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Journal articles on the topic 'Drawing By Individual Artists'
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1
García, Esteban, and David Whittinghill. "Art and Code: The Aesthetic Legacy of Aldo Giorgini." Leonardo 44, no. 4 (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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Sooudi, Olga Kanzaki. "Alternative Spaces & Artist Agency in the Art Market." Arts 9, no. 4 (2020): 116. http://dx.doi.org/10.3390/arts9040116.
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This article explores what alternative, or artist-led, spaces are in Mumbai today and their role within the city’s artworld. Drawing on ethnographic fieldwork in two alternative spaces, it argues that these are artist attempts to exercise agency in their work for an uncertain market context. In other words, these spaces are a strategy for artists to exercise control over their work in an uncertain art market, and a means to counterbalance their dependence on galleries in their careers. Furthermore, artists do so through collectivist practices. These spaces, I argue, challenge models of artistic and neoliberal work that privilege autonomy, independence, and isolation, as if artists were self-contained silos of productive creative activity and will. Artists instead, in these spaces, insist on the importance of social bonds and connection as a challenge to the instrumentalization and divisive nature of market-led demands on art practice and the model of the solo genius artist-producer. At the same time, their collective activities are oriented towards supporting artists’ individual future market success, suggesting that artist-led spaces are not separate from the art market, and should be considered within the same analytical frame.
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Paek, Kyong-Mi. "ARTIST’S CREATIVE CONTRIBUTIONS IN THE CONTEXT OF INTERDISCIPLINARY RESEARCH." Creativity Studies 12, no. 1 (2019): 131–45. http://dx.doi.org/10.3846/cs.2019.9141.
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While expectations regarding art’s potential contributions to the interdisciplinary research context continue to grow, the creative endeavors of individual artists remain under-examined, perhaps because of the inter-relational nature of joint research settings. To explore, how artists navigate their contribution to a given research community, this study reviews the art practice of Seung-Hyun Ko, who participated in Science Walden, a Convergent Research Center carrying out an interdis-ciplinary research project that aimed to build an ecologically sustainable community. Drawing on comprehensive views of creativity that emphasize the importance of the social context in which the efforts of individuals emerge and are assessed, the study examines Ko’s recent collaborative practice in Science Walden within the larger context of his long-term practice as a leading artist of Yatoo, a bioregionally conscious artist community. Ko’s responses to the opportunities and challenges of his involvement in these two interrelated contexts disclose the value of the creative dynamics of interdisciplinary research, with implications for the increasingly diverse interdisciplinary research practices emerging within science and technology.
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Sevostyanov, Dmitry A. "Henri Rousseau and Porfiry Fedorin: a Comparative Study of Motor Profiles." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 30, no. 1 (2024): 102–12. http://dx.doi.org/10.15826/izv1.2024.30.1.009.
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The article discusses the reasons for the similarity of the painting manner of artists, where the works of Henri Rousseau and Porfiry Fedorin are used as an example. This similarity is explained by the coincidence of the motor profiles of the both artists. The structure of motor profiles is described, it is shown how it is displayed in the drawing activity. The resources through which individual differences are realized (and, on the contrary, similarities are formed) in the work of different artists are examined.
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Volkova, Tatiana Vladimirovna, and Irina Mikhailovna Gusakova. "Organization of the study of academic drawing in the artistic and pedagogical training of students." KANT 44, no. 3 (2022): 211–19. http://dx.doi.org/10.24923/2222-243x.2022-44.39.
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The purpose of the study is to reveal the features of the organization of drawing training in the artistic and pedagogical training of students. The article discusses the main ways of using short-term graphic sketches in the study of academic drawing. The main difficulties encountered by students in the learning process are noted, and recommendations for their solution are given. Short-term tasks used by us in the process of working with students in drawing classes stimulate compositional thinking, introduce the means, techniques, rules, laws of graphic composition, enable students to competently combine graphic materials. The exercises that we have developed are based on methodological developments in the field of academic drawing of the twentieth century, when eclecticism appeared in the visual arts and teachers of fine arts began to allow students to combine different graphic materials to a greater extent following individual advanced artists of this era. We worked with students of the Design, DPI orientation from 2013 to 2016. Work with students of the Fine Arts orientation in this field began in 2010 and continues to the present. The scientific novelty lies in the development and experimental verification of methodological recommendations, individual aspects of the organization of the study of drawing by future teachers-artists. As a result, the conditions for the organization of drawing training in the performance of practical work by students have been identified, which make it possible to increase the effectiveness of academic drawing and composition classes.
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Munnelly, Lisa. "Three Turns: A dialogue across disciplines." Drawing: Research, Theory, Practice 7, no. 2 (2022): 299–312. http://dx.doi.org/10.1386/drtp_00097_1.
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On 21 February 2021 at 9.00 p.m., the performance Three Turns was featured as part of a curated series of works in The Performance Arcade (PA2021), a festival that brought together live art, music and performance on Wellington’s Waterfront. In a shipping container transformed into a temporary stage, three artists: a drawer, a dancer and a musician, celebrated the immediacy of their mediums. In an hour-long performance, a dialogue across disciplines was formed, a dialogue that evolved intuitively. Over three turns, each artist took the lead, with a note, a mark and a gesture offered up as provocation – forms, actions, colours and chords followed. The sonic surface, the stage and the page merged into a single space in which the artists explored velocity, rhythm and repetition. This encounter created a place where gravity and levity pushed and pulled, space was devoured and patterns emerged, accumulated and dissipated. The collaborative performance of Three Turns allowed three artists to form a dialogue across disciplines and ask: what new knowledge can emerge from a conversation between drawing, dance and music? This report, written in the first person from the drawer’s perspective, with contributions from The Dancer/Sacha Copland and The Musician/Simon Eastwood, reflects upon the event and posits that whilst on an individual level the performance produced new drawings, new sounds and new movements that individually had value, it was the relation between the three artists and their mediums, that emerged to be the most significant aspect of the work.
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Wango, Kamau. "Exploration of Human Figure Drawings Using Charcoal Pencil - Analysis of Post-Graduate Drawings by Zephania Lukamba." International Journal of Advanced Research 3, no. 1 (2021): 55–71. http://dx.doi.org/10.37284/ijar.3.1.306.
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Human figure drawing is undertaken and ultimately used for a number of purposes. Artists use it to continually sharpen their skills in order to apply it in the execution of their work in artistic disciplines that pertain to self-expression. Students and other groups as well as individuals embark on human figure drawing in order to acquire and horn their skills for purposes of artistic development that is then applied ultimately to their respective artistic endeavours. However, the drawing and acquisition of skills is a process and people render their human figure drawings to different levels of success and finesse at any given stage. In this process, one draws human figures using certain prescribed guidelines. It is expected that as one works within this process, particularly in a formal learning environment like studio-based work, following these guidelines become essential and helpful in attaining a proportional and accurate human figure drawing. In analysing the featured work executed on toned paper, this paper seeks to determine the extent to which the artist applies the basic tenets of human figure drawing and whether the drawings themselves attain this threshold. The analytical framework includes the depiction of correct proportions, the study of gestures, the suggestion of movement and application of value. Within the development of personal style, the artist specifically explores the effect of charcoal pencil on toned paper as his medium of choice. His methodology includes the application of a variety of tones and the use of focused illumination upon pertinent areas in the drawings to create deliberate effects that highlight the drawings, enhance gestures, suggest movement and add dynamism to the drawings. The drawings include photograph referenced male and female figures as well as separate studies of hands and feet
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Dashchenko, Nataliia L. "Presentation of the artist in the regional journal periodical." Communications and Communicative Technologies, no. 24 (March 28, 2024): 22–29. http://dx.doi.org/10.15421/292403.
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The artistic component of the literary-artistic and public-political magazine Literary Ternopil» (2008–2019) was formed by publications that show the current state of painting in the region through familiarization with the personalities of artists and their creative work. The article highlights and analyzes typical textual means of presenting the artist in the specialized section «Artist of the Number». As a result of the research, it was found that the text presentation is based on the involvement of elements of drawing, which are manifested in the depiction of heroes in action, retelling of life situations, depiction of the area, interiors, etc. The plot-compositional organization of the texts includes biographical, everyday, socio-political, historical, psychological contexts, to reflect which the authors provide data on education, places of creative work, participation in exhibitions, obtaining titles, cooperation with various artists, describe external signs, worldview and inner qualities of artists. Expressions of art critics, connoisseurs of painting, and artists themselves are used compositionally. The presenters of the artists are the titles of the publications in which the starting point of the image is formed. It remains constant or changes: it can be individual / collective, synchronous / diachronic, shift in space (natural environment, premises, native land, abroad), have an emotional / intellectual dimension, focus on a situation or involve a whole range of information. An important component of the presentation is the art history characteristic in combination with evaluative and figurative expressions. For this purpose, artistic means of speech and stylistically marked vocabulary (names of subjects of professional activity, artistic directions, styles, and techniques), names of famous Ukrainian artists, names of iconic paintings, their cycles, names of exhibitions, etc., are involved. All these aspects are aimed at reflecting the spiritual, intellectual, creative development of the artist.
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Blair, Bonnie, and Jared Bok. "The refracted portrait of the artist: The cultural reproduction of artist attributes through the Venice Film Festival." International Journal of Media & Cultural Politics 19, no. 1 (2023): 41–60. http://dx.doi.org/10.1386/macp_00072_1.
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Research has shown how ‘cultural consecration’ grants economic and symbolic benefits to cultural producers and their creations. Yet few studies adopting this approach have explored the content of these creations themselves. Consecration is a contagious process, and culturally consecrated objects also consecrate the representations contained within. Drawing on insights from the sociology of culture and art history, this study qualitatively analyses and illustrates the reproduction of three social roles of ‘the artist’ in biopics nominated for the Venice Film Festival’s Golden Lion Award since the year 2000. Focusing on representations of prominent artists who themselves are consecrated in both popular and artistic circles, this article shows how social characteristics of artists – individual exceptionalism, social separation and artistic autonomy – are reproduced through the medium of consecrated film. It concludes by considering the practical implications of such reproductions and avenues for future research on the consecration of cultural content.
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Petrov, Arseniy S. "A Travel Book by an Artist-Pensioner: The Russian Artistic Community in Italy and the Disadvantages of Academic Education." Observatory of Culture 20, no. 3 (2023): 258–69. http://dx.doi.org/10.25281/2072-3156-2023-20-3-258-269.
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The article is devoted to an album of drawings by an unknown Russian artist-pensioner of the mid-1850s from the circle of A.P. Bogolyubov. The young draughtsman, who had an excellent academic education, traveled around Italy, drawing typical views and genre scenes, while to a greater extent trying on the role of S. Shchedrin and K. Bryullov in his search for creative identity. The album is set within the broad context of the work in Italy of young Russian artists. Similar stylistic and iconographic analogies are drawn from similar sources — the travel sketches of A.P.Bogolubov and F.A. Bronnikov, as well as the album of F.A. Klages. A careful comparison of the works by the novice masters allows us to draw conclusions about the common problems experienced by the young graduates of the Imperial Academy of Arts who had excellent technical skills and, at the same time, a poor readiness for individual artistic exploration. The drawings examined in the article significantly expand the circle of visual sources on the Russian artistic community in Italy. In some cases there are portraits and caricature, as well as the development of the iconography of typical scenes (for example, “Interrupted rendezvous” by Karl Bryullov or “Temptation” by N. Shilder). The album contains many inscriptions, which are also published alongside to facilitate the identification of the author by subsequent researchers.
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Szubielska, Magdalena, Ewa Niestorowicz, and Bogusław Marek. "The Relevance of Object Size to the Recognizability of Drawings by Individuals with Congenital Blindness." Journal of Visual Impairment & Blindness 113, no. 3 (2019): 295–310. http://dx.doi.org/10.1177/0145482x19860015.
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Introduction: The aim of this study was to determine whether individuals with congenital blindness make more recognizable drawings of known objects that are furniture sized (table, man, tree) rather than hand sized (egg, coconut, banana; Hypothesis 1). We also investigated whether knowledge that the tactile drawings had been produced by people who are blind increased judges’ perceptions of their recognizability (Hypothesis 2). Methods: The raised-line drawings were made by children and teenagers who are blind and had no prior experience in tactile graphics. After a minimal initial training in line drawing, the subjects were asked to draw six objects from memory. The judges used a 7-point Likert-type scale to assess recognizability. All objects were identified for the judges prior to their assessment. One group of judges was told that the drawings they were assessing were made by persons who are blind, while the second group was informed that the drawings were made without the use of sight. Results: The real-life size of the objects depicted in the drawings affected judges’ perception of their recognizability. Depictions of hand-sized objects were found to be less recognizable than were depictions of furniture-sized objects. Knowledge of the artists’ blindness had no effect on the judgments of recognizability. Discussion: Hypothesis 1 was confirmed, which suggests that individuals with congenital blindness have more difficulty in creating drawings of hand-sized objects than they did creating drawings of furniture-sized objects. Hypothesis 2 was not confirmed, which is inconsistent with the results of previous research in which the awareness of the artists’ disability status influenced the assessment of the artworks. Although the present research focused on recognizability, the issue in earlier research was aesthetic judgment. Implications for practitioners: Although few people would question the importance of illustrations in books for sighted children, the value of tactile graphics and the benefits of engaging children who have visual impairments in making and exploring raised-line drawings are not always understood. Full participation in subjects that rely on visual information such as geometry, art, and geography by learners who are born blind requires access to tactile graphics. Basic training in raised-line drawing may be sufficient for some children, particularly those who are older (aged 10 years or more), with congenital blindness who have never drawn before to create from memory recognizable drawings of known objects, especially larger objects.
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Bañez, Richard Mendoza. "Thematic Construction of Digital Visual Arts: Implications for Digital Pedagogy." Journal of Learning for Development 10, no. 2 (2023): 196–209. http://dx.doi.org/10.56059/jl4d.v10i2.773.
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This paper attempts to describe the signifier choice of student artists in thematic representations of digital visual arts and determine its implications for digital pedagogy. Utilising a qualitative approach to research and covering a corpus of six digital artworks of student artists, the semiotic analysis utilising Peirce’s (1991) sign modes showed the student artists’ preference for mostly indexical and symbolic signifiers in thematic representations of Filipinos’ resiliency to the pandemic. This signifier choice of student artists was influenced by their experience, family, self, other artists, and their initiatives for finding information and drawing inspiration from online sources, as revealed in the conducted Focus Group Discussion (FGD) with the participants. Moreover, the individual interviews with the participants demonstrated that the student artists’ choice of signifiers served as a vehicle for expression, representation, and impression of ideas, themes, and abstractions dominating their artworks. This study calls for the integration of digital artmaking tools into pedagogy to provide opportunities for artistic expression and support diverse representation. Teachers can introduce various digital tools and platforms, create assignments that encourage creative experimentation, and foster a safe and inclusive classroom environment. Future research could explore the practical applications of digital pedagogy in visual arts education.
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UZ, Nurbiye, and Hasan CIMENCI. "EFFECTS OF INNOVATIVE APPROACHES IN CLASSES ON STUDENTS' SUCCESS." Journal of Education Culture and Society 9, no. 2 (2018): 203–17. http://dx.doi.org/10.15503/jecs20182.203.217.
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ABSTRACT
 Concept: Drawing is the foundation of plastic arts. The drawing class is one of the art education fields where students focus on observation, questioning, research and developing imagination. It can be seen that artists too are presenting different premises after drawing, which is generally considered as a preliminary to a work of art, being acknowledged as art by itself.
 Aim: The point of origin of this research is the inability of the students of sculpture departments to fully comprehend the importance of drawing with regard to the creating of a sculpture. The principal purpose is the explaining of the applied studies that are specifically designed to develop individual perspectives, drawing skills, personal lines and creativity of the students and the alternative methods of drawing which yield positive result.
 Methods: Instead of repeating the knowledge that students obtained via traditional methods, studies are approached where they can reinterpret and develop their knowledge in respect of the time, technique, perception etc. Drawings that are presented in line with the main purpose via innovative approaches are evaluated with a qualitative research.
 Conclusions: After briefly mentioning education and art education in this study, methods applied with an innovative approach in sculpture design courses are explained through selected examples. At the end of the studies, it was seen that the students were more active, eager to learn, courageous, questioning and every time they are applied, methods are resulted positively.
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Fresnault-Deruelle, Pierre. "A Visit from Philippulus." European Comic Art 10, no. 2 (2017): 48–65. http://dx.doi.org/10.3167/eca.2017.100204.
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‘Scenariographics’ is defined as the deployment of the (non-specific) codes of the medium by individual comics artists in order to achieve effects that are specific to their work and therefore difficult to transpose to any other medium. L’Étoile mystérieuse, is used as a case study: a close reading of Hergé’s comic demonstrates how the artist creates a complex semiological web, drawing upon the resources of comics syntax and layout, onomatopoeia and emanata, visual metaphor, infra-narrative elements and intertextual motifs, blurring boundaries between dream life (more often nightmares) and wakefulness, realism and the fantastic. Moreover, through the coexistence and transposition of different levels of reality, including the everyday, the supernatural and the psychic, Hergé creates meanings that have political resonance in an album produced for a collaborationist newspaper.
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Kölbl-Ebert, Martina. "Sketching Rocks and Landscape: Drawing as a Female Accomplishment in the Service of Geology." Earth Sciences History 31, no. 2 (2012): 270–86. http://dx.doi.org/10.17704/eshi.31.2.n436w6mx3g846803.
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Women as amanuenses have played an important role in early British geology. Among their varied tasks often was the sketching and drawing of fossils, landscape and outcrops. Such drawings served several purposes. They were used to give an idea of landscape and outcrops in publications or to figure new species in palaeontological papers, but they also served as proxies for individual fossils in dialogues conducted by means of letters. Mary Anning used them to advertise new finds to potential buyers, while Mary Buckland painted huge displays to be used in her husband's lectures. Drawing was part of the education of ‘accomplished’ British women in the early nineteenth century. Like music, embroidery and dancing, drawing was often taught in special schools or academies, sometimes by quite competent artists. Other women, however, such as Mrs Mantell, were self-taught or had to familiarise themselves with new techniques, learning to do line engravings and how to make lithographs in order to illustrate her husband's books more cheaply. In Germany or France, by comparison, the ability to draw was less central to girls' education, who in Germany at least were expected instead to excel in cooking, knitting and other household duties. But even there, an amateur palaeontologist might fall back on the assistance of his daughter, when he needed someone to illustrate his letters with drawings of specimens.
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Fredrickson, Laurel Jean. "Life as Art, or Art as Life: Robert Filliou and the Eternal Network." Theory, Culture & Society 36, no. 3 (2018): 27–55. http://dx.doi.org/10.1177/0263276418796563.
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This essay focuses on the Portraits Not Made (1970) by Robert Filliou, a French artist of the postwar neo-avant-garde and a founding member of the international transdisciplinary art movement Fluxus. Interrogating originality and authorship, these ‘Intermedia’ works ‘depict’ artists: George Brecht, Dieter Rot, Dorothy Iannone, Irmeline Lebeer, Josef Beuys, Andy Warhol, John Cage, Arman, and Toi (you). Though virtually blank, they translate between binaries: visual/textual, material/immaterial, made/not made, artist/viewer. Inherently performative, Filliou’s portraits draw the viewer into a ‘poetic economy’ based on three systems: Permanent Creation, the Eternal Network, and the Principle of Equivalence (well made, badly made, not made). Drawing on economic theory shaped by Fluxian absurdity and a Zen-like understanding of reality as at once empty and full, Filliou’s works undermine hierarchies – artistic and political – that privilege individual genius and art as capital exchange. His works propose alternative systems of value by acknowledging the viewer as co-creator.
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Torriani, Tristan Guillermo. "Arnold Schoenberg amidst the Struggle between Scientific Materialism and Spiritual Revival." Revista Música 21, no. 2 (2021): 347–64. http://dx.doi.org/10.11606/rm.v21i2.192517.
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Post-war historiography has downplayed the spiritual dimension of modernist artists in order to present their work more favorably in a culture overshadowed by scientific materialism. Drawing from several sources, this paper reconstructs an interpretation of the context with which Schoenberg as an individual artist had to contend with. The first section sets the stage for understanding the struggle between scientific materialism and movements of spiritual revival. The second section deals directly with Schoenberg's case and addresses not only the criticisms directed against his music, but also tries to shed light on his problematic relation to Adorno and Thomas Mann. The concluding section argues that although Schoenberg’s public perception is strongly technical, as a composer he was pursuing aims that can only be made sense of if one is sensitive to his religious and spiritual context.
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Christmas, Amy. "Quantities Over Qualities." Screen Bodies 7, no. 2 (2022): 1–26. http://dx.doi.org/10.3167/screen.2022.070202.
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In a society suffused with surveillance technologies and practices, which persist in their extension across and into all dimensions of human experience, members of the contemporary art community have made significant contributions to the ontology of the surveillant self. This article compares recent works by several prominent multimedia artists who have explored the radical potential of dataveillance as a way to bridge the disconnect between quantitative (metric) and qualitative (narrative) representations of self in the Information Age. By considering the questions raised by three recent art projects—Hasan Elahi’s Tracking Transience; Jill Magid’s Composite; Heather Dewey-Hagborg’s Stranger Visions—I explore how each artist employs a surveillant aesthetic to test the extent to which meaningful subjectivities may be constructed out of decontextualized metric data. In this way, these artists are directly engaging with the surveillant assemblage, harnessing the discrete flows of data that normally work to depersonalize and thereby negate individual identities, and instead repurposing these disassembled metrics as a means of examining modern selfhood as it both produces and is produced by surveillance environments. In particular, this article focuses on the tension between metric and narrative representations of self, by drawing on multimedia artistic projects that engage with and combine both aspects and document their efforts in a range of visual and textual media.
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Nikitin, Andrii. "Philosophical context in the work of Sergei Zoruk." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 29 (December 17, 2020): 46–53. http://dx.doi.org/10.33838/naoma.29.2020.46-53.
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S. Zoruk was a bright representative of the artistic circle with an original view and individual ap- proach to art. His innovative methodological theories on academic drawing are organically included in the concept of scientific and methodological base of the Department of Drawing NAOMA and drawing school in general. S. Zoruk constantly studied and improved the technique of drawing, built his personal style. It is in the pictorial compositions that his authorial style with an emphatically refined aesthetic and philosophical subtext is most vividly revealed. The line, the stroke, the spot are combined and intertwined, creating elegant images of his paintings. His style of drawing is characterized by a light, free line. It is extremely interesting to see the evolution of the Zoruk artist: "Game-4" (1991), "Breath of the Wind" (1993), diptychs "Farewell to the Hat" (1993) on carnival themes and "Time to scatter stones, time to collect stones" (1993) for biblical motives. They are made in the technique of drawing. Thanks to the compositional techniques of including large sizes of clean planes of paper and the clarity of the line, the artist achieves the effect when the viewer’s imagination continues to paint the plastic life of the image. S. Zoruk’s creative style is characterized by refinement and detail of the image, elegance and lightness of the line and, at the same time, there is a pause, a colon in the story, which gives space for plot fantasizing. An important place in the artist’s creative activity was occupied by his teaching work, which he began in 1989 at the Department of Drawing KDHI. He alternately taught drawing at the Faculty of Architecture, and later at the restoration, theater, and graphic departments. He took a direct part in the forma- tion of the scientific and theoretical basis for the methods of teaching drawing and introduced methodological development, namely "Double productions in the 5th year" in the working program of the drawing. The level of professional qualification of the artist was marked in 1986 by admission to the National Academy of Arts, the rank — Honored Artist of Ukraine (1996), in 2000 the academic rank of associate professor, and since 2003 S. Zoruk held the position of professor. He successfully combined pedagogical and exhibition activities, repeatedly visited and collaborated with art galleries in Suzhou, Wu Xi (PRC). He has about 40 exhibitions in Ukraine and abroad. His works are in the funds of the Ministry of Culture of Ukraine, the National Union of Artists of Ukraine, the museum "Kachanivka" and the Museum of Contemporary Art (Kaliningrad), in private collections in the Netherlands, Russia, Belgium, France, Germany, Austria, USA, China. S. Zoruk’s creative and pedagogical activity were awarded in 2002 by the award of the Ministry of Culture of Ukraine "For out- standing merits in the development of culture and art". Philosophical sound in combination with intellectual- ism, together with high professional skill gave S. Zoruk’s works of extraordinary artistic value, made them an important phenomenon of Ukrainian art of the last quarter of the XX — beginning of the XXI century. His works have a sense of the space of the theatrical stage: the images, which is raised up to generalization are united by a certain game moment, the artist slowly unfolds in front of the spectator the dramaturgy of the plot, leaving a field for his own interpretations.
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Wango, Kamau. "‘Drawing with My Students’ - The Role of Surrealism in Self-Expression among University Art Students. Analysis of Selected Surrealistic Work by Fourth Year Students at Kenyatta University." International Journal of Advanced Research 3, no. 1 (2021): 1–19. http://dx.doi.org/10.37284/ijar.3.1.272.
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Surrealistic art is one of the most engaging and intriguing art genres. Surrealism itself is considered to have been the most influential art movement of the 20th century. Started in the 1920s as a literary movement that eventually took on a visual dimension, its foundational principles have continued to influence the thought process and style of many modern artists in the realm of self-expression. In their studies of many disciplines in the art including genres of painting, drawing and sculpture, students of art at the University usually find the concept of surrealism initially difficult to decipher mainly because of the uniqueness of its own description. The dream-like imageries of surrealism are derived from dreams and the unconscious mind; hence, the students have to contend with the derivation of subject matter from an unusual source. This is challenging for most of them since they are used to formulating subject matter from a purely academic perspective and from themes that they ordinarily relate to in their environment or can easily reference. Although students embark on drawing from their first year of study, they are introduced to surrealistic drawing as a unit in their final year. With their drawing background, it is presumed that by their final year, they have attained adequate levels of drawing skills for application in any artistic challenge. This study examines, through analysis of selected works, firstly, the extent to which students are able to internalise the concept of surrealism and apply it in the construction of the artistic composition, and secondly whether their drawings demonstrate an individual capacity for self-expression and the derivation of meaning, through dream-like imageries drawn from the unconscious mind. The students were exposed to preliminary studies and examination of surrealistic work, discussions of subject matter, origination, style and technique in the course of their unit programme. For the purpose of uniformity of medium, they were instructed to work only in pencil. They were subsequently accorded adequate time and space to embark on their work with class presentations and discussions at prescribed intervals. The resultant drawings were many and varied and the ones selected are those that displayed good artistic execution and/or displayed a certain profoundness of meaning or interpretation.
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Eiserman, Jennifer, Beaumie Kim, and Ryan Doherty. "Opening Spaces for Listening in Art Museums through Community-Based Art." Arts, Culture & Development 1, no. 1 (2024): 19–37. http://dx.doi.org/10.59236/artsculturedev.v1i1.12.
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This paper highlights three community-based initiatives that empowered seniors, racialized immigrant women artists and street artists to share their unique perspectives. From 2021 to 2023, Contemporary Calgary and the University of Calgary collaborated with artists, community partners, and the Downtown West neighbourhood to provide programming in a repurposed light rail transit car to vitalize the community through arts. Through exhibitions at Contemporary Calgary, these artists were able to tell their stories. Visitors were able to engage with, listen to, and learn from the artists’ experiences. The programs fostered strong bonds among participants, resulting in ongoing collaboration and support. Drawing inspiration from Silverman’s (2010) concept of the museum as social worker, this paper builds on a model of care in the art musem (Eiserman, 2000) wherein contemporary art museums serve as spaces for marginalized individuals to express themselves and for communities to actively listen and respond.
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Badovinac, Zdenka. "Future from the Balkans." October 159 (January 2017): 103–18. http://dx.doi.org/10.1162/octo_a_00284.
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Drawing on the practices of several Eastern European artists, this essay explores ways in which the European refugee crisis has the potential to transform ideas of community. The author highlights artists whose direct commentary on the crisis confronts a loss of the type of collectivity that socialism used to maintain. Given the fact that the Balkan refugee route has, until recently, run mainly through former Yugoslav countries, it seems critical to reconsider notions of collectivity in light of the effect of the war in the region in the 1990s. On the one hand, collectivity in the socialist era served as an official ideology that meant, among other things, that responsibility was held by everyone and no one; on the other hand, there was a genuine spirit of collectivism among the people. In Yugoslavia, founded as it was on communist notions and on the ideology of brotherhood and unity, the collective habitus has become strongly rooted among artists. Indeed, it is still operative in the current environment of razor-wire fences, and as one result, artists in the region have paid relatively little attention to how contemporary crises affect the individual and have focused instead on how those crises challenge us to reexamine the concept of community.
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Sharma, Tarun Kumar, and Shahid Parvez. "CHILDHOOD EXPERIENCES IN PAINTINGS: EXPRESSIONS BY CONTEMPORARY INDIAN ARTISTS." ShodhKosh: Journal of Visual and Performing Arts 3, no. 2 (2022): 259–71. http://dx.doi.org/10.29121/shodhkosh.v3.i2.2022.184.
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The present paper is an attempt to understand the relationship between the childhood experiences and its expression in visual art mediums such as painting, sculptures, and installations. Visual art is an important medium by which the subconscious mind finds its way for expression. In this research, some Indian contemporary artists have been studied on two parameters: first on their artwork and second on their childhood experiences. An attempt is being made to find out how the childhood experiences made an impact on their work. Both positive and negative experiences in childhood lead to creative pathways in an artist. The childhood experiences of these artists range from early demise of mother resulting in missing visage in paintings, to expression of darkness and death due to witnessing riots. The work of some artists who were abandoned ‘pink’ color due to dark complexion resulting in series of artwork titled ‘I hate pink’ or having positive experiences such as time spent with family being expressed in the form of family gathering paintings, are also elaborated in this paper. Psychologists have been finding ways to reach to the core of people’s mind to gain insight about the mental health issues and its causes or origins for an individual. The understanding of an individual’s artwork can be a way of identifying and understanding the expressions and reflections of that individual in drawings, paintings, and other visual art mediums.
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Marano, Virginia. "Being (not) at home: Exiled women artists in postwar New York." Image & Text, no. 37 (November 3, 2023): 1–25. http://dx.doi.org/10.17159/2617-3255/2023/n37a14.
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In postwar art, the question of exile is the question of home. House defines a space as a locative concept. Home represents a place with a symbolic value of belonging and refers to objects, people, and ideas. Home does not designate a fixed state but rather a relational and transformative site in which individual and collective acts of remembering are embedded. In this article, the author explores the aesthetics of exile in the artistic production of exiled women artists in postwar New York, most notably Ruth Vollmer, Louise Nevelson, and Eva Hesse, who have often been excluded from the discourse around 1960s sculptural practice. The author casts the mode of construction and the viewing experience of their artworks through the notions of home and body. This contribution focuses on the intricate interrelations between women, domesticity, and artmaking associated with the aesthetics of exile and displacement, which significantly challenges any stable and absolute conception of home and place. By drawing on the works of feminist scholars and theorists, such as Sarah Ahmed, Julia Bryan-Wilson, and Iris Marion Young - in their argument that the idea of home and the practices of homemaking support relational identities-the author sheds light on how women artists in exile investigate notions of home, borders (both physical and psychological), diasporic longing, habitation, and uprootedness in a constant state of exchange.
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McLellan, Josie. "From the Political to the Personal: Work and Class in 1970s British Feminist Art." Twentieth Century British History 31, no. 2 (2019): 252–74. http://dx.doi.org/10.1093/tcbh/hwz030.
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Abstract How did British feminist art of the 1970s represent work and class, and what light does this shed on the women’s movement more generally? This article discusses the work of artists, including Bobby Baker, the Feministo and Fenix collectives, the Hackney Flashers, and Mary Kelly. These artists were eager to connect feminist activism to other struggles on the Left and were thus initially drawn to document working-class women’s paid work. Their political commitment to represent ‘ordinary’ working lives often led to lengthy periods of research, as well as attempts to make both the creative process and the finished product accessible to new participants and audiences. However, across this period, two changes took place. First, artists began to focus on women’s unpaid work, drawing attention to the tension between domestic work and paid employment, and the lack of easy solutions to this problem. Secondly, most lost faith in art’s power to represent the experience of work beyond the individual and the personal. Early political idealism gave way to sustained soul-searching about the intellectual, moral, and aesthetic difficulties of representing the experience of others, particularly those of a different class background. This article, then, shows that the early British women’s movement was keen to engage with working-class experience and that it did so in a way that was self-reflective. In the end, it was this self-reflection, and the questions that it generated about the morality, politics, and aesthetics of representing others, that led to the personal and psychological turn of the later 1970s.
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Schnugg, Claudia, and BeiBei Song. "An Organizational Perspective on ArtScience Collaboration: Opportunities and Challenges of Platforms to Collaborate with Artists." Journal of Open Innovation: Technology, Market, and Complexity 6, no. 1 (2020): 6. http://dx.doi.org/10.3390/joitmc6010006.
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Artists are often seen as innovators and producers of creative and extraordinary new ideas. Additionally, experiencing art and artistic processes is an important opportunity for learning and exploration. Thus, corporations and scientific organizations have experimented with initiatives that generate artscience collaboration, such as fellowships, long-term collaborations with artists, and artist-in-residence programs. Looking at outcomes in the long-term, it is possible to identify important contributions to scientific, technological, and artistic fields that stem from artscience collaboration opportunities in organizations. On the other hand, it is often difficult to define immediate tangible outcomes of such processes as innovation as interdisciplinary interaction and learning processes are valuable experiences that do not always manifest directly in outcomes that can be measured. Drawing from cases of artscience programs and qualitative interviews with program managers, scientists, and artists, this article explores how artscience collaboration in an organization adds value and helps overcome organizational challenges regardless of such outcomes. By shifting the focus from the outcome to the process of artscience collaboration, it is possible to discover in more depth value-added contributions of artscience experiences on an individual level (e.g., new ways of knowing and thinking, understanding of materials and processes, and learning). Moreover, such contributions tell stories of connecting the process of artscience programs to the organizations’ goals of developing a new generation of leaders and driving a more adaptive, innovative culture. These benefits of artscience opportunities need to be supported by managerial activities in the organization. Thus, it enables a more differentiated understanding of possible contributions of artscience collaboration to organizations and helps to define the best model to create such opportunities. The article also recommends future research directions to further advance artscience collaboaration, especially in light of pertinent movements such as STEAM and Open Innovation, and promising developments in related fields such as neuro-aesthetics.
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Argyle, Elaine. "Creative practice as a mutual route to well-being." Mental Health and Social Inclusion 24, no. 4 (2020): 235–39. http://dx.doi.org/10.1108/mhsi-05-2020-0035.
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Purpose Drawing on the evaluation of a series of workshops in painting and drawing, this paper will assess the impact of attendance on the well-being of participants who had been identified as being at risk of developing mental health problems. Design/methodology/approach The evaluation was conducted by an independent researcher and consisted of interviews with group members at the beginning and the end of the project about their expectations and experiences. To complement this data, interviews were also carried out with group leaders and artists. Findings Workshop attendance helped to promote the mutual recovery and inclusion of participants while also enhancing the supportive capacities and social capital of their respective groups. These impacts were broad, sustained and mutually reinforcing, transcending the individual and the group to incorporate wider settings. Originality/value The importance of the these wider factors are often overlooked by traditional recovery models with their person-centred focus tending to neglect the context in which this recovery is located.
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Wang, Zihe, Linzhou Li, Tan Zhang, et al. "Emulating Artistic Expressions in Robot Painting: A Stroke-Based Approach." Applied Sciences 14, no. 12 (2024): 5265. http://dx.doi.org/10.3390/app14125265.
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Representing art using a robotic system is part of artificial intelligence in our lives, especially in the realm of emotional expression. Developing a painting robot involves addressing how to enable the robot to emulate human artistic processes, which often include imprecise techniques or errors akin to those made by human artists. This paper discusses our development of an innovative painting robot utilizing the sim-to-real approach within learning technology. Specifically, this pipeline operates under a deep reinforcement learning (DRL) framework designed to learn drawing strategies from training data derived from real-world settings, aiming for the robot’s proficiency in emulating human artistic expressions. Accordingly, the framework comprises two modules when given a target drawing image: the first module trains in a simulated environment to break down the target image into individual strokes; the second module then learns how to execute these strokes in a real environment. Our experiments have shown that this system can meet our objectives effectively.
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Rohr, Doris, and Niamh Clarke. "Collaborative project: From cradle to parlour." Drawing: Research, Theory, Practice 5, no. 1 (2020): 59–72. http://dx.doi.org/10.1386/drtp_00020_1.
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This co-authored project report considers the polarity of the ephemeral (concept, memory, recollection) with the material aspect of creativity, as it manifests itself in the related yet complimentary practices of writing and drawing. The craft of drawing is complex and hybrid, more akin to writing processes as a means of embodying and making physical through gesture, than many other art forms and processes that rely on material presence. Writing and drawing materialize memory, ideas and projective thought and attempt to manifest their transience. The joint project research (Clarke|Rohr) was originally presented as a contribution to ‘Drawings of, Drawings by and Drawings with …’ chaired by Ray Lucas (Manchester University) for the conference Art, Materiality and Representation, Royal Anthropological Institution, SOAS/British Museum, in June 2018. We are grateful for the opportunity to further evaluate and publish the progression of the project in this issue of DRTP. The idea for a collaborative drawing project that involves text|image translations was borne from conversations between Niamh Clarke and Doris Rohr. Clarke perceived visual, structural and textual affinities between the modernist novel The Waves by Virginia Woolf and the drawings of waves by the Latvian American photorealist artist Vija Celmins. This prompted an experimental project: what type of textual responses might be found in another’s drawing, and, in turn, what type of visual drawn image might be generated in response to a short text of creative writing? We decided to limit the postal exchange of material to three A4 drawings and three individual short excerpts of poetry or prose. It was agreed that we would monitor our personal reactions, emotions and analysis of the process and store the responses via a shared digital platform (Google Drive). The project’s premise was to interrogate image and text relationships and the possibilities to translate or influence one through the other. Our aim is to explore materiality and subject matter through drawing with a mediated sense of authorship.
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Korobeynikova, L., Y. Tropin, I. Chornii, V. Korotya, and T. Sovgiria. "Features of individualization in martial arts." Єдиноборства, no. 2(28) (February 3, 2023): 61–78. http://dx.doi.org/10.15391/ed.2023-2.06.
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Purpose: to establish the features of individualization in martial arts based on the analysis of scientific and methodological information, the Internet and generalization of best practices. Material and methods. The following methods were used to conduct the study: analysis of scientific and methodological information and the Internet, generalization of best practices. Results: the analysis of scientific and methodical information, Internet sources and generalization of the best practical experience allowed to establish that the problem of individualization of training of qualified sportsmen has always remained an actual direction for research. An important feature of practical work at the stages of in-depth improvement and realization of individual capabilities of wrestlers is its selectivity in accordance with the unique properties of each student. At these stages, frontal and group approaches are increasingly giving way to an individual approach to the conduct of educational and training work. Specialists in different types of martial arts believe that when planning the means and methods of sports training in the training process of martial artists it is necessary to take into account the peculiarities of athletes of different weight categories and styles of conducting a competitive match (fight, battle). Thus, the authors provided practical recommendations on the use of means and methods of sports training in the training process of martial artists of different weight categories and styles of confrontation. Conclusions. The results of the conducted research showed that in the management of the formation of the individual style of confrontation of qualified sportsmen in martial arts it is necessary to focus on the following main factors: on the most effective, widespread techniques; on the morpho-functional abilities of the sportsman; on his individual motor giftedness; on the development of physical qualities; on the peculiarity of the nervous system. It is determined that when drawing up a prospective training plan for qualified martial artists, it is necessary to take into account the reaction of the athletes' body to physical activity, depending on the weight category and style of confrontation.
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G., GAMANOVICH. "ETHNOGRAPHIC SKETCHES OF G.I. CHOROS-GURKIN IN THE COLLECTION OF THE ALTAI STATE MUSEUM OF LOCAL LORE." Preservation and study of the cultural heritage of the Altai Territory 28 (2022): 37–46. http://dx.doi.org/10.14258/2411-1503.2022.28.06.
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The article presents materials from the fund of the Altai State Museum of Local Lore, included in the complex of museum items - various works by G.I. Choros-Gurkin in the technique of pencil drawing and ink drawing and presented to the writer A. Shapovalova during her meeting with the artist in 1930, when she was traveling in the Altai Mountains. Later, in 1976, A. Shapovalova herself handed over the drawings to the museum. The study of ethnographic sketches was carried out in the form of a formal stylistic art history analysis of individual drawings. They are of particular value as ethnographic scientific sources illustrating various aspects of the traditional culture of the Altai peoples. The samples of Gurkin’s creative heritage selected for the study are works of unique graphics, marked by a combination of a high level of artistic performance with accuracy and thematic representativeness.
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Seo, Chang Wook, Amirsaman Ashtari, and Junyong Noh. "Semi-supervised reference-based sketch extraction using a contrastive learning framework." ACM Transactions on Graphics 42, no. 4 (2023): 1–12. http://dx.doi.org/10.1145/3592392.
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Sketches reflect the drawing style of individual artists; therefore, it is important to consider their unique styles when extracting sketches from color images for various applications. Unfortunately, most existing sketch extraction methods are designed to extract sketches of a single style. Although there have been some attempts to generate various style sketches, the methods generally suffer from two limitations: low quality results and difficulty in training the model due to the requirement of a paired dataset. In this paper, we propose a novel multi-modal sketch extraction method that can imitate the style of a given reference sketch with unpaired data training in a semi-supervised manner. Our method outperforms state-of-the-art sketch extraction methods and unpaired image translation methods in both quantitative and qualitative evaluations.
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Reitsamer, Rosa, and Rainer Prokop. "Keepin’ it Real in Central Europe: The DIY Rap Music Careers of Male Hip Hop Artists in Austria." Cultural Sociology 12, no. 2 (2017): 193–207. http://dx.doi.org/10.1177/1749975517694299.
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This article sets out to broaden our understanding of the significance of authenticity, locality and language for the development of a do-it-yourself (DIY) rap music career by taking male rap artists in Austria as an example. Drawing on interviews carried out in 2014–2015 with two groups of rap artists from different social and cultural backgrounds who embarked on their rap music careers in the early 1990s and the early 2000s, we analyse their rap lyrics and the social and economic contexts in which these individuals became rappers. We examine how the artists articulate claims to authenticity by appropriating African-American rap styles, meanings and idioms and blending them with local languages and references to local cultures and national politics. We also examine the rappers’ relationship to the music industry and the use of informal channels for the production, performance and consumption of rap and hip hop in general. The article suggests that the DIY careers of these rap artists depend on both the rappers’ use of music to articulate claims to authenticity and their ability to form (trans-)local networks for sharing skills, knowledge and other resources, as well as on Austria’s cultural policy and the changes in the music industry that have taken place in recent years.
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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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Portnova, Irina V. "“Admiring” as a Principle of Perception and Interpretation of Natural Images in Russian Fine Art of the 18th Century." Observatory of Culture 17, no. 2 (2020): 174–86. http://dx.doi.org/10.25281/2072-3156-2020-17-2-174-186.
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The article highlights a new period in the development of Russian art, which demonstrated a “picture of the world” radically different from previous eras. There is discussed the 18th century, the trends of its secular art, focused on the reflection of real life. That time brought an interesting and significant phenomenon — the natural image intended to demonstrate the properties of living nature, full of diversity and beauty. The article is aimed at assessing the search for this reverent natural ontology, which originated in the depths of early art and grew to the status of an independent genre. This absolutely new phenomenon was filled with particular delight of artists. To reflect it in full, masters resorted to the detailed and scrupulous interpretation of animalistic scenes and individual characters, depicting them in still lifes, hunting, and nature, and comprehending the essence of material life, its laws and specific expression in art. The article reveals the principle of “admiring”, which is within the area of perception and interpretation of this art. There are considered the so-called “Kunstkammer” drawing, floral still lifes, scenes with animal images, which are characterized by the artist’s rapturous contemplation of natural realities and their careful depiction. On the one hand, this process was due to the interest in the knowledge of the natural world, and on the other hand, it contributed to the composition of genres, especially animalism in its specific features. The first artists (M.S. Merian, J.F. Grooth, K.F. Knappe, J.E. Grimmel, A. Dobryakov), mainly among foreign masters, continued the line of the natural world cognition, emphasizing the curious and characteristic moments in its manifestations. They clearly demonstrate a philosophical view of the natural world order, full of sensuality and material delight. The article formulates the idea of importance of the early stage in the development of Russian animalism for the subsequent development of the genre.
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Ince, Bernard. "Hidden Identities, Forgotten Histories: Female Provincial Touring Artists in Britain, 1887–1900." New Theatre Quarterly 38, no. 2 (2022): 139–50. http://dx.doi.org/10.1017/s0266464x22000045.
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Provincial touring companies of the late Victorian period, comprising mostly unknown actors and actresses, have received minimal scholarly attention until recently. The sheer number of ‘on-the-road’ artists who were employed in such enterprises from the late nineteenth century onwards increased to such an extent that to establish a framework for their individual and collective study presents significant challenges. This article addresses this problem by proposing a method, grounded in genealogy, that records the male and/or female artists of a given touring company over its full term without selective bias in order to establish a cohort of subjects for further examination. It tracks the touring companies of actor-manager Lawrence Daly, an individual unheard of today, between 1887 and 1900, the year of his death. One hundred and twenty-five female artists employed by Daly during this period are recovered, and their careers, family histories, and personal identities are subjected to statistical analysis. The conclusions drawn here not only contribute to the better understanding of the social history of non-elite female provincial artists of the late nineteenth century, but also afford the opportunity to shine a light on figures whose names, lives, and achievements are long forgotten. Further, a case is made for the method as the basis for a wide-ranging database of provincial touring companies and artists. Bernard Ince is an independent theatre historian who has contributed several articles on Victorian and Edwardian theatre to New Theatre Quarterly.
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Strachan, Robert. "The Spectacular Suburb: Creativity and affordance in Contemporary Electronic Music and Sound Art." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 3, no. 3 (2013): 5–24. http://dx.doi.org/10.7146/se.v3i3.15732.
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This article examines the relationship between sound, creative practice and the representation of landscape and environment. It uses an analysis of a single sound art/electronic music event, the Spectacular Suburb, a collaboration between sound recordist Chris Watson and the electronic producer/musician Matthew Herbert, as a central case study. Drawing upon interview material and the author’s own experiences as a curator of the event the article explores how individual sound objects are utilized subject to differing creative strategies. The article proposes a theoretical model of creativity influenced by ecological approaches to human perception. In particular, it suggests that for electronic musicians and sound artists creativity takes place according to complex affordance structures characterized by the relationship between the physical properties of sound, a highly nuanced set of socially constructed contexts, and specific technological and musical conventions.
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Kendrick, Anna Kathryn. "Miraculous, mutilated, mundane: Redrawing children’s art in Francoist Spain." Global Studies of Childhood 11, no. 2 (2021): 142–63. http://dx.doi.org/10.1177/20436106211023510.
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Children’s drawings hold a contested place in archives of war. Often portrayed as unfiltered records of psychological impact on innocent young civilians, the same drawings are also sophisticated testimonies of agency. With child-artists creating their work within classrooms, families, and communities, this article offers an alternative reading of their historical significance. Children’s art offers not simply a firsthand view of conflict but also a critical view onto the alliances and ideologies of the adults who guided their creation. Before and after the Spanish Civil War (1936–1939), after which Spain entered into several decades of National-Catholic dictatorship, psychologists and teachers used children’s drawings to further educational projects toward both progressive and conservative ends. Across key nodes of conflict and postwar quietude, I ask how advocacy of children’s art allowed teachers to practice what I call a form of pedagogical postmemory. Centering on Francoist-era education and the artists who created new openings for individual expression, the essay focuses on two educators, namely the artist Ángel Ferrant (1890–1961) and the novelist Josefina Aldecoa (1926–2011). Contrasting their paired views of children’s art as a liberating, imaginative activity with that of the Francoist pedagogue Josefina Álvarez de Cánovas (1898–?), this study exposes how the same fundamental rhetoric of imagination and freedom could result in vastly different archives of children’s drawings under dictatorship. Understanding children’s art as bound up in wider social and political processes, it posits the seemingly neutral sphere of postwar art education as a key vehicle for pedagogical memory and historical recovery.
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Sherstobitova, Ekaterina S. "The brothers Stephan, Feodor and Gavrila Basov`s art: marginal ornaments of old Russian manuscripts." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 61 (2021): 280–88. http://dx.doi.org/10.37816/2073-9567-2021-61-280-288.
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The paper explores the decoration of manuscripts in an early printed style of the ornamentation dominant during the second half of the 16th – the beginning of the 17th centuries by the example of the works of outstanding scribes and drawing-artists brothers Stephan, Feodor and Gavrila (nicknamed Ivan) Basovs. The author applied the element-structural method and identified the influence of the artworks of the European master Israel van Mekenem the Younger and the Moscow first printers on their art. The brothers Basovs created various examples of the ornamentation: marginal ornaments, headpieces, initial letters. The present study is focused on the artistic features of marginal ornaments. The author reveals various types of the ornamental compositions and highlights distinctive features of the brothers Basovs` art. The study identified that the author's interpretation of the individual motifs of the early printed style by Stephan Basov is most clearly expressed at the creation of the complex (multicomponent) compositions with a combination of the various plant elements. Feodor Basov created ornamentation that is distinguished by the artist's inexhaustible imagination, which manifested itself in a large variability in the combination of components (for example the author's forms of fruits and birds). The Gavrila Basovs' marginal ornaments are characterized not only by the use of color, but also by the variety of compositions, many of which were multi-tiered and framing the text. The author examined the individual style of each of the brothers Basovs at the creation of marginal ornaments in the early printed style and determined the share of author's originality in its interpretation.
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Mayo, Natasha. "Capturing ‘small stories’ from the lake: At the MAA/Ground Residency." Drawing: Research, Theory, Practice 9, no. 1 (2024): 121–33. http://dx.doi.org/10.1386/drtp_00133_1.
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Drawing has long been established as a conversational tool, as notation passed between individuals or with larger groups to create an evidence trail of ideas. There is a fascinating sociality to the activity, finding parallels with the dynamics of a conversation, as artists enter similar cycles of inspection, re-conception and re-examination, pushing ideas forward, asserting focus and altering original intentions. The MAA/Ground Residency offered the opportunity to examine this sociality on a more nuanced level, by applying approaches commonly used in the practice of oral history, to devise a model of drawing that can sensitize participants to the nature of human interaction and explore the ‘smaller stories’ contained in the details of shared experiences. The following report maps the first stages of this study from initial interaction with the site of the residency at Niemelä house, E. Finland, and onto a series of drawing conversations with its attendees. The results start to show how, as a particular field of the visual arts, the drawing process can be shaped by situated ‘small talk’, reflected in equivalent hesitancies and utterances in emerging and growing ideas, and in turn, how narrative analysis can be used to interpret and explore the sociality of drawing taking place.
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Fox-Gieg, Nick. "Lightning Artist Toolkit: A Hand-Drawn Volumetric Animation Pipeline." Proceedings of the ACM on Computer Graphics and Interactive Techniques 7, no. 4 (2024): 1–7. http://dx.doi.org/10.1145/3664221.
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We propose a set of methods for freely integrating live-action volumetric video with hand-drawn volumetric animation, which our research develops as the Lightning Artist Toolkit (Latk)---a complete pipeline for hand-drawn volumetric animation, as far as we know the only open-source example of its kind. Our goal with this project is to make creation in 3D as expressive and intuitive as creation in 2D, retaining the human gesture from its origins in hand-drawn animation on paper. This effort is less a computer vision challenge with an objective goal, as with for example point cloud segmentation, than it is an attempt to approximate human vision---a drawing process that records only information from a scene that was subjectively important to an individual artist. In addition to supporting animation efforts in the near term, we believe the public TiltSet dataset assembled for this project will remain usable in new and unexpected ways.
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Holmes, John Robert. "Science and the Language of Natural History Museum Architecture: Problems of Interpretation." Museum and Society 17, no. 3 (2019): 342–61. http://dx.doi.org/10.29311/mas.v17i3.3212.
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The historicist styles and decorative schemas of natural history museums built from the 1850s to the 1930s provide a unique opportunity to study the architectural expression of scientific ideas. At the same time, the significance of individual buildings varies widely. Drawing on examples from Britain, Ireland, Canada and continental Europe, this article explores three specific problems that arise in the interpretation of the architectural language of natural history museums. Firstly, the same motifs can convey very different meanings in different places. Secondly, the same governing idea can be communicated through different architectural styles which in turn inflect the idea itself. Finally, it is often hard to reconstruct the exact roles of the different actors in creating a museum building. The most complex museums, and the most challenging and rewarding to analyse, are those with the greatest number of scientists and artists working together to create them.
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Peremislov, Igor A. "VIEWER IMPRESSIONS OF ARTISTIC EXPRESSION: ART FROM THE CONSCIOUS TO THE UNCONSCIOUS AND VICE VERSA." Arts education and science 4, no. 37 (2023): 117–24. http://dx.doi.org/10.36871/hon.202304117.
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The author relies on psychological and philosophical concepts underlying the understanding and interpretation of fine art. This article is dedicated to a multifaceted analysis based on the psychological studies of the visual arts developed by renowned authorities such as Dui Tran Hoang Le, Paul Schrader, Julie C. Garlen, and Jennifer A. Sandlin. Based on these concepts, any work of fine art, be it a painting, a cartoon, or a stylized drawing, is considered a magic mirror that allows the viewer to look at the object from two different positions — internal and external, while also looking into themself. According to these psychological theories, a work of fine art is, in many ways, like such a mirror — a window into the inner world. Animation is the sharpest window, giving the most prominent and clear image, and the author gives insight into the historical background of such a unique and brilliant visual art form that has combined art with cinema for many generations. There is also emphasis placed on animation artists and aspiring animation-style artists whose practices are well-aligned with this skill that allows an art piece to enable deep reflection that allows an individual to look inward and then outward, and vice versa. These practitioners also utilize such a skill to convey the emotional background inherent in an art subject, which largely determines the perception of the creation by the viewer.
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Budge, Kylie, Narelle Lemon, and Megan McPherson. "Academics who tweet: “messy” identities in academia." Journal of Applied Research in Higher Education 8, no. 2 (2016): 210–21. http://dx.doi.org/10.1108/jarhe-11-2014-0114.
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Purpose – The purpose of this paper is to investigate the growing use of Twitter in academic and artist practices. The authors explore commonalities, overlaps and differences within the reflections on the initial and ongoing motivations, usage and learnings the authors have encountered whilst immersed in this environment. Design/methodology/approach – The authors locate the particular inquiry by drawing on the literature surrounding digital identities, academic literacies and digital scholarship. Departing from other studies, the focus is on a narrative inquiry of the lived experiences as academics and as artists using Twitter. Findings – Academics use of Twitter plays a distinctly social role enabling communication that connects, and fostering accessible and approachable acts. It enables a space for challenging norms of academic ways of being and behaving. In addition, the authors draw conclusions about the “messiness” of the interconnected space that incorporates multiple identities, and highlight the risk taking the authors associate with using Twitter. Research limitations/implications – Academic practice is ever changing in the contemporary university. This initial study of academic and artist practices and the use of Twitter suggests future developments including participants using similar questions to elicit notions of practice to engage in a deeper understanding of motivations and behaviours. Practical implications – In using social media tools such as Twitter, individual academics and their practices are modified; the impact of this practice is visible. Originality/value – The authors contribute to emerging discussions and understandings about academics, social media and identity. The authors argue that by participating in the use of Twitter, the authors are part of the collective process of challenging what it means to be an academic and artist.
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Wiśniewski, Rafał, and Izabela Bukalska. "The Interactive Dimension of Creating Cultural Artifacts Using Agile Methodologies." Qualitative Sociology Review 16, no. 4 (2020): 198–210. http://dx.doi.org/10.18778/1733-8077.16.4.12.
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The authors consider symbolic interactionism to be a suitable theoretical framework to analyze projects in creative sectors because it affords ample space for individual and collective creativity. Furthermore, teams working on different cultural artifacts establish a negotiated order (interactionist term coined by A. L. Strauss) among artists, managers, the audience, and sponsors, et cetera, by discussing and translating various meanings and perspectives. This is especially noticeable when projects are managed using an agile methodology. The application of agile methodologies in creative sectors is a relatively new idea, although it seems to be in harmony with the nature of artistic work. For instance, it implies the acceptance of unpredictability and flexibility while also recognizing the ability and individuality of project participants. There are also specific problems related to the personalities of the artists and the irregularities and discontinuities inherent in the process of creation. The first part of the article raises the topic of creativity in symbolic interactionism. This perspective is subsequently extended to teamwork in creative sectors employing the description of collective work in Howard Becker’s book entitled Art Worlds as an example. The authors reflect on other contemporary works explaining the cultural shift transpiring during the move from the analog age to the current digital age and its influence on the process of creation in the world of artists. This leads to a discussion of distributed agility, a concept stemming from agile management. The various agile methods are mentioned and shortly characterized; we also present a succinct depiction of historical perspective. The literature on the use of agile methods in creative sectors is referred to along with some of the challenges they face. The need to develop an agile management methodology specifically for creative industries is emphasized. This article utilizes the literature on symbolic interactionism to explain group dynamics by drawing analogies with agile management.
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Rice, Carla, and Ingrid Mündel. "Multimedia Storytelling Methodology: Notes on Access and Inclusion in Neoliberal Times." Canadian Journal of Disability Studies 8, no. 1 (2019): 118–48. http://dx.doi.org/10.15353/cjds.v8i1.473.
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In this article, the authors examine the impact of using their evolving multimedia storytelling method (digital art and video) to challenge dominant representations of non-normative bodies and foster more inclusive spaces. Drawing on their collaborative work with disability and non-normatively embodied artists and communities, they investigate the challenges of negotiating what ‘access’ and ‘inclusion’ mean beyond the individualizing discourses of neoliberalism without erasing the specificities of differentially-lived experiences. Reflecting on their experiences in a variety of workshops and on a selection of videos made in those workshops, they identify and analyze three iterative ‘movements’ that mark their storytelling processes: from failure to vulnerability, from time to temporality, and from individual voice to collective concerns. The authors end by considering some of the ways they have experimented with developing an iterative workshop method that welcomes difference while simultaneously allowing for an examination of the terms of the shared space and of the mechanisms of inclusion and exclusion operating within that space.
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Aryadoust, Vahid. "Measureable Dimensions of Visual Mental Imagery and Their Relationship With Listening Comprehension: Evidence From Forensic Arts and Latent Class Analysis." Imagination, Cognition and Personality 39, no. 3 (2019): 291–319. http://dx.doi.org/10.1177/0276236619829879.
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This study investigates the dimensions of visual mental imagery (VMI) in aural discourse comprehension. We introduce a new approach to inspect VMIs which integrates forensic arts and latent class analysis. Thirty participants listened to three descriptive oral excerpts and then verbalized what they had seen in their mind’s eye. The verbalized descriptions were simultaneously illustrated by two trained artists using the Adobe Photoshop® and the digital drawing tablets with electromagnetic induction technology, generating approximations of the VMIs. Next, a code sheet was developed to examine the illustrated VMIs on 16 dimensions. Latent class analysis identified three classes of VMI imaginers with nine discriminating dimensions: clarity, completeness of figures, details, shape crowdedness, shape-added features, texture, space, time and motion, and flamboyance. The classes were further differentiated based on the significant differences in their listening abilities. An individual lacking the ability to imagine (a condition called Aphantasia) and some evidence that VMIs in listening are both symbolic and depictive were also found.
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VOLHIN, Yuriy. "ART IN DEFENSE OF UKRAINE (TO THE CREATIVE WORK OF ALEXANDER LYHOSHERST)." ART Space 1, no. 4 (2024): 250–64. http://dx.doi.org/10.28925/2519-4135.2024.414.
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The article examines the influence of modern folk art on the formation of patriotic attitudes and psychological support of the soldiers of the Armed Forces of Ukraine, on the roots and origins of folk art in the struggle for the independence of Ukraine, using the example of the work of the artist Oleksandr Lyhosherst. Today's cultural and artistic arena is a very heterogeneous phenomenon – the dominant artistic processes have shifted dramatically. Martial law, military actions of the state prompted the creative community to change the system of values – to readjust to a different plot, a figurative series. Agitation art dominates – daily reality dictates the need for creative personalities to find ways to psychologically support those who defend the borders of the state from the end of February 2022. The task of the research is the possibility of positioning art to accelerate the victory of Ukraine in the war with the Russian invaders, considering art as a method of raising the patriotic mood of the population, on agitation, moral support of Ukrainian soldiers, which is analyzed on the example of the works of the Kyiv painter Oleksandr Lyhosherst. Emphasis is placed on changes in the dominant forces in the cultural and artistic field of modern Ukraine, the cause of which is military aggression. Emphasis is placed on the war as the reason for a radical change in the storyline of the work of Ukrainian artists. The leading characteristics of Oleksandr Lyhosherst's work are highlighted, a brief overview of the formation of his creative path is given. Individual examples of the artist's work are presented, the influence of those phenomena that were important for the formation of his creative language is characterized. The plots, images, and principles of creating the main compositions that are in demand among the soldiers, who are the main customers of the artist's works, are emphasized. Parallels are drawn with the work of artists that influenced the formation of the painter's stylistics. Folk painting, nayiv positioned as dominant phenomena, on which O. Lyhosherst nurtured his art.
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Wang, Yushan. "A Study on Leonardo Da Vincis Renaissance and the Influence on His Way of Painting." Communications in Humanities Research 3, no. 1 (2023): 429–34. http://dx.doi.org/10.54254/2753-7064/3/20220379.
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In the fourteenth century, the era of Medieval governance came to an end. The exploration of ancient Roman and Greek literature and art inspired artists to replicate those glories. By no means a mere reproduction, this advanced the Renaissance by deepening the artists' awareness of the world and their all-encompassing humanistic appreciation of the leading personalities of the day. Among the most influential Renaissance leaders was Leonardo di ser Piero da Vinci. The High Renaissances Italian polymath Leonardo was an architect, sculptor, theorist, scientist, engineer, draftsman, and painter. Along with his recognition as a famous painter, he also made his name due to his manuscripts, where he made notes and drawings on various subjects, such as paleontology, painting, cartography, botany, astronomy, and anatomy. Leonardo is normally considered as an intellectual individual, who personified the humanist ideal of the Renaissance, and his collective pieces have inspired artists of the later generations. This study analyses Leonardo di ser Piero da Vinci and his influence on his way of painting.
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Hsiao Ying, Ma. "Establishing assessment criteria and breakthrough points for drawing ability." Arte, Individuo y Sociedad 34, no. 3 (2022): 1087–111. http://dx.doi.org/10.5209/aris.77140.
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The "ability of realistic drawing" especially realistic drawing ability has been an important measure in assessing the spiritual world of humankind; However, several points in individual teaching strategy remain yet to be clarified in the established practice of group teaching how to draw: 1. How does one assess the artist's skill level? 2. Which abilities should be included in the scale used to assess drawing ability? 3. Of these abilities, which ones can be learned in a short time and which ones require a long time? 4. How does drawing ability evolve to reflect quantitative and qualitative changes as the learning time accumulates? This study attempts to answer the four questions posed above in an analytical and quantifiable way by obtaining empirical data from three drawing experts and four student groups with the aim to establish a set of assessment criteria for drawing ability. With a comprehensive and effective set of assessment criteria established for drawing ability, that the contributions from this study could enable teachers to assist learners not only save time on guesswork, but also provide tailored and specific breakthrough teaching strategies.