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1
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.
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Snyder, Stephen. "The Imperceptibility of Style in Danto's Theory of Art: Metaphor and the Artist's Knowledge." CounterText 1, no. 3 (December 2015): 366–81. http://dx.doi.org/10.3366/count.2015.0028.
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Arthur Danto's analytic theory of art relies on a form of artistic interpretation that requires access to the art theoretical concepts of the artworld, ‘an atmosphere of artistic theory, a knowledge of the history of art: an artworld’. Art, in what Danto refers to as post-history, has become theoretical, yet it is here contended that his explanation of the artist's creative style lacks a theoretical dimension. This article examines Danto's account of style in light of the role the artistic metaphor plays in the interpretation of the artwork, arguing that it is unable to account for the metaphorical power he claims is embedded within the work of art. An artist's style issues from a unique perspective, the way an artist inhabits a specific spot in history. Though each person has such a perspective, when applied aesthetically, it is the key to the articulation of a unique historical meaning in the work of art. At the same time, artists' knowledge of their contribution remains cut off from this perspective, for they are unaware of their self-manifestation of the historical concept of style. This article makes the case that Danto's notion of style, based on Sartre's notion of being-for-itself, cannot fulfil the role he allots it in his theory because, at some level, artists must apprehend their style to create a work of art capable of functioning critically as a countertext. It is only through the apprehension of their style, and dialogical activity that takes place between the artist and the beholders, that the unseen body of artworld theory is formed. Without this, when oriented to the aesthetic, style provides no concept or theory for the mind to behold. This article presents an alternative approach to style that recognizes the role of theory in the creation of metaphor, which would circumvent this problem.
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Dixon, Daisy. "The Artistic Metaphor." Philosophy 96, no. 1 (September 14, 2020): 1–25. http://dx.doi.org/10.1017/s0031819120000273.
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AbstractPhilosophical analysis of metaphor in the non-linguistic arts has been biased towards what I call the ‘aesthetic metaphor’: metaphors in non-linguistic art are normally understood as being completely formed by the work's internal content, that is, by its perceptual and aesthetic properties such as its images. I aim to unearth and analyse a neglected type of metaphor also used by the non-linguistic arts: the ‘artistic metaphor’, as I call it. An artistic metaphor is composed by an artwork's internal content, but also by its external content, which is provided by the work's artistic properties such as its history. The artistic metaphor has been gestured at but not afforded a considered analysis; I aim to do this. Identifying the artistic metaphor has at least two benefits. It shows how curation plays a role in generating metaphors in artworks, which has been overlooked, and it illuminates a potentially powerful tool to interpret and understand ‘conceptual’ art.
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Young, Jacklyn. "Allied forces: libraries and museums collaborating on World War II provenance research." Art Libraries Journal 29, no. 2 (2004): 33–36. http://dx.doi.org/10.1017/s0307472200013596.
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In recent years museums and galleries have come under scrutiny following claims that artworks confiscated or looted during the Second World War, and still unaccounted for, have made their way into public collections. In response, many such institutions worldwide have been endeavouring to reaffirm the integrity of their collections. The Queensland Art Gallery has established a Provenance Research Team to complete its records for artworks of European origin which have missing provenance details during the period 1933-1945. This paper highlights the role the Gallery Library is taking in supporting the project.
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Zhukov, Vladislav, Lyubov Zhukova, and Ksenia Ponomareva. "Improving the design of artwork and jewelry made of chalcedony." E3S Web of Conferences 164 (2020): 14006. http://dx.doi.org/10.1051/e3sconf/202016414006.
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The study is devoted to the development of technology to enhance the aesthetic characteristics of design objects made of chalcedony. These techniques can be applied to stone figurines and jewelry. An algorithm for designing products based on the properties and processing technologies of stone material is proposed. The surface decoration of a product made of chalcedony consists in the possibility of changing color, drawing a pattern and adding a texture. Two methods for changing the color of chalcedony have been studied - heat treatment and impregnation. The essence of the method of impregnation is the holding of the stone in a coloring solution at a temperature of 90 °C for 170 hours. The heat treatment method consists in processing chalcedony at a temperature of 350 °C, the duration of the temperature exposure is in the range of 5 to 20 hours. When dyeing samples of gray chalcedony, a color spectrum is obtained in the range of wavelengths from 582 to 590 nm. The formation of a smooth texture with various tools and materials of different grain sizes made it possible to obtain surface quality in the range of 1.1 - 0.02 microns. The technologies of drawing a pattern on the surface of chalcedony are revealed: etching, laser processing and local dye impregnation. When applying laser processing and etching, a white rough pattern is formed. Using local impregnation allows creating a color pattern on the surface of chalcedony. Results. The use and combination of the described technologies for decorating chalcedony allows creating the desired aesthetic characteristics of lapidary works of art.
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Makhmudova, S. M., and A. V. Pavlyuk. "Fedor Dostoevsky. Suffering, clothed in flesh." Язык и текст 5, no. 1 (2018): 61–72. http://dx.doi.org/10.17759/langt.2018010106.
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In the article a difficult period of the writer's life is considered - the period of travels to Italy, when the writer was forced to turn to all kinds and sources of earnings in order to somehow maintain his good name. Insufficient attention is paid to the researchers of the genre of Dostoevsky's letters, which, meanwhile, themselves can rightfully be considered a finished artwork of a small genre with its plot, string, culmination and denouement.
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Yavuz, Nuri, and Ayhan Helvacı. "“Discontinuity” as a Concept that affects today’s Art Practice." European Journal of Social Sciences Education and Research 3, no. 1 (April 30, 2015): 138. http://dx.doi.org/10.26417/ejser.v3i1.p138-141.
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It has been experienced an alteration which has affected the art environment as in every single area of our lives through the last quarter of the 20th century. When reviewing the artistic works of that time, we encounter “discontinuity” as a fundamental concept in which the philosophers such as Foucault and Baudrillard have constructed its philosophical basis. Discontinuity is defined as the opposite of the “continuity” notion. It corresponds to an environment at which the understanding of continuity predominated on a certain period of time is interrupted and disrupted. This way of thinking also has identified the way of action of artist. Many of contemporary artworks that have a command of a structure devoid of continuity are individually indicators of the altering environment. It is aimed in this study to form an analytical medium on how the discontinuity concept establishes the ground for creating contemporary artworks. As a method, it will be initially determined the extent of the discontinuity concept and then examined within the scope of this concept how selected contemporary artworks have been formed.
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Wang, Xi Bin, and Zi Sheng Yang. "Architectural Pattern Construction Mode." Applied Mechanics and Materials 584-586 (July 2014): 194–97. http://dx.doi.org/10.4028/www.scientific.net/amm.584-586.194.
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Building is one physical form with actual use function, and it is an artwork formed by architects conducting processing and combination to the basic geometric forms in accordance with the law of aesthetics, the author has summarized the formation of the architectural pattern to be several formation modes according to the formation features of the architectural bodies, through the research on these several kinds of formation modes, we can excavate the law of the formation of the architectural pattern and grasp the technique for the architectural image design.
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Errouane, Camelia. "Introduction to the Special Issue on Art and Politics." International Journal for History, Culture and Modernity 5, no. 1 (March 28, 2017): 68–73. http://dx.doi.org/10.18352/hcm.509.
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Art and politics are entwined in complex ways. Artworks gain political significance in dynamic networks and social processes that include the artists, the commissioners, their audiences and, not to forget, the historians who study them. This article traces some of the aspects that have defined the relationship between art and politics in Europe since the Enlightenment.
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Suzdaltsev, Yevgeny, Peter Khromenkov, Pavel Chistov, and Irina Pavelyeva. "Applying the war historical re-enactment method in teaching historical painting." E3S Web of Conferences 210 (2020): 18111. http://dx.doi.org/10.1051/e3sconf/202021018111.
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Being an artist is not enough to make a piece of historical art. This requires a study, the deliverables of which allow creating a scientifically reliable composition. To put it otherwise, an artwork brought into existence in such a way can be created on an interdisciplinary basis, and it is not until then that it becomes educational. A study used in the educational process considerably increases the degree of professional competence of students. The authors of this article, being professors at the Fine Arts and Folk Crafts Department, Moscow Region State University, have employed a range of research methods as the basic ones. These include war historical re-enactment, case review of its research and organization in modern social and cultural settings, modeling and forecasting deliverables of students‘ artistic activities when creating historical paintings, and the method of expert evaluation. In order to trial war historical re-enactment as an academic research method together with the Department‘s students, art and research project “Neuchatel‘s Battalion at the Battle of Wagram” has been launched across the curriculum. The project incorporates stages of joint research and artistic work of academicians and students. During the project, a mechanism of inter-knowledge interaction is formed in the minds of students, which allows students to acquire historical knowledge about the Neuchatel battalion, Battle of Wagram, uniforms worn during the Napoleonic Wars, and the work of battle painters. Based on the above, the students acquire metadisciplinary skills they employ to create themed art in terms of traditional battle paintings by Alexander Averyanov, Peter von Hess, and Louis-Francois Lejeune. We have summarized the experience of employing the war historical re-enactment method in teaching students historical painting. It is reflected in the study guide students use to study military garments worn in the early 19th century and create themed works of art. Its contents are recommended for both teachers and students studying art to create student artworks consistent with traditional battle paintings.
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Tamas, Luciana. "End Meeting for All: The Performative Meta-Collages of Forced Entertainment." Journal of Contemporary Drama in English 9, no. 1 (May 1, 2021): 114–27. http://dx.doi.org/10.1515/jcde-2021-0008.
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Abstract Collage – the insertion of ready-made materials into artworks or texts – is a technique that has been used in all art forms since the experiments of the early twentieth-century avant-gardes and has, in its different shapes, often been used in theatre performances as well. The British theatre group Forced Entertainment provides a contemporary example of a (post-)avant-garde vocabulary that actively borrows from and transforms the practices of their precursors. They employ a palimpsest-like layering of visual and verbal elements, which I will here define as performative meta-collages. In this article, I will discuss their practice and take a look at the ways in which Forced Entertainment’s performative meta-collages verbalize and produce “future” in one of their recent performances, End Meeting for All, which imagines a scenario that takes place “a year and a day” after the beginning of the COVID-19-triggered lockdown in the spring of 2020.
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Zimmer, Robert. "Abstraction in art with implications for perception." Philosophical Transactions of the Royal Society of London. Series B: Biological Sciences 358, no. 1435 (July 29, 2003): 1285–91. http://dx.doi.org/10.1098/rstb.2003.1307.
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The relationship between people and art is complex and intriguing. Of course, artworks are our creations; but in interesting and important ways, we are also created by our artworks. Our sense of the world is informed by the art we make and by the art we inherit and value, works that, in themselves, encode others' world views. This two-way effect is deeply rooted and art encodes and affects both a culture's ways of perceiving the world and its ways of remaking the world it perceives. The purpose of this paper is to indicate ways in which a study of abstraction in art can be used to discover insights into, to quote the call for papers for this issue, ‘our perception of the world, acquired through experience’ and ‘the way concepts are formed and manipulated to achieve goals’.
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Armstrong, John, and Linda Carroli. "Flourish. A project by Harbinger Consultants and Mandy Ridley in Brisbane, Australia." Journal of Public Space 2, no. 2 (October 11, 2017): 141. http://dx.doi.org/10.5204/jps.v2i2.99.
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<p>The Public Art projects that Harbinger Consultants undertake always provide a curatorial framework and strategy that draws out and documents the multi-layered histories of the area/site and its communities of users (both historic and contemporary). These are central to the development of the brief for the artist/s and the ensuring collaborative process between public art curator and artist. It is essential to understand the factors that influence perceptions of place, paying particular attention to personal and community interpretations of culture and make these available to the artists so the artistic process and artworks relate in a holistic and creative way to the specific resources of the area including existing artworks in the vicinity. Public artworks are principal elements, statements and markers of place encountered by people in their everyday exAn example of a placemaking Public Art project developed, curated and managed by Harbinger Consultants is Flourish by artist Mandy Ridley at Ernest Street Tunnel, South Brisbane for Brisbane City Council, Queensland Rail and South Bank Corporation. The tunnel is formed by a railway line passing over a street and pedestrian pathway. perience of a locale.<br /><br /></p>
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Hamburger, Peter, and Edit Hepp. "Symmetric Venn Diagrams in the Plane: The Art of Assigning a Binary Bit String Code to Planar Regions Using Curves." Leonardo 38, no. 2 (April 2005): 125–32. http://dx.doi.org/10.1162/0024094053722426.
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The authors discuss artwork created by assigning a binary string code with length 11 to each of 211 = 2,048 planar regions formed intersection of 11 rotations of a single simple closed curve over 360/11 degrees. The goal of this process is to create the maximum number of connected regions, exactly one for each of the 2,048 different binary strings with length 11. The difficulty in this process lies in finding a suitable curve. The authors briefly describe the methods of finding these complicated curves and show how colors can be assigned to regions representing orbits of shifts of binary strings, thus creating unusual images.
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Crespo Ibañez, Ana, Blanca Ramírez Barat, Iván Díaz Ocaña, and Emilio Cano. "Electrochemical evaluation of the patina of the weathering steel sculpture Once Módulo." Ge-conservacion 17 (June 25, 2020): 153–59. http://dx.doi.org/10.37558/gec.v17i1.761.
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Weathering steels (WS) have been widely used due to the protective rust formed on the surface of the bare metal exposed to the atmosphere. They have been studied attending to specifications and characteristics in engineering, but in cultural heritage the use of this material does not follow the same criteria and has different needs which must be addressed. Among them, the design and the location of the sculpture may have an impact on the rust formed and may not be as protective as it was supposed to be.
This work presents the study of the weathering steel sculpture Once Módulo which shows areas with different exposure to rainwater and different surface heterogeneities. The results obtained by Electrochemical Impedance Spectroscopy (EIS) have shown that the protective ability of the rust depends on the previous differences and that design and location of the artwork play an important role for its conservation.
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Regina, Melanie, and Suwardana Winata. "MUSIUM INTERAKTIF SENI DAN DESAIN." Jurnal Sains, Teknologi, Urban, Perancangan, Arsitektur (Stupa) 1, no. 2 (January 26, 2020): 1865. http://dx.doi.org/10.24912/stupa.v1i2.4473.
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Point of view for looking artworks is not passsive anymore. Techonolgy development changed the museum paradigm. Those contemporaneity give huge impact for designing museum. The biggest critic of the museum well known about historical which contain educative value in it, currently that’s changing are passive to active, closeness to openess. Pattern of human interaction consubstantiate one each other, that’s added with nature reformation which has been invented a artwork. Art is not just about visualization, it is about a point of view which reflects among human, object, and nature. Museum of interactive art and design reveals about a meaning of interaction, this museum is going to locate in urban which have a high density and high urbanization. Community is formed from similarities and differences perception about places. Interaction approach will be able to deliver a content of human perseptiveness. “Five Senses of Human” as tools in this museum. These tools will be lead the visitor to have awareness about artworks (that contain five senses of human”. Design equips with a lot of nature experiences, it is will be able to dissociate urban complexity and the design will be able to contemplate citizens from rushed activities. The design contain functions to boost urban productivity and provide positive environment to be 24-hours city. Museum of Interactive art and design presents sustainable environment, to provide the citizens to have awareness about nature and support productivity as a needs in the future. Abstrak Perilaku manusia melihat karya seni bukanlah menjadi hal yang pasif. Perkembangan teknologi mengubah paradigma sebuah objek (karya seni) dalam museum. Kesejamanan tersebut memberikan dampak yang besar di dalam desain perancangan museum. Museum yang kita kenal sebagai bangunan yang penuh dengan nilai historikal dengan nilai edukatif didalamnya menjadi berubah, yang bersifat pasif menjadi aktif, yang tertutup menjadi terbuka. Pola interaksi manusia dan objek melebur satu sama lain ditambah dengan sebuah reformasi alam yang menjadi representasi dari terciptanya sebuah karya seni. Seni bukanlah soal karya yang terlihat, tetapi seni adalah sebuah pandangan yang tercermin antara manusia, obyek dan alam. Museum Interaktif seni dan desain bercerita tentang sebuah makna interaksi, desain ini terletak di konteks perkotaan yang sangat padat. Komunitas yang tercipta karna adanya sebuah kesamaan maupun perbedaan persepsi dengan pengalaman sebuah ruang. Pendekatan akan interaksi tersebut melahirkan sebuah konten yang mengarah kepada kepekaan manusia akan pancaindra. “Lima Pancaindra Manusia” menjadi sebuah alat dari museum interaktif seni dan desain ini. Konten yang akan menggiring pengunjung untuk lebih peka terhadap karya seni yang sangat erat dengan pancaindra. Desain perancangan dilengkapi dengan pengalaman-pengalaman akan representasi alam, menghilangkan sebuah kepenatan dari hiruk pikuk kota dan menjadi tempat untuk manusia berkontemplasi dari kesibukan perkotaan. Desain dilengkapi dengan fungsi yang menunjang produktifitas kota dan menghadirkan lingkungan yang positif untuk menjadikan kota yang hidup selama 24 jam. Museum interaktif seni dan desain hadir untuk lingkungan yang berkelanjutan, mewadahi masyarakatnya untuk semakin peka akan sebuah lingkungan dan menunjang produktifitas yang menjadi sebuah kebutuhan di masa yang akan datang.
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Sapitri, Ria. "PERANCANGAN TYPEFACE ALFABET MEMANFAATKAN AKSARA INCUNG SEBAGAI SUMBER IDE GAGASAN." Jurnal Teknologi Dan Sistem Informasi Bisnis 2, no. 1 (January 31, 2020): 57–68. http://dx.doi.org/10.47233/jteksis.v2i1.92.
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Typeface is a "appearance" that forms the characteristics of a collection of letters so that it distinguishes it from other types of letters. Typeface artwork is considered capable of providing new inspiration to introduce one of Kerinci's local wisdoms, the incung script. Visually, incung script has the beauty of a form of writing style that is slanted, curved and broken beheaded. The basic shape of each incung alphabet is formed by sharp lines so that it seems stiff and classic. Based on the description above, the author's interest arises to introduce or familiarize the incung script back to the younger generation as the Kerinci people's identity in the form of digital-based typeface novelty.
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Chen, Yutong, Jing Lin Koh, Xia Tian, Yi Qian Goh, and Stylianos Dritsas. "Form-finding with robotics: Rapid and flexible fabrication of glass fiber reinforced concrete panels using thermoformed molds." Journal of Computational Design and Engineering 6, no. 3 (October 13, 2018): 398–403. http://dx.doi.org/10.1016/j.jcde.2018.10.002.
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Abstract We present a process that revisits form-finding within digital media, namely parametric design and robotic fabrication. It is inspired by classical architectural and engineering experiments producing minimal surfaces and tensile structures by physical simulation of materials and natural forces. Fabrication is based on thermoforming, where thin sheets of amorphous PET are heat-treated and while in malleable state, where the material behaves like stretchable membrane, an industrial robot imprints a shape and sheets are rapidly cooled down assuming their final form. Key aspects of the approach include: (a) Speed: as each sheet is formed within seconds; (b) Flexibility, as a wide-range of shapes are produced without fabrication of unique dies; and (c) Resilience, as unlike traditional form-finding processes where the derived forms are ephemeral, the objects produced here are robust, they may be used directly or employed in subsequent fabrication processes. The produced sheets are used here as molds for glass-reinforced concrete casting offering excellent surface quality and the ability to create geometry unlike any conventional fabrication techniques. We present the design and development of the process and a proof-of-concept artwork produced. Highlights A form-finding process that fuses digital and physical computation. Industrial robotics as the forcing system for form-finding material experiments. From delicate physical experimental prototypes to reproducible precise artifacts. Hybrid thermoforming and glass reinforced concrete casting digital and analog fabrication. Presentation of experimental large-scale artwork as demonstration of process.
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Abrianto, Chandra Okta. "HIP HOP “BERASA” JAWA (PROSES PENCIPTAAN MUSIK HIP-HOP KM 7 YOGYAKARTA)." Sorai: Jurnal Pengkajian dan Penciptaan Musik 12, no. 1 (August 27, 2019): 44–53. http://dx.doi.org/10.33153/sorai.v12i1.2622.
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Boedi Pramono’s creativity as the creator of the Hip Hop KM 7 group is by combining Javanese traditional music with hip hop music. This paper reviews from the beginning of Boedi Pramono’s artistic career until the formation of Hip Hop KM 7. The problems that arise are (1) Revealing and explaining the formation and structure of Hip Hop KM 7’s music, (2) Explaining the creative process of Hip Hop KM 7’s music. To answer such problems, this research employs qualitative research methods by studying empiricism, trying to be able to express objectively which is more oriented towards the field of textual research, with the addition of Bambang Sunarto’s concept of the creative process in art. The creative process of art is the process of finding the constructive elements of art in regards with (1) the artist’s belief in creating the artwork, (2) the vocabulary and the artistic model, (3) the artistic concepts and (4) the artistic models, which are then used as means to create the artwork, thus answering the question. This article reveals that: firstly, the musical form presented by Hip Hop KM 7 is a digital-based music enriched with gamelan idioms and in general Javanese traditional music. Here, the musical structure is divided into two musical impressions, namely the West and the Traditional music. Secondly, Boedi Pramono with his musical creativity formed Hip Hop KM 7 from a thickly artistic environment and later included the traditional element and further the traditional dance to the hip hop music.Keywords: Hip-hop Jawa, Hip-hop Km 7, Hip hop Yogyakarta.
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Ponimin and Guntur. "The COVID-19 War in Ceramic Arts: Navigating Aesthetic and Symbolic Expressions." Aisthesis. Pratiche, linguaggi e saperi dell’estetico 14, no. 1 (July 20, 2021): 81–99. http://dx.doi.org/10.36253/aisthesis-12056.
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This paper reports on the production of a ceramic installation artwork that explores the story of the COVID-19 pandemic experienced by people throughout the world. The work is a symbolic expression in the form of a set of ceramic art models that portray the story of the battle between positive and negative values, expressed through a 3-dimensional visual ceramic installation consisting of an arrangement of statues that portray an imaginary battle between COVID-19 troops and Lord Krishna. The method used in the process of creating this work was a creative approach that combined appreciation and interpretation of the object of the creative idea. The artwork was made of plastic clay taken from the southern area of Malang regency, East Java, Indonesia, which was formed using a manual technique of direct hand massage and fired at a temperature of 900 °C. The COVID-19 phenomenon is imagined and visualized as a ceramic installation sculpture consisting of the imaginative figures of COVID-19 troops, led by the king of COVID-19 who is shown fighting with Lord Krishna. The result is a visual expression of the COVID-19 troops and their king, in several imaginative forms, carrying various weapons of war, in combat with the imaginary figure of Lord Krishna. The distinction of this work is its portrayal of a battle between positive and negative forces that have become a part of human life during the COVID-19 pandemic, expressed in a symbolic visual narrative through the arrangement of a set of ceramic sculptures.
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Augello, Agnese, Ignazio Infantino, Umberto Maniscalco, Giovanni Pilato, Riccardo Rizzo, and Filippo Vella. "Robotic intelligence and computational creativity." Encyclopedia with Semantic Computing and Robotic Intelligence 02, no. 01 (June 2018): 1850011. http://dx.doi.org/10.1142/s2529737618500119.
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The paper illustrates a cognitive architecture for computational creativity based on the Psi model and the mechanisms inspired by dual-process theories of reasoning and rationality. In particular, three applications of computational creativity will be summed up: (a) a robot capable of executing creative paintings through a multilayer mechanism that implements an associative memory and is capable to properly mix elements belonging to different domains; (b) a robot aimed at producing a collage formed by a mix of photo-montage and digital collage: the artwork is created after a visual and verbal interaction with a human user; and (c) a humanoid robot capable of improvising a dancing choreography in real-time according to the listened music. First results in computational creativity show a set of potentialities to be explored that can shed light on human and artificial creativities and artificial intelligent systems.
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Logutenkova, O. N. "STUDYING POETRY WITH BILINGUALS IN A RUSSIAN LANGUAGE CLASS." Russian Journal of Multilingualism and Education 12 (December 25, 2020): 89–98. http://dx.doi.org/10.35634/2500-0748-2020-12-89-98.
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The article is devoted to the problem of studying poetic texts of Russian writers in Russian language classes with natural bilingualism. The aim of our research was to justify, develop and experimentally test the methodology of teaching students to read lyrics, taking into account the peculiarities of perception of fiction texts in Russian by bilingual schoolchildren living outside Russia. The work considers the stages of studying lyrics and skills, which are formed in the process of working on artworks on the example of V. Mayakovsky’s poem “Good Attitudes towards Horses” and its translations into Greek by translators Georgios Moleskis and Petros Anteos, and also substantiates the effectiveness of the methodology used.
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Logutenkova, O. N. "STUDYING POETRY WITH BILINGUALS IN A RUSSIAN LANGUAGE CLASS." Russian Journal of Multilingualism and Education 12 (December 25, 2020): 89–98. http://dx.doi.org/10.35634/2500-0748-2020-12-89-98.
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The article is devoted to the problem of studying poetic texts of Russian writers in Russian language classes with natural bilingualism. The aim of our research was to justify, develop and experimentally test the methodology of teaching students to read lyrics, taking into account the peculiarities of perception of fiction texts in Russian by bilingual schoolchildren living outside Russia. The work considers the stages of studying lyrics and skills, which are formed in the process of working on artworks on the example of V. Mayakovsky’s poem “Good Attitudes towards Horses” and its translations into Greek by translators Georgios Moleskis and Petros Anteos, and also substantiates the effectiveness of the methodology used.
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Hedges, S. Blair. "Wormholes record species history in space and time." Biology Letters 9, no. 1 (February 23, 2013): 20120926. http://dx.doi.org/10.1098/rsbl.2012.0926.
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Genetic and fossil data often lack the spatial and temporal precision for tracing the recent biogeographic history of species. Data with finer resolution are needed for studying distributional changes during modern human history. Here, I show that printed wormholes in rare books and artwork are trace fossils of wood-boring species with unusually accurate locations and dates. Analyses of wormholes printed in western Europe since the fifteenth century document the detailed biogeographic history of two putative species of invasive wood-boring beetles. Their distributions now overlap broadly, as an outcome of twentieth century globalization. However, the wormhole record revealed, unexpectedly, that their original ranges were contiguous and formed a stable line across central Europe, apparently a result of competition. Extension of the wormhole record, globally, will probably reveal other species and evolutionary insights. These data also provide evidence for historians in determining the place of origin or movement of a woodblock, book, document or art print.
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Marusic, Ivan, and Susan Broomhall. "Leonardo da Vinci and Fluid Mechanics." Annual Review of Fluid Mechanics 53, no. 1 (January 5, 2021): 1–25. http://dx.doi.org/10.1146/annurev-fluid-022620-122816.
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This review focuses on Leonardo da Vinci's work and thought related to fluid mechanics as it is presented in a lifetime of notebooks, letters, and artwork. It shows how Leonardo's remaining works offer a complicated picture of unfinished, scattered, and frequently revisited hypotheses and conclusions. It argues that experimentation formed an important mechanism for Leonardo's thought about natural fluid flows, which was an innovation to the scientific thinking of his day, but which did not always lead him to the conclusions of modern fluid mechanics. It highlights the multiple and ambiguous meanings of turbulence in his works. It examines his thinking suggestive of modern concepts such as the no-slip condition, hydraulic jump, cardiovascular vortices, conservation of volume, and the distinctive path of ascending bubbles we now term Leonardo's paradox, among others. It demonstrates how Leonardo thought through analogies, building-block flow patterns, and synthesis, leading both to successes—especially in the management of water—and to failures, perhaps most obviously in his pursuit of human flight.
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Mendes, Ana Cristina. "From “Crisis” to Imagination: Putting White Heroes Under Erasure Post-George Floyd." Cultural Studies ↔ Critical Methodologies 21, no. 5 (June 28, 2021): 394–400. http://dx.doi.org/10.1177/15327086211028677.
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In the immediate aftermath of George Floyd’s murder on May 25, 2020, global protests against racialized police brutality targeted statues and other public art forms symbolizing racism. Either framed as a “weird global media event” or “global iconic event,” Floyd’s murder forced a reckoning with histories of oppression and systemic racism, with a potential enduring social effect and a transnational historical significance by inviting resonance and global solidarity. This article focuses on the U.K. context and spans a decade to invite a rethinking of ideas of crisis, history, and hero through a consideration of the toppling of Edward Colston’s statue and its pushing into the Bristol Harbour on June 7, 2020, by Black Lives Matter (BLM) protesters, and Yinka Shonibare CBE’s artwork Nelson’s Ship in a Bottle (2010–2012), commissioned for the “Fourth Plinth” temporary exhibits in Trafalgar Square. Such consideration bears on this contemporary moment when we are witnessing globally connected protest actions calling for the decolonization of public material culture.
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Hiiop, Hilkka, Andres Uueni, Anneli Randla, and Alar Läänelaid. "Still Life with Grapes and Nest." Baltic Journal of Art History 20 (December 27, 2020): 197–211. http://dx.doi.org/10.12697/bjah.2020.20.08.
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A complex conservation process revealed the layer of the painting inits original subtlety and delicate retouchings recreated the integralsurface of the painting. As a result, we can confirm that it is a paintingof high artistic quality dating most probably from the middle ofthe 17th century, painted on an oak panel of German origin. Weremain doubtful about the Internet auction suggested authorship,as the painting does not reach the artistic quality of Jan DavidszDé Heem, a top rank artist from the Netherlands. It is possible tocontinue with the art-historical analysis (and other investigations)of the painting, to find further proof for the hypothetical dating andmaybe even reach an attribution but we must not forget to ask thequestions whether and to whom it would be necessary. What matters
for the owner of the painting is the fact that an artwork which decorates
the wall of his home has both aesthetic and historical value –
even without knowing its exact date or the painter.
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Buse, Juliana, Vanessa Otero, and Maria Melo. "New Insights into Synthetic Copper Greens: The Search for Specific Signatures by Raman and Infrared Spectroscopy for Their Characterization in Medieval Artworks." Heritage 2, no. 2 (June 4, 2019): 1614–29. http://dx.doi.org/10.3390/heritage2020099.
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A systematic investigation of medieval copper green pigments was carried out based on written sources: 21 manuscripts, dating from 50–70 to 1755 AD, were sourced and 77 recipes were selected, translating into 44 experiments. Reconstructions from medieval recipes were prepared and characterized through a multianalytical approach to disclose the original pigment formulation that is often described as verdigris. Based on the results obtained, we propose three main groups of copper green pigments, group 1, in which only Cu(CH3COO)2·H2O is formed; group 2, where this acetate is found together with copper oxalates; group 3, in which atacamite is present as the major green component or as a signature compound. The products formed are in perfect agreement with that predicted by the state-of-the-art research on the mechanisms of atmospheric corrosion of copper. This knowledge, together with our experience on craft recipes to prepare medieval paint materials, allowed us to recover a lost medieval recipe to produce a copper green pigment based mainly on atacamite, a basic copper chloride, which has been recently detected, by Raman and infrared spectroscopy, in artworks ranging from Catalonia and the Crown of Aragon panel painting to Islamic manuscripts.
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Kroiz, Lauren. "Relocating Romare Bearden’s Berkeley." Boom 6, no. 3 (2016): 50–57. http://dx.doi.org/10.1525/boom.2016.6.3.50.
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In 1972, the black artist and writer Romare Bearden traveled from his home in New York to spend ten days in the capital of counterculture in Berkeley, California. He visited on an official commission from the city of Berkeley to create a new artwork for its City Council Chambers. The result was the monumental work Berkeley—The City and its People, which hung for decades until extensive seismic trouble plaguing City Hall forced its removal and relocation to a storage facility. Berkeley has changed dramatically since Bearden’s visit. The percentage of Berkeley’s black population has dropped from almost 25 percent in 1970 to less than 10 percent in 2010. Perhaps this demographic shift, coupled with the full mural’s removal from public view, has made it difficult to remember that Bearden’s Berkeley originated in a moment of racially charged civic conflict. Bearden’s Berkeley envisions how the California city is built from and on shifting histories of encounter and settlement by many groups with different backgrounds, interests, and beliefs, all needed to work together to build a better future.
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Nunokawa, Yumiko. "Influence of Japonisme on Art of M. K. Čiurlionis and His Contemporaries." International Journal of Area Studies 10, no. 1 (March 1, 2015): 85–118. http://dx.doi.org/10.1515/ijas-2015-0005.
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Abstract The aim of this paper is to show how Japonisme was introduced to Europe in the late 19th century and how it influenced artists in major cities. Japanese woodblock prints (ukiyo-e), especially those of Hokusai and Hiroshige, fascinated the Impressionists and other contemporaries such as Claude Monet (1840-1926), Vincent van Gogh (1853-1890), and James Abbott McNeill Whistler (1834-1903). Many of them adopted japonaiserie motifs in their paintings or sculptures, and it formed a major artistic trend called Japonisme. The Lithuanian composer and painter Mikalojus Konstantinas Čiurlionis (1875-1911) was also influenced by the trend of Japonisme, especially from the paintings of the Impressionists or through artists in Poland. In Poland and Russia, Japanese artworks were imported by artists who had studied abroad, or by wealthy bourgeoisie such as Feliks “Manggha” Jasieński (1861-1929), a Polish collector whose nickname was directly associated with Japonisme, and Sergey Kitaev (1864-1927), an ardent Russian collector of Japanese artworks. In this article, Japonisme in European art in general will be outlined, together with similar tendencies in Čiurlionis’ paintings, and then, examples of Japonisme-influenced paintings in Poland and Russia will be briefly shown. Finally, by focusing on Čiurlionis’ paintings, it will be shown how he adopted Japonisme in three stages. In the first stage japonaiserie motifs were only partially borrowed. In the second stage ukiyo-e’s motifs and pictorial schemes were applied to his paintings, and finally, in the third stage of borrowing, expressions of Japanese motifs in his most sublime style will be shown.
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Edwards, Louise. "Drawing Sexual Violence in Wartime China: Anti-Japanese Propaganda Cartoons." Journal of Asian Studies 72, no. 3 (June 20, 2013): 563–86. http://dx.doi.org/10.1017/s0021911813000521.
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During the War of Resistance against Japan (1937–45), China's leading cartoon artists formed patriotic associations aimed at repelling the Japanese military. Their stated propaganda goals were to boost morale among the troops and the civilian population by circulating artwork that would ignite the spirit of resistance among Chinese audiences. In keeping with the genre, racialized and sexualized imagery abounded. The artists created myriad disturbing visions of how militarized violence impacted men's and women's bodies differently. By analyzing the two major professional journals, National Salvation Cartoons and War of Resistance Cartoons, this article shows that depictions of sexual violence inflicted on Chinese women were integral to the artists' attempts to arouse the spirit of resistance. By comparing their depictions of different types of bodies (Chinese and Japanese, male and female, soldiers' and civilians') the article argues that the cartoonists believed that the depiction of sexually mutilated Chinese women would build resistance and spur patriotism while equivalent depictions of mutilated male soldiers would sap morale and hamper the war effort. The article concludes with a discussion about the dubious efficacy of propaganda that invokes a hypersexualized, masculine enemy other.
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Fraser, Lorinda Christine. "The Barbizon School (1830-1870): Expanding the Landscape of the Modern Art Market." Arbutus Review 8, no. 1 (October 30, 2017): 4–14. http://dx.doi.org/10.18357/tar81201716809.
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During the 1830s to the 1870s, a cohort of French artists developed new approaches to landscape painting and became known collectively as the Barbizon School. This informal group of artists were proponents of an innovative way of painting in which nature was the central subject of their artworks. Moreover, nature was depicted without the classical idealization or polished refinement required by the French Academy at the time. Barbizon artists were also the catalysts for changes in how art was sold during the 19th century, paving the way for an open art market system that spread across the globe and continues unchanged to this day. Using Jean-Baptiste-Camille Corot (1796-1875) as a case study, I establish the ways in which the Barbizon School forged new stylistic and economic possibilities for later modern art movements, most prominently Impressionism, outside the purview of the French Academy. I also highlight the ways in which the Barbizon artists and their supporters contributed to the formation of a new art market founded upon an interconnected network of producers, consumers, and distributors.
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Bell, Catherine. "Funerary Artefacts, Cemetery Souvenirs and Final Resting Places." European Journal of Life Writing 9 (July 6, 2020): LW&D.CM34—LW&D.CM49. http://dx.doi.org/10.21827/ejlw.9.36915.
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This photo essay discusses artworks that explore the commemorative dimensions of death through socially-engaged artistic processes, and the use of Oasis® floral foam—an ephemeral material that is integral to making flower arrangements that venerate the cycles of life and the celebratory milestones between birth and death. It examines the material’s uncanny corporeal associations when it is formed into vessels, and the ways in which the foam may be seen to transform meaning into materiality. It reflects on how the exhibition of cremated remains of Roman Londoners with associated funerary vessels, titled Roman Dead, at the Museum of London Docklands, informed a series of miniature foam gravestones adorned with custom-designed vessels created on site at East London’s Tower Hamlets Cemetery Park, and a series of art workshops in hospice settings with palliative care staff, which were designed to promote meaningful reflection and healthy discussion about death and dying.
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Sturdy Colls, Caroline, Rachel Bolton-King, Kevin Colls, Tim Harris, and Czelsie Weston. "Proof of Life: Mark-Making Practices on the Island of Alderney." European Journal of Archaeology 22, no. 2 (December 4, 2018): 232–54. http://dx.doi.org/10.1017/eaa.2018.71.
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Currently, mark-making practices as a form of identification and proof of life are an unrealized resource. Over a three-year period, systematic walkover surveys were conducted on and within fortifications and other structures on the island of Alderney to locate historic and modern marks. The investigations presented in this article demonstrate the importance of non-invasive recording and examination of marks to identify evidence connected to forced and slave labourers, and soldiers present on the island of Alderney during the German occupation in World War II. Names, hand and footwear impressions, slogans, artworks, dates, and counting mechanisms were recorded electronically and investigated by using international databases, archives, and translation services. We discuss the value and challenges of interpreting traces of human life in the contexts of conflict archaeology and missing person investigations and underline the need for greater recognition of marks as evidence of past lives.
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Taylor. "Curating The American Algorists: Digital Art and National Identity." Arts 8, no. 3 (August 21, 2019): 106. http://dx.doi.org/10.3390/arts8030106.
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This essay details the curating strategies and central premise behind the 2013 traveling exhibition The American Algorists: Linear Sublime. This group exhibition, which showcased the artwork of Jean-Pierre Hébert, Manfred Mohr, Roman Verostko, and Mark Wilson, marked the 20th anniversary of New York Digital Salon. In organizing this exhibit, I attempted to expand the discourse of digital art curation by linking the Algorists, a group formed at the Los Angeles SIGGRAPH conference in 1995, to the broader narrative of American art. Through the exhibition catalogue, I constructed a detailed history of the Algorists and connected the movement’s narrative to ideas of national identity and myth. To cultivate this nexus, I interpreted the Algorists’ unique approach to linear abstraction through the various theories of the sublime active within the history of American art. Ultimately, this case study reveals the incongruities of aligning this group of digital artists—who shared a decidedly internationalist outlook—with a national narrative. While the Algorists resisted parochial characterizations, the concept of the sublime provided a useful vehicle for theorizing the aesthetic response to computer-generated abstraction. The travelling exhibition also offered a potential model, based on effective partnerships and resource sharing, for small college and university galleries.
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STEWART, ANGUS. "Reframing the Mongols in 1260: The Armenians, the Mongols and the Magi." Journal of the Royal Asiatic Society 28, no. 1 (September 21, 2017): 55–76. http://dx.doi.org/10.1017/s1356186317000414.
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The irruption of the Mongols led to profound changes in the political, cultural and confessional climate of the thirteenth-century Near East. While many did not survive the initial onslaught and the years of turmoil that followed, and rulers that opposed the Mongols were largely swept away, the communities and dynasties that remained were forced to seek some sort of accommodation with the new overlords. While subjection to the Mongol yoke was far from desirable, rulers could seek to make the best of the situation, in the hope that the ambitions of the Mongols might come to match their own, or that the Mongols might be persuaded to support their cause. This paper will consider how certain Christian groups in the Near East sought to reconcile themselves to the Mongol presence, and how they sought to place these alien invaders within a more familiar framework. In particular it will examine the visual evidence for this process by looking at a couple of appearances of recognisably Mongol figures within Christian artwork, dating from the time of the second major Mongol invasion of the region, led by the Ilkhan Hülegü, which by 1260 had extended Mongol power into Syria and to the borders of Egypt.1
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Paterson, Sarah. "“An Unusual Phenomenon”: The Women's Work Sub-Committee at the Imperial War Museum and how it Recorded what Women Did during the Great War." Collections: A Journal for Museum and Archives Professionals 14, no. 4 (December 2018): 533–46. http://dx.doi.org/10.1177/155019061801400408.
Full textAbstract:
The Imperial War Museum was formed in 1917 to be both a memorial to and a place of record of every type of British and Commonwealth activity that took place during the First World War. It was a total war that created massive social upheaval. Women played an increasingly active role as the war progressed, and the Women's Work Sub-Committee was established to record the female contribution. It was active primarily between 1917 and 1920 and gathered exhibits, uniforms, documents, publications, photographs, and artwork and commissioned models by female artists to demonstrate what women had done. This period coincided with the peak activity of women's work and its rapid decline, and there was a determination to ensure that what had happened would be permanently remembered. The resulting collection is unique in capturing an intense, brief period when women worked together for the common good in a national emergency. How it has been utilized, studied, and displayed over the past century is informative. After 1918, women may have reverted to domestic roles, but there was never any doubt that they were an important resource, and in 1939, there was considered no need to systematically collect material about women, as they were factored into the war effort from the start.
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Tri Gumono, Abednego. "Analisis Film Denias dengan Pendekatan Pragmatik [Analysis of the Film Denias Using a Pragmatic Approach]." Polyglot: Jurnal Ilmiah 13, no. 1 (March 13, 2017): 69. http://dx.doi.org/10.19166/pji.v13i1.341.
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<p>This film as a work of art expresses the creator’s vision about society. The message is expected to be useful and arouse a response from society. The setting of Denias’ film is the interior of Papua and shows the problems encountered by people who live there and has implications for the wider society. To review the usefulness of the work of this film, the author uses a pragmatic approach which focuses on the benefits of artwork in society. The film is also analyzed structurally because artwork is a structure that is formed by the relationships among various elements. Based on the pragmatic study, the artist conveys the benefits for other societies. These benefits are shown by the unyielding spirit by Denias who is finally able to make his dream of an education a reality. All of the challenges of the demographics of the interior of Papua, the mindset of parents, and public figures do not deter him from trying to obtain the best education. His fate is largely influenced by education. That is the main message of the film. It motivates viewers to pay more attention to interior people, especially in Papua which still lags behind the rest of society.</p><p><em>BAHASA INDONESIA ABSTRAK: Film Denias adalah sebuah karya seni yang memiliki visi penulis. Dengan visinya, penulis ingin menyampaikan pesan khusus terhadap masyarakat. Pesan ini diharapkan dapat berguna dan membangkitkan respons masyarakat. Film Denias dengan latar belakang masyarakat pedalaman Papua dengan berbagai masalah yang dihadapi memiliki pesan khusus yang penting bagi masyarakat. Untuk meninjau kegunaan karya film ini, penulis menggunakan pendekatan pragmatik. Pendekatan pragmatik adalah sebuah pendekatan karya sastra yang memfokuskan diri pada kegunaan karya seni bagi pembaca / masyarakat. Studi tentang film ini juga menggunakan metode struktural karena karya seni adalah struktur yang dibangun oleh unsur-unsur pembentuknya. Berdasarkan studi pragmatik, penulis memperoleh gambaran manfaat bagi masyarakat. Semangat pantang menyerah ditunjukkan oleh Denias, sehingga dia mampu mewujudkan impiannya untuk mengenyam pendidikan. Semua tantangan bahkan demografis pedalaman Papua, pola pikir dari orang tua, dan tokoh masyarakat tidak menghalangi usahanya untuk mendapatkan pendidikan yang terbaik. Perubahan nasib sangat ditentukan oleh pendidikan. Itulah pesan yang ingin disampaikan penulis. Hal ini membangkitkan semua pihak untuk memberikan respons dalam meningkatkan masyarakat pedalaman, khususnya daerah pedalaman Papua yang masih tertinggal.</em></p>
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Abdelouahed, Hanae. "Techniques reproductibles et artistiques dans L’Œuvre au Noir de Marguerite Yourcenar : transposition et référence communicative." Quêtes littéraires, no. 5 (December 30, 2015): 139–47. http://dx.doi.org/10.31743/ql.247.
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Marguerite Yourcenar’s novel The Work in Black provides descriptions of artwork. Fingerprints artistic figurations in his novel become both a text and materiality of Intermediality Ut Pictura poesis. How is formed the symbiosis of the diegesis and Ekhprasis in the novel by Marguerite Yourcenar? Mannerist processes allow the author to play on two different display modes: the text and the image called by the text. How is this transposition within the Work in Black, a novel supposed to represent social circles of the Renaissance by taking the idea to Breughel and simultaneously echo the turpitude where there the contemporary world. Communication between the image and the text does not only nesting but also a representation that is created as a space, an "inner distance" in the words of Georges Poulet, which makes the work a bet abyss in the search for the essence the art work, the philosopher's stone which is the original experience of vision. The curveball opens an "inner space" as Claude Edmonde Magny analysis allowing the novel to open and expand this optical illusion, create connections, secret architectures. We will try to develop these problems merging form of osmosis The work at Black Yourcenar, at the intersection of disciplines and critical approaches that think the work of art in its many meanings and semiotic richness.
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MAHARLIKA, FEBRY. "STUDI MULTIKULTURAL PADA ORNAMEN BALI PEPATRAAN: PATRA CINA." Serat Rupa Journal of Design 2, no. 1 (January 19, 2018): 67. http://dx.doi.org/10.28932/srjd.v2i1.478.
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Ornaments are one of the decorative elements that can not be separated from Balinese culture. In addition to decoration, ornaments also contain philosophical content, especially for Hindus in Bali. One type of Balinese ornament is well known is pepatraan. Pepatraan applied to traditional Balinese building by sangging creativity, also obtained from acculturation result between a local culture with other culture that came to Bali, one of them is patra china. Patra china can be found in traditional Balinese buildings as a decorative element placed among other Balinese ornaments. This study describes one of the local cultural products formed by the influence of other nations. A Form of Patra china is described with qualitative interpretative method then attributed to traditional Indonesian archetype. This study also described the history of Patra China, which allegedly originated from China. From the analysis of the form and history of the Patra china, it is concluded that the Patra china is a patra whose basic pattern refers to the pattern of the traditional form of Indonesia, but takes the form Flower Shoes originating from China. The benefit of this research is to developing knowledge about the values contained from patra china ornament as a traditional artwork which created from the process of acculturation of Balinese and Chinese culture. Keywords: Bali; multicultural; ornament; patra china
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Pehlivan, Hakan. "War Peace and Art." European Journal of Multidisciplinary Studies 5, no. 1 (May 19, 2017): 497. http://dx.doi.org/10.26417/ejms.v5i1.p497-497.
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The world is going to a darkness without end. War, nationalism, discrimination and various conflicts tearing people. They are forced to migrate. Chemical weapons are being used. The children are being killed. Environmental disasters are happening. Boundary walls are built. The wars of religion are at the door. Kin hate seeds are being planted and transferred to future generations. Nationalism is on the rise. We are losing our desire to live together. Despite this, peace and tranquility in our surroundings are our greatest desires and we are right. Civil society should do something to stop it. In this sense, artists are the strongest propagandists. To support peace, art practices have become more important than the past. The artist's initiative is used both to rehabilitate society and to eliminate prejudices. Many international plastic art form is exemplified in this study. Complementary arts workshops, public artworks are examples of these. In addition, the results obtained from the workshop of Turkish Greek artists are presented with preliminary results and related examples.