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Journal articles on the topic 'Visual art'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Wilson, Fred. "Visual Art." Callaloo 33, no. 4 (2010): 1021–28. http://dx.doi.org/10.1353/cal.2010.0067.

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2

Greenfield, Gary, and Penousal Machado. "Ant- and Ant-Colony-Inspired ALife Visual Art." Artificial Life 21, no. 3 (2015): 293–306. http://dx.doi.org/10.1162/artl_a_00170.

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Ant- and ant-colony-inspired ALife art is characterized by the artistic exploration of the emerging collective behavior of computational agents, developed using ants as a metaphor. We present a chronology that documents the emergence and history of such visual art, contextualize ant- and ant-colony-inspired art within generative art practices, and consider how it relates to other ALife art. We survey many of the algorithms that artists have used in this genre, address some of their aims, and explore the relationships between ant- and ant-colony-inspired art and research on ant and ant colony b

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3

Chia, Kok Hwee, and Boon Hock Lim. "Projective drawings between the intersection of diagnosis & dialogics: The birth of a new allied domain - Part 1." Unlimited Human! 2024, Fall (2024): 8–9. https://doi.org/10.5281/zenodo.15236746.

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The field of Art Therapy (AT) is often confused with that of Arts Therapy (AsT). The latter includes other creative therapies (e.g., dance and movement therapy, drama therapy, music therapy, poetry therapy, etc.) and it is a distinct discipline from AT. The AsT incorporates many creative methods of expression through visual art media. The former as a creative arts therapy profession, originated in the fields of art and psychotherapy and may vary in its definition. The AT includes analytic art therapy (AAT), art psychotherapy (APT), and art as therapy (AaT). Then there are also other allied off

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4

Layne, Sara Shatford. "Artists, Art Historians, and Visual Art Information." Reference Librarian 22, no. 47 (1994): 23–36. http://dx.doi.org/10.1300/j120v22n47_03.

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5

Kindler, Anna M. "Visual Culture, Visual Brain, and (Art) Education." Studies in Art Education 44, no. 3 (2003): 290–96. http://dx.doi.org/10.1080/00393541.2003.11651745.

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6

Singh Chauhan, Bijender. "CREATIVITY IN VISUAL ART." International Journal of Research -GRANTHAALAYAH 3, no. 1 (2015): 37–40. http://dx.doi.org/10.29121/granthaalayah.v3.i1.2015.3051.

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This paper examines the nature of creativity in visual art. Creativity requires originality and effectiveness in the work of art whether it is a design or a painting. Originality is undoubtedly required. It is often labeled novelty, but whatever the label, if something is not unusual, novel or unique, it is commonplace, mundane or conventional. It is undoubtedly cannot be called creative work. According to my opinion, creativity requires confluence of some instinct like intellectual abilities, knowledge, and style of thinking, personality, motivation and environment. It varies across tim

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7

Dorot, Ruth. "Visual Dignity in Art." Journal of Education Culture and Society 11, no. 1 (2020): 241–54. http://dx.doi.org/10.15503/jecs2020.1.241.254.

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Aim. The aim of this article is to deal with visual dignity in the field of western art throughout the ages as it seeks to present the artistic and design devices employed by artists in order to compose and convey this aura of dignity. Moreover, it addresses the ways in which they create various kinds of atmosphere of respect and dignity felt by the observer regarding the topic and object of the painting or sculpture. Methods. In order to achieve this aim, the article examines seven masterpieces which explore the visual representations of various perceptions of dignity and their implicat

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8

Lewis, Paul. "Visual Art as Theology." Tradition and Discovery: The Polanyi Society Periodical 22, no. 1 (1995): 31–32. http://dx.doi.org/10.5840/traddisc1995/199622134.

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9

Čolakov, Nevena. "Art and visual arts." Sinteze, no. 14 (2018): 67–78. http://dx.doi.org/10.5937/sinteze7-17339.

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10

Winter, Irene J., and Henri Zerner. "Art and Visual Culture." Art Journal 54, no. 3 (1995): 42. http://dx.doi.org/10.2307/777582.

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11

Feinstein, Hermine. "Art as Visual Metaphor." Art Education 38, no. 4 (1985): 26. http://dx.doi.org/10.2307/3192822.

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12

Emmer, Michele. "Art and Visual Mathematics." Leonardo 27, no. 3 (1994): 237. http://dx.doi.org/10.2307/1576060.

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13

Cherry, Deborah. "ART HISTORY VISUAL CULTURE." Art History 27, no. 4 (2004): 479–93. http://dx.doi.org/10.1111/j.0141-6790.2004.00434.x.

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14

Cherry, Deborah. "Art history visual culture." Art History 27, no. 4 (2004): 691. http://dx.doi.org/10.1111/j.0141-6790.2004.444_1_1.x.

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15

Jyrämä, Annukka, and Anne Äyväri. "Marketing contemporary visual art." Marketing Intelligence & Planning 28, no. 6 (2010): 723–35. http://dx.doi.org/10.1108/02634501011078129.

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16

Surakul, Saral. "Visual Art, 1st Place." Journal of Interior Design 36, no. 1 (2010): 57–59. http://dx.doi.org/10.1111/j.1939-1668.2010.01052.x.

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17

Gloeckler, Tad. "Visual Art, 2nd Place." Journal of Interior Design 36, no. 1 (2010): 60–62. http://dx.doi.org/10.1111/j.1939-1668.2010.01053.x.

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18

Hawthorn, Elwyn W. "Art and Visual Philosophy." Journal of Aesthetic Education 29, no. 1 (1995): 95. http://dx.doi.org/10.2307/3333521.

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19

Slowik, Mary. "Art beyond the Visual." Senses and Society 7, no. 1 (2012): 95–98. http://dx.doi.org/10.2752/174589312x13173255802201.

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20

Silva, Elizabeth B. "Distinction through visual art." Cultural Trends 15, no. 2-3 (2006): 141–58. http://dx.doi.org/10.1080/09548960600712942.

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21

Dr., Bijender Singh Chauhan. "CREATIVITY IN VISUAL ART." International Journal of Research - GRANTHAALAYAH 3, no. 1 (2017): 37–40. https://doi.org/10.5281/zenodo.884034.

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Abstract:

This paper examines the nature of creativity in visual art. Creativity requires originality and effectiveness in the work of art whether it is a design or a painting. Originality is undoubtedly required. It is often labeled novelty, but whatever the label, if something is not unusual, novel or unique, it is commonplace, mundane or conventional. It is undoubtedly cannot be called creative work. According to my opinion, creativity requires confluence of some instinct like intellectual abilities, knowledge, and style of thinking, personality, motivation and environment. It varies across time and

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22

Mironova, Tatiana. "Plurality the types of art in contemporary art: specifics of media art." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 139–48. http://dx.doi.org/10.32461/2226-3209.2.2021.239992.

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The purpose of the article is to study the types of artistic creativity in modern fine arts, taking into account the specifics of media arts. The methodology is the cultural-semiotic analysis of the forms of manifestation of visualization of modern art culture. The application of a systematic approach allowed us to study semiotic systems that contribute to the comprehensive disclosure of the problem of the semantics of modern forms of visualization. The scientific novelty of the work is to understand the specifics of the new media arts, taking into account their interactivity, network communic

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23

Sütterlin, Christa, Wulf Schiefenhövel, Christian Lehmann, Johanna Forster, and Gerhard Apfelauer. "Art as behaviour – an ethological approach to visual and verbal art, music and architecture." Anthropologischer Anzeiger 71, no. 1-2 (2014): 3–13. http://dx.doi.org/10.1127/0003-5548/2014/0371.

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24

Tjhin, Santo. "Visual Art And Technology URBAN SCREEN AS A VISUAL ART AND ADVERTISING AREA." Asia Proceedings of Social Sciences 5, no. 1 (2019): 33–39. http://dx.doi.org/10.31580/apss.v5i1.1077.

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Jakarta is a big city in Indonesia, a modern or developed city is a city whose development is sustainable and has the role of being an icon for the country. Jakarta has an important role and function in supporting the national economy in addition to being an icon for Indonesia. It’s role as the capital of the country also adds to its appeal, this encourages improvement both in terms of the appearance of the building and in following technological developments. Buildings and malls in Jakarta, offering a variety of products and gathering places for urban communities, where urban communities are

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25

Mat, Mohamad Faizuan. "Knowledge of Art in Malaysian Contemporary Visual Art." Journal of Visual Art and Design 9, no. 1 (2017): 38–48. http://dx.doi.org/10.5614/j.vad.2017.9.1.4.

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26

Freedman, Kerry. "Visual Art/Virtual Art: Teaching Technology for Meaning." Art Education 50, no. 4 (1997): 6. http://dx.doi.org/10.2307/3193647.

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27

Septyana, Risa, and Tantra Sakre. "The Painting "Jamuan Kerinduan" by Nurali, a Regional Artist Who also Enlivens Contemporary Art in Indonesia." IMAGIONARY 1, no. 1 (2022): 16–21. http://dx.doi.org/10.51353/jim.v1i1.677.

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This writing is motivated by the art world today, that contemporary art is an art movement that gives freedom to art connoisseurs and art creators in creating works and assessing beautiful art. Independence which gives freedom to work, both in terms of: concept of work, ideas, visual/visual forms, techniques, character of visual language, freedom of expression, and other freedoms. The purpose of this paper is to find out the results of the analysis of visual forms in contemporary paintings. Where the discussion is focused on the artist Nurali and examines one of his paintings entitled "Jamuan

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28

k, k. "Contemporary Media Art Performance under the Visual Threshold of Interpretation." Northeast Asian Business and Economics Association 4, no. 2 (2023): 65–72. http://dx.doi.org/10.51156/jnabe.2023.4.2.65.

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Purpose - Introduce contemporary media art, study the virtual representation forms of contemporary media art, and deeply explore the artistic meanings expressed by their forms of expression. Design/Methodology/Approach - Based on the characteristics of artistic expression such as innovation and interactivity, this article applies the three elements of understanding, interpretation, and application in hermeneutics theory to interpret multimedia art works. Findings - This article analyzes contemporary media art works from three dimensions of hermeneutics: understanding, interpretatio

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29

Teodora, Hubenco. "Artistic Perception of Visual Art Works - Imperative of Art Education." Journal of Educational Theory and Practice DIDACTICA PRO... 22, no. 2-3 (132-133) (2022): 20–23. https://doi.org/10.5281/zenodo.6685274.

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 The complexity of artistic perception is defined by the contradictions between subjective and objective, by the rapport between the rational and the emotional, real perceptions and creative abilities. Artistic perception is a complex matter that requires a multilayered approach: the development of perception in an emotional-logical way; the union of the act of artistic creation with the act of artistic perception; the decoding of the visual creative language through the lens of the sensibilities of the individual receptor; the manifestation of the received message by the receptor; the un

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30

Sookkaew, Jirawat, Phanom Chongkon, and Nakarin Chaikaew. "Technology of Digital Art for Adapting Ancient Visual Art Designs." International Journal of Emerging Technology and Advanced Engineering 12, no. 8 (2022): 125–35. http://dx.doi.org/10.46338/ijetae0822_16.

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Visual arts, design, and the creation of visual arts have been beginning along with human life for a long time. They have evolved in parallel together. The creation of human visual art is driven by inspiration and driven and taken to be a visual artwork. Creating digital art is a prevalent tool in today's era. It is a creative art technique that combines digital technology and the creation of visual artworks together. Bringing the cultural value of art that is the heritage of our ancestors who have created art that is considered valuable for future generations by using digital art for inherita

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31

Mitra, Sumana, and Dr Abhishek Das. "From Folk Art to Social Media: The Evolution of Visual Communication in Development Discourse in India." Praxis International Journal of Social Science and Literature 8, no. 3 (2024): 78–87. https://doi.org/10.51879/pijssl/080310.

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Visual communication has played a crucial role in shaping development discourse across different historical periods in India. From traditional folk-art forms such as Madhubani, Warli, and Patta Chitra to contemporary digital platforms like social media, visuals have been used as powerful tools to disseminate messages, mobilize communities, and influence policy. This study explores the evolution of visual communication in Indian development discourse, tracing its transition from indigenous art forms to modern-day digital communication strategies. Using a qualitative research approach and discou

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32

Mitrović, Slađana. "The Wound in Visual Art." Monitor ISH 17, no. 2 (2015): 73–94. http://dx.doi.org/10.33700/1580-7118.17.2.73-94(2015).

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The fine arts abound in images of the pierced, wounded, tortured, dismembered, crippled or decapitated body in all historical periods. The iconography of the wound is of long standing, and the passion for depicting open bodies can only be compared to the enthusiasm for the nude. In the history of painting and sculpture, the wounded body is most often represented in renditions of Christ’s Passion and Christian martyrs, as well as of Biblical stories about decapitation and slaughter. The topic of the wound has proved relevant to modern and contemporary art as well. In the second half of the 20th

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33

Barry, Jackson. "Semiotics, Visual Art and Language." American Journal of Semiotics 9, no. 4 (1992): 141–49. http://dx.doi.org/10.5840/ajs19929413.

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34

Schildkrout, Enid. "Body Art as Visual Language." AnthroNotes : National Museum of Natural History bulletin for teachers 22, no. 2 (2014): 1. http://dx.doi.org/10.5479/10088/22380.

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35

Barnard-Wills, Katherine, and David Barnard-Wills. "Invisible Surveillance in Visual Art." Surveillance & Society 10, no. 3/4 (2012): 204–14. http://dx.doi.org/10.24908/ss.v10i3/4.4328.

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Contemporary art has recently started to engage with surveillance. Before this trend developed art theory had developed a rangeof approaches to understanding identity in art, sometimes borrowing from social, psychoanalytic and political theory. Art work atthe intersection of surveillance and identity tends to focus upon the representation of the human body as subject of surveillanceand bearer of identity. However, contemporary surveillance is data, categorisation and flows of information as much as it isCCTV and images of the person. There are notably fewer works of art that engage with ‘datav

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36

Wenger, Robert. "Visual Art, Archaeology and Gestalt." Leonardo 30, no. 1 (1997): 35. http://dx.doi.org/10.2307/1576374.

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37

Duncum, Paul. "Clarifying Visual Culture Art Education." Art Education 55, no. 3 (2002): 6. http://dx.doi.org/10.2307/3193995.

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38

Kennedy, Brian. "Visual Arts: North: Killer Art." Circa, no. 97 (2001): 13. http://dx.doi.org/10.2307/25563723.

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39

Dunne, Aidan. "Visual Arts: South: Shocking Art." Circa, no. 101 (2002): 5. http://dx.doi.org/10.2307/25563836.

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40

Dunne, Aidan. "Visual Arts: South: Lucrative Art." Circa, no. 103 (2003): 18. http://dx.doi.org/10.2307/25563906.

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41

Kalantari, Bahman. "A new visual art medium." ACM SIGGRAPH Computer Graphics 38, no. 3 (2004): 21–23. http://dx.doi.org/10.1145/1015999.1016002.

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42

Hyman, J. "Pictorial art and visual experience." British Journal of Aesthetics 40, no. 1 (2000): 21–45. http://dx.doi.org/10.1093/bjaesthetics/40.1.21.

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43

Lyas, C. "The Classification of Visual Art." British Journal of Aesthetics 41, no. 4 (2001): 457–58. http://dx.doi.org/10.1093/bjaesthetics/41.4.457.

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44

Nevins, A., and J. E. Jones. "Large Scale Visual Art Workshop." Gerontologist 36, no. 6 (1996): 835. http://dx.doi.org/10.1093/geront/36.6.835.

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45

HUGHES, PHILIP. "Visual Education and Art Education." Journal of Art & Design Education 8, no. 1 (1989): 37–44. http://dx.doi.org/10.1111/j.1476-8070.1989.tb00740.x.

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46

Hinrichsen, Klaus E. "Visual art behind the wire." Immigrants & Minorities 11, no. 3 (1992): 188–209. http://dx.doi.org/10.1080/02619288.1992.9974795.

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47

MICHELIS, A. "12 Art and Visual Cultures." Year's Work in Critical and Cultural Theory 11, no. 1 (2003): 162–78. http://dx.doi.org/10.1093/ywcct/mbg012.

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48

Hertzmann, Aaron. "Visual Indeterminacy in GAN Art." Leonardo 53, no. 4 (2020): 424–28. http://dx.doi.org/10.1162/leon_a_01930.

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This paper explores visual indeterminacy as a description for artwork created with Generative Adversarial Networks (GANs). Visual indeterminacy describes images that appear to depict real scenes, but on closer examination, defy coherent spatial interpretation. GAN models seem to be predisposed to producing indeterminate images, and indeterminacy is a key feature of much modern representational art, as well as most GAN art. The author hypothesizes that indeterminacy is a consequence of a powerful-but-imperfect image synthesis model that must combine general classes of objects, scenes and textur

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49

Halligan, Peter W., and John C. Marshall. "The art of visual neglect." Lancet 350, no. 9071 (1997): 139–40. http://dx.doi.org/10.1016/s0140-6736(97)03165-6.

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50

Andrews, Anne M. "Visual Inspiration and Cover Art." ACS Chemical Neuroscience 3, no. 7 (2012): 492. http://dx.doi.org/10.1021/cn300070j.

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