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Artículos de revistas sobre el tema "Art and essay"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 13 de febrero de 2022

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1

Lutfi, Huda. "Art Essay." Feminist Studies 27, no. 1 (2001): 114. http://dx.doi.org/10.2307/3178452.

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2

Hirsch, Callie Danae. "Art Essay." Feminist Studies 31, no. 3 (2005): 604. http://dx.doi.org/10.2307/20459052.

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3

FINTON, JOAN. "Art Essay." Women's Studies 35, no. 7 (2006): 683–92. http://dx.doi.org/10.1080/00497870600918938.

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4

Ellmann, Barbara. "Art essay." Women's Studies 25, no. 1 (1995): 47–50. http://dx.doi.org/10.1080/00497878.1995.9979091.

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5

Branch, Winston. "Art essay." Women's Studies 28, no. 2 (1999): 221–24. http://dx.doi.org/10.1080/00497878.1999.9979253.

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6

Lee, Na Young. "Art Essay: Yun Suknam." Feminist Studies 32, no. 2 (2006): 352. http://dx.doi.org/10.2307/20459090.

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7

Miller, Mary. "When Art Dies, Art Lives." Cambridge Archaeological Journal 27, no. 4 (2017): 671–77. http://dx.doi.org/10.1017/s0959774317000683.

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Carolyn Dean's essay of 2006, ‘The Trouble with (the Term) Art’, offers a provocative set of challenges to the very notion of archaeological art. This essay attempts to refocus some of Dean's questions and to answer them by exploring different lines of evidence, especially through the development of the art museum in the twentieth century. Finally, the author explores whether the twenty-first century observer can gain insight into the meanings of some ancient materials by consideration of their destruction.

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8

Jackson, Philip W. "Mainstreaming Art: An Essay on Discipline-Based Art Education." Educational Researcher 16, no. 6 (1987): 39. http://dx.doi.org/10.2307/1175545.

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9

López, Cristina Álvarez, and Adrian Martin. "The audiovisual essay as art practice." NECSUS. European Journal of Media Studies 4, no. 1 (2015): 81–83. http://dx.doi.org/10.5117/necsus2015.1.lope.

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10

Sheppard, Beth M. "The Art of the Bibliographic Essay." Theological Librarianship 1, no. 1 (2008): 46–48. http://dx.doi.org/10.31046/tl.v1i1.29.

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11

Peterson, Rachelle. "The Art of the Essay Contest." Academic Questions 29, no. 3 (2016): 318–32. http://dx.doi.org/10.1007/s12129-016-9576-6.

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12

Mesías-Lema, José María. "Art teacher training: A photo essay." International Journal of Education Through Art 13, no. 3 (2017): 395–404. http://dx.doi.org/10.1386/eta.13.3.395_1.

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13

Lejsted, Mia, and Johannes Nielsen. "Essay: Art created by psychiatric patients." Lancet 368 (December 2006): S10—S11. http://dx.doi.org/10.1016/s0140-6736(06)69906-6.

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14

Gornostaeva, Maria. "Review Essay: Art, Self and Society." Current Sociology 52, no. 1 (2004): 91–102. http://dx.doi.org/10.1177/0011392104039319.

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15

Rodler, Theresa. "Art or Waste? A Discussion with the Art Collective UMETNIK*." Journal of Extreme Anthropology 1, no. 2 (2017): 99–102. http://dx.doi.org/10.5617/jea.4900.

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A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essay reflects on the artwork Alles Klar by the art collective UMETNIK*, which deals with the questions of separating art from waste.

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16

Raynov, Nikolay. "Art and War." Labyrinth 20, no. 2 (2019): 199. http://dx.doi.org/10.25180/lj.v20i2.143.

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17

Saranovic, Marko. "Resisting the Pressures of the Global Art Market." Journal of Extreme Anthropology 1, no. 2 (2017): 13–20. http://dx.doi.org/10.5617/jea.4924.

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A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essays discusses the pressures of the global art market on artists, as well as the way in which the price of an artwork in the art market came to stand for its quality, rather than the other way round. Using the case of the Viennese artist Christian Ruschitzka, the essay suggest that there is some resistan

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18

Becker, Karin. "Protest in the Photo Essay: Following Tradition or Breaking New Ground?" Protest, Vol. 4, no. 2 (2019): 62–67. http://dx.doi.org/10.47659/m7.062.art.

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The photo essay, a form of visual journalism that arose during the era of the picture magazines, has reemerged as a regular feature of global news channels, including CNN, BBC World, and, notably, Al Jazeera English, recognized for its live reporting of political unrest. In 2017, a year marked by protest around the world, AJE published over 200 photo-series, including 37 on public protest. An analysis based in a four-year study of protest on screen, revealed that these photo essays share characteristics that in turn distinguish them from video broadcasts of public protests. The photo-reportage

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19

Monks, Aoife. "Bad Art, Quirky Modernism." Representations 132, no. 1 (2015): 104–11. http://dx.doi.org/10.1525/rep.2015.132.1.104.

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This essay considers the systems of value that undergird the employment of quirky objects in scholarship and argues that quirk historicism is another iteration of modernism in its attachment to estrangement and theatricality as modes of critique. In doing so, the essay asks why it is that “bad art” is so much easier to co-opt into scholarship when it’s safely in the past.

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20

Dal Lago, Francesca. "The “Global” Contemporary Art Canon and the Case of China." ARTMargins 3, no. 3 (2014): 77–97. http://dx.doi.org/10.1162/artm_r_00095.

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This essay reviews the book Contemporary Chinese Art: Primary Documents edited by Wu Hung and published by the New York Museum of Modern Art in 2010, as part of an ongoing series aiming to introduce art critical texts produced in non-mainstream art locales to an English-speaking audience. Gathering a large number of translated critical essays, the book outlines the production of Chinese Contemporary Art since what is normally accepted as its onset in the late 1970s. This essay argues that this process of definition, legitimized by the prominent publisher of this book, amounts to a form of cano

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21

Benzon, William L. "Essay Review: Rock Art in Darwin's Cathedral." Evolutionary Psychology 1, no. 1 (2003): 147470490300100. http://dx.doi.org/10.1177/147470490300100103.

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22

Chapman, Nadine Woodworth. "An Essay on the Art of Nursing." Perspectives in Psychiatric Care 21, no. 2 (2009): 66–69. http://dx.doi.org/10.1111/j.1744-6163.1983.tb00178.x.

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23

Cranny-Francis, Anne. "The art of touch: a photo-essay." Social Semiotics 21, no. 4 (2011): 591–608. http://dx.doi.org/10.1080/10350330.2011.591999.

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24

DeMarrais, Elizabeth, and John Robb. "Art makes society: an introductory visual essay." World Art 3, no. 1 (2013): 3–22. http://dx.doi.org/10.1080/21500894.2013.782334.

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25

Jackson, Philip W. "Book Reviews: Mainstreaming Art: An Essay on Discipline-Based Art Education." Educational Researcher 16, no. 6 (1987): 39–43. http://dx.doi.org/10.3102/0013189x016006039.

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26

Bowlt, John E., and Elizabeth Durst. "“The Art of Concealing Imperfection”." Experiment 20, no. 1 (2014): 118–45. http://dx.doi.org/10.1163/2211730x-12341261.

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The focus of the essay is on Léon Bakst’s activities in the usa, especially in Los Angeles in 1924, when he lectured at the University of Southern California and at the Biltmore Hotel. The essay also touches on Bakst’s interest in Hollywood and cinema as the “new” medium and on his popularity as a dress and textile designer.

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27

Wharton, Annabel Jane. "Jewish Art, Jewish art." IMAGES 1, no. 1 (2007): 29–35. http://dx.doi.org/10.1163/187180007782347584.

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AbstractAs the Jews have always produced art, the question arises, why is the notion of a Jewish Art so problematic? No effort is made in this paper to review or summarize the arguments for or against "Jewish Art." Rather, it attempts a modest shift in the terms of the debate. The essay addresses the question by considering the historiography of Jewish art in relation to both the End-of-Art debates and the Holocaust industry.This paper offers a provisional answer to the question: Why has Jewish art never managed to become Jewish Art? The End of Art debate conditions the discussion; the institu

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28

Harter, Lynn M. "The Work of Art." Qualitative Communication Research 2, no. 3 (2013): 326–36. http://dx.doi.org/10.1525/qcr.2013.2.3.326.

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This essay considers the significance of numerous story forms for engaged communication scholarship. I demonstrate the value of creative analytic practices in two interwoven ways. To begin, I draw on the work of John Dewey to position interpretive inquiry as the work of art. Meanwhile, I reflect on my experiences co-producing an ethnographic documentary on pediatric cancer care to illustrate the methodological strengths of audio-visual storytelling. The essay closes with a call to broaden interpretive inquiry to include more tangible sounds and visions in our attempts to understand all-too-hum

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29

Nash, Adam. "Art imitates the Digital." Lumina 11, no. 2 (2017): 110–25. http://dx.doi.org/10.34019/1981-4070.2017.v11.21441.

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Where is art in the digital era? This essay identifies the digital as an abstract, formal system. Since art has always relied on formal, abstract systems to carry and deliver itself, what are the implications for art in the digital era? Is the digital a site for art, or is it the other way around? Can there be digital art? Identifying limit and boundary problems as the crucial existential problems for the digital, the essay shows that art has always concerned itself with such problems. This prompts the question as to whether it is possible that human existence and art become the same thing in

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30

Bene, Elisabeth Maria. "On Regimes of Value in the Art World and the Art of Bernhard Rappold." Journal of Extreme Anthropology 1, no. 2 (2017): 75–78. http://dx.doi.org/10.5617/jea.5383.

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A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essay focuses on multiple source of value creation in the artworld, while using material from interviews with the Viennese artist Bernhard Rappold.

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31

Waldrep, Shelton. "The Body of Art." Corpus Mundi 1, no. 2 (2020): 62–87. http://dx.doi.org/10.46539/cmj.v1i2.21.

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As part of a larger study on the mainstreaming of pornography in contemporary film and television, this essay attempts to examine and extend our vocabulary for discussing visual representations of the human body by revisiting Kenneth Clark’s important study The Nude from 1972. Clark’s book provides a history of the male and female nude in two- and three-dimensional art from Ancient Egypt and Greece to the Renaissance and beyond. This essay focuses on places within his analysis that are especially generative for understanding pornography such as the importance of placing the nude form within a

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32

Penrod, Lynn. "Where Text Translation Fails, Art Speaks." TranscUlturAl: A Journal of Translation and Cultural Studies 11, no. 1 (2019): 114–24. http://dx.doi.org/10.21992/tc29443.

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33

Lowry, GD. "Essay. Cultural property: a museum director's perspective." International Journal of Cultural Property 7, no. 2 (1998): 438–45. http://dx.doi.org/10.1017/s0940739198770432.

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This essay explores a number of issues concerning the relationship between works of art and cultural property. From the perspective of a museum director, it posits an ontological distinction between the idea of a work of art and the concept of cultural property. The essay concludes by arguing that to the extent that nations place restrictions on the export of their art, they inevitably affect the way their culture is understood and perceived abroad and so alter the larger metanarrative of culture.

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34

Huurdeman, Emily. "Essaying art: An unmethodological method for artistic research." Empedocles: European Journal for the Philosophy of Communication 11, no. 1 (2020): 25–42. http://dx.doi.org/10.1386/ejpc_00010_1.

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Science must articulate its sources, as well as its relevance and its context, and it must provide clear argumentation. Furthermore, it is strictly bound to academic and ethical rules. Art is not constrained by these methods, ethics or rules. In the relatively new field of artistic research, science and art are integrated. However, the definition of this institutionalized field, and the methods and evaluation criteria of its output are debated. Can the scientific and artistic approaches be integrated into one coherent working method? The essay inherently embraces both the artistic and the scie

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35

Bahoora, Haytham. "Locating Modern Arab Art: Between the Global Art Market and Area Studies." Review of Middle East Studies 54, no. 1 (2020): 25–36. http://dx.doi.org/10.1017/rms.2020.15.

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AbstractThis essay situates the publication of Modern Art in the Arab World: Primary Documents in the context of an expanding global interest in modern Arab art as well as the study of modern Arab art as an academic discipline. The essay first examines the implications of the cultivation of a new museum and gallery infrastructure for modern Arab art in the Arab Gulf. It then considers how the academic study of modern Arab art has faced institutional barriers, due largely to the overwhelming academic focus on Ancient Studies and Islamic art. Finally, it suggests that Modern Arab Art in the Arab

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36

Winter, Isabel Elisabeth. "Rethinking Social Norms Through Performance Art." Journal of Extreme Anthropology 1, no. 2 (2017): 59–62. http://dx.doi.org/10.5617/jea.5440.

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A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essay focuses on the role of performance art in challenging established social norms and the work of the Austrian artist Michael René Sell.

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37

Yengoyan, Aram. "Rembrandt: An Essay in the Philosophy of Art." Comparative Studies in Society and History 49, no. 2 (2007): 486–87. http://dx.doi.org/10.1017/s0010417507000576.

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38

Ahmed, S. Haroon, and M. Naim Siddiqi. "Essay: Healing through art therapy in disaster settings." Lancet 368 (December 2006): S28—S29. http://dx.doi.org/10.1016/s0140-6736(06)69916-9.

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39

Ghosh, R., and P. C. Hogan. "Art and Value: An Essay in Three Voices." SubStance 42, no. 2 (2013): 61–79. http://dx.doi.org/10.1353/sub.2013.0014.

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40

Harrington, Austin. "Introduction to Georg Simmel’s Essay ‘On Art Exhibitions’." Theory, Culture & Society 32, no. 1 (2014): 83–85. http://dx.doi.org/10.1177/0263276414531053.

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41

Alagha, Joseph. "Review Essay: Purposeful Art: The Stance on Music." Contemporary Islam 9, no. 1 (2013): 85–91. http://dx.doi.org/10.1007/s11562-013-0270-y.

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42

ffolliott, Sheila. "Renaissance Art and Objects: An Exhibition Review Essay." Early Modern Women: An Interdisciplinary Journal 4 (September 1, 2009): 247–58. http://dx.doi.org/10.1086/emw23541588.

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43

Elias, Borbala. "Smelly Art and the Hierarchy of Senses." Journal of Extreme Anthropology 1, no. 2 (2017): 63–66. http://dx.doi.org/10.5617/jea.4893.

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A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essay deals with the visual bias and the historical privileging of visuality in the Western culture and the ways in which it translates into the valorization of different forms of art, in particular olfactory art, which is still not being taken seriously and remains undervalued, akin more to a form of ente

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44

Hertz, Paul. "Synesthetic Art— An Imaginary Number?" Leonardo 32, no. 5 (1999): 399–404. http://dx.doi.org/10.1162/002409499553460.

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Works that fuse the senses are often referred to as “synesthetic art.” Computers, which offer the possibility of controlling and synchronizing different media and implementing highly abstract compositional structures across media, seem an ideal tool for synesthetic art. This essay argues that a structural approach to such an art form is inadequate, and that it must be grounded in its potential symbolic functions. Starting from a brief examination of synesthesia as a neurological phenomenon and a sketch of the origins and influence of Baudelaire's poetics of synesthesia, this essay suggests poi

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45

Simonis, Yvan. "A Way of Comparing Levi-Strauss and Lacan." Konturen 3, no. 1 (2010): 149. http://dx.doi.org/10.5399/uo/konturen.3.1.1406.

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This essay attempts to compare and contrast the different conceptions of the human subject in Claude Lévi-Strauss and Jacques Lacan, with specific reference to the notions of art and the act. For this occasion I will draw on my reading of structuralism, developed elsewhere, as a “logic of the aesthetic perception of the social.” Structuralism apparently distances itself from the act, but it presupposes the act as a foundation. Psychoanalysis takes the act as its point of departure and seeks its art. In each case, the human subject is conceived differently. Nonetheless, the exercise appended to

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46

Brand, Peg. "Feminist Art Epistemologies: Understanding Feminist Art." Hypatia 21, no. 3 (2006): 166–89. http://dx.doi.org/10.1111/j.1527-2001.2006.tb01119.x.

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Feminist art epistemologies (FAEs) greatly aid the understanding of feminist art, particularly when they serve to illuminate the hidden meanings of an artist's intent. The success of parodic imagery produced by feminist artists (feminist visual parodies, FVPs) necessarily depends upon a viewer's recognition of the original work of art created by a male artist and the realization of the parodist's intent to ridicule and satirize. As Brand shows in this essay, such recognition and realization constitute the knowledge of a well-(in)formed FAE. Without it, misinterpretation is possible and viewers

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47

Roochnik, David. "Is Rhetoric an Art?" Rhetorica 12, no. 2 (1994): 127–54. http://dx.doi.org/10.1525/rh.1994.12.2.127.

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Abstract: This essay discusses four pivotal moments in the consideration of whether rhetoric is an art. Section I sets the stage by briefly discussing the charge against rhetoric found in the Gorgias. Section II sketches the arguments of Sextus Empiricus and shows how they can be traced back to a single objection implicit in the Socratic charge, namely that the putative subject matter of rhetoric is indeterminate. Section III reviews several arguments presented by Quintilian, most of which can be usefully formulated as responses to Sextus. Section IV shows how Quintilian in fact reflects a lin

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48

Galvan, R. "EE/UU: Exquisite expression/unsettling utterance." Cultural Dynamics 29, no. 3 (2017): 186–92. http://dx.doi.org/10.1177/0921374017727855.

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Through the act of making art and writing about it, the essay documents and expands on how Latinx is given meaning. The work draws upon personal experience and visual art research to consider observational strategies for sharing and shaping the perception of Latinx.

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49

St. André, James. "Revisiting Walter Benjamin’s “The Task of the Translator” in Light of His Concept of Criticism in German Romanticism1." TTR 24, no. 1 (2012): 103–23. http://dx.doi.org/10.7202/1013256ar.

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Walter Benjamin’s essay “The Task of the Translator,” the most widely cited twentieth century philosophical statement on translation, is commonly seen as one of the most opaque and misunderstood essays in the field. This paper uses a close reading of Benjamin’s doctoral thesis, “The Concept of Criticism in German Romanticism,” to throw light on his thoughts on translation. I argue that the German Romantics’ definition of art, and art’s relation to criticism, are crucial to understanding why Benjamin conceived of translation as an “afterlife” of the work of art, why he believed that translatabi

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50

Sperber, David. "Israeli Art Discourse and the Jewish Voice." IMAGES 4, no. 1 (2010): 109–31. http://dx.doi.org/10.1163/187180010x547666.

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AbstractIsraeli critical art discourse reflects both opposition to Jewish tradition and its enduring influence. Even when artists employ Jewish sources, scholars and critics often detach their art from the traditionalist world. In this essay, the sociological concepts of “hybridization” and “purification” are therefore presented as fundamental processes underpinning the mainstream discourse of Israeli art.This essay demonstrates how while processes of rift and reconstitution with respect to Jewish tradition inform the Israeli art scene, Israeli art discourse, like modern art discourse in gener

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