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Journal articles on the topic 'Digital art Art criticism Art'

Author: Grafiati

Published: 4 June 2021

Last updated: 19 February 2022

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1

Frost, Charlotte. "Digital Critics: The Early History of Online Art Criticism." Leonardo 52, no. 1 (2019): 37–43. http://dx.doi.org/10.1162/leon_a_01379.

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Art critic Jerry Saltz is regarded as a pioneer of online art criticism by the mainstream press, yet the Internet has been used as a platform for art discussion for over 30 years. There have been studies of independent print-based arts publishing, online art production and electronic literature, but there have been no histories of online art criticism. In this article, the author provides an account of the first wave of online art criticism (1980–1995) to document this history and prepare the way for thorough evaluations of the changing form of art criticism after the Internet.

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van Ginhoven, Sandra, and Claartje Rasterhoff. "Art Markets and Digital Histories." Arts 8, no. 3 (2019): 105. http://dx.doi.org/10.3390/arts8030105.

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This Special Issue of Arts investigates the use of digital methods in the study of art markets and their histories. Digital art history or historical research facilitated by computer-technology in general is omnipresent in academia and increasingly supported by an infrastructure of seminars, workshops, networks, journals and other platforms for sharing results, exchanging notes and developing criticism. As the wealth of historical and contemporary data is rapidly expanding and digital technologies are becoming integral to research in the humanities and social sciences, it is high time to refle

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Rochelle Gold. "Reparative Social Media: Resonance and Critical Cosmopolitanism in Digital Art." Criticism 59, no. 1 (2017): 123. http://dx.doi.org/10.13110/criticism.59.1.0123.

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Roose, Henk, Willem Roose, and Stijn Daenekindt. "Trends in Contemporary Art Discourse: Using Topic Models to Analyze 25 years of Professional Art Criticism." Cultural Sociology 12, no. 3 (2018): 303–24. http://dx.doi.org/10.1177/1749975518764861.

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In this article, we use topic modeling to systematically explore topics discussed in contemporary art criticism. Analyzing 6965 articles published between 1991 and 2015 in Frieze, a leading art magazine, we find a plurality of topics characterizing professional discourse on contemporary art. Not surprisingly, media- or genre-specific topics such as film/cinema, photography, sculpture/installations, etc. emerge. Interestingly, extra-artistic topics also characterize contemporary art criticism: there is room for articles on new digital technology and on art and philosophy; there is also growing

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Erol, Cansu Çelebi. "New approaches in art education: Moodle learning and content management system based art education." Global Journal of Arts Education 5, no. 2 (2015): 67. http://dx.doi.org/10.18844/gjae.v5i2.248.

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Become also used in the training of multimedia software, is the most important innovation in the field of education provided by emerging technologies. Graphics, text, many factors such as digital images and sound are located in multiple environments. All of them gained importance in our daily lives and lead new structures in education is inevitable. To make meaningful abstract information is necessary to take advantage of the interactive multimedia applications. It is stated that a lot of research, teaching methods that increase the motivation of students and courses appeal to different senses

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Kolokytha, Chara. "The Bibliography of Francophone Art Critics, a New History of Art Criticism in the Light of Digital Humanities." Visual Resources 33, no. 3-4 (2017): 419–22. http://dx.doi.org/10.1080/01973762.2017.1342946.

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Kristiyono, Jokhanan, Rachmah Ida, and Musta'in Mashud. "Counter-hegemony of the East Java Biennale art community against the domination of hoax content reproduction." Masyarakat, Kebudayaan dan Politik 33, no. 1 (2020): 26. http://dx.doi.org/10.20473/mkp.v33i12020.26-35.

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This research analyses and describes in detail how the digital biennale activities that are a part of the Indonesian Digital art community has become a form of criticism and silent resistance to the social hegemony. It refers to the ideology, norms, rules, and myths that exist in modern society in Indonesia, especially the reproduction of hoax content. Hoax refers to the logic people who live in a world of cyber media with all of its social implications. This phenomenon is a problem, and it is at the heart of the exploration of the art community in East Java Biennale. The critical social theor

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O'Reilly, Rachel. "Compasses, Meetings and Maps: Three Recent Media Works." Leonardo 39, no. 4 (2006): 334–39. http://dx.doi.org/10.1162/leon.2006.39.4.334.

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The article explores possible cultural approaches to new-media art aesthetics and criticism through an in-depth appraisal of recent works by three contemporary practitioners from Asia and the Pacific: Lisa Reihana, Vernon Ah Kee and Qiu Zhijie. Particular attention is paid to the issues of place, location and cultural practice in their work, issues currently under-examined in new-media art discourse. The analysis pays close attention to the operationality of the works, the influence of pre-digital aesthetic histories and the richly locative and virtual schemas of indigenous epistemologies that

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Bredemeier, Markus. "A higher degree of criticism about the effectiveness of bosentan for digital ulcers in scleroderma patients, as for interstitial disease, is also necessary: Comment on the article by Seibold et al." Arthritis & Rheumatism 62, no. 10 (2010): 3128–29. http://dx.doi.org/10.1002/art.27637.

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Reina-Rozo, Juan David. "Art, Energy and Technology: the Solarpunk Movement." International Journal of Engineering, Social Justice, and Peace 8, no. 1 (2021): 55–68. http://dx.doi.org/10.24908/ijesjp.v8i1.14292.

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The purpose of this text is to reflect on the ways that science fiction allows criticism on the modern technology path. Imagination has allowed us to think of some ends of the world, but it has been a privileged space. Creating other possible futures for our relationship with energy is essential. Corporate renewable energy projects are emerging in corners of the planet where green capitalism has not yet reached. In this way, the creation of alternatives to centralized and corporate models of energy generation, distribution and consumption must go through new potentialities of inhabiting new po

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Pedersen, Claus Peder. "The Hydra drawings: digital imperfection." Architectural Research Quarterly 12, no. 3-4 (2008): 223–30. http://dx.doi.org/10.1017/s1359135508001152.

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The Hydra drawings are the result of a research-by-design project involving architectural students. The drawings have been produced during intensive work sessions organised in March for the last four years on the Greek island of Hydra. The project has been run by architects Cort Ross Dinesen and Claus Peder Pedersen in close dialogue with contributors from other fields such as art history, literary criticism and philosophy: Henrik Oxvig, Fredrik Tygstrup, Steen Nepper Larsen and Malene Busk. The drawings that accompany the text published here were done by Tove Rosén, Emelie Saltas, Guro Sollid

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THEOLOGOU, KOSTAS, YOULI RAPTI, PETER FETTNER, and YOULI PAPAIOANNOU. "ART AND COMMUNICATION AS A NOVEL EXPERIENCE IN MODERN CULTURE." Arhe 26, no. 32 (2020): 141–67. http://dx.doi.org/10.19090/arhe.2019.32.141-167.

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In this paper we discuss the deadlocks of defining art in modern culture. The lack of criteria and modernism revisited are of crucial issue in this account. The theoretical mainframe of our approach is founded on the Frankfurt School thinkers (Max Horkheimer, Theodor Adorno, Walter Benjamin), and of course Jürgen Habermas. This theoretical apparatus also draws on contemporary accounts given by Sorbonne Professor Marc Jimenez and art critic John A. Walker.[1] The paper discusses whether fine art may survive, in what forms – and to what purpose – in an age of mass media and in conditions of rapi

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Yuen, May-Chan, Ah-Choo Koo, and Peter C. Woods. "Independent Learning of Digital Animation." International Journal of Information and Communication Technology Education 14, no. 4 (2018): 107–20. http://dx.doi.org/10.4018/ijicte.2018100108.

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Digital animation (DA) is a field of art and design which requires certain level of design and computer skills with creativity and storytelling. Learners are required to spend a considerable amount of time on their own for practicing the skills after their formal classes. Guided by connectivism and Meyer's factors of independent learning, this article aims at defining independent learning from digital learners' perspective and, identifying factors influencing their moves of independent learning. Twenty digital animation students enrolled at three higher education institutions in Malaysia parti

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Lemos, André. "The critique of essentialist critique of cyberculture." Matrizes 9, no. 1 (2015): 29. http://dx.doi.org/10.11606/issn.1982-8160.v9i1p29-51.

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The objective of this paper is to analyze the critical perspective of cyberculture from the discussion on the essence of technology. The article revisits the classic discussion about the essence of technology and updates it from the visions of the new critics of digital culture. The central argument is that traditional critical perspective (fundamentalist or pessimistic) fails to address the phenomena of digital culture by essentialist bias. It proposes an analysis of cyberculture by Actor-Network Theory (ART) since a focused view, stucked to the constituent networks of technical phenomenon, a

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Kim, Soyoung. "Hybrid Storytelling by Trans-boundaries of Simulacre: Focused on Kenny Scharf’s Pop Art." Academic Association of Global Cultural Contents 39 (May 31, 2019): 23–43. http://dx.doi.org/10.32611/jgcc.2019.5.39.23.

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Pop artist Kenny Scharf has reflected american cultural contents and social message. In his works, there are fears of wars and AIDS in the late of 1970s. This his view of world inflected to virtual images filled with positive energy and humor. Thus this article explores the analysis of simulacre with trans-boundaries focusing on hybrid storytelling in his pop arts. This study aims to analyze following four elements. Firstly, his works have the characteristics hybridity bound for universe. Scharf makes use of common things, sciences, and religion and connected within universe and utilizes comic

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16

Lukmantoro, Triyono. "Menertawakan Fobia Komunis di Era Reproduksi Digital." Profetik: Jurnal Komunikasi 10, no. 1 (2017): 50. http://dx.doi.org/10.14421/pjk.v10i1.1221.

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Abstract. In May-June 2016 issue of the rise of the Indonesian Communist Party (PKI) and the latent danger of communism appeared again. Excessive fear of PKI and communism continues propagated. That is what is referred to as a communist phobia. But, the issue is considered sensitive that it gave birth to criticism. The phenomenon is the presence of a number of memes comics whose contents laugh hammer and sickle symbol and three communist iconic figures, namely D.N. Aidit, Tan Malaka, and Mao Zedong. Meme comics containing parody to show incongruities that can only happen to the era of digital

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Onuoha, Onyekachi Peter. "Literary Heredity and Variation in Selected Facebook Poems of Veralyn Chinenye And Her Collaborative Authors." International Journal of Pedagogy, Innovation and New Technologies 5, no. 1 (2018): 58–68. http://dx.doi.org/10.5604/01.3001.0012.2140.

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Facebook has become one of the mediums of creativity and criticism of works of art as a result of the nature of its blended writing. At the “completion” of a composition, Facebook poems maintain a certain degree of the static form, which is a characteristic of print literature. Facebook poetry coalesces the oral and print into a “new” form of poetry and extends the boundaries of oral and print literature. Using Bolter and Grusin concept of Remediation as a theoretical framework, this paper examines literary heredity and variation in selected Facebook poems of Veralyn Chinenye and her collabora

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Duarte, Rodrigo. "From Adorno’s Critique of Culture Industry to the Critical Evaluation of Digital Media." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 62, no. 1 (2017): 14–24. http://dx.doi.org/10.28937/1000107633.

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Als Adorno und Horkheimer Anfang der vierziger Jahre ihren kritischen Begriff Kulturindustrie gebildet haben, dachten sie überwiegend an Kino und Radio als zentrale Medien. Das Fernsehen war damals nicht genug entwickelt, um als wichtiger Teil der Massenkultur jener Zeit berücksichtigt werden zu können. Die kritischen Aspekte ihres Beitrags waren aber so stark und gut strukturiert, dass man diese auch heutzutage nicht verwerfen kann, wenn es um eine faire Bewertung eines so wichtigen Phänomens der gegenwärtigen Kultur geht. Allerdings haben sich seit der Zeit von Adornos und Horkheimers Kritik

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Carter, Richard A. "Tweeting the cosmos: On the bot poetry of The Ephemerides." Convergence: The International Journal of Research into New Media Technologies 26, no. 4 (2019): 990–1006. http://dx.doi.org/10.1177/1354856519837796.

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This article discusses Twitter bots that generate textual outputs for aesthetic effect. It considers in-detail a specific instance, The Ephemerides ( @the_ephemerides ) by Allison Parrish, and presents a critical assessment of how its functional and thematic attributes meditate self-reflexively upon their operational contexts within digital infrastructure. This mode of reading is then presented as having value for analysing generative Twitter bots more widely. The initial balance of this article will concern the broader question of how generative digital writing can be assessed critically, deb

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20

Saint-Raymond, Léa. "Revisiting Harrison and Cynthia White’s Academic vs. Dealer-Critic System." Arts 8, no. 3 (2019): 96. http://dx.doi.org/10.3390/arts8030096.

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The field of art market studies is based on a famous opposition, coined by Harrison and Cynthia White in 1965, regarding the “academic” system, as opposed to the “dealer-critic” one. Published in 1965, their book, Canvases and Careers, Institutional Change in the French Painting World, was qualified by Patricia Mainardi and Pierre Vaisse, but their criticism dated back to the 1990s. In the meantime, the development of digital methods makes possible a broader reassessment of Harrison and Cynthia White’s theory. Based on a corpus of Parisian auction sales, from 1831 through 1925, this paper uses

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21

Zakharyna, Yu Y. "Architectural images of history and culture: contemporary interpretation." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 66, no. 1 (2021): 87–96. http://dx.doi.org/10.29235/2524-2369-2021-66-1-87-96.

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The problem of recreating historical and cultural events and phenomena in architectural images is raised for the first time in Belarusian art criticism. The work is devoted to the scientific understanding of images of modern architectural objects that reflect the theme of history and culture in the context of the simulated environment of society. Images of modern architecture are interpreted from the point of view of reflecting the world picture in their content and visualizing the memory of peoples about the historical past and cultural assets of human civilization. The research is based on a

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22

Bilchenko, Yevgenia V., and Stefaniуa A. Danilova. "The Poet as A Subject of Language: Ontological Bases of Signs and Trend Meanigs of Society." Philological Sciences. Scientific Essays of Higher Education 2, no. 6 (2020): 260–68. http://dx.doi.org/10.20339/phs.6-20.260.

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The article reveals the problem of the ontological meaning of the life and functioning of the poet in its relationship with the communicative practices of contemporary global world. As a result of comparing the two ways of thought (globalism — antiglobalism, traditionalism — neoliberalism, modern — postmodern), the authors come to a preliminary conclusion that it is unacceptable for the creative industries of branding and PR to displace ontological adequations of poetic values as a part of classic art. The article clearly differentiates the concept of symbolic identity and the category of exis

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23

Bak, Árpád. "From a Tactile Epistemology to the Ontology of Affect: Two Readings of Deleuze’s Time-Image in Film and New Media Theory." Acta Universitatis Sapientiae, Film and Media Studies 6, no. 1 (2013): 19–33. http://dx.doi.org/10.2478/ausfm-2014-0002.

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Abstract The paper compares how two theorists of media arts, Mark B. N. Hansen and Laura U. Marks, interpret the relation of Deleuze’s time-image to corporeality. Both argue that some novel types of images - in film and media art - engage the body in new and also more intensive ways than traditional cinema did. While they remain committed to Bergson’s theory of perception, their works offer different readings of how the Bergsonian concepts of Deleuze’s film philosophy can be applied to new media: on the one hand, to the non-signifying, affective properties of Hansen’s digital image in contempo

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24

White, John Howell, T. Wolff, and G. Geahigan. "Art Criticism and Art Education." Studies in Art Education 42, no. 1 (2000): 92. http://dx.doi.org/10.2307/1320756.

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DAUER, FRANCIS. "ART AND ART CRITICISM: A DEFINITION OF ART." Metaphilosophy 21, no. 1-2 (1990): 111–32. http://dx.doi.org/10.1111/j.1467-9973.1990.tb00835.x.

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McDonough, Tom, MaLin Wilson, Dave Hickey, and Jeremy Gilbert-Rolfe. "Art Criticism." Art Journal 55, no. 3 (1996): 97. http://dx.doi.org/10.2307/777775.

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27

Sunarto, Bambang. "Adangiyah." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 16, no. 1 (2021): iii—iv. http://dx.doi.org/10.33153/dewaruci.v16i1.3601.

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This edition is the first issue of Dewa Ruci’s Journal, in which all articles are in English. We deliberately changed the language of publication to English to facilitate information delivery to a wider audience. We realize that English is the official language for many countries rather than other languages in this world. The number of people who have literacy awareness and need scientific information about visual and performing arts regarding the archipelago’s cultural arts is also quite large.The decision to change the language of publication to English does not mean that we do not have nati

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Deepwell, Katy. "Art Criticism and the State of Feminist Art Criticism." Arts 9, no. 1 (2020): 28. http://dx.doi.org/10.3390/arts9010028.

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This essay is in four parts. The first offers a critique of James Elkins and Michael Newman’s book The State of Art Criticism (Routledge, 2008) for what it tells us about art criticism in academia and journalism and feminism; the second considers how a gendered analysis measures the “state” of art and art criticism as a feminist intervention; and the third, how neo-liberal mis-readings of Linda Nochlin and Laura Mulvey in the art world represent feminism in ideas about “greatness” and the “gaze”, whilst avoiding feminist arguments about women artists or their work, particularly on “motherhood”

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29

Tweedie, James. "Serge Daney, Zapper: Cinema, Television, and the Persistence of Media." October 157 (July 2016): 107–27. http://dx.doi.org/10.1162/octo_a_00261.

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The essay considers Serge Daney's transition from a film critic schooled in New Wave cinephilia to a television critic fascinated by the possibilities of the small screen and the status of cinema as an old medium. Looking in the “rear-view mirror,” Daney challenges foundational film theory that situates cinema at the forefront of technological and cultural modernity, and he introduces the language of belatedness, aging, and delay into his writing on the “adult art” of film. In the 1980s, Daney began to chronicle the experience of watching cinema on television, with old and new media spiraling

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30

Nekhaeva, Iraida N. "THE TERRITORY OF CONTEMPORARY ART: ART CRITICISM VERSUS ART PRACTICE." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 38 (2020): 99–106. http://dx.doi.org/10.17223/22220836/38/10.

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31

Osborne, Peter. "ART BEYOND AESTHETICS: PHILOSOPHICAL CRITICISM, ART HISTORY AND CONTEMPORARY ART." Art History 27, no. 4 (2004): 651–70. http://dx.doi.org/10.1111/j.0141-6790.2004.00442.x.

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Osborne, Peter. "Art beyond aesthetics: philosophical criticism, art history and contemporary art." Art History 27, no. 4 (2004): 695. http://dx.doi.org/10.1111/j.0141-6790.2004.444_9_9.x.

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Risatti, Howard. "Art Criticism in Discipline-Based Art Education." Journal of Aesthetic Education 21, no. 2 (1987): 217. http://dx.doi.org/10.2307/3332751.

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Stinespring, John A. "Discipline-Based Art Education and Art Criticism." Journal of Aesthetic Education 26, no. 3 (1992): 106. http://dx.doi.org/10.2307/3333019.

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Geahigan, George. "Description in Art Criticism and Art Education." Studies in Art Education 40, no. 3 (1999): 213. http://dx.doi.org/10.2307/1320863.

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Carrier, David. "Philosophical Art Criticism." Leonardo 19, no. 2 (1986): 170. http://dx.doi.org/10.2307/1578285.

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Taylor, Pamela G., and B. Stephen Carpenter. "Hypermediated Art Criticism." Journal of Aesthetic Education 41, no. 3 (2007): 1–24. http://dx.doi.org/10.1353/jae.2007.0030.

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Frueh, Joanna, and Arlene Raven. "Feminist Art Criticism." Art Journal 50, no. 2 (1991): 6–10. http://dx.doi.org/10.1080/00043249.1991.10791436.

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Langer, Cassandra L. "Feminist Art Criticism." Art Journal 50, no. 2 (1991): 21–28. http://dx.doi.org/10.1080/00043249.1991.10791440.

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Garber, Elizabeth. "Implications of Feminist Art Criticism for Art Education." Studies in Art Education 32, no. 1 (1990): 17. http://dx.doi.org/10.2307/1320396.

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Ikeda, Ryoji. "Digital Art." World Policy Journal 27, no. 3 (2010): 38–39. http://dx.doi.org/10.1162/wopj.2010.27.3.38.

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BENTKOWSKA KAFFEL, ANNA. "Digital Art." Art Book 15, no. 3 (2008): 6–7. http://dx.doi.org/10.1111/j.1467-8357.2008.00970.x.

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Prince, Patric D. "Digital art." ACM SIGGRAPH Computer Graphics 29, no. 4 (1995): 30–31. http://dx.doi.org/10.1145/216876.216884.

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Ortegren, Hans, and Anders Marner. "Education Through Digital Art About Art." المجلة العلمیة لجمعیة امسیا – التربیة عن طریق الفن 1, no. 2 (2015): 241–60. http://dx.doi.org/10.21608/amesea.2015.71175.

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Marner, Anders, and Hans Örtegren. "Education through digital art about art." International Journal of Education Through Art 10, no. 1 (2014): 41–54. http://dx.doi.org/10.1386/eta.10.1.41_1.

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Lucy, Niall. "Art, Criticism & Philosophy." International Journal of the Arts in Society: Annual Review 4, no. 6 (2010): 183–92. http://dx.doi.org/10.18848/1833-1866/cgp/v04i06/35762.

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Cosgrove, Mary Stinson. "Irishness and Art Criticism." Circa, no. 52 (1990): 14. http://dx.doi.org/10.2307/25557527.

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Sisson, Elaine, and Katy Deepwell. "New Feminist Art Criticism." Circa, no. 74 (1995): 69. http://dx.doi.org/10.2307/25562907.

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Mokhtari, Sylvie, and Jean-Marc Poinsot. "Publishing and Art Criticism." Critique d’art, no. 50 (May 25, 2018): 11–14. http://dx.doi.org/10.4000/critiquedart.29354.

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Brett, David. "Art Criticism: Carnal Knowledge." Circa, no. 76 (1996): 20. http://dx.doi.org/10.2307/25562961.

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