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Journal articles on the topic 'Subjectivity in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Rush, Fred. "Art, Aesthetics and Subjectivity." European Journal of Philosophy 15, no. 2 (2007): 283–96. http://dx.doi.org/10.1111/j.1468-0378.2007.00262.x.

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2

Carrier, David. "Subjectivity and methodology in art history." Konsthistorisk Tidskrift/Journal of Art History 73, no. 1 (2004): 36–39. http://dx.doi.org/10.1080/00233600310001948a.

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3

Dyrness, William. "Subjectivity, the Person, and Modern Art." CrossCurrents 63, no. 1 (2013): 92–105. http://dx.doi.org/10.1111/cros.12015.

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4

Van Gerwen, Rob. "Art and the Vulnerability of Subjectivity." Aesthetic Investigations 1, no. 2 (2016): i—ix. http://dx.doi.org/10.58519/aesthinv.v1i2.11988.

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  We may compare art with science, but must not understand it as science. In my view, modern science brought subjectivity into trouble, whereas art itself has the subjective as its main motivating force. For one, narrative arts tell stories, and are acclaimed for conveying the subjective aspect of events. Artistic creativity aims at regulating the appreciative experience. Lastly, to assess a work's artistic merit is to look for the artist's achievement, which involves looking for the way they realised their intentions with their audiences. It is thus that one wants to say that art

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5

Szempruch, Matylda. "Twórczość feministyczna a kobieca podmiotowość: ujęcie monstrualne." Przegląd Humanistyczny, no. 64/4 (April 20, 2021): 73–83. http://dx.doi.org/10.31338/2657-599x.ph.2020-4.5.

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The article shows the relationship between philosophical thought and feminist art in terms of searching for subjectivity in women’s creations. This is a review of the theories proposed by Luce Irigaray, Hélène Cixous, Julia Kristeva, and by Judith Butler, Donna Haraway, and Rosi Braidotti, which, as this article proves, manifest themselves in the art that defines itself as feminist. Monstrosity is an important prospect here. The author presents écriture féminine and women’s literature, namely Charlotte Roche’s Wet Places and Izabela Filipiak’s Total Amnesia. Moreover, visual arts by Cindy Sher

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6

이수진 and Min Kim. "Suggestions of Lacan’s Subjectivity for Art Therapy." Korean Journal of Art Therapy 15, no. 1 (2008): 169–94. http://dx.doi.org/10.35594/kata.2008.15.1.009.

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7

Soler Gallego, Silvia. "Defining subjectivity in visual art audio description." Meta: Journal des traducteurs 64, no. 3 (2019): 708. http://dx.doi.org/10.7202/1070536ar.

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8

HEPBURN, RONALD W. "Art, Truth and the Education of Subjectivity." Journal of Philosophy of Education 24, no. 2 (1990): 185–98. http://dx.doi.org/10.1111/j.1467-9752.1990.tb00233.x.

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9

Huacuja, Judith L. "Borderlands Critical Subjectivity in Recent Chicana Art." Frontiers: A Journal of Women Studies 24, no. 2 (2004): 104–21. http://dx.doi.org/10.1353/fro.2004.0017.

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10

Chepelyk, Oksana. "The Ukrainian projects at the Manifesta 14 and Ars Electronica: the problem of subjectivity in the cultural and political context of the war." CONTEMPORARY ART, no. 18 (November 29, 2022): 65–84. http://dx.doi.org/10.31500/2309-8813.18.2022.269711.

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The article raises issues of the subjectivity of Ukrainian art and culture, in particular in its theoretical and practical aspects, which was developed by the artistic projects of Ukrainian authors, implemented abroad during the war within the framework of representative art forums and exhibitions of Manifesta 14, Ars Electronica, EDAF and others. The purpose of the article is the formation of professional awareness of the practices of Ukrainian contemporary art regarding the problem of the subjectivity of Ukraine on the international arena, through the prism of critical thinking and sensitivi

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11

Eisenhauer, Jennifer F. "Beyond Bombardment: Subjectivity, Visual Culture, and Art Education." Studies in Art Education 47, no. 2 (2006): 155–69. http://dx.doi.org/10.1080/00393541.2006.11650491.

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12

Oja, Martin. "Darkness on Screen: Subjectivity-Inducing Mechanisms in Contemporary Estonian Art Film." Baltic Screen Media Review 2, no. 1 (2014): 76–95. http://dx.doi.org/10.1515/bsmr-2015-0016.

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Abstract The main purpose of the article is to bring more clarity to the concept of art film, shedding light on the mechanisms of subjective reception and evaluating the presence of subjectivity-inducing segments as the grounds for defining art film. The second aim is to take a fresh look at the littlediscussed Estonian art cinema, drawing on a framework of cognitive film studies in order to analyse its borders and characteristics. I will evaluate the use of darkness as a device for creating meaning, both independently of and combined with other visual or auditory devices. The dark screen, alt

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13

Patin, Thomas. "Discipline and Varnish: Rhetoric and Subjectivity at the Museum of Modern Art." Prospects 26 (October 2001): 639–65. http://dx.doi.org/10.1017/s036123330000106x.

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Literary and Cultural Theorist Terry Eagleton argues that “the aesthetic” was from its very inception a development toward a representation of human subjectivity. For Eagleton, the discourse of aesthetics assigned the body to “a subtly oppressive law … a specious form of universalism … [that] blocks and mystifies the real political movement towards … community.” The aesthetic became a “coercion to hegemony,” by informing and regulating sensuous life while at the same time allowing for what seemed like a prospering autonomy. For Eagleton, aesthetics is not ultimately concerned with art objects

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14

Miles, Malcolm. "Post-modernism and the Art Curriculum: A New Subjectivity." Journal of Art & Design Education 18, no. 1 (1999): 27–32. http://dx.doi.org/10.1111/1468-5949.00150.

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15

Arnold, Marion. "Review: Marsha Meskimmon, Women Making Art: History, Subjectivity, Aesthetics." Art Book 11, no. 2 (2004): 46–47. http://dx.doi.org/10.1111/j.1467-8357.2004.00415.x.

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16

Avgitidou, Angeliki. "The artist in digital art: self-portraiture and subjectivity." Digital Creativity 14, no. 3 (2003): 129–30. http://dx.doi.org/10.1076/digc.14.3.129.27875.

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17

Elsden-Clifton, Jennifer. "Negotiating transformative waters: students exploring their subjectivity in art." International Journal of Education through Art 1, no. 1 (2005): 43–51. http://dx.doi.org/10.1386/etar.1.1.43/1.

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18

سليمان, سماء. "The Art of Musical Performance between Subjectivity and Objectivit." المجلة العربية للعلوم الإنسانية 37, no. 146 (2019): 11–34. http://dx.doi.org/10.34120/ajh.v37i146.2743.

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تعتبر المادة الموسيقية واحدة من أكثر المواد التعبيرية تجريدية، ويتطلب التعامل معها - عازفين أو متلقين - قدرة إدراكية خاصة، تجعل من هذه المادة «حالة» شعورية وفكرية وروحية مؤثرة. وفي إطار أعمال الموسيقا الغربية الكلاسيكية المرتبطة بالتدوين؛ أي المعتمدة على «النوتة» في قراءتها وترجمتها، لن تتجلى الفكرة الموسيقية إلا بالعبور من صيغتها الموضوعة على الورق إلى صيغتها المسموعة. إن حالة العبور هذه من ضفة الساكن إلى ضفة المتحرك، ومن ضفة الثابت إلى ضفة المتحول هي صلب ما يدعى بفن الأداء الموسيقي Performance. وقد حاولنا في بحثنا أن نتناول هذه الحالة بالدراسة؛ كونها المقوِّم الأساسي في تجسد العمل الموسيقي،

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19

王, 兴珍. "Study on Subjectivity and Emotion of AI Art Design." Design 08, no. 04 (2023): 4095–99. http://dx.doi.org/10.12677/design.2023.84502.

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20

Cuesta Fernández, Elisa, María Victoria De la Torre Luque, and Pedro Arnanz Coll. "A.I.R.: From Radical Individuality to Connected Subjectivity." Temes de Disseny, no. 37 (July 22, 2021): 60–91. http://dx.doi.org/10.46467/tdd37.2021.60-91.

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Humans are part of an interlinked world crossed by overlapping flows: substances, beings and information. The major global events that have unfolded throughout 2020 have profoundly altered the social system, revealing deep structural weak spots, and pushed its resilience to the limit, nearly causing its suffocation. This context has called into question our anthropocentric mindset and has led us to critically revise how we think about the (eco)systems we are part of, how we act within them, what is our agency to drive meaningful shifts, and with which tools we can do so. For nine months

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21

Walcott, Rinaldo. "The Black Aquatic." liquid blackness 5, no. 1 (2021): 63–73. http://dx.doi.org/10.1215/26923874-8932585.

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Abstract This essay argues that thinking through black diasporic life as birthed through a unique and ongoing relationship with bodies of water (sea, oceans, rivers, creeks) can and does aid in analyses of contemporary art and its engagement with black subjectivity. I am concerned with how bodies of water are foundationally formative of blackness. And secondarily I pursue how this foundational aspect of blackness is both an act of representation worth engaging contemporary art and also a limit on what some representations of contemporary art can do to undo the brutal history of the aquatic bir

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22

Becker, Daniel. "The Intelligent Work of Art: How the Narcissus Theme Echoes in New Media Art." INSAM Journal of Contemporary Music, Art and Technology, no. 2 (July 15, 2019): 115–26. http://dx.doi.org/10.51191/issn.2637-1898.2019.2.2.115.

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This paper will deal with the mythological figure of Narcissus in new media art. In visual arts in general, this myth is usually used to reflect on the relationship between the artist and his actual work. There are countless examples of artists from antiquity to the present age that deal with subjectivity in their work by recurring the Narcissus theme. But different to those adaptations, works of the New Media Art since the 1970s reflect more about the technology and subjectivity of the observer through the theme of Narcissus. The use of time-based media allows the artists to address the obser

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23

Badowska, Eva. "Choseville: Brontë's Villette and the Art of Bourgeois Interiority." PMLA/Publications of the Modern Language Association of America 120, no. 5 (2005): 1509–23. http://dx.doi.org/10.1632/003081205x73362.

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The essay argues that Charlotte Brontë's Villette (1853) grapples with the role of things in the constitution of persons. It is a paradigmatic novel about the fortunes of private, psychological interiority under commodity culture; its immediate context is the empire of things after the Great Exhibition of 1851. Villette represents subjectivity as a cabinet of curiosities, an interior–like a parlor–filled with intensely meaningful, even fetishized, bibelots. Lucy, the novel's narrator, longs to retreat from the public spectacles of commodity culture but, ironically, finds her identity also thro

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24

Arutynyan, J. I. "Contemporary art criticism: judgment and interpretation." Vestnik of Saint Petersburg State University of Culture, no. 1 (30) (March 2017): 177–80. http://dx.doi.org/10.30725/2619-0303-2020-3-177-180.

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An important question of contemporary art studies is the problem of expanding the methodological base of the discipline. Modern art criticism refl ects the fundamental problems of contemporary art. Clash of the axiological approaches and the principle of interpretation, subjectivity, the infl uence of requests of the art market and commercialization are the main problems of formation of the expressive language of art criticism in the 20th–21st centuries

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25

DMITROCHENKO, Tatyana V. "STUDENT CRITICAL THINKING AND SUBJECTIVITY DEVELOPMENT AT A PEDAGOGICAL UNIVERSITY." Lifelong education: the XXI century 30, no. 2 (2020): 80–90. http://dx.doi.org/10.15393/j5.art.2020.5690.

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26

Lee, Hae-Lee. "A Study on the Subjectivity and Objectivity of Dance Art." Korean Journal of Sports Science 31, no. 1 (2022): 651–64. http://dx.doi.org/10.35159/kjss.2022.2.31.1.651.

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27

JACHEC, N. "Committed Practices: Intentionality, Radical Subjectivity, and the History of Art." Oxford Art Journal 18, no. 2 (1995): 110–12. http://dx.doi.org/10.1093/oxartj/18.2.110.

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28

Yoo, Wonjoon. "Nature-Human-Technology, A study on Hybrid Subjectivity of Art." Korean Society of Culture and Convergence 40, no. 2 (2018): 197–226. http://dx.doi.org/10.33645/cnc.2018.06.40.3.197.

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29

Bachman, Clover. "Criticism Against Itself: Joshua Reynolds' "Discourses on Art" and Subjectivity." International Journal of the Humanities: Annual Review 3, no. 8 (2006): 69–78. http://dx.doi.org/10.18848/1447-9508/cgp/v03i08/41773.

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30

Nefedova, L. K. "THE SUBJECT IN THE GENESIS OF RELIGION AND ART." Review of Omsk State Pedagogical University. Humanitarian research, no. 37 (2022): 48–52. http://dx.doi.org/10.36809/2309-9380-2022-37-48-52.

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The article presents the identity and difference in the manifestation of subjectivity in religious and artistic cognition, the basis of which is the natural foundations of man as a subject of culture in his attitude to the world as an object of practice and cognition. At the same time, the great freedom and creativity of the subject of art is justified, which is associated with the nature of artistic activity, in which the subject definitely stands out as a direct creator — artist. At the same time, the proximity of religious and artistic knowledge is emphasized, including revelation, faith, e

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31

Hanrahan, Siún. "An Exploration of How Objectivity Is Practiced in Art." Leonardo 33, no. 4 (2000): 267–74. http://dx.doi.org/10.1162/002409400552649.

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In the binary economy of art and science, art's subjectivity is widely perceived as undermining its contribution to knowledge. Even when invoked by those with a vested interest in art, the potential ascribed to art within this economy does not do justice to the range and critical power of art. Trans-gressing this art-science binary, the author explores how objectivity is practiced within art and argues that the relationship between art and science is not a matter of boundaries but of intertwined in-flections of understanding.

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32

MENDY, Dominique François. "Dialectique de la communication. À propos d’un texte de S. Kierkegaard (1847)." Revue Africaine de Communication Spécial, Aw (2023): 227–49. http://dx.doi.org/10.61585/pud-rac-nsea7.

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What is the link in the communicative act with existing subjectivity ? In other words, in the transmission of the message, would the only concern be, to ensure that the receiver can receive what is presented, as it is, without distortion ? Would it not not be possible to envisage a certain duplicity on the part of the issuer ? The objective of this article is to show how Kierkegaard, in an unfinished text from 1847, prepared « lessons » on communication. For him, it is a question of marking the communication of Knowledge, focused on the object and which aims for certainty, that is to say, the

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33

Athanasopoulou-Kypriou, Spyridoula. "and/Or the Art of Living." Samuel Beckett Today / Aujourd'hui 15, no. 1 (2005): 311–23. http://dx.doi.org/10.1163/18757405-015001027.

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Taking exception to the psychoanalytic and theological interpretations, I stress the play's resistance to interpretation and suggest that the play might well be about the art of living in a meaningless world. Borrowing the term 'semiotic chora' from Julia Kristeva, I read as a representation and dramatization of the space where subjectivity has not yet been constructed and thus many possibilities are still open. I also suggest that the play offers a therapeutic journey to the abject elements of human life.

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34

Thompto, Chelsea. "Trans (In)Visibility in Art." TSQ: Transgender Studies Quarterly 9, no. 4 (2022): 653–78. http://dx.doi.org/10.1215/23289252-10133845.

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Abstract Through an examination of how the art world engages with transness, the piece begins with an exploration of why we need an understanding of trans subjectivity that is not beholden to or subsumed by the art world's overriding attention and interest in queer subjectivities and concerns. The author then describes how trans methodologies are applied within their artistic and curatorial practice and how those methodologies are situated within the broader context of the art world. Particular focus is given to codes as both the subject (social, governmental, and technical codes) and medium (

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35

Yana, Tsyrlina. "The Self-Styled Amateur: the Imagined Subject and Self-Organisation in the Post-Capitalist Era." TECHNOLOGOS, no. 3 (2022): 27–38. http://dx.doi.org/10.15593/perm.kipf/2022.3.03.

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This study addresses two interrelated issues: separating various forms of subjectivity in the context of contemporary artistic production and constructing a postcapitalist subject. The mechanisms of such construction are considered in connection with the concept of space outlined in contemporary philosophical and critical studies. Forms of space are understood in terms of the conceptual framework defined by David Harvey and Felix Guattari, on the one hand, and Karl Marx, on the other. It is assumed that representative forms of art have the capacity to reflect certain types of subjectivity. In

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36

Nakaue, Melanie Dana. "Of Other Places: The Garden as a Heterotopic Site in Contemporary Art." Brock Review 10, no. 1 (2008): 60–71. http://dx.doi.org/10.26522/br.v10i1.30.

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According to Michel Foucault, a heterotopia is a site where the differentiation between a location and its temporality is related to theoretical and societal concerns that challenge the notion of history, location, and subjectivity. Contemporary artists such as Stan Douglas and Hew Locke utilize the garden as heterotopic space for intervention in their work in order to investigate and challenge linear notions of time, space and subjectivity. Stan Douglas examines the historical and social underpinnings of the community gardens in early nineteenth century Northern Europe, otherwise known as the

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37

Bashmanova, Elena L., and Tatiana V. Trofimenko. "SUBJECTIVITY MANIFESTATION OF ADOLESCENTS IN THE INFORMATION ENVIRONMENT OF BLENDED LEARNING." Lifelong Education: the XXI century 36, no. 4 (2021): 30–46. http://dx.doi.org/10.15393/j5.art.2021.7166.

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38

Xilin, You. "Information, Communication and Art." Yearbook for Eastern and Western Philosophy 2018, no. 3 (2019): 233–49. http://dx.doi.org/10.1515/yewph-2018-0017.

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AbstractFrom Karl Marx to Martin Heidegger, the dialectical relationship between technology and art has become an ontological question of social reality. Marshall McLuhan’s theory of cool-hot media provides an analytical framework for the information age. “Cool-hot media” is McLuhan’s truly original concept. However, while McLuhan determined electronic media to embrace printing media which was regarded as a typical representative of hot media, he could not foresee that electronic media is properly speaking the latest representative of the split type of hot media. Through Gödel’s Incompleteness

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39

Taplin, Roslyn. "Contemporary Climate Change Art as the Abstract Machine: Ethico-Aesthetics and Futures Orientation." Leonardo 47, no. 5 (2014): 509–10. http://dx.doi.org/10.1162/leon_a_00827.

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The fusion of visual art and climate science to produce something new to mediate the urgency of the climate change issue is explored in relation to Simon O’Sullivan’s conception of contemporary art invoking Deleuze and Guattari’s ethico-aesthetics and futures orientation. The question considered is: Can and does climate change art crystallize a different subjectivity within viewers? Conclusions are that the visual art considered in this article does have the prospect of connecting viewers with some realization of future climate change implications.

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40

Larrain, Antonia, and Andrés Haye. "The dialogical and political nature of emotions: A reading of Vygotsky’s The Psychology of Art." Theory & Psychology 30, no. 6 (2020): 800–812. http://dx.doi.org/10.1177/0959354320955235.

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A significant number of articles published in Theory & Psychology have been inspired by, or discuss, Vygotsky’s contribution to psychology. However, most of the available publications and discussions on Vygotsky overlook his theory of art and emotions and, more broadly, his view on subjectivity. In this article we offer a reading of Vygotsky’s The Psychology of Art. According to our interpretation, art is conceived in this theory as a social technique for (re)constructing life and transforming bodies; human emotions are dialogical processes, culturally and semiotically created, and histori

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41

Rohr, Doris. "Good art, bad art – what is a ‘good’ drawing?" Visual Inquiry 2, no. 1 (2013): 11–26. http://dx.doi.org/10.1386/vi.2.1.11_1.

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The article addresses subjectivity in relation to assessment of drawing as fine art practice within higher education contexts. How can we measure the quality of a drawing in contemporary fine art? What standards can one take recourse to, or use, to define boundaries and definitions for excellence? The role of outsider art, and of art not produced or valorized within institutional norms, is an area of tension within academic contexts. Do we overly valorize rejection of norms and traditions, or to the contrary, do we create neo-conformism in the way we teach drawing within fine art? This article

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42

Wang, Aihe. "Apolitical Art, Private Experience, and Alternative Subjectivity in China’s Cultural Revolution." China Perspectives 2014, no. 4 (2014): 27–36. http://dx.doi.org/10.4000/chinaperspectives.6577.

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43

Jung, Joachim. "The Significance of Subjectivity in the Creation and Reception of Art." International Studies in Philosophy 31, no. 4 (1999): 53–65. http://dx.doi.org/10.5840/intstudphil199931467.

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44

Tulloch, Janet. "Roman eyes visuality and subjectivity in art and text Elsner, Jaś." Material Religion 4, no. 3 (2008): 363–64. http://dx.doi.org/10.2752/175183408x376737.

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45

Kikuchi, Yuko. "Minor Transnational Inter-Subjectivity in the People’s Art of Kitagawa Tamiji." Review of Japanese Culture and Society 26, no. 1 (2016): 266–84. http://dx.doi.org/10.1353/roj.2016.0003.

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46

Muhammad, Zarina. "obj///subj—ectivity." Journal of Writing in Creative Practice 13, no. 1 (2020): 55–61. http://dx.doi.org/10.1386/jwcp.13.1.55_3.

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This text is from ‘Art Thoughts’; a collection of texts shared on The White Pube’s website that discuss art more broadly than the Reviews section. The piece investigates how the critic positions themselves in terms of objectivity and subjectivity when their identity does not afford them the supposed authority and neutrality of the cis-het white male writer.

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47

Espada-Brignoni, Teófilo, and Frances Ruiz-Alfaro. "Culture, Subjectivity, and Music in Puerto Rico." International Perspectives in Psychology 10, no. 1 (2021): 3–12. http://dx.doi.org/10.1027/2157-3891/a000001.

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Abstract. Understanding human phenomena requires an in-depth analysis of the interconnectedness that arises from a particular culture and its history. Subjectivity as well as a collective subjectivity emerges from human productions such as language and art in a specific time and place. In this article, we explore the role of African-based popular music genres such as bomba and plena as ways of negotiating narratives about Puerto Rican society. Popular music encompasses diverse meanings. Puerto Rican folk music’s subjectivity provides narratives that distance Puerto Ricans from an individualist

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48

Rubinstein, Daniel. "Failure to Engage: Art Criticism in the Age of Simulacrum." Journal of Visual Culture 16, no. 1 (2017): 43–55. http://dx.doi.org/10.1177/1470412917690970.

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In this article, the author explores the metaphysical underpinnings of Fried’s Art and Objecthood (1998[1967]) in order to tease out its reliance on several of the tenets of conservative art criticism: Plato’s theory of forms, Kant’s aesthetics and the unquestioning acceptance of subjectivity and representation. He argues that it is due to these investments that Art and Objecthood fails to come to terms with the condition of art in the age of advanced technology and virtual (simulated) reality. This argument develops by means of clarification of three key concepts: simulacrum, theatricality an

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49

Sari, Anisa Rahmatika, and Mugijatna Mugijatna. "SUBJECTIVITY IN STEPHEN DEDALUS, THE MAIN CHARACTER IN JAMES JOYCE’S A PORTRAIT OF THE ARTIST AS A YOUNG MAN." Kajian Linguistik dan Sastra 5, no. 1 (2020): 37–46. http://dx.doi.org/10.23917/kls.v5i1.7852.

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Subjectivity is a philosophical concept of how one, as a subject, gains the sense of identity through the interaction with the external world. The theorization on the conception of subjectivity itself has ranged from the early modern thinkers to post-modern thinkers. This research’s objectives are to describe the struggle of Stephen Dedalus, the main character in James Joyce’s novel entitled A Portrait of The Artist As A Young Man, to gain his identity as a form of subjectivity, and to describe how the model of subjectivity is reflected through the character of Stephen Dedalus. This research i

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50

Kim, Keun A. "Mutation Aesthetics: A Study of Laurie Hogin’s Artworks." Sookmyung Research Institute of Humanities 15 (October 31, 2023): 101–24. http://dx.doi.org/10.37123/th.2023.15.101.

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This study explores Laurie Hogin’s unique ecological approach by examining her artworks, which have not been extensively studied in South Korea. The analysis of her works focuses on the salient feature of ‘mutation’, highlighting the ecological perspective rooted in the major concepts of Félix Guattari’s ecosophy. First, through the lens of Guattari’s “Three Ecologies”, it is shown that Hogin’s mutation is not just biological reproduction, but a combination of non-human minorities, human-as-animal, and consumer subjectivity with in the ecosystem. Hogin’s mutation is ecological in its ability t

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