and honors artists like her whohave been marginalized for the last several decades, their art labeled as“shameful” or “profane” due to their unacceptable sexual roles as dancers,singers, and actresses. Through the lens of her life and legacy, he argues thattrue modernity can never fully emerge without space for the discussion ofsexuality – especially that of women.The author takes a risk in offering critical analysis of this artist’s life andwork, for Shahrazad is recognized neither in the canon, nor by the giants ofcommitted literature in Iran, the dominant style when she was writing in the1970s. While detailing and noting the significance of her accomplishments,he asks why she has not been so recognized and locates that question along aline of inquiry as regards Iran’s “missing” modernity. He asks why a nationwith such a long tradition of the scientific and socio-cultural accomplishmentsseems suddenly stuck in a medieval mindset, selectively applying modernityin such a way that it serves only to fortify the establishment in its extremepolicies – through such “modern” means as technology ...
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Bukareva, Natalja J. "The theme of relations between the artist and power in Sergey Maximov's dilogy Denis Bushuyev and Denis Bushuyev's Rebellion." World of Russian-speaking countries 1, no. 7 (2021): 62–72. http://dx.doi.org/10.20323/2658-7866-2021-1-7-62-72.
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This article examines the unique solution to the problem of the relationship between the creative personality and the state in the dilogy of the émigré writer Sergei Maximov. The author believes that this question is axiological, as it is related to the moral choices of the artist.The relationship between the artist and the authorities is directly linked to the historical situation and the political regime. The novels show different characters through the dialogue between the authorities and the artist. The choice of heroes is largely due to the Stalinist era, which totally restricted the artist's freedom of personal expression. One variant of the characters' behaviour is toadapt to the regime, with the consequent loss of individuality, writing to social order, creating stereotyped socialist-realistic texts, participating in establishing the «Stalinist myth», but living comfortably in the material world and without state repression. Maksimov speaks about the degradation of the artistic level in socialist realistic works that follow an invariant model, which results in the unification of creative individuality. Another important issue to the novelist is the artist's ethical authority, the idea of the moral responsibility of the writer strengthening the position of the criminal regime through his works. Alternatively, one can choose to find freedom of expression, opposition to power, leading to the destruction of the artist by the system. What both choices have in common is that it is a relationship of initially unequal forces, so their dialogue is not constructive.
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Wildgoose, Jane. "FINIS: Objects of the End of Time, Afterlife Writing and Situation of Graves." European Journal of Life Writing 9 (July 6, 2020): LW&D313—LW&D343. http://dx.doi.org/10.21827/ejlw.9.36912.
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Focusing on Hogarth’s last graphic work, The Bathos, this essay examines the ways in which the vanitas themes it represents are bound up with events that occurred towards the end of the artist’s life. Drawing on life writing (including elements of Hogarth’s autobiographical notes) that accompanied the cataloguing of his works in the years following his death, it discusses a number of controversies that drew scathing criticism of his work, his character, his politics, his ideas about English art and his standing as an artist, during his final years. Focusing on textual and visual images employed by Hogarth’s detractors to belittle him, it explores how these metaphors may be connected with the iconography he employed in The Bathos, and the extent to which the work may be ‘read’ as a representation of the artist himself, and his view of his reputation at the end of his career. Contrasting the pessimistic image Hogarth presents in his final work with the afterlife writing of his achievements by his contemporaries, it concludes with reflection on the role that his grave continues to play in celebrating his life and his status as one of the most talented and innovative artists of the eighteenth century.
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Zultanski, Steven. "Invisible language: Metaphors for networked technology in artists’ writings on media." Journal of Writing in Creative Practice 13, no. 1 (January 1, 2020): 13–25. http://dx.doi.org/10.1386/jwcp.13.1.13_1.
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Recently, a number of artists and theorists have been writing about the algorithmic, infrastructural and economic aspects of the contemporary media world. Such writing shifts the conversation about social media away from considerations of novel discourse and instead places emphasis on the power structures, profit motives and political machinations that undergird networked reality. Social media platforms are designed to feel like autonomous arenas of free signification, rather than highly controlled and tightly monitored corporate/governmental spaces. In other words, these platforms make the Internet feel like it is built on discourse, rather than on code, servers, fibre-optic cables and the hyper-exploited labour involved in the mining of rare metals. This article examines writings by Hito Steyerl, Trevor Paglen, Jackie Wang and others to argue that artist-writers are using open-ended and flexible metaphors, along with other literary techniques, to articulate the connections between the largely invisible systems of code, surveillance and economics.
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Lvov, K. V. "The Artist’s Diary as a Portrait of Time: About the Diaries of M. Matyushin and K. Somov." Studies in Theory of Literary Plot and Narratology 15, no. 2 (2020): 462–71. http://dx.doi.org/10.25205/2410-7883-2020-2-462-471.
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The essay discusses the diaries of Russian artists of the first third of the 20 th century as a source for a study of their lives and opinions. The diaries of Mikhail Matyushin (1911–1934) and Konstantin Somov (1917–1927) were selected as examples. The author shows different techniques of keeping a diary. Matyushin’s diary is a creative laboratory of an artist and mentor. Somov’s almost daily entries represent a chronicle of his life. His experience is also related to his emigration to Paris. Both diaries were not to be published. Therefore, one can interpret them in terms of a “sincere and frank reports.” Overall, these autobiographical writings allow understand their creative impulses and their idea of artistic creativity as such. They also uncover the circles of their relationships, their preferences and dislikes.
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Dhakal, Lekha Nath. "Black Art: An Aesthetic Transformation for Freedom and Justice." KMC Research Journal 3, no. 3 (June 13, 2019): 91–99. http://dx.doi.org/10.3126/kmcrj.v3i3.35716.
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This paper attempts to explore African Americans’ world view and its roots in Black Aesthetics. It also reveals that Black art is an aesthetic transformation of African Americans for freedom and an expectation of a higher level of life. Supporters of Black Aesthetics appealed to black artists to establish a new standard of judgment and beauty based on African myths, spirituality, belief systems and music in opposition to Western aesthetic. However, the Black Aesthetics had its origins in those first artistic resonances of black slaves in the form of spirituals, coded singing and signifying, and later in writings. Black aesthetic theory in the United States traces its origin to the literature of slavery and freedom. The slave narratives depict African-Americans’ artistic and academic labors to show their humanity and critical moments in the development of Black aesthetics. Writing about their own communities in order to establish a sense of self-worth and claiming their identities as African Americans are crucial elements in the works of many Black writers.
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Ivanytska, L. "LIFE PATH AND CREATIVITY OF PROPERZIA DE ROSSI IN THE CYCLE OF CONCEPTS “MEDIEVAL WOMAN”, “ART”, “SOCIETY”." Bulletin of Taras Shevchenko National University of Kyiv. History, no. 139 (2018): 35–41. http://dx.doi.org/10.17721/1728-2640.2018.139.06.
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The article raises questions about the role and place of women in medieval society and the artistic space. The possibilities for realizing the artistic potential of female artists and female sculptors are explored. The historiography of the outlined problem is analyzed. It is noted that the main obstacles to full creative self-realization of the female artists were numerous social stereotypes, limited access to professional artistic education and artistic practice, lack of social and economic independence, social discrimination and harassment in the process of becoming part of the androcentric professional elite. An example of an analysis of the way of life and the creative work of the first famous sculpture woman of the Renaissance Properzia de Rossi era demonstrated the intolerance of the medieval society and the artistic community to the possibility of self-realization of the medieval female artist as a sculptor. The main source for research is the monumental work of the Italian architect, theorist and first historian of art, Giorgio Vasari, «The Lives of the Most Excellent Painters, Sculptors, and Architects». Propperzia de Rossi is one of the four female artists whom Vasari is paying attention in his stories. The author of the article has shown that Vasari belted the biography of Propercia de Rossi, as he strengthened his contemptuous attitude to the mistress. Vasari used the life and work of de Rossi as an example of the fact that all women, albeit very talented and capable of creating interesting work, are not in a position to escape certain female character traits in their writings. Finally, Vasari recognizes the talent of Properzia de Rossi and states the lack of understanding and worthy support from the contemporary society. At the end of the article, the author concludes on the urgent need for a critical analysis of the rather tendentious present-day presentation of the history of the arts and the need to revisit previously unobserved gender aspects in canonical Western-European art.
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Mustaqim, Karna. "drawing perform’s: An Artistic research." International Journal of Creative and Arts Studies 5, no. 1 (October 29, 2018): 55–66. http://dx.doi.org/10.24821/ijcas.v5i1.2215.
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The determination of academic research on the field of the arts education troubling its own artistic practices. It was assumed by clarifying the objective and method of doing the research, art was believed would be contributing to a greater intellectualisation, otherwise it is just an art practice without justification from science, and therefore no contribution worth to human knowledge. Since it contrastive to the nature of artistic practice embodied in the arts itself, which unfortunately not even realize by the artist his/herself. Whilst it is well said by Joseph Kosuth (1971) that: “the artist, not unlike a scientist for whom there is no distinction between working in the laboratory and writing a thesis, has now “to cultivate the conceptual implications of his art propositions, and argue their explication.” This paper is about explicating the writer as the artist himself who done the livedexperience of drawing performs as the research processed. Artists use drawings an activity or a way of understanding the meaning of who we are and how we lived in the world. However, the objective of this research is an exceptional one, it searches for the dual experiences of the researcher as the artist as the instrument who producing the drawing and as the spectators himself welcoming and appreciating as he/she reveals him/ herself capable of wondering. In a particular way, this research is to show that through the making of drawings, the drawing performs lived-experience, that it can be another paradigm so called art-based or artistic research.
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Budiawan, Hery, and Yusup Sigit Martyastiadi. "The Explanation of Life Experience Reflection as Ideas of Artistic Research." International Journal of Creative and Arts Studies 7, no. 2 (December 2, 2020): 145–52. http://dx.doi.org/10.24821/ijcas.v7i2.4658.
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In Indonesia's artistic research, especially for art creation research, many art creative ideas are born from personal experience; however, the artists' subjectivity often constrains them in expressing these experiences. This condition triggers a lack of scientific publications relating to explaining life experiences that underlie creating artwork. This article describes the process of explaining the life experience reflection into the idea of creating artworks. This method is needed to explain emotional triggers into objective knowledge as a scientific research manuscript. This artistic research employs a practice-led research approach. The analysis and discussion are carried out through reflection between ideas of creation, artworks, reviews of existing artworks, and related literature. Researchers convince that the practice-led research methodology is very strategic to boost the quality of writing artistic articles, dissemination, and presentation of arts. Also, this methodology is expected to overcome the gap between art creation and scientific publications. This study offers steps to uncover subjective experiences into objective research. This artistic research can be used to conquer the subjectivity in art creation and the imbalance between scientific publications and the writing of art creation practices. Penjelasan Refleksi Pengalaman Hidup sebagai Gagasan Penelitian Artistik ABSTRAK Dalam penelitian artistik di Indonesia, khususnya untuk penelitian penciptaan seni; banyak ide penciptaan seni yang lahir dari pengalaman pribadi, namun mereka sering terkendala oleh subjektivitas seniman dalam mengekspresikan pengalaman ini. Hal ini memicu kurangnya publikasi ilmiah yang berkaitan dengan penjelasan pengalaman hidup yang mendasari gagasan penciptaan karya seni. Artikel ini menjabarkan proses penjelasan refleksi pengalaman hidup ke dalam gagasan penciptaan karya seni. Metode ini diperlukan untuk menjelaskan hal yang subjektif ke dalam pengetahuan yang lebih objektif sebagai naskah penelitian ilmiah. Penelitian artistik ini menggunakan pendekatan penelitian yang didorong oleh praktik (PLR). Analisis dan diskusi dilakukan melalui refleksi antara ide-ide penciptaan, karya seni, ulasan karya seni yang ada, dan literatur terkait. Para peneliti yakin bahwa metodologi penelitian yang didorong oleh praktik sangat tepat guna dalam meningkatkan kualitas penulisan artikel, publikasi dan penyajian seni. Selain itu, metodologi ini diharapkan dapat mengatasi kesenjangan antara praktik penciptaan seni dan publikasi ilmiah. Penelitian ini menawarkan langkah-langkah untuk mengungkap pengalaman subjektif ke dalam penelitian ilmiah yang objektif. Penelitian artistik ini dapat digunakan untuk menjembatani antara subjektivitas dalam penciptaan seni dan ketidakseimbangan antara publikasi ilmiah dan penulisan praktik penciptaan seni.
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Bulavs, Vilnis. "Kārlis Cemiņš – mākslinieks un pedagogs." Scriptus Manet: humanitāro un mākslas zinātņu žurnāls = Scriptus Manet: Journal of Humanities and Arts, no. 12 (December 21, 2020): 89–113. http://dx.doi.org/10.37384/sm.2020.12.089.
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Kārlis Celmiņš (1894–1973) is one of the less famous Latvian artists. He was born in Cēsis as the fifth, the last child in his family, the only son. He received an artistic education at Stroganov School of Arts in Moscow. Still studying at this school, Celmiņš took part in the IV Exhibition of Latvian Art in Riga in 1914. After he had finished school, he was drafted into the Russian Empire’s army, where he was assigned a painter decorator of his regiment. Celmiņš returned to Latvia in 1918. After working as a teacher of drawing in Madona for two years, he moved to Jelgava. There he worked as a teacher of arts in Jelgava Classic Gymnasium. During the time of independent Latvia, Celmiņš actively took part in Jelgava’s artistic life. He regularly displayed his works at society’s “Zaļā Vārna” and other exhibitions and organized exhibitions himself together with students of the gymnasium. Celmiņš had many-sided artistic interests. He was not only painting and drawing but also doing graphics, applied arts, making silver jewelry, and writing poems in his leisure time. The monument devoted to the Latvian soldiers who fell in action in 1916–1917 was made after the artist’s project. Almost all works of the master were destroyed in the ruins of Jelgava during the war in 1944. Celmiņš felt very sorry about this loss. The artist and his wife and children moved to Dundaga after Jelgava was destroyed, but when the war was over, they settled in Tukums. There Celmiņš worked in a ceramics workshop as a decorator of ready-made plates and dishes. In 1946 the artist was invited to work at the School of Applied Arts in Liepāja. The rest of his life Celmiņš spent in this city. The artist painted portraits, landscapes, still-lifes, and decorative compositions with plants, flowers, and the sea all his creative life. He did his works with oil, watercolours, colour chalks, and pencil. The life of the free-thinking artist was not easy during the Soviet occupation. Many people did not understand the art of Celmiņš. At the end of his life, the master organised several personal exhibitions in Liepāja, Jelgava, Cēsis. Many interesting paintings of flowers done with watercolours, pastel, and colour oil chalks were displayed in his last exhibition, “Flowers” in 1973. Those were the paintings of gladioli, irises, calla lilies, and other flowers made during the last years of his life. Celmiņš died in Liepāja on 16 October 1973, leaving a wide range of works of his individual, unique style.
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Vargas Quiroz, Andrea Paola. "Me gustan tus ojos miopes (o del diálogo con Hélène Cixous para llevar al cuerpo, a la literatura, a la vida)." LA PALABRA, no. 25 (September 3, 2014): 143. http://dx.doi.org/10.19053/01218530.2877.
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El objetivo de este artículo es mostrar que la postura escritural de Hélène Cixous como práctica de la miopía, constituye el fundamento para la postura estética de la escritura del ver no viendo, cuyo efecto refractario fecunda la creación artística. El método comparativo pone en contacto el nacimiento de laescritura por la miopía, la epistemología desde el cuerpo de Ellie Epp (2005) y la naturaleza de la obra de arte de Maurice Blanchot (2012). Se concluye que para anclar la postura del ver no viendo de los artistas, es necesario mantener un equilibrio miope entre lo inconsciente y lo consciente en su relación con el lenguaje, el sujeto y la vida.Palabras clave: escritura, creación ar tística, miopía, epistemología desde el cuerpo.AbstractThe objective of this article is to demonstrate the writing position of Hélène Cixous as a myopic practice, which constitutes the foundation for an aesthetic of writing as seeing without seeing. The comparative method puts into contact the birth of writing through myopia, embodiment theory byEllie Epp (2005) and the nature of the work of art by Maurice Blanchot (2012). It is concluded that in order to root the position of seeing without seeing of artists, it is necessary to maintain a myopic equilibrium between the conscious and the unconscious, in its relation to language, subjectivity andlife. Key Words: Writing, artistic creation, myopia, embodiment.
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García Fernández, Sara. "La escritura de la aguja. Línea y sutura en la obra de Concha Romeu." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 26 (July 2, 2016): 42. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2016261413.
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La escritura de la aguja. Línea y sutura en la obra de Concha RomeuCon el objetivo de poner en valor la costura como técnica artística contemporánea, este artículo analiza a través de la obra de la artista Concha Romeu (Madrid, 1954) las dos bases que hacen del ejercicio de coser una forma de escritura: la línea y la sutura. La primera de ellas introduce el concepto de huella y la segunda nos conduce hacia una reflexión sobre la víctima.Palabras clave: Costura, escritura, huella, herida, víctima The writing of needle. Line and suture in the work of Concha RomeuIn order to value sewing as a contemporary artistic technique, this article analyzes through the work of the artist Concha Romeu (Madrid, 1954) the two basis that make sewing a way of writing: the line and the suture. The first one introduces the concept of trace, and the second leads us to the reflection on the victim.Key words: Sewing, writing, trace, wound, victim
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Goddard, Linda. "Artists’ writings, 1850–present: introduction." Word & Image 28, no. 4 (October 2012): 331–34. http://dx.doi.org/10.1080/02666286.2012.740177.
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Goddard, Linda. "Artists' writings: word or image?" Word & Image 28, no. 4 (October 2012): 409–18. http://dx.doi.org/10.1080/02666286.2012.740191.
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Spector, Buzz. "Artists' Writings: Twice-Told Tales." Art Journal 48, no. 3 (September 1989): 253. http://dx.doi.org/10.1080/00043249.1989.10792634.
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Fehlau, Fred. "Artists' Writings: Structure and Self." Art Journal 49, no. 3 (September 1990): 217–18. http://dx.doi.org/10.1080/00043249.1990.10792692.
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Porges, Timothy. "Artists' Writings: Structure and Self." Art Journal 49, no. 3 (September 1990): 219–22. http://dx.doi.org/10.1080/00043249.1990.10792693.
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Rosenthal, Barbara. "Artists' Writings: Structure and Self." Art Journal 49, no. 3 (September 1990): 223–24. http://dx.doi.org/10.1080/00043249.1990.10792694.
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Nixon, Mignon. "Death Work in Venice: In memoriam Khadija Saye." October 161 (August 2017): 3–10. http://dx.doi.org/10.1162/octo_a_00300.
Full textAbstract:
Mignon Nixon reflects on the Manchester Arena bombing, London Bridge and Borough Market attack, and Grenfell Tower fire in London, as well as the 2017 Venice Biennial, via J-B Pontalis's writings on the psychoanalytic notion of death-work. Nixon argues that the defining problem of Christina Macel's exhibition Viva Art Viva in Venice, an exhibition so insistently art- and artist-positive—“designed with artists, by artists, and for artists” as the press release notes—is that its aesthetics of redemption is predicated on a negation of life, and thereby a negation of art.