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Artículos de revistas sobre el tema "Art, Abstract"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 30 de julio de 2024

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1

Ickes, Melinda J. y Stephen F. Gambescia. "Abstract Art". Health Promotion Practice 12, n.º 4 (julio de 2011): 493–96. http://dx.doi.org/10.1177/1524839911413128.

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2

Kumar, A. Sampath. "Abstract art". Indian Journal of Thoracic and Cardiovascular Surgery 20, n.º 1 (enero de 2004): 1. http://dx.doi.org/10.1007/s12055-004-0283-5.

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3

Mikulinsky, Romi y Yanai Toister. "From Abstract Art to Abstracted Artists". Journal of Science and Technology of the Arts 8, n.º 1 (30 de noviembre de 2016): 29. http://dx.doi.org/10.7559/citarj.v8i1.219.

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4

Tabulo, Kym. "Abstract sequential art". Journal of Graphic Novels and Comics 5, n.º 1 (9 de junio de 2013): 29–41. http://dx.doi.org/10.1080/21504857.2013.803994.

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5

Michalowski, Stefan y Georgia Smith. "Art: Abstract relativity". Nature 470, n.º 7332 (febrero de 2011): 38. http://dx.doi.org/10.1038/470038a.

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6

Berry, Kenneth. "ABSTRACT ART AND EDUCATION". British Journal of Aesthetics 32, n.º 3 (1992): 266–68. http://dx.doi.org/10.1093/bjaesthetics/32.3.266.

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7

Singh, Gary. "Electrifying Digital Abstract Art". IEEE Computer Graphics and Applications 35, n.º 2 (marzo de 2015): 4–5. http://dx.doi.org/10.1109/mcg.2015.27.

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8

Thistlethwaite, Jill. "Abstract art and publication". Clinical Teacher 17, S1 (25 de septiembre de 2020): 4–5. http://dx.doi.org/10.1111/tct.13250.

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9

Clarke, Jenni. "Deep space abstract art". Practical Pre-School 2013, n.º 145 (febrero de 2013): ix—x. http://dx.doi.org/10.12968/prps.2013.1.145.ix.

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10

Toljan, Karlo. "Neuroscience and abstract art". Gyrus 3, n.º 1 (2015): 8–10. http://dx.doi.org/10.17486/gyr.3.1002.

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11

Wilson, Daniel. "Art and Abstract Objects". British Journal of Aesthetics 55, n.º 2 (9 de septiembre de 2014): 255–58. http://dx.doi.org/10.1093/aesthj/ayu020.

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12

박소현. "Abstract Art and Tradition in Japan: For Thinking about 'Korean' Abstract Art". Misulsahakbo(Reviews on the Art History) ll, n.º 35 (diciembre de 2010): 5–42. http://dx.doi.org/10.15819/rah.2010..35.5.

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13

Mullennix, John W. y Julien Robinet. "Art Expertise and the Processing of Titled Abstract Art". Perception 47, n.º 4 (8 de enero de 2018): 359–78. http://dx.doi.org/10.1177/0301006617752314.

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The effect of art expertise on viewers’ processing of titled visual artwork was examined. The study extended the research of Leder, Carbon, and Ripsas by explicitly selecting art novices and art experts. The study was designed to test assumptions about how expertise modulates context in the form of titles for artworks. Viewers rated a set of abstract paintings for liking and understanding. The type of title accompanying the artwork (descriptive or elaborative) was manipulated. Viewers were allotted as much time as they wished to view each artwork. For judgments of liking, novices and experts both liked artworks with elaborative titles better, with overall rated liking similar for both groups. For judgments of understanding, type of title had no effect on ratings for both novices and experts. However, experts’ rated understanding was higher than novices, with experts making their decisions faster than novices. An analysis of viewers’ art expertise revealed that expertise was correlated with understanding, but not liking. Overall, the results suggest that both novices and experts integrate title with visual image in similar manner. However, expertise differentially affected liking and understanding. The results differ from those obtained by Leder et al. The differences between studies are discussed.
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14

Novák, Josef. "Abstract Painting". International Philosophical Quarterly 60, n.º 3 (2020): 287–306. http://dx.doi.org/10.5840/ipq2020715152.

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Since the beginning of the twentieth century, abstract art has formed a central stream of modern art. To attain purely aesthetic goals, many avant-garde artists turned painting in particular into a pursuit of breaking off the relations with natural forms. Instead of copying them, they have merely relied on their inner visions. When externalizing these visions directly on the canvas or sheets of paper, the practitioners of abstract art have inadvertently used the phenomenological method and its epoché. In this essay I argue that the philosophies of Kupka and Husserl are largely compatible. This is not because the two use the same terminology, but because they virtually mean and do the same thing in their respective fields. Even where there are significant differences between them, these are not as great as it might at first seem. In the essay’s conclusion I sum up some of the most significant implications their compatible theories have for the philosophy of art and for various theories of art today.
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15

Magalhães, Ana Gonçalves y Adele Nelson. "Introduction. Abstract art in Brazil". MODOS: Revista de História da Arte 5, n.º 1 (30 de enero de 2021): 105–13. http://dx.doi.org/10.20396/modos.v5i1.8664175.

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In this introduction, we present some of the elements that guided both the formulation of the concepts of this dossier on abstract art in Brazil and our first reflections on the articles by invited authors and those submitted to the open call. Our main aim was to gather a collection of articles that would bring original research and approaches, focusing on aspects yet to be dealt with in the existing scholarship. The contributions brought to light analysis of artworks and women artists yet to be duly considered, as well as unpublished case studies focused outside the artistic milieu of Rio de Janeiro and São Paulo and on lyrical abstraction in the country – topics still largely neglected by the consolidated historiography.
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16

Joosik Min. "Aesthetic Fundamentals of Abstract Art". Misulsahakbo(Reviews on the Art History) ll, n.º 34 (junio de 2010): 5–38. http://dx.doi.org/10.15819/rah.2010..34.5.

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17

Johnson-Laird, P. N. y Keith Oatley. "Emotions, Simulation, and Abstract Art". Art & Perception 9, n.º 3 (25 de octubre de 2021): 260–92. http://dx.doi.org/10.1163/22134913-bja10029.

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Abstract Some people feel emotions when they look at abstract art. This article presents a ‘simulation’ theory that predicts which emotions they will experience, including those based on their aesthetic reactions. It also explains the mental processes underlying these emotions. This new theory embodies two precursors: an account of how mental models represent perceptions, descriptions, and self-reflections, and an account of the communicative nature of emotions, which distinguishes between basic emotions that can be experienced without knowledge of their objects or causes, and complex emotions that are founded on basic ones, but that include propositional contents. The resulting simulation theory predicts that abstract paintings can evoke the basic emotions of happiness, sadness, anger, and anxiety, and that they do so in several ways. In mimesis, models simulate the actions and gestures of people in emotional states, elicited from cues in the surface of paintings, and that in turn evoke basic emotions. Other basic emotions depend on synaesthesia, and both association and projection can yield complex emotions. Underlying viewers’ awareness of looking at a painting is a mental model of themselves in that relation with the painting. This self-reflective model has access to knowledge, enabling people to evaluate the work, and to experience an aesthetic emotion, such as awe or revulsion. The comments of artists and critics, and experimental results support the theory.
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18

Yi-Zhe Song, D. Pickup, Chuan Li, P. Rosin y P. Hall. "Abstract Art by Shape Classification". IEEE Transactions on Visualization and Computer Graphics 19, n.º 8 (agosto de 2013): 1252–63. http://dx.doi.org/10.1109/tvcg.2013.13.

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19

Séquin, Carlo H. "Topological tori as abstract art". Journal of Mathematics and the Arts 6, n.º 4 (diciembre de 2012): 191–209. http://dx.doi.org/10.1080/17513472.2012.708896.

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20

Jätzold, Stephan. "ART - the abstract robot toolkit". XRDS: Crossroads, The ACM Magazine for Students 8, n.º 5 (agosto de 2002): 1. http://dx.doi.org/10.1145/991118.991119.

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21

Haigh, C. A. "The art of the abstract". Nurse Education Today 26, n.º 5 (julio de 2006): 355–57. http://dx.doi.org/10.1016/j.nedt.2006.06.002.

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22

Selvanathan, Senthil K., Rebecca D. Udani, S. D. Udani y K. R. Haylett. "The art of the abstract". BMJ 332, Suppl S2 (1 de febrero de 2006): 060270. http://dx.doi.org/10.1136/sbmj.060270.

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23

Elezović, Nadežda. "Sacred in Modern Abstract Art". IKON 11 (enero de 2018): 153–62. http://dx.doi.org/10.1484/j.ikon.4.2018016.

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24

Szanajda, Andrew y Yu Jie Li. "What is True Abstract Art?" International Journal of Humanities, Social Sciences and Education 10, n.º 8 (2023): 7–11. http://dx.doi.org/10.20431/2349-0381.1008002.

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25

Kwon, Youngjin. "The National Art Exhibition and ‘Abstract Academism’ of Korean Art". Journal of Korean Modern & Contemporary Art History 35 (31 de julio de 2018): 147–74. http://dx.doi.org/10.46834/jkmcah.2018.07.35.147.

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26

Subedi, Abhi. "Abstract Paintings and Nepali Context". SIRJANĀ – A Journal on Arts and Art Education 8, n.º 1 (13 de julio de 2022): 6–21. http://dx.doi.org/10.3126/sirjana.v8i1.46652.

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Abstract art as discussed in this essay covers a period of time that spans about sixty years. The introduction of the abstract art in Nepal marks a certain opening in both art education and practice among the artists. The initial challenge of the abstract art was to make it a familiar subject both among the art lovers as well as among those who respected art but were not able to appreciate it fully. A challenging period came when artists began to work towards making abstract art an acceptable and a very useful artistic practice. The tension between skill of the artists and the indifference of the public is a universal problem. But now the gap is being narrowed down everywhere. The concept of abstract art in Nepal comes from education in schools in Europe and India in the initial phase and later in Nepal itself where art pedagogy became a norm in different art schools and colleges. But artists freely made their paintings abstractas the commonly accepted mode of art. Artists of different generations execute abstract paintings without being critical or interpretative about it. But now things are changing in Nepal. New generation artists who are oriented to the abstract and free forms of art are working to develop a system by putting together the art education, practice and very importantly, the level of public acceptance for that. We should carefully review the history and the present status of that. We should also make the art works 'desirable'. The other important character of Nepali abstract painting is that the artists always work in the contact zones of the representational and the expressionist features. I have interpreted that meeting point as a contact zone. This article attempts to give examples of that dynamic process. Nepali abstract paintings mark a new mode of artistic dynamism in Nepal.
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27

Savaşer, Işıl. "SOYUT SANATTA HARMONİ VE SOYUT GÜZELLİK ANLAYIŞI". e-Journal of New World Sciences Academy 16, n.º 2 (25 de abril de 2021): 154–61. http://dx.doi.org/10.12739/nwsa.2021.16.2.d0279.

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28

Butler, Rex. "What was Abstract Expressionism? Abstract Expressionism after Aboriginal Art". Australian and New Zealand Journal of Art 14, n.º 1 (2 de enero de 2014): 76–91. http://dx.doi.org/10.1080/14434318.2014.936529.

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29

Kuspit, Donald. "A Freudian Note on Abstract Art". Journal of Aesthetics and Art Criticism 47, n.º 2 (1989): 117. http://dx.doi.org/10.2307/431824.

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30

Baigell, Matthew. "Robert Kirschbaum’s Art: Abstract, Intellectual, Spiritual". Ars Judaica: The Bar Ilan Journal of Jewish Art 11 (mayo de 2015): 79–90. http://dx.doi.org/10.3828/aj.2015.5.

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31

Maeng, Hye-Young. "Abstract Machines and Fine Art Education". Journal of Research in Art Education 21, n.º 1 (31 de enero de 2020): 1–23. http://dx.doi.org/10.20977/kkosea.2020.21.1.1.

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32

Burke, J. Patrick. "Abstract Art and the Interrogative Life". Research in Phenomenology 50, n.º 3 (14 de octubre de 2020): 425–34. http://dx.doi.org/10.1163/15691640-12341460.

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33

Doherty, John. "Modeling: Picture Perfect or Abstract Art?" Ground Water 49, n.º 4 (16 de marzo de 2011): 455. http://dx.doi.org/10.1111/j.1745-6584.2011.00812.x.

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34

OGILVY, JAY. "Abstract: Scenario Planning, Art or Science?" World Futures 61, n.º 5 (julio de 2005): 331–46. http://dx.doi.org/10.1080/026040290500561.

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35

Brinkmann, Hanna, Laura Commare, Helmut Leder y Raphael Rosenberg. "Abstract Art as a Universal Language?" Leonardo 47, n.º 3 (junio de 2014): 256–57. http://dx.doi.org/10.1162/leon_a_00767.

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The concept of abstract art as “world language” became famous after documenta II (1959). Abstract art was considered as universally comprehensible and independent of cultural, political or historical contexts. However, this was never explicitly tested empirically. If these assumptions were true, there should be higher intersubjective coherence in perceiving abstract paintings compared to representational art. In order to test this hypothesis, the authors recorded the eye-movements of 38 participants and collected information on their cognitive and emotional evaluations. The results suggest that the concept of abstract art as a universal language was not confirmed and needs to be revised.
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36

KUSPIT, DONALD. "A Freudian Note on Abstract Art". Journal of Aesthetics and Art Criticism 47, n.º 2 (1 de marzo de 1989): 117–28. http://dx.doi.org/10.1111/1540_6245.jaac47.2.0117.

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37

Maura, Behrenfeld F. S. E. "Liturgical Experiences Mediated through Abstract Art". Studia Liturgica 47, n.º 1 (marzo de 2017): 113–18. http://dx.doi.org/10.1177/003932071704700108.

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38

Tuddenham, W. J. "On the art of the abstract." RadioGraphics 9, n.º 4 (julio de 1989): 583–84. http://dx.doi.org/10.1148/radiographics.9.4.2756188.

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39

Gong, Jianyu. "Abstract Exploration of Paper-cut Art". International Journal of Education and Humanities 13, n.º 3 (24 de abril de 2024): 200–206. http://dx.doi.org/10.54097/mhygbh64.

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Chinese paper-cutting art carries the profound and abstract ancient folk culture, uniquely reflects thousands of years of tradition of image recording and information transmission, and at the same time adapts to the ever-changing cultural environment. Among the people, paper-cutting has become a symbol system that integrates images and words, classical and modern, and is an "artistic language" used by artists to express complex emotions about life. Through abstract thinking, the creator combines various symbols to show unique expression techniques and embodies the uniqueness of paper-cutting art.Paper-cutting is a cultural collective and a static carrier of my country's thousands of years of culture. Our research cannot just be limited to the static itself, but the spiritual understanding of this human culture is more important.
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40

Ezzeldeen, Omnia. "The Abstract Character of Typography Art". Journal of Design Sciences and Applied Arts 5, n.º 2 (1 de junio de 2024): 40–48. http://dx.doi.org/10.21608/jdsaa.2024.229906.1365.

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41

Begley, Eva. "Bark: From Abstract Art to Aspirin". Arnoldia 72, n.º 3 (2015): 2–13. http://dx.doi.org/10.5962/p.253580.

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42

Böthig, Antonia M. y Gregor U. Hayn-Leichsenring. "Taste in Art—Exposure to Histological Stains Shapes Abstract Art Preferences". i-Perception 8, n.º 5 (octubre de 2017): 204166951773607. http://dx.doi.org/10.1177/2041669517736073.

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Exposure to art increases the appreciation of artworks. Here, we showed that this effect is domain independent. After viewing images of histological stains in a lecture, ratings increased for restricted subsets of abstract art images. In contrast, a lecture on art history generally enhanced ratings for all art images presented, while a lecture on town history without any visual stimuli did not increase the ratings. Therefore, we found a domain-independent exposure effect of images of histological stains to particular abstract paintings. This finding suggests that the ‘taste’ for abstract art is altered by visual impressions that are presented outside of an artistic context.
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43

Wang, Xinyi, Fengyi Mao, Jinghui Liu, Yifan Kong, Dang he, Chi Wang, Zhiguo Li y Xiaoqi Liu. "Abstract 5508: Artesunate increases enzalutamide efficacy in advanced prostate cancer". Cancer Research 83, n.º 7_Supplement (4 de abril de 2023): 5508. http://dx.doi.org/10.1158/1538-7445.am2023-5508.

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Abstract Prostate cancer (PCa) is the most diagnosed worldwide. PCa development and progression require androgen receptor (AR) signaling, which stimulates its downstream gene expressions and cancer progression. While second-generation anti-androgen drugs plus androgen deprivation therapy (ADT) remains the first-line treatment for advanced prostate cancer patients, around one-third of patients will relapse in a short period. Advanced prostate cancer results in more mortalities than primary PCa patients. Evidence shows that the recurrence is caused by AR overexpression, AR variants, AR mutations, and signaling crosstalk. Thus, it is urgently needed to discover a novel therapeutic strategy for treating advanced prostate cancer. The heat shock protein family (HSP), including HSP90 and HSP70, play important roles in refolding aggregated protein for cancer cell proteomic equilibrium. HSP is induced primarily by heat shock factor (HSF1). As AR’s chaperone protein, HSP70 and HSP90 increase AR transcription activity. Inhibiting HSP70 and HSP90 promotes STUB1, an E3 ligase, binding to AR and AR - V7, and ubiquitination. Artesunate (ART) is a semi-synthetic ingredient from Artemisia annua and is the most common treatment for malaria throughout the world. It was approved for medical use by the FDA (Food and Drug Administration) (Food and Drug Administration). Recently ART has been unveiled for its anticancer properties. However, the efficacy of ART treatment in advanced prostate cancer and the direct target of ART have not been investigated yet. Herein, we have examined the efficacy of combining Enzalutamide (Enza) and ART in advanced prostate cancer cell lines. We also performed unbiased bioinformatics analysis using RNA seq results in enzalutamide-resistant cell line C4-2R cells and 22RV1 cells to investigate the cell response toward ART treatment. We identified ART could downregulate of AR signaling pathway. Moreover, we determined that ART treatment induces AR degradation in proteasome dependent manner. Interestingly, we found HSP70 and HSP90 are also decreased in RNA seq results. Taking these together suggests that ART may target HSF1 directly. Our results suggest ART induced AR degradation could be a promising clinical strategy for advanced prostate cancer. Citation Format: Xinyi Wang, Fengyi Mao, Jinghui Liu, Yifan Kong, Dang he, Chi Wang, Zhiguo Li, Xiaoqi Liu. Artesunate increases enzalutamide efficacy in advanced prostate cancer. [abstract]. In: Proceedings of the American Association for Cancer Research Annual Meeting 2023; Part 1 (Regular and Invited Abstracts); 2023 Apr 14-19; Orlando, FL. Philadelphia (PA): AACR; Cancer Res 2023;83(7_Suppl):Abstract nr 5508.
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44

Zhang, Xiaotong. "On Chinese Aesthetics of Abstract Expressionism Art". Highlights in Art and Design 3, n.º 2 (26 de junio de 2023): 76–79. http://dx.doi.org/10.54097/hiaad.v3i2.10495.

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In the development trend of modern and contemporary art, abstract expressionism has occupied a decisive position in the history of art since its birth. As a representative art school in the 20th century in the West, it unexpectedly has a very distinctive artistic characteristic of China. In terms of objective environment, the artistic dialogue between China and the West in the 20th century was promoted to the field of metaphysical philosophy. Western artists' interest in oriental art surpassed their superficial understanding of their unique brushwork, and abstract art became the best cultural bridge to communicate between the East and the West. This paper compares the characteristics of Chinese and western artistic thoughts and the characteristics of abstract expressionism art, and explains how it has oriental artistic thoughts on the basis of world outlook.
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45

Schepman, Astrid, Paul Rodway, Sarah J. Pullen y Julie Kirkham. "Shared liking and association valence for representational art but not abstract art". Journal of Vision 15, n.º 5 (20 de abril de 2015): 11. http://dx.doi.org/10.1167/15.5.11.

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46

Carrillo, Jorge, Luis M. Molinos, Maria Luisa Rodriguez de la Concepción, Silvia Marfil, Elisabet García, Bonaventura Clotet y Juliá Blanco. "gp120/CD4 Blocking Antibodies Are Frequently Elicited in ART-naïve Chronically HIV-1 Infected Individuals". AIDS Research and Human Retroviruses 30, S1 (octubre de 2014): A151—A152. http://dx.doi.org/10.1089/aid.2014.5309.abstract.

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47

Zepke, Stephen. "Art as Abstract Machine: Guattari's Modernist Aesthetics". Deleuze Studies 6, n.º 2 (mayo de 2012): 224–39. http://dx.doi.org/10.3366/dls.2012.0059.

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Felix Guattari was a modernist. He not only liked a lot of modernist artists, but his ‘aesthetic paradigm’ found its generative diagram in modern art. The most important aspect of this diagram was its insistence on the production of the new, the way it produced a utopian projection of a ‘people to come’, and so a politics whose only horizon was the future. Also important for Guattari's diagram of the ‘modern’ were the forces of abstraction, autonomy and immanent critique. Together these elements construct an artwork that is radically singular and separate, composed of a-signifying, a-temporal and invisible forces, sensations that go beyond our human conditions of possibility. In this Guattari's modernism must be understood as being quite different from his co-option by contemporary art theorists influenced by post-Operaist thought. Post-Operaism understands politics as ‘being-against’, a dialectical form of negation that finds its political condition of possibility in what already exists. Because such thought sees modern art as being entirely subsumed by the institutions and markets that contain it, art itself must be negated in order for aesthetic powers to become political. This has lead post-Operaist thought to align itself strongly with the avant-garde positions of institutional-critique and art-into-life, or ‘non-art’. Guattari's modernism takes him in a very different direction, affirming modern art despite its institutional enframing, because art is forever in the process of escaping itself. This makes modern art the model in Guattari's thought for politics itself.
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48

Bisanz, Elize. "The abstract structure of the aesthetic sign". Sign Systems Studies 30, n.º 2 (31 de diciembre de 2002): 707–23. http://dx.doi.org/10.12697/sss.2002.30.2.21.

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Walter Benjamin foreshadowed many of the aesthetic theories, currently playing a fundamental role in the production and interpretation of art. By emphasising the role of the expressive character of art, or rather the category of expressivity itself, Benjamin defined art as a language. His aesthetics was characterised by the continuous interaction of two almost reciprocal projects: the theoretical critique of art which is based on an understanding of historical processes, and the understanding of historical processes which is formed by the critical experience of art. We find a fundamental similarity between Benjamin’s dialectical character of the aesthetic sign and Lotman’s double-sidedness of the artwork. In classifying the system of art as a language, both theoreticians space out the structure of art and determine it as the intersection of the synchronic and the diachronic aesthetic discourse. The paper follows the traces of the transition of modern painting from its representational status to an autonomous signification, that is, from being a symbolic expression to a discourse in the grammatological meaning of écriture. Parallel to this transition which resulted into the process of abstraction in painting, there can be observed a shift in the cultural values of art which had its critical bearing upon the world secured not by connections of likeness, but by virtue of the very independence of its values. The abstract form of the modern painting has been the declaration of the language of art as an exemplary realm. What must be expressed and experienced within this realm was (1) the critical reflection on the human condition, and (2) representing the society in so far as art maintained a moral independence from those conditions. This dialectic between the autonomous and social character of art has left deep impacts on the language of painting, a complexity, which has been made transparent through the various semiotic analytic approaches of the aesthetic sign. The paper discusses the processual character of the modern painting and demonstrates briefly the deficiency in the structural analysis of the painting language, encouraging its synthesis with the dynamical character of cultural products as we find it in the Lotmanian culture theory.
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49

Blair, Lorrie. "Art Teacher Barbie: Friend or Foe? [Abstract]". Canadian Journal of Education / Revue canadienne de l'éducation 29, n.º 1 (1 de enero de 2006): 329. http://dx.doi.org/10.2307/20054159.

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50

van Campen, Cretien. "Early Abstract Art and Experimental Gestalt Psychology". Leonardo 30, n.º 2 (1997): 133. http://dx.doi.org/10.2307/1576424.

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