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Journal articles on the topic 'The art subject'

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Published: 4 June 2021
Last updated: 3 February 2022

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1

GAMEZ PINTADO, Ainhoa. "Work Projects in the Subject of Art Education." Revista Romaneasca pentru Educatie Multidimensionala 5, no. 1 (2013): 19–34. http://dx.doi.org/10.18662/rrem/2013.0501.02.

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2

Jumaev, Jasur. "The Importance Of The Subject "Art Photo Composition" In The Study Of Photo Art." American Journal of Social Science and Education Innovations 03, no. 03 (2021): 84–88. http://dx.doi.org/10.37547/tajssei/volume03issue03-14.

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The article covers the basic concepts of artistic photo composition, the general purpose of the composition, the artist's use of visual and expressive means of this art, the use of specific methods and techniques of constructive construction.
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3

Gilman, Ernest B., Richard Brilliant, E. H. Gombrich, Bennett Reimer, and Ralph A. Smith. "The Subject of Art." College English 56, no. 4 (1994): 455. http://dx.doi.org/10.2307/378341.

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4

Kaufman, Irving. "The Subject Is Art." Studies in Art Education 30, no. 2 (1989): 84. http://dx.doi.org/10.2307/1320775.

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5

Lee, Eunjeok. "Art Museum Education to Form Art Subject Competencies." Korean Association For Learner-Centered Curriculum And Instruction 18, no. 9 (2018): 955–77. http://dx.doi.org/10.22251/jlcci.2018.18.9.955.

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6

Loughery, John. "Subject Matter in Modern Art." Hudson Review 51, no. 2 (1998): 386. http://dx.doi.org/10.2307/3853074.

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7

Spivey, N. "Subject review. Archaeology and art." Greece and Rome 45, no. 2 (1998): 252–55. http://dx.doi.org/10.1093/gr/45.2.252.

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8

ASHILOVA, MADINA, ALIBEK BEGALINOV, and KALIMASH BEGALINOVA. "PHILOSOPHY OF EDUCATION AND PEDAGOGY: SUBJECT STATUS." Studia Humanitatis 16, no. 3 (2020): 4–8. http://dx.doi.org/10.15393/j12.art.2020.3581.

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The article deals with the features of the relationship between pedagogy and philosophy of education in the historical and genetic aspect. Various facets of their interaction caused by ideological and methodological approaches to the educational process are shown. Attention is drawn to the fact that the feature that distinguishes the philosophy of education from pedagogy is a holistic vision of education, the study of its problems in the most generalized and conceptual form. Various scientific approaches to pedagogy and philosophy of education are revealed, among which the situation developed within the framework of Soviet science is of particular interest, when pedagogy was understood as a “testing ground” for the application and approbation of philosophical ideas. Summarizing all the approaches, the authors come to the conclusion that the analysis of the education from the perspective of philosophy requires the recourse to pedagogy as a science, which explores the problems of education at a deep level, and from the perspective of pedagogy – the recourse to the philosophy of education, acting as a universal, conceptual, methodological, and ideological scientific knowledge.
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9

Wulandari, Wulandari. "Art appreciation in cultural arts subject." JPPI (Jurnal Penelitian Pendidikan Indonesia) 5, no. 1 (2019): 11. http://dx.doi.org/10.29210/02018289.

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10

Babias, Marius. "Subject production and political art practice." Afterall: A Journal of Art, Context and Enquiry 9 (April 2004): 101–9. http://dx.doi.org/10.1086/aft.9.20711542.

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11

Davis, Whitney, Alice T. Friedman, Rosalind Krauss, et al. "The Subject in/of Art History." Art Bulletin 76, no. 4 (1994): 570. http://dx.doi.org/10.2307/3046057.

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12

Powell, Richard J. "The Subject in/of Art History." Art Bulletin 77, no. 3 (1995): 515. http://dx.doi.org/10.2307/3046128.

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13

Hills, Helen. "Subject Matters in Early Modern Art." Art History 36, no. 4 (2013): 871–74. http://dx.doi.org/10.1111/1467-8365.12041.

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14

Parrish, M. "SCIENCE AND ART: Subject Matter Matters." Science 322, no. 5899 (2008): 196–97. http://dx.doi.org/10.1126/science.1165966.

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15

Vallance, Elizabeth. "Art Criticism as Subject Matter in Schools and Art Museums." Journal of Aesthetic Education 22, no. 4 (1988): 69. http://dx.doi.org/10.2307/3332982.

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16

Matejic, Bojana. "Emancipation, duty and the artistic subject." Theoria, Beograd 59, no. 3 (2016): 105–12. http://dx.doi.org/10.2298/theo1603105m.

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In the ?Third Sketch for a Manifesto of Affirmationist Art? (?Troisi?me esquisse d?une manifeste de l? affirmationnisme?), Badiou brings together the concepts of Universality, the Senses and Duty in Art. The author will try to reassess the concept of Duty in Badiou?s conception of Affirmationist Art, examining the problems of, 1. How is an Emancipatory Art possible in the context of the anti-humanist condition? and 2. What is the ontological and epistemological status of an in-humanity as a fundamental presupposition of human emancipation in Art? It will be argued that the artistic formalization of the Subject(s) - which is ?impersonal and singular?, as Badiou asserts - would not be possible without any human participation in the process of subjectification towards human emancipation. The author will demonstrate how it is possible to think the concept of Duty in the aesthetic realm, on the basis of Badiou?s presupposition of the Subjective Universality of Art and Zupancic?s reading of Lacanian theory.
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17

Фокин, Евгений, and Evgeniy Fokin. "COMPARATIVE CIVIL PROCEDURE: SUBJECT, AIMS AND PROSPECTS." Journal of Foreign Legislation and Comparative Law 4, no. 3 (2018): 1. http://dx.doi.org/10.12737/art.2018.3.21.

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18

Rowley, Sue. "Making works: Art, process and subject formation." Australian Feminist Studies 7, no. 16 (1992): 56–68. http://dx.doi.org/10.1080/08164649.1992.9994661.

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19

Gordon-Nesbitt, Rebecca. "Art and the Subject in Revolutionary Cuba." Human Geography 10, no. 3 (2017): 41–53. http://dx.doi.org/10.1177/194277861701000304.

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This paper explores the ways in which alternatives to capitalist social relations have manifested themselves in the cultural field in Cuba. Its approach is consistent with Don Mitchell's insistence on a “focus on the material development of the idea (or ideology) of culture”(1995: 102), insofar as culture is considered a central part of the ideological development of the Revolution. Cuba's multifaceted conception of culture is not confined to the field in which creative endeavours are undertaken. Creative activity is understood as a process of social production, with human happiness as its end product, which implicates culture in both education and emancipation. While considering the formation of new subjectivities through culture, this paper elaborates the huge effort that was made by the revolutionary government to ensure that both culture and creativity were accessible to all. In the process, it offers a glimpse of ways in which the traditionally discrete categories of artist and audience have been redefined.
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20

Keizer, Joost. "Michelangelo, Drawing, and the Subject of Art." Art Bulletin 93, no. 3 (2011): 304–24. http://dx.doi.org/10.1080/00043079.2011.10786010.

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21

Singh, Narendra, Lalit Kumar, and Desh Nidhi Singh. "Evaluation of adverse effect of second line ART in PL HIV patients treated by second line ART." International Journal of Advances in Medicine 7, no. 6 (2020): 916. http://dx.doi.org/10.18203/2349-3933.ijam20202104.

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Background: AIDS was first recognized in USA Subject whose viral load was very high more than 5000 copy and CD4 count remain below 100 for 6 months and decrease 50% of base line call as ART failure. There are grade 1, 2, 3 and 4 adverse effect can be seen .in treating of PL. HIV by ART2.Methods: It was Single centre hospital based clinic pathological study and continuous longitudinal, prospective and retrospective , observational, in ART PLUS Centre considering of all patient on 1st line ART who are screened for treatment failure based on clinical, immunological and virological criterias as decided by SACEP from 2016 to 2018.Results: This study shows increase in serum bilirubin from 5 to 13 in study subject and there was increase in no from 4 to 5 in subject of less than 9 Haemoglobin and in the group of 9 to 10 level Haemoglobin of subjects no. increase from 4 to 5 but more than 10 subject decrease from 110 to 108. Subject increase 6 to 10 of serum creatinine level >1.5mg /dl., This shows second line ART have adverse effect on liver , kidney and hematology. There is some adverse effect is seen as nausea, vomiting, headache, skin rash, abdominal pain and muscle pain, there was some serious adverse effect that required hospitalization.Conclusions: Study show that ART2 have adverse effect on liver and kidney function and anaemia. Some general adverse effect seen that also required treatment.
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22

Farago, Claire. "Exiting Art History: Locating "Art" in the Modern History of the Subject." Konsthistorisk Tidskrift 70, no. 1-2 (2001): 3–19. http://dx.doi.org/10.1080/00233600120856.

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23

Farago, Claire. "Exiting Art History: Locating "Art" in the Modern History of the Subject." Konsthistorisk tidskrift/Journal of Art History 70, no. 1 (2001): 3–19. http://dx.doi.org/10.1080/00233600152125983.

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24

Bontrager, Nick, and Adam Fung. "Autonomous Art Systems: an introduction." Media-N 15, no. 1 (2019): 1–2. http://dx.doi.org/10.21900/j.median.v15i1.73.

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Media-N, the Journal of the New Media Caucus, invited submissions for this issue about the use of Autonomous Art Systems, tethered and untethered systems of making, autonomous vehicles, and related programming in creative fields of study. Relevant subjects included: artworks that address concepts of drones or surveillance as subject or form; the influence of emerging technologies on studio art practices; or critical/historical analysis of the entanglement of art and technology.
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25

Kirshenblatt-Gimblett, Barbara. "Towards a Post-Disciplinary Jewish Subject." IMAGES 1, no. 1 (2007): 12–14. http://dx.doi.org/10.1163/187180007782347692.

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AbstractBy inviting contributions dealing with any kind of visual material from any disciplinary perspective, Images opens up the possibility that art might be studied from any disciplinary perspective and that visual culture might be studied from an art historical point of view. Given the orphan status of Jewish art and visual culture as an object of study, how might the study of Jewish visual culture alter the fields brought to bear on it? Herein lays the opportunity to generate something new with respect both to Jewish visual culture and to visual studies more generally.
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26

Soltes, Ori Z. "Modern Jewish Art." Brill Research Perspectives in Religion and the Arts 2, no. 2 (2018): 1–107. http://dx.doi.org/10.1163/24688878-12340004.

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AbstractIn Modern Jewish Art: Definitions, Problems, and Opportunities, Ori Z. Soltes considers both the emerging and evolving discussion on and the expanding array of practitioners of ‘Jewish art’ in the past two hundred years. He notes the developing problem of how to define ‘Judaism’ in the 19th century—as a religion, a culture, a race, a nation, a people—and thus the complications for placing ‘Jewish art’ under the extended umbrella of ‘religion and the arts.’ The fluidity with which one must engage the subject is reflected in the broadening conceptual and visual vocabulary, the extended range of subject foci and media, and the increasingly rich analytical approaches to the subject that have surfaced particularly in the past fifty years. Well-known and little-known artists are included in a far-ranging discussion of painting, sculpture, photography, video, installation art, ceremonial objects, and works that blur the boundaries between categories.
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27

Münchberg, Katharina. "Die Potentialität des Kunstwerks." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 51. Heft 2 51, no. 2 (2006): 6–23. http://dx.doi.org/10.28937/1000107601.

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Der Begriff des Kunstwerks ist in seiner grundlegenden Bedeutung durch die Wende zur ästhetischen Erfahrung in Vergessenheit geraten. Aber das Kunstwerk kann durch den Akt der ästhetischen Erfahrung nicht vollständig erfaßt werden; es ist vielmehr der Ort, an dem der wesentliche Bezug zwischen ästhetischer und existentieller Erfahrung hervortritt. Das Kunstwerk ist reine Potentialität, die in der Aktualität der ästhetischen Erfahrung zur Erscheinung kommt. Jenseits der Differenz von Potentialität und Aktualität, von Objekt und Subjekt existiert das Kunstwerk im ontologischen Modus des Sein-Könnens, des Offen-Seins für die Welt. The concept and central place ›work of art‹ has been neglected by the turn to aesthetic experience. But the work of art cannot be grasped fully by the act of aesthetic experience; it is rather a place, where the essential relation between aesthetic and existential experience becomes known. The work of art is mere potentiality, which appears in the actuality of aesthetic experience. Beyond the difference of potentiality and actuality, object and subject, the work of art exists in the ontological mode of can-being, of being open to the world.
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28

Ujiie, Sachiko. "A Subject for Study on the Nursing Art." Journal of Japan Academy of Nursing Science 6, no. 1 (1986): 23–29. http://dx.doi.org/10.5630/jans1981.6.1_23.

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29

Laptev, Stanislav Andreevich. "Art management as a subject of independent discipline." Siberian Journal of Anthropology 2, no. 3 (2018): 17–32. http://dx.doi.org/10.31804/2542-1816-2018-2-3-17-31.

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30

Kang, Hea seung. "The Subject in Korean Art Criticism after Modernism." Journal of Aesthetics & Science of Art 58 (October 31, 2019): 73–102. http://dx.doi.org/10.17527/jasa.58.0.03.

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31

Pak, Ye. "Enrichment of Art Subject Content With Research Tasks." Journal of Educational Sciences 54, no. 1 (2018): 94–99. http://dx.doi.org/10.26577/jes-2018-1-496.

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32

Bedrikow, Rubens, and Gastão Wagnerde de Sousa Campos. "Clinic: the art of balancing disease and subject." Revista da Associação Médica Brasileira 57, no. 6 (2011): 596–99. http://dx.doi.org/10.1016/s0104-4230(11)70121-x.

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33

Bedrikow, Rubens, and Gastão Wagnerde de Sousa Campos. "Clinic: the art of balancing disease and subject." Revista da Associação Médica Brasileira (English Edition) 57, no. 6 (2011): 596–99. http://dx.doi.org/10.1016/s2255-4823(11)70121-7.

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34

Fitzek, Herbert. "ART moves MIND moves ART The Moses of Michelangelo and the ‘Gestaltkreis’ of Art Reception." Gestalt Theory 42, no. 2 (2020): 133–44. http://dx.doi.org/10.2478/gth-2020-0012.

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SummaryAccording to Gestalt theory the impact of arts is not adequately described as a transfer of an artist’s message into a recipient’s state of mind. As a matter of fact (and effect) art represents complex fields of meaning (figurations) rooting in the specific conditions of art creation and proceeding to the concrete effects of art reception. From a psychological point of view artefacts cannot be reduced to static objects, nor are the recipients to be seen as passive spectators of the scenery. Aesthetical experience is an action field from which the material of art and its reception emerge. In my contribution the relationship of subject and object in art is modelled in terms of Victor von Weizsäcker’s Gestaltkreis of perception and action. For this purpose, I will refer to the favourite subject of art coaching: the Moses of Michelangelo in Rome.
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35

Burns, E. Jane. "Devilish Ways: Sexing the Subject in the Queste del Saint Graal." Arthuriana 8, no. 2 (1998): 11–32. http://dx.doi.org/10.1353/art.1998.0008.

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36

Gallo, P. Grassivaro, S. Oliva, P. B. Lantieri, and F. Viviani. "Colour Blindness in Italian Art High School Students." Perceptual and Motor Skills 95, no. 3 (2002): 830–34. http://dx.doi.org/10.2466/pms.2002.95.3.830.

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To highlight the link between colour blindness and school achievement, the Ishihara and Farnsworth tests were administered to 3,565 high school art students (2,545 girls and 1,020 boys). Analysis showed colour defective students were discriminated against in theoretical subject matter, relative to orthochromate students, but not in the art-related subjects. This emphasizes the need to recognize youth with colour defective vision early.
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37

Hourihane, Colum P. "Classifying Subject Matter in Medieval Art: The Index of Christian Art at Princeton University." Visual Resources 30, no. 3 (2014): 255–62. http://dx.doi.org/10.1080/01973762.2014.936103.

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38

Tagiltseva, N. G., and O. A. Ovsyannikova. "Polyartistic approach in teacher training of subject matter "Art"." Yazyk i kul'tura, no. 40 (December 1, 2017): 289–301. http://dx.doi.org/10.17223/19996195/40/21.

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39

Tagiltseva, N. G., and O. A. Ovsyannikova. "Polyartistic approach in teacher training of subject matter «Art»." Yazyk i kul'tura, no. 43 (September 1, 2018): 282–94. http://dx.doi.org/10.17223/19996195/43/17.

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40

Petit, David A. "The Object as Subject in 20th Century American Art." Art Education 43, no. 2 (1990): 36. http://dx.doi.org/10.2307/3193205.

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41

Furmaniuk, S. "FORMATION OF ART-SUBJECT ACTIVITIES OF FUTURE EDUCATION FACILITATORS." Pedagogy of the formation of a creative person in higher and secondary schools 1, no. 68 (2020): 124–27. http://dx.doi.org/10.32840/1992-5786.2020.68-1.25.

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42

Yoo, Kyung Mi, and Yong Tae Cho. "Visual Analysis of Single-Subject Research in Art Therapy." Journal of Arts Psychotherapy 14, no. 4 (2018): 197–218. http://dx.doi.org/10.32451/kjoaps.2018.14.4.197.

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43

Corner, Frances. "Identifying the Core in the Subject of Fine Art." International Journal of Art & Design Education 24, no. 3 (2005): 334–42. http://dx.doi.org/10.1111/j.1476-8070.2005.00457.x.

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44

Olivier, Bert. "Popular art, the image, the subject and subverting hegemony." Communicatio 32, no. 1 (2006): 16–37. http://dx.doi.org/10.1080/02500160608537961.

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45

Koczanowicz, Leszek. "The Magical Power of Art: Subject, Public Sphere, Emancipation." Teksty Drugie 2 (8), Special Issue English Edition (2015): 262–77. http://dx.doi.org/10.18318/td.2015.en.2.16.

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46

Moore, Alan W. "Political Economy as Subject and Form in Contemporary Art." Review of Radical Political Economics 36, no. 4 (2004): 471–86. http://dx.doi.org/10.1177/0486613404269779.

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47

Damisch, Hubert. "Staking the Subject: The Self's Own Gamble with Art." October 167 (February 2019): 149–70. http://dx.doi.org/10.1162/octo_a_00340.

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Devoted to the Freud-Signorelli case, this study by French art-historian/philosopher Hubert Damisch offers an in-depth analysis of “the implication of the subject in the various dimensions of perception, remembering, analysis, and interpretation.” To better reflect the complex relationships between art, psychoanalysis, and interpretation, Damisch's commentaries take the form of a diary. By discussing his comings and goings between the 1960s and 1990s and by making an effort to remember his own life and practice, Damisch builds a dispositif where Freud's analyses of the mechanisms of oblivion, Signorelli's painting of “the damned,” Dante's Inferno, and Primo Levi's testimony on the Shoah reverberate with each other. This study, which is one of the chapters of the unfinished book La machine d'Orvieto, was first published in French in Y voir mieux, y regarder de plus près (Rue d'Ulm, 2010).
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48

Zavhorodnia, O. V. "FINE-ART THINKING AS A SUBJECT OF PSYCHOLOGICAL ANALYSIS." Habitus, no. 25 (2021): 37–41. http://dx.doi.org/10.32843/2663-5208.2021.25.6.

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49

Burns, Lizzie. "Reaction painting: Finding art in science." Biochemist 28, no. 6 (2006): 15–18. http://dx.doi.org/10.1042/bio02806015.

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Which do you prefer, art or science? I am often asked this question and always struggle to give an adequate answer. In fact, why do we have to make a choice between the two? Clearly, they are different subjects, but they do have many things in common. Science is such a visual subject and much of its fascination comes from comprehending what we are made of and, inevitably, what that looks like. Observation is central to science and art, as well as the ability to question and formulate new ideas. The best science often has come about through a breakthrough in the imagination rather than a logical, incremental advance in knowledge. As children, we combined both art and science without questioning them as different subjects, but as adults we are encouraged to be either scientifically minded or artistically inclined.
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50

Kimmelman, Burt. "'Space to speke': The Confessional Subject in Medieval Literature by Jerry Root." Arthuriana 9, no. 3 (1999): 123–25. http://dx.doi.org/10.1353/art.1999.0021.

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