Academic literature on the topic 'Forged artwork'
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Journal articles on the topic "Forged artwork"
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Graves, Ph.D, P. Nelson. "ELAnatsui, Visual Arts and Intersection with Knowledge." World Journal of Education and Humanities 2, no. 3 (May 20, 2020): p71. http://dx.doi.org/10.22158/wjeh.v2n3p71.
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“Natural synthesis” compartmentalized the black art world. This essay unravels how with folkloric gleeEL Anatsui, in a “selective critiquing and re-evaluation of self” dared to “wriggle out” of that quagmire. Thusly, reactivating the dynamic terrain that lives and is animated from within the soul of artists, he forged a new path of creativity. With reappraisals of the intellectual dynamics that forged the artistic substance of the post 1960s; empirical analysis and the engagement of storytelling mechanisms, this essay unreels that artistry. Anatsui, in spite of his accademisisation and art practice, threads a detour to cloth making craft traditions, particularly the Kente weave and its autography; for inspiration. Hence, the “vital and enabling” intellectual paradigm “resumptions, disappearances, and repetitions” makes possible an intersection with arcane knowledge, while the “uniting representation” of the synthesis in the appropriation of Memory and Interview grounds the contexts within which each artwork is experienced. EL’s “non-fixed forms” make visible the temerity of new shapes and forms forged directly from the wellsprings and fecundity of African roots as exemplars of the art of the new dawn (Ben Shahn, 1965:53).A deconstruction of EL’s artworks reveals the groundings of his discourses on assemblages of “Forgotten Biography” and the engagement of “mythopoeia imagination” (Marina Paolo Banchetti-Robino, 2011) in the recalibration of personal expression in language and imageries that inflect spiritual ties to ancestry and the reality of memory. This is sufficient basis for the historical narration of the intersection of visual arts and knowledge.
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Vellodi, Kamini. "Two Regimes of Fact." eitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 60. Heft 1 60, no. 1 (2015): 103–22. http://dx.doi.org/10.28937/1000106255.
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In her contribution, Kamini Vellodi reflects on the chances of a methodological shift in the discipline of art history thanks to this expanded rethinking of fact by concentrating on the notion of the “pictorial fact”, or “matter of fact,” in Gilles Deleuze’s transcendental empiricism. Vellodi argues that Deleuze’s matter of fact can help us to overcome the still prevalent self-conception of art history as discipline, which has to trace historical facts, understood as given entities that “represent” already accomplished events, that provide the foundations and target for subsequent interpretation and elaboration. Following these assumptions, facts are antecedent to art historical investigations; they are seen as empirical material, independent from the art historian, something, which he or she has to collect in order to reconstruct the authentic essence of the artwork. This reductive notion of facticity in art history dominates not only the understanding of material and historical facts of artworks but as well the understanding of their formal qualities, as Vellodi shows. In the representational regime, as Vellodi calls it, forms in artworks are reduced to their function to represent an antecedent “fact”, hence an external meaning. Instead, she counts to augment this regime of fact – which might be important concerning questions of technique, dates etc. – by a second conception of fact that foregrounds the dynamic qualities of those material qualities of the artwork, which cannot be explained by their representational function, but are sensed in presence of the artwork. Vellodi proposes to follow Deleuze’s notion of “matters of fact” as proper pictorial ligatures acting as living forces and hence affecting the perception of art by challenging prevailing notions of the artwork. Facticity in this sense is understood as the material quality of the artwork realized in sensation and hence radically dynamic and contingent. This notion of “matters of fact” bears ramifications for a philosophy of painting as well as for art history, as Vellodi shows. Art historical practice would in consequence be forced to take account of the difference of each artwork acting as dynamic force beyond and even against already acquired facts. If one follows Vellodis analysis, one could draw the consequence, that art history should be practised as a never completed activity trying to create facticity by forming differentiated new relations to each work of art in its specific material appearance.
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Edmonds, Ernest. "Structure in Art Practice: Technology as an Agent for Concept Development." Leonardo 35, no. 1 (February 2002): 65–71. http://dx.doi.org/10.1162/002409402753689344.
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The exhibition Constructs and Re-Constructions provided a survey of the author's artwork and formed the basis for this paper. It included four prints, consisting of notes based on early documentation, representing four different conceptual stages in using computer technology. As each is discussed in turn, it is shown that the computer provides a significant enhancement to our ability to handle and consider the underlying structures of artworks and art systems in the many forms that they may take. In the work discussed, while the conceptual developments are the key issues, the role of the technology in encouraging, enabling and inspiring them has also been central.
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Lah, Nataša. "Vrijednosni opisi umjetnosti." Ars Adriatica, no. 6 (January 1, 2016): 253. http://dx.doi.org/10.15291/ars.190.
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Taking into account the fact that, throughout history, certain artworks have been considered as “worth of watching” (according to the Greek etymon ἀξιοϑέατος / aksioteatos), preservation, or theorizing, while others were not, one is led to investigate the various types of evaluative descriptions. Those artworks that are more valuable than others, or simply valuable in themselves on the basis of rather specific features, have always represented the paradigmatic model for the evaluator, thus revealing the identitary nature of value as different from one epoch to another. Our aim has been to discern, with regard to this starting point, the way in which the process of evaluating artworks fits the general matrix of the universal theory of value, with its clearly distinguished levels of evaluation, beginning with value descriptions, continuing through the features of evaluation or abstract qualities of values extracted from these descriptions, and ending with value norms or systems of accepted generalizations in evaluation. Value standpoints in such an evaluation matrix represent dispositions or preferences in procedures, which reflect the norms or signifying concepts of the time. Corresponding procedures, or applications of the hierarchicized signification of artworks, are manifested in all known forms of artwork assessment: attribution, institutionalization, and setting of priorities in terms of exhibition, conservation, acquisition, restoration, and so on. Research in the history of European art-historical ideas has corroborated the hypothesis that, prior to the late 18th century, clear normative patterns were applied when it came to the evaluation of artworks. However, with the emergence of early Romanticism, this could no longer be done in the traditional way. Before the period in question, visual art was created (regardless of some stylistic discrepancies between individual authors) and classified according to well-defined thematic areas and functions. Such qualifications made it possible to distinguish clearly between major stylistic periods, creating the impression of development regardless of the later evaluative classifications of individual cycles in historical production thus understood. A comparison between the axiological matrix and the features of individual historical periods has revealed, on the one hand, a stable relationship between the functionally nomological features of artistic productions and the cultural instrumentalizations of art, and on the other a stable relationship between the overtly semantic conceptualizations in the epoch of modernism and the ostensibly structural mode of artistic expression. In the postmodern period, all that was once understood as the stylistic language of form, or the autonomy of the artefact, has been transformed in the evasive media multiplication of the postindustrial epoch into a whole series of reproductive languages, replicas, transfers, copies, or simulacra, and forced into a relationship of permanent detachment with regard to the “original” (source). Thus, instead of an artwork in context, the context itself is now presented as an artwork, structured all over again according to some of the possible principles in the theoretical choice of interpretation. The impossibility of defining precisely the boundaries of the medium, and its increasing dematerialization, have made it more difficult to apply universal evaluative criteria to a particular artwork, which has led to a conflict between cultural evaluation and the subjection of experience to the semantic functions of evaluations. Nevertheless, recent research on perception in the field of neuroscience has indicated that the sensory perception of the external world and the assignation of meaning to those perceptions indeed happen simultaneously, and that these processes cannot take place separated from one another. The conclusion shows that the modern evaluation conflicts are largely a consequence of an irreversible and entropic state of culture in the 21st century. We should therefore aim at a revision, not so much of the hitherto accepted and standardized values, but rather of the present systems of evaluation and the ensuing evaluative descriptions of art.
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V. Lubovsky, Dmitry. "The Perception of Art as a Higher Mental Function." Revue internationale du CRIRES : innover dans la tradition de Vygotsky 4, no. 1 (September 21, 2017): 77–79. http://dx.doi.org/10.51657/ric.v4i1.40995.
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The concept of higher mental functions applied to the perception of artworks. Considering art as a system of means for mastering of emotions and feelings, the authorshows that this interpsychic system of means for mastering the feelings and emotions through the pro-cessing of aesthetic experience is a conscious, mediated by speech and arbitrary dynamic system of artistic images perception and the processing of aesthetic experience. Perception of artworks becomes arbitrary, if a person realizes the cultural norm of relation to the arts, representing the ability and desire of the viewer to see in the artwork of thoughts and feelings appropriate to the author. The formation of art perception, like any other higher mental functions takes place in accordance with genetic law of cultural development according to which “Every function in the cultural development of the child appears on stage twice” (Vygotsky, 1983, p. 145). The author shows that the perception of art as a higher mental function is formed on the entire life through the perception of works of art and the assimilation of aesthetic experience. The approach to the analysis of perception of works of art proposed by author can find application in di˙erent social practices, from art pedagogy to art therapy; it allows to select the period of development of this function in childhood and adolescence as requiring the greatest attention by teachers and parents. The approach is applicable also in a psychological counseling and art therapy for adolescents and adults.
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Jacoby, Roberto. "Selected Writings." October 153 (July 2015): 14–41. http://dx.doi.org/10.1162/octo_a_00225.
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This selection of texts by the Argentinean artist Roberto Jacoby includes seven that are here published in English for the first time, and two others rendered in new translations. The majority of the texts (all but three) were written in the 1960s. Some, such as “Scale Model of an Artwork” (1966), “Automatic Circuit (work no. 1 for Telephone Circuit)” (1967), and “Message at the Di Tella Institute” (1968), are short descriptions of artworks. Another, “An Art of Communications Media (Manifesto)” (1967), takes the form of a manifesto, co-written by Jacoby and two other artists. “Demonstration: A Mass Media Artwork” (1967) touches on various issues topical in the mid-1960s art world in Argentina and beyond, including the relationship between art and life, society, and politics, and “Against the Happening” (1967) considers an art that harnesses the mass media for its production. The section also includes translations of song lyrics written by Jacoby that link intimate themes of love with international politics. The songs were put to music and recorded by the Argentinian rock group Virus for its fifth record, “Surfaces of Pleasure” (1987). The section concludes with “Strategy of Joy” (2000), an article that theorizes a biopolitical form of resistance to the civil-military dictatorship that brutalized the Argentinian population in the 1970s and early 1980s, and “Report on the Venus Project” (2002), which focuses on an experimental community formed in the midst of the social, economic and political crisis that befell Argentina in the summer of 2001, and, according to some, is ongoing.
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Hendriks, Laura, Irka Hajdas, Ester S. B. Ferreira, Nadim C. Scherrer, Stefan Zumbühl, Gregory D. Smith, Caroline Welte, Lukas Wacker, Hans-Arno Synal, and Detlef Günther. "Uncovering modern paint forgeries by radiocarbon dating." Proceedings of the National Academy of Sciences 116, no. 27 (June 3, 2019): 13210–14. http://dx.doi.org/10.1073/pnas.1901540116.
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Art forgeries have existed since antiquity, but with the recent rapidly expanding commercialization of art, the approach to art authentication has demanded increasingly sophisticated detection schemes. So far, the most conclusive criterion in the field of counterfeit detection is the scientific proof of material anachronisms. The establishment of the earliest possible date of realization of a painting, called the terminus post quem, is based on the comparison of materials present in an artwork with information on their earliest date of discovery or production. This approach provides relative age information only and thus may fail in proving a forgery. Radiocarbon (14C) dating is an attractive alternative, as it delivers absolute ages with a definite time frame for the materials used. The method, however, is invasive and in its early days required sampling tens of grams of material. With the advent of accelerator mass spectrometry (AMS) and further development of gas ion sources (GIS), a reduction of sample size down to microgram amounts of carbon became possible, opening the possibility to date individual paint layers in artworks. Here we discuss two microsamples taken from an artwork carrying the date of 1866: a canvas fiber and a paint chip (<200 µg), each delivering a different radiocarbon response. This discrepancy uncovers the specific strategy of the forger: Dating of the organic binder delivers clear evidence of a post-1950 creation on reused canvas. This microscale 14C analysis technique is a powerful method to reveal technically complex forgery cases with hard facts at a minimal sampling impact.
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Sucitra, I. Gede Arya. "Transformasi Sinkretisma Indonesia dan Karya Seni Islam." Journal of Urban Society's Arts 2, no. 2 (October 10, 2015): 89–103. http://dx.doi.org/10.24821/jousa.v2i2.1446.
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Tulisan ini membahas aspek sosio-historis dan pencapaian kebudayaan pada masa peradaban seni (rupa) Hindu dan Islam di Indonesia, perkembangan terkini seni rupa kontemporer Islami, dan karya seni KH. M. Fuad Riyadi, seniman dan Kyai Kontemporer yang aktif sebagai pelaku kesenian dalam seni sastra, musik dan seni rupa. Karya seni selalu merupakan cerminan pengamatan serta perasaan dan pikiran pembuatnya. Karya seni terlahir dari proses pergulatan panjang yang kompleks atas berbagai unsur kebudayaan yang saling mempengaruhi. Pada tahapan ini terjadilah transformasi budaya melalui proses sinkretisasi yang membentuk tradisi seni di Indonesia sesuai dengan peranan unsur budaya terutama persentuhan dengan agama yang datang dari luar. Tulisan ini dikaji melalui studi sejarah, transformasi budaya dan estetika. Berdasarkan penelitian dapat disimpulkan bahwa karya seni yang diciptakan seniman tidak berdiri sendiri atas nafas tunggal konsep dan dogtrin agama namun sudah dielaborasi dengan kebutuhan budaya setempat serta local genius masyarakat yang ditempati. This paper is intended to discuss the socio-historical aspect and the cultural achievement of the civilization of Hinduism and Islamic fine art in Indonesia, the updated development of Islamic contemporary fine art, and the artwork of KH. M. Fuad Riyadi, artists and contemporary mufti who are active as art doers of literary art, music, and fine art. The artwork is always a reflection of the observations and feelings and thoughts of the author. The artwork was born by the long struggle of complex processes on various cultural elements which influenced to each other. At this stage there was a cultural transformation through the process of syncretization which formed a tradition of art in Indonesia in accordance with the role of cultural elements, especially the contiguity with the religion coming from the outside. This paper was analyzed through the historical study, cultural and aesthetics transformation. Based on the research it can be concluded that the artworks created by the artist do not stand alone based on the single breath of concept and religion doctrine but the ones which have been elaborated with the needs of the local culture and the local genius of that intended society.
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Wijaya, Hanny. "Titik sebagai Dasar Penciptaan Karya Seni." Humaniora 1, no. 2 (October 30, 2010): 253. http://dx.doi.org/10.21512/humaniora.v1i2.2867.
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Basic element of subject is point / dot. Line, shape, form (two-dimensional and three-dimensional), and other structures (geometrically or ornamentally) are formed by a group or more points. The variety of size and composition of point will illustrate the characteristic of that point. Interesting composition will create a great artwork. Despite of variety of the structure, the technical process of colour dots had been developed for a long time. During the development of Impressionism art, some artists had tried to apply the colour dots as a new technique, which called Pointillism. Georges Seurat was a pioneerof this technique development. Pointillism was well known as Divisionism or Chromoluminarism at that moment. This technique was using an additive method that combined basic pigment colours of red, green and blue to produce optical vibration in the painting, therefore the viewers would be able to reach the maximum luminosity in their vision. The existence of this technique had proved that science and art were able to support each other. The combination of logic and aesthetic were able to create many extraordinary artworks.
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Zhao, Shichao. "Exploring How Interactive Technology Enhances Gesture-Based Expression and Engagement: A Design Study." Multimodal Technologies and Interaction 3, no. 1 (February 27, 2019): 13. http://dx.doi.org/10.3390/mti3010013.
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The interpretation and understanding of physical gestures play a significant role in various forms of art. Interactive technology and digital devices offer a plethora of opportunities for personal gesture-based experience and they assist in the creation of collaborative artwork. In this study, three prototypes for use with different digital devices (digital camera, PC camera, and Kinect) were designed. Subsequently, a series of workshops were conducted and in-depth interviews with participants from different cultural and occupational backgrounds. The latter were designed to explore how to specifically design personalised gesture-based expressions and how to engage the creativity of the participants in their gesture-based experiences. The findings indicated that, in terms of gesture-based interaction, the participants preferred to engage with the visual traces that were displayed at specific timings in multi-experience spaces. Their gesture-based interactions could effectively support non-verbal emotional expression. In addition, the participants were shown to be strongly inclined to combine their personal stories and emotions into their own gesture-based artworks. Based on the participants’ different cultural and occupational backgrounds, their artistic creation could be spontaneously formed.
Dissertations / Theses on the topic "Forged artwork"
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Norling, Per. "Förfalskningens lockelse : Analys av två svenska brottsmål om bedrägeri och signaturförfalskning." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-310205.
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The purpose of the paper is to present work patterns from two perspectives, the art expert´s and art forger´s, as the patterns can be retrieved from two Swedish criminal cases of fraud, the case "T" and the case "M". A minor purpose is to create a knowledge base extracted from literature regarding more general work patterns used by art experts when they work with attribution. The method used can best be named descriptive. Forged artwork from nine artists are described and comments on the fake procedures are provided from buyers, forgers/sellers, middlemen (auction houses), police, prosecutors, experts, lawyers and the Stockholm District Court. The result in the paper can be summarized as follows: 1/ General work patterns with attribution: The track-paradigm is governing the expert´s work. As a start we have a time-setting, by identifying general style patterns in the artwork. Then there is a search for a possible geographical area where the work could have been created, and also a search for art schools and artist groups in that area. If a possible attribution of the work to an artist can be done, a search starts for that artist´s characteristics when it comes to motive, color selection, composition, figures, brush movements etc. Different types of physical measurements and tests can provide a complement to the qualitative analysis. The signature, if there is one, is examined and the provenance for the work is searched for. Information about the work in different archives can strengthen the results. 2/ “T” & “M” - the art expert´s patterns: All experts go directly to the alleged artist for a critical analysis of the specific work. First an overall evaluation is done, and that is often sufficient to reject the work. If necessary, details in the work are examined. If a signature is present, it is examined and compared with genuine ones. In some cases, technical studies are used to reach a definitive verdict. The police focus is to identify inaccuracies and fakes in the sales information, and to show efforts to hide information. 3/ “T” & “M” - the forger’s patterns: Art works from recent years are used as models for the creation of pastiches. Craftsmanship is toned down. Pitfalls are being circumvented by selection of genuine material ingredients and selection of secure image content related to the chosen artist. There is a thorough work with information creation to ensure the prospective buyer's desire for proof of authenticity. In parallel there is a work with cover up, and to secure information gaps.
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Hendrychová, Jitka. "Vybrané právní otázky výtvarných děl." Master's thesis, Vysoká škola ekonomická v Praze, 2015. http://www.nusl.cz/ntk/nusl-204947.
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This diploma thesis deals with selected legal questions regarding artwork in Czech Republic. Author focuses on artwork from copyright and civil legal perspective, specifically author´s rights and copyright and its legal protection (civil, administrative and criminal). It also addresses questions concerning licenses and licensing agreements, relation between artwork and its material object, buying and selling artwork, purchase agreement and other types of contract that artists usually encounter. The aim of this thesis is to identify the current state of legislation in this matter and issues that need to be addressed. Among other methods, author used a comparative method and a research in a form of survey in this thesis.
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Bergerová, Anna. "Falsifikace malířských děl a její dopad na český trh umění." Master's thesis, Vysoká škola ekonomická v Praze, 2017. http://www.nusl.cz/ntk/nusl-359689.
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The aim of this thesis is to analyze the impacts of the falsification of paintings on the art market and on individuals. Another aim of the thesis is to identify the risk factors of buying art works on the Czech market. The partial aim is to bring to readers a comprehensive view of the issue of the falsification of paintings on the domestic art market. The theoretical part is based on the literature that has not been published so far and maps the basic mechanisms of falsification of paintings. The practical part is based on interviews with experts, criminologists and collectors who have a personal experience of buying a forger. Based on the results of the interviews, the issues of falsification of painting works are answered, the most frequently falsified Czech artists are identified and the risk factors that lead to the purchase of counterfeit. Three artists demonstrate an analysis of expertise and forensic technique in determining the authenticity of the art work.
Books on the topic "Forged artwork"
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Wood, J. P. Aircraft nose art: 80 years of aviation artwork. London: Salamander Bks., 1992.
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Beckert, Jens, and Matías Dewey, eds. The Architecture of Illegal Markets. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198794974.001.0001.
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From illegal drugs, stolen artwork, and forged trademarks, to fraud on financial markets—the phenomenon of illegality in market exchanges is pervasive. Illegal markets have great economic significance, have relevant social and political consequences, and shape economic and political structures. Despite the importance of illegality in the economy, the field of economic sociology unquestioningly accepts the premise that the institutional structures and exchanges taking place in markets are law-abiding in nature. This volume seeks to challenge this. Questions that stand at the center of the chapters are: What are the interfaces between legal and illegal markets? How do demand and supply in illegal markets interact? What role do criminal organizations play in illegal markets? What is the relationship between illegality and governments? Is illegality a phenomenon central to capitalism? Anchored in economic sociology, this book contributes to the analysis and understanding of market exchanges in conditions of illegality from a perspective that focuses on the social organization of markets. Offering both theoretical reflections and case studies, the chapters assembled in the volume address the consequences of the illegal production, distribution, and consumption of products for the architecture of markets. It also focuses on the underlying causes and the political and social concerns stemming from the infringement of the law. This book provides insights into the trades in diamonds and counterfeit clothing, rhino horn and human organs, alcohol and doping products, marihuana and smuggled goods, stolen antiquities and personal information, and illegal practices in finance and price setting.
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Pfaller, Robert. Matters of Generosity: On Art and Love. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422925.003.0007.
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Even the most ordinary people become artists when they try to create proofs of love: be it to a beloved adult person, or a child, a grandmother, or some close relative or friend. The gift and the generosity can be seen as the prototypes of art and its ethics in everyday culture. Many features of the gift, therefore, reappear in the artwork: its exemption from the everyday use (i.e. its typical lack of usefulness), the stroke of genius, and the subtle uncanniness that makes it difficult to establish and maintain a non-ambivalent, entirely benign relationship with the artwork just as with the gift. These features should not be forgotten when today, under neoliberal efficiency fetishism, museums are increasingly forced to lure more people more often into their halls. The generosity of the museum party thus seems to become a strange double (or caricature) of the generosity that characterizes the very nature of art.
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Gray, Benjamin. Extinct. CSIRO Publishing, 2021. http://dx.doi.org/10.1071/9781486313723.
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Australia is home to an incredible diversity of native animals. While Australian animals are among the most unique in the world, they are also among the most endangered, with hundreds currently on the brink of extinction. We must act quickly if we are to save these species, as once gone, they are gone forever.
Extinct is a collection of artworks from established and emerging Australian fine artists, each depicting an Australian animal that has already, for various reasons, tumbled over the edge into extinction. Extinct laments their loss, but also celebrates their former existence, diversity and significance. The stunning artworks are accompanied by stories of each animal, highlighting the importance of what we have lost, so that we appreciate what we have not lost yet.
Extinct features artworks from Sue Anderson, Brook Garru Andrew, Andrew Baines, Elizabeth Banfield, Sally Bourke, Jacob Boylan, Nadine Christensen, Simon Collins, Lottie Consalvo, Henry Curchod, Sarah Faulkner, Dianne Fogwell, David Frazer, Martin George, Bruce Goold, Eliza Gosse, Simone Griffin, Johanna Hildebrandt, Miles Howard-Wilks, Nick Howson, Brendan Huntley, Ben Jones, Alex Latham, Rosemary Lee, Amanda Marburg, Chris Mason, Terry Matassoni, Rick Matear, Eden Menta, Reg Mombassa, Tom O'Hern, Bernard Ollis, Emma Phillips, Nick Pont, Geoffrey Ricardo, Sally Robinson, Anthony Romagnano, Gwen Scott, Marina Strocchi, Jenny Watson and Allie Webb.
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Bird, Terri. Forming. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474429344.003.0003.
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The aim of art for Deleuze and Guattari is to render perceptible forces that lie beyond perception and to capture, in what is given, the forces that are not given. They task artists with producing compounds of sensation, heterogeneous assemblages of affects and intensities, extracted from forces lying at the limits of sensibility. This chapter explores the forming of these assemblages through processes of capture orientated around practices employing sculptural methodologies. Although Deleuze and Guattari have little to say about sculpture in general or specific works, they refer to the sensations of stone and metal as vibrating according to the order of strong and weak rhythms. Drawing on the writing of Gilbert Simondon these rhythms are discussed as dynamic modulations that emphasise temporal appearance. And examined in relation to Jack Burnham’s use of systems thinking identified in the artworks, by artists such as Hans Haacke and Public Share, that register complex flows of matter-energy exchanges.
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Fan, Victor. Extraterritoriality. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474440424.001.0001.
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This book examines how Hong Kong filmmakers, spectators and critics wrestled with a perturbation: What is Hong Kong cinema? Framed between the Leftist Riots (1967) and the aftermath of the Umbrella Movement (2014), this book scrutinises the interdependent relationship between cinema and politics by rethinking how Hong Kong cinema has been historically in-formed by dispossession and exclusion, rather than identity and belonging. It traces how Hong Kong’s extraterritoriality has been framed: in its position of being doubly occupied and doubly abandoned by contesting juridical, political, linguistic and cultural forces. It argues that filmmakers and spectators actively define and reconfigure Hong Kong cinema and media by fostering them as a public sphere, where contesting affects associated with these political lives’ shifting extraterritorial conditions and positions can be negotiated. Based on a combination of archival research, industrial studies, textual analysis and media and political philosophies, Extraterritoriality studies how creative works in mainstream cinema, independent films, television, video artworks and documentaries – especially those by marginalised artists – actively rewrite and reconfigure the way Hong Kong cinema and media are defined and located. These stylistically and political diverse works and practices seek – in their respective manners – to foster new ways to live with Hong Kongers’ double occupancy and double ostracisation that constantly deindividuate, desubjectivise, and deautonomise them, and how they can survive in their constant state of exception.
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Sophistry and Twentieth-Century Art (Value Inquiry Book Series 123) (Value Inquiry Book). Editions Rodopi B.V., 2002.
Find full textBook chapters on the topic "Forged artwork"
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Laramée, Eve Andrée, Kalyan Chakravarthy Thokala, Donna Webb, Eunsu Kang, Matthew Kolodziej, Peter Niewiarowski, and Yingcai Xiao. "Seeing the Unseen." In Biologically-Inspired Computing for the Arts, 105–24. IGI Global, 2012. http://dx.doi.org/10.4018/978-1-4666-0942-6.ch007.
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The Synapse Group at the University of Akron was formed to explore enlightened collaborations between art and science, and to probe the ideas, images, and mutual interests connecting art and science professionals and disciplines. This chapter presents selected artworks created by members of the group. A major theme of this chapter is visualizing water that is unseen, such as invisible underground water or imaginary virtual water. Also explained in the chapter are the inspiration processes by which those artworks were created.
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Payne, Alistair James. "The Virtual, Alternate Spaces, and the Effects upon Artwork." In Advances in Media, Entertainment, and the Arts, 60–82. IGI Global, 2015. http://dx.doi.org/10.4018/978-1-4666-8205-4.ch005.
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This chapter explores the philosophical notion of The Virtual in response to the writings of Gilles Deleuze and unfolds this thinking through its interdisciplinary and transformative effects upon contemporary fine art. The Virtual is discussed in relation to forms of contemporary painting, yet the chapter provides a model for thinking through interdisciplinarity within, and from, other media. The research investigates the perceived resistance of painting to explore external possibilities and introduces methodological strategies, which encounter externality as a means for establishing radical change. In this way, the Virtual acts as an instigator for change, which effectively destabilises the pre-formity attached to medium specific practices. It is for this reason that the Virtual forces external relationships and connections to come to the fore in order to radically alter and transform the physical and conceptual constructs of different disciplines. Alongside the discussion of the Virtual and its direct affects upon artistic practices, the chapter discusses literary models including hybridity and metamorphosis as potential key elements affecting transformative change.
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Hessels, Scott. "Sustainable Cinema." In Biologically-Inspired Computing for the Arts, 90–104. IGI Global, 2012. http://dx.doi.org/10.4018/978-1-4666-0942-6.ch006.
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While nature has often inspired art, a subset of artists has given the natural world an even more influential role in the outcome of their work. These artists have harnessed the physics, biology, and ecology of the natural environment as artistic tools and have used natural phenomena as a co-creator in the realization of their work. This use of natural force impacting the actual form of an artwork has also been explored in the kinetic and moving image arts. As one of several artists now working in sustainable energy, the author of this chapter has created a series of kinetic public sculptures that use natural power sources to create the moving image. These sculptures will be presented here as a case study for a larger perspective on the continuing relationship between the forces of nature and the materials of the moving image.
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Gallagher, Lowell. "The Rise of Prophecy: Figural Neuter, Desert of Allegory." In Sodomscapes. Fordham University Press, 2017. http://dx.doi.org/10.5422/fordham/9780823275205.003.0003.
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Chapter two lingers on Maître François’ design, treating its suggestive ambiguity as a premonitory witness to the twentieth-century postwar turns to the Sodom archive in Maurice Blanchot and Emmanuel Levinas’ delicate yet fraught philosophical conversation about the ethical aptitude of artworks. The Sodom archive’s figural suggestiveness guides Blanchot and Levinas’s shared predisposition to identify the primordial affinity of artworks with the disruptive urgency of prophecy and its figural analogue, the desert. Lot’s wife’s subliminal association with the prophecy/desert nexus becomes the site of an ecumenical settlement between Blanchot and Levinas over the captivating and dislocating aesthetic power of artworks. On this note, Maître François’ image and the late modern moment of philosophical hospitality between Blanchot and Levinas speak to each other across centuries. Through different registers of discernment, the two scenes conjure the figure of Lot’s wife as the material remains of a thinking beyond the limit of the phenomenal face of appearances and cognition, so as to give witness to the radiant and interruptive force of artworks’ worlding and unworlding dimensions.
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Hessels, Scott. "Sustainable Cinema." In Visual Approaches to Cognitive Education With Technology Integration, 82–100. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-5332-8.ch006.
Full textAbstract:
Beyond mere inspiration, a subset of artists have given the natural world a more influential role in the outcome of their work. By harnessing the physics, biology, and ecology of the natural environment as artistic tools, they have used natural phenomena as a co-creator in their art-making practices. This use of natural force impacting the actual form of an artwork can also extend into moving image arts. Sustainable Cinema is a series of kinetic public sculptures that merge natural power sources with early optical illusions to create a moving image. The variations within this series now cover seven distinct image generating systems, multiple animation narratives, and several alternative energy sources. This chapter reviews each sculpture in form, content and site and discusses how collectively they create a case study for a larger perspective on culture's relationship with the forces of nature and the materiality of the moving image.
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López Lerma, Mónica. "Introduction: Sensing Justice." In Sensing Justice through Contemporary Spanish Cinema, 1–13. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474442046.003.0009.
Full textAbstract:
The meaning of justice and the meaning of the aesthetic may both be sensed, but they can never be codified or entirely understood. They lack an essence, or a definition; they exist in specific performances rather than as general propositions. The aesthetic and the just alike deny the application of a priori models or abstract understandings and instead focus on the tangible and unrepeatable experience of singular events. The artwork and the moment of judgment come each time differently. Reproduction is forgery....
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Gross, Alan G. "Rachel Carson: The Ethical Sublime." In The Scientific Sublime. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190637774.003.0012.
Full textAbstract:
Rachel Carson has become Saint Rachel, canonized time and again by the environmental movement. May 27, 2007, marked the 100th anniversary of her birth. In that year, the Cape Cod Museum of Natural History in Brewster, Massachusetts, hosted a major Rachel Carson centennial exhibition. The show was a partnership project of the museum and the US Fish and Wildlife Service, and it featured artifacts, writings, photographs, and artwork from Carson’s life and career. In 2012, the 50th anniversary of the publication of Silent Spring was commemorated by a Coastal Maine Botanical Gardens event and exhibit. From September 7 through October 23, the exhibit presented artwork, photos, and interpretive panels in the visitor center. Canonization, and the posthumous fame it bestows, comes at a price: the disappearance of the Rachel Carson whose work was driven by two forces. The first was the love of nature. A perceptive review of The Sea Around Us compares Carson with great science writers who share with her a love of nature: . . . It is not an accident of history that Gilbert White and Charles Darwin described flora and fauna with genius, nor that the great mariners and voyagers in distant lands can re-create their experiences as part of our own. They wrote as they saw and their honest, questing eye, their care for detail is raised to the power of art by a deep-felt love of nature, and respect for all things that live and move and have their being. . . . The second force was the love of a woman, Dorothy Freeman, a person who in Carson’s view made her later life endurable and her later work possible: . . . All I am certain of is this: that it is quite necessary for me to know that there is someone who is deeply devoted to me as a person, and who also has the capacity and the depth of understanding to share, vicariously, the sometimes crushing burden of creative effort, recognizing the heartache, the great weariness of mind and body, the occasional black despair it may involve—someone who cherishes me and what I am trying to create, as well. . . .
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"The Basic Paradigm Shift in Contemporary Art." In Advances in Media, Entertainment, and the Arts, 1–29. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-3835-7.ch001.
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The difference between modern and contemporary art, which in the present enters the names of art museums, is based on the notions formed in art theory and art history: whereas modern art is tied to aesthetics, artistic autonomy, author, and the concept of stable and finished artwork, the more fluid and conceptual contemporary art foregrounds the links of the art with the social, politics, economy, everyday life, science, and media. This chapter aims to explore media-shaped contemporary art projects in terms of art services that are algorithmic, cognitive, and conceptual. The service presupposes a problem, a challenge, or an order to be solved or carried out. The artist as a service performer is always faced with a certain task, challenged to solve it in a sequence of steps, chosen as economically as possible. The service therefore ends with a solution of the problem (or its removal) and not with the manufacturing of a finished object.
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Blaney, Aileen. "Food Photography, Pixelated Produce, and Cameraless Images." In Advances in Electronic Government, Digital Divide, and Regional Development, 276–88. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-1862-4.ch017.
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In today's screen saturated culture, perceptions of food are overwhelmingly formed by images circulated via the internet and mobile. The Facebook game FarmVille is the subject of Kheti Badi (Shah, 2015), a photographic artwork reflexively engaging with the contemporary scenario of ‘post-photography'. The work comprises not of photographs taken with a traditional camera but of screenshots of a farm and its holdings as displayed in Farmville; the highly compressed jpegs cropped and resized to the point of destabilizing visual coherence are depictions not of pastoral landscapes but of computer vision and the programmable character of photography. While photography remains an instrument for recording material realities, its power extends toward feeding back into the very processes through which science and technology modify food production. This chapter explores how Kheti Badi, through a series of hyper artificial and un-photographic images, shows the constructed nature of both what we put our hands on in the supermarket and see in advertising's dreamscapes.
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Muscillo, Alessandro. "Sulla via di Dioniso." In Antichistica. Venice: Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-328-1/006.
Full textAbstract:
The aim of this paper is to propose a new placement for a little sculpture representing a lying winged child that is today in Florence, at the Tesoro dei Granduchi in Palazzo Pitti: ascribed until now to an unknown XVI-century sculptor, the artwork shows stylistic and iconographical elements that allow to suppose a roman origin and a possible dating to the Antonine age. The most curious detail, the forced position of the right wrist, unnaturally wheeled, finds until now just one known matching in an antique sleeping Cupid at the Musei Vaticani, and it is possible to consider some details of the sculpting method as typical of the II century AD. Otherwise, the depiction reveals a mixture of two iconographies, the ‘sleeping Cupid’ and the ‘bacchic child’ (putto bacchico), according to the eclectic practice attested in the late imperial age: the child’s posture is in fact similar to the ‘sleeping Cupid’ type, but the crown held in his left hand (and his heavy eyelids on the ajar eyes) helps to evoke the drunkenness induced by Dionysus, ideally connecting the image to the large tradition of representations of drunken bacchic children, attested here by sarcophagi and an ivory pyxis from Grumentum. Furthermore, the crown finds matches in depictions of deceased on the covers of the Klinentypus sarcophagi, showing dionysian attributes with an apparent connection to the otherwordly life. Given the analogue funerary destination of similar images of sleeping Cupids (surely attested, for example, by the setting of one of these on the cover of a sarcophagus in Copenhagen), it is therefore possible to suppose that the artwork was anciently pertinent to a similar context, as an allegorical portrayal of a deceased child or adult initiated to the mysteries of Dionysus.