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1
Willet, Jennifer. "INCUBATOR Lab: Where Artists Collaborate with Life." Public 31, no. 59 (June 1, 2019): 46–55. http://dx.doi.org/10.1386/public.31.59.46_1.
Повний текст джерелаАнотація:
This article presents the research philosophies, artworks, and practices of INCUBATOR Lab, a bioart research and teaching facility at the School of Creative Arts, University of Windsor, Canada. Research/creation projects produced range from microbial artworks, interspecies performances, social practice projects, and textual analysis, to artworks that can only be seen with a microscope. The facility provides innovations in public engagement through (1) making daily bioart laboratory activities visible to online and local audiences; (2) serving as a gallery where artworks that are unable to leave the BSL2 laboratory setting can be safely displayed for audiences; and (3) providing a multimedia performing arts venue where seated audiences can view theatre and performance events that integrate BSL2 biotechnologies into multimedia storytelling and performance genres. INCUBATOR Lab is an institutional space, an artwork, an ecology, and a biosphere where human and non-human organisms collaboratively and co-dependently produce bioart research and creation.
2
Aerne, Annatina. "Palm Tree Whispers and Mountain Escapes: How Contemporary Artworks Contribute to an Inclusive Public Sphere." Social Inclusion 9, no. 4 (November 30, 2021): 180–90. http://dx.doi.org/10.17645/si.v9i4.4180.
Повний текст джерелаАнотація:
How do artworks contribute to a more inclusive public sphere? Artworks contribute to the inclusiveness of a public sphere in that they help us consider previous objects as acting subjects, and thus as entities deserving membership in the public sphere. In addition, artworks typically attract a public, thus generating the necessary recognition for additional subjects. We propose a typology that categorizes artworks’ contribution to an inclusive public sphere. The typology is based on two axes: (a) artworks’ explicitness in attributing the status of a subject to a previous object and (b) the number of people that get to see the artwork. In order to illustrate the applicability of the typology and in order to understand how the two dimensions relate to one another, we analyze how two artworks include the non‐human as subjects into the public sphere: Eduardo Navarro’s Sound Mirror (shown at the 2016 São Paulo Biennal) and Prabhakar Pachpute’s Mountain Escape (exhibited in the 2016 Colombian Salón Nacional de Artistas). Comparing both artistic strategies we find that there may be a trade‐off between the explicitness and the reach of a new subjectification.
3
Çevik, Arzu. "Permanence of an artwork in public areas and a design project: Draw and Erase (Yaz-Boz)." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (February 19, 2016): 486–90. http://dx.doi.org/10.18844/prosoc.v2i1.334.
Повний текст джерелаАнотація:
There are three elements that come to the forefront while questioning the permanence of an artwork: The artist who plays a role, although indirectly, in individuals' establishing a direct relationship with the artwork; the political authorities and city administrators who have effective power on the permanence of artworks, and the watchers/users who realize conscious or unconscious vandalistic behaviors to artworks in public areas. While, at times, emerging as a consequence of a systematic destruction of the cultural structure of societies and a dogmatic thinking, the vandalism can also emerge in the form of destructive actions of individuals provoked by psychological and sociological causes. Users who are consciously or unconsciously injurious behavior to the artwork in the public areas is starting point of the project. At the same time, this interactive project  was born of necessity  as a result of human – behavior – environment interaction. This project aims the protection of  the artwork in public spaces and bring together people with interactive art. Keywords: public art, sculpture, vandalism, design, interactive Art
4
Babcock, Ellen. "Intersection:." Interdisciplinary Journal of Signage and Wayfinding 5, no. 2 (December 23, 2021): 38–46. http://dx.doi.org/10.15763/issn.2470-9670.2021.v5.i2.a92.
Повний текст джерелаАнотація:
Old road signs, especially larger, sturdier ones whose support structures are still intact but whose vintage lettering and neon are either too decayed or too problematically specific to preserve offer public art programs an opportunity to rethink three-dimensional public artworks as sites more akin to galleries than stand-alone, immutable works of genius. Valued artworks are still assumed to be the product of unique, individual perspectives, and detractors of public art often consider the genre a lesser form because it necessarily involves legal limitations, institutional approval and revision processes, and thus multiple or communal perspectives that “dilute” the artwork. Empty road signs as sites for public art provide a unique opportunity to model an inclusive public art approach that also values historic continuity, a palimpsest of sorts that leaves traces of the past as well as room for new eruptions.
5
Andrzejewski, Adam, and Marta Maliszewska. "Public Art in (Local) Communities: Multiple Publics and the Dynamic Between Them." Aisthesis. Pratiche, linguaggi e saperi dell’estetico 15, no. 1 (August 2, 2022): 5–14. http://dx.doi.org/10.36253/aisthesis-13456.
Повний текст джерелаАнотація:
The paper’s goal is to investigate the question of the type of public, which serves as a recipient of a particular work of public art. That is, the paper researches the process of how the public is attracted by a given artwork, how this process influences a local community, and what is the actual nature of these publics. As a result, it is argued that some public artworks are intended to have more than one public or, to put it in stronger terms, their task is to bring into play the inner dynamic between numerous publics. Moreover, the possibility of conceptualizing public art not only as a means responsible for facilitating peace but also as revealing the hidden conflicts among the members of the community, to which it is introduced and by whom it is analyzed.
6
Widyaevan, Dea Aulia. "Kajian Kritik Seni Instalasi Tisna Sanjaya - “32 Tahun Berpikir dengan Dengkul”." JURNAL RUPA 2, no. 1 (January 10, 2018): 13. http://dx.doi.org/10.25124/rupa.v2i1.752.
Повний текст джерелаАнотація:
Art critics has become a way to reveal and appreciate content lies behind its appearences. Thus signified an important role on reading an art work by analyze the reasoning behind the artworks, through the artist statement, intention and the translation on relating medium. The process of reasoning require several steps which enhance the art critic's methods. On this case , a method of Feldman' art critics has been applied to anaylize an installation work of Tisna Sanjaya – “32 Tahun Berpikir dengan Dengkul”. Feldman theory divide art critics method into four steps: description, formal analysis, interpretation and evaluation. This analysis require contextual reading due the impact of this art works into social, politic relation outside the artworld itself. Tisna's work has become one pioneer on installation artwork in Bandung, which also has a significance role of enggaging public reaction which create a paradoxes. Further more, provoke the government security (Satpol PP) to burn this artwork in Babakan Siliwangi as well as his other works "Doa untuk yang Mati”.
7
Luo, Na, Rahinah Ibrahim, and Sazrinee Zainal Abidin. "Transformation of Children’s Paintings into Public Art to Improve Public Spaces and Enhance People’s Happiness." International Journal of Environmental Research and Public Health 19, no. 24 (December 14, 2022): 16780. http://dx.doi.org/10.3390/ijerph192416780.
Повний текст джерелаАнотація:
Characteristics of children’s paintings have been suggested considered for application in public art since they are known to positively evoke a sense of well-being when people see them. This study aims to understand the impact of artistic features from children’s drawings on people’s well-being; then analyzing the adaptive design principles of 3D public art featuring children’s paintings on people’s happiness; and finally, exploring the influence of 3D public art featuring children’s paintings on improving public spaces and enhancing people’s well-being. The results lead to proposing a conceptual framework for public artworks in public spaces for improving people’s happiness. The proposed conceptual framework recommends that, by applying the visual and thinking features of children’s paintings to public art, artists can design high-quality artworks suitable for a city, which could improve people’s happiness in public spaces. This study recommends further research into how public art can promote public spaces and shape the urban culture. It contributes to enhancing the quality of public art and public spaces, and inspiring a sense of well-being among citizens through the use of appropriate public art. The results are significant because they will help artists to create more high-quality public artworks for urban public spaces in order to evoke people’s happiness.
8
Abell, Catharine. "The Public Cost of Private Ownership of Artworks." Philosophy in the Contemporary World 12, no. 2 (2005): 76–81. http://dx.doi.org/10.5840/pcw200512214.
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9
Sprugnoli, Rachele, Marco Guerini, Giovanni Moretti, and Sara Tonelli. "Are these Artworks Similar? Analysing Visitors’ Judgements on Aesthetic Perception with a Digital Game." Journal on Computing and Cultural Heritage 14, no. 4 (December 31, 2021): 1–14. http://dx.doi.org/10.1145/3461663.
Повний текст джерелаАнотація:
Digital games have been used in the context of a cultural experience for several reasons, from learning to socialising and having fun. As a positive side effect, using digital games in a GLAM environment contributes to increasing the visitors’ engagement and making the collections more popular. Along this line, we present in this article an online game for museum environments that serves two goals: asking users to engage with the artworks in a collection in a playful environment, and collecting their feedback on artwork similarity, which may be used by curators to rethink the organisation of digital exhibitions and in general to better understand how visitors perceive artworks. The game is called PAGANS ( Playful Art: a GAme oN Similarity ), and is designed to collect similarity judgements about artworks. The software was implemented following some principles of gamification in order to quickly leverage similarity information in the cultural heritage domain while increasing user engagement and fun. The game, involving pairs of players, was used during two large public events to collect different data about the players’ behaviour and to investigate how these dimensions correlate with aesthetic perception. A thorough statistical analysis shows that age and (self-declared) gender correlates with the time and the number of moves needed to complete a session. These dimensions also link to the relevance of colour and shape in judging similarity. These findings suggest that, although artwork similarity is very subjective and may vary based on a person’s background, some trends can be identified when considering the subjects’ gender and age. This could have some practical implications; for example, it could be used to support art curators in creating digital exhibitions by grouping artworks in novel, user-centred ways.
10
Ștefănescu, Mirela. "7. The Relevance of Art Criticism in Aesthetic Reception of Artworks." Review of Artistic Education 1, no. 24 (April 1, 2022): 222–29. http://dx.doi.org/10.2478/rae-2022-0027.
Повний текст джерелаАнотація:
Abstract One of the most important tests through which the cultural vitality of an artistic community can be examined is art criticism. Art criticism has the role of analysis, interpretation and evaluation of artworks, having important responsibilities to the public interested in the visual artistic phenomenon and also to the evolution of artistic taste. The comments of art critics have managed to provoke public debates on art-related issues or have effectively contributed to the reception and promotion of artworks. The art critic creates a connection between the artworks exhibited in galleries or museums and the public who appreciate the aesthetic value of the works, in terms of explaining the context and the artistic phenomenon, so as to outline the communication between artists, critics and viewers, from the perspective of dynamics of new structures and forms of visual expression. In this context, the public formed through the visual education can be prepared and opened in receiving the aesthetic message of artworks.
11
Ingram, Ian. "A Cacophony of Signals: Woodpecker Sexbots, Squirrel NORAD, and Other Robotic Systems." Public 31, no. 59 (June 1, 2019): 114–25. http://dx.doi.org/10.1386/public.31.59.114_1.
Повний текст джерелаАнотація:
This article discusses the author’s robotic artworks, which consider the human-made body's future as a willful entity and the nature of communication. The robots use computer vision or sound signal processing to search the world for the signals of target species and then attempt to respond through similar gestural and audible signalling. The robots are trying to communicate with the animals and, in part, allow human communion with those animals in ways that human bodies and umwelts don't allow. That human narrative stamps itself heavily onto the projects is confirmed by these becoming things like a hermaphroditic sexbot for Pileated Woodpeckers and a NORAD equivalent for Grey Squirrels.
12
Ong, Joel, and Mick Lorusso. "Umwelt Microbiana." Public 31, no. 59 (June 1, 2019): 179–89. http://dx.doi.org/10.1386/public.31.59.179_1.
Повний текст джерелаАнотація:
This essay discusses a series of collaborative artworks by Joel Ong and Mick Lorusso envisioning a "Microbial Witness," a quiet but powerful protagonist founded in the interstitial spaces of science, art, and mythology. The artists systematically catalog its umwelt--the environmental factors that affect it-- through the "Microbial Atlas." Ong and Lorusso propose that, through exposure to this artistic research process, their audience may also adopt an ecological/moral responsibility through a shared empathy with, and respect for, the microbial world. This work continues their joint artistic querying of the role and position of the artist as “witness" in the spaces and artefacts of the scientific laboratory.
13
Zebracki, Martin. "Does Cultural Policy Matter in Public-Art Production? The Netherlands and Flanders Compared, 1945–Present." Environment and Planning A: Economy and Space 43, no. 12 (January 1, 2011): 2953–70. http://dx.doi.org/10.1068/a44215.
Повний текст джерелаАнотація:
Cultural policy has produced divergent intentions underlying the direction of public art since its advent in Western Europe in 1945. Literature has feebly demonstrated the extent to which differentialities in cultural policy have affected the production of public artworks over time and space. This paper fills this gap as regards Amsterdam and Ghent, cities that are situated in different national institutional contexts. It shows dissimilarity—in that one finds a relatively higher number of public artworks, more spatially dispersed and more diversified public artworks in Amsterdam than in Ghent, which is particularly a result of institutional differences—and similarity between these cities, in terms of initiatives by local communities and arts actors, irrespective of the local policy context. These results provide insight into policy concern with public-art production and the everyday practices and cultural traditions that underpin it.
14
Lehtinen, Sanna. "New Public Monuments: Urban Art and Everyday Aesthetic Experience." Open Philosophy 2, no. 1 (January 1, 2019): 30–38. http://dx.doi.org/10.1515/opphil-2019-0004.
Повний текст джерелаАнотація:
AbstractThe role and function of public art is currently undergoing some large-scale changes. Many new artworks which are situated within the already existing urban sphere, seem to be changing the definition of public art, each in their own way. Simultaneously, there exists a trend that endorses more traditional forms of public art. Juxtaposing and comparing the aesthetic implications of different types of artworks, it is possible to see how they contribute to the contemporary understanding of the urban sphere. In this paper, I take a look at the explicit and implicit aesthetic values that these simultaneously existing contemporary forms of public art are based on. The cases selected for closer look are examples of prominent and recent works of public art from downtown Helsinki: He who Brings the Light (unveiled in 2017) by Pekka Kauhanen and Running Man (performed in 2016-17) by Nestori Syrjala. What space and what kind of position is subscribed to the perceiver by these very different types of yet equally established artworks? What kind of experiences and possibilities of participation do these works entail? The focus is on the undergoing redefinition of public art that revolves around these questions.
15
Pisello, Anna L., Veronica L. Castaldo, Cristina Piselli, and Franco Cotana. "Coupling artworks preservation constraints with visitors’ environmental satisfaction: Results from an indoor microclimate assessment procedure in a historical museum building in central Italy." Indoor and Built Environment 27, no. 6 (February 22, 2017): 846–69. http://dx.doi.org/10.1177/1420326x17694422.
Повний текст джерелаАнотація:
Historical buildings represent one-third of the Italian stock and are often used as museums. Such buildings typically are not equipped with control systems and indoor microclimate does not guarantee a proper conservation of the building finishing and artworks. Additionally, conditions are far from visitors’ ideal indoor air quality (IAQ). This paper proposes a methodology for microclimate analysis that deals with artworks preservation and occupants' conditions optimization. The methodology consists of monitoring and data analysis using non-invasive equipment for the preservation of the building structure, artworks, and occupanst’ IAQ. To this aim, the monitoring of an Italian building was performed. The microclimate was monitored to characterize the environmental quality of the investigated area. Around 60% of the relative humidity values were higher than the target for occupants’ well-being and artworks preservation. Air temperature was stabilized by the thermal mass of the envelope, to reduce winter overcooling risks though. In winter, indeed, up to 40% of temperatures were below the limits for the artworks preservation. The CO2 level was acceptable as it was always below 1000 ppm. The results showed how a careful control and monitoring protocol is needed when heritage buildings are used for artworks preservation and also with a requirement to meet occupants’ satisfaction targets.
16
Dumitriu, Anna, and Sarah Goldberg. "Make Do and Mend: Exploring Gene Regulation and CRISPR through a FEAT (Future Emerging Art and Technology) Residency with the MRG-Grammar Project." Leonardo 52, no. 1 (February 2019): 66–67. http://dx.doi.org/10.1162/leon_a_01466.
Повний текст джерелаАнотація:
This article documents the artistic research the author undertook for FEAT (Future Emerging Art and Technology) residency. It describes her collaboration with the MRG-Grammar consortium and the creation of an artwork that involved editing the genome of a bacterium using CRISPR to reflect on issues related to antimicrobial resistance, biohacking and control. The article explores the author’s methodology and describes the benefits of long-term embedded residencies to create artworks that are deeply engaged with emerging technologies with a view to enable the public to access the concepts and implications of cutting-edge technologies and scientific research through an artistic lens.
17
Malina, Roger F. "In Defense of Space Art: The Role of the Artist in Space Exploration." International Astronomical Union Colloquium 112 (1991): 145–52. http://dx.doi.org/10.1017/s0252921100003894.
Повний текст джерелаАнотація:
ABSTRACTArtworks will be built in space as the frequency and range of space missions increase. Artists have proposed artworks to be installed in space and have worked with space agencies to begin planning for such projects; a few space art projects have been completed. It is argued that artworks should be reviewed with the same constraints as all other space artifacts. It is unlikely that artworks will ever pose the kind of environmental threat that already exists from scientific, commercial and military activities; the cultural value of creating some space art balances the associated costs and risks. Artworks visible to global audiences can be conceived and have been proposed; it is these proposals that have concerned astronomers. Public space art should be subject to a process of public scrutiny similar to that of earth-based public art works. Most space art will involve interdisciplinary teams of artists, scientists and engineers; these projects offer the possibility of artists providing novel ideas and approaches that will be of interest in other applications. Artists in the past have played crucial roles in promoting space exploration, in literature, film and the plastic arts. They have also explored the negative aspects and risks. In the future it is inevitable and desirable that artmaking be included in planned space activities.
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Iannone, Alejandra Emilia. "Viral Art Matters." International Journal of Technoethics 6, no. 2 (July 2015): 74–85. http://dx.doi.org/10.4018/ijt.2015070106.
Повний текст джерелаАнотація:
Since the 1990s, Internet communications technologies have influenced human activity. Over the last 15 years, a phenomenon called virality—i.e., when content circulates via Internet among an increasingly broad audience at an exponentially rapid rate—has been especially impactful. Only some information achieves virality, so the phenomenon invites reflection. Yet, scholars have failed to adequately address the topic. The literature is especially sparse when it comes to viral artwork. This essay helps fill that gap in the literature by demonstrating the academic significance of viral artwork through comparative analysis of three cases where Internet-based artworks went viral: “Ten Hours of Princess Leia walking in NYC,” “New Beginnings,” and “McKayla is Not Impressed.” The author asserts that viral artwork merits rigorous study because doing so could: first, augment existing research on other topics; second, fortify investigations in philosophy of art; and third, guide the public toward better-informed engagement with viral artwork.
19
Baldini, Andrea. "Identity and Interpretation of Public Artworks: A Challenge to Intentionalism." Kultura-Społeczeństwo-Edukacja 8, no. 2 (June 15, 2015): 9. http://dx.doi.org/10.14746/kse.2015.2.1.
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Roesel Ustick, Jenny. "Public Art, Representation, and Questions of Revising the Past." Cubic Journal 5, no. 5 (December 17, 2022): 94–109. http://dx.doi.org/10.31182/cubic.2022.5.53.
Повний текст джерелаАнотація:
Operating from the position of an artist with a mature practice in creating public art, this essay chronicles and contextualises the development of a series of works that consider the history, symbolism, interpretation, and evolving understanding of specific historic public artworks. There is a paradox in my development as a muralist: my significant experience while being affiliated with and working on behalf of a prominent community-based non-profit arts organization, where I repeatedly faced constraints upon the content and attitude of the work being created, earned me the notoriety and reputation that facilitates for-profit work that critiques design-by-committee at best, and malignant censorship at worst. Works in the series deal with the intersections of gender and race in the content of public artworks in tones that range from reverent to harshly critical and – in some cases – suggestive of reparative action.
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Wood, Alice. "Modernism, Exclusivity, and the Sophisticated Public of Harper's Bazaar (UK)." Modernist Cultures 11, no. 3 (November 2016): 370–88. http://dx.doi.org/10.3366/mod.2016.0146.
Повний текст джерелаАнотація:
This article explores the reciprocal relationship between modernism and Harper's Bazaar (UK) during 1929–35. In its early years this commercial fashion magazine exploited modernism's perceived exclusivity and highbrow status to flatteringly construct its aspirational readers as culturally sophisticated people. Whether printing modernist texts and artworks or parodying their experimental style, early Harper's Bazaar (UK) promoted the reception of modernist writers and artists as high cultural celebrities, whose presence in the magazine enhanced its cultural value. While insisting on the exclusivity of modernist art and literature, Harper's Bazaar (UK) simultaneously facilitated the mainstreaming of modernism by commodifying modernist texts and artworks and teaching its readers how to approach them. During the early 1930s, this article argues, Harper's Bazaar (UK) helped to establish early narratives of modernism's origins and development while marketing modernism as a desirable, high-end cultural product to its fashion-conscious audience.
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Andrzejewski, Adam, and Andrea Mecacci. "Foreword. Public Art and Aesthetics." Aisthesis. Pratiche, linguaggi e saperi dell’estetico 15, no. 1 (August 1, 2022): 3–4. http://dx.doi.org/10.36253/aisthesis-13832.
Повний текст джерелаАнотація:
The growing number of various interventions and artistic activities in the public sphere has been gaining momentum in recent years. This state of affairs can be seen in at least two – related – tendencies. Rapid urban development, gentrification, constant tension between the private and public spheres, and the need for sustainable growth provide an opportunity for public art to address issues that have not been addressed to the proper extent before. On the other hand, growing discontent, a sense of injustice and the threat caused by painful economic crises, seem to be the inevitable climate catastrophe, social inequalities and – referring to the very current situation – the Covid-19 pandemic and the unimaginably brutal war in Ukraine, make public art one of the ways of political and social manifesto.
Public art, traditionally associated with urban space, more and more often becomes the domain of other than urban environments. Currently, there is no and should not be an equal sign between urban art and public art, although – undoubtedly – the relationship between the two is still somehow strong as many objects of public art are indeed situated in cities. Notwithstanding, at present we are dealing with numerous artistic interventions that pose a question about the reality of non-urban space, the ways of its reception as well as aesthetic evaluation. Non-urban public art is often a meditation on the way of experiencing common space and the relationship between art, community and aesthetics.
One of the particularly interesting topics is the relationship between works of public art and some epistemic and ontological categories. First of all, public art seems to rise a question of accessibility and illegality of art in public spheres. Is an artwork displayed on private property and yet widely accessible to almost everyone a token of public art? Or, is it always the case for public artworks to be commissioned and legal? What is the nature of (potentially) illegal public artworks and their connection to public space? Second, can we move public artworks from the original site of display into another spacer. That is, are they, and if yes, then to what extent, site-specific?
Another interesting issue is the role that public art plays in creating the (aesthetic) atmospheres of given places. Everyone seems to agree that good public art should refer to and respect the atmosphere of a given place, and if it does not do so, it raises objections from the public. Another question is how public art (understood as something that reconfigures the existing space) is able to influence and potentially contribute to the given atmosphere. Even more importantly, one could see how (good) public art is able to help in transforming a space (as a spatial and primarily geographical notion) into a place (understood as something existential in nature).
This certainly highlights the “public” character of the contemporary work of art, but what is it that makes the artwork public? What functions has public art played in recent years in European and non-European countries? How has it been approached by cultural agents, local policy makers, and experts (critics, art historians, and philosophers)? Also, which appreciative practices related to public art have reached prominence?
Researchers shall tackle questions related to the definition, historical and social context and appreciation of art created, performed and resonating within the public sphere in different heterogeneous and homogeneous areas and sites. Particular attention should be dedicated to the different manifestations of public art (e.g. street art, murals, memorials, sculptures and others) often responsible, at least to a relevant extent, for reshaping and redefining urban and non-urban environments also in light of social and political goals.
This issue of “Aithesis” attempts to cross all these topics by proposing different perspectives. Within this conceptual framework move the essays that make up the monographic part: Adam Andrzejewski and Marta Maliszewska on public art in local communities; Andrea Borghini and Nicola Piras on eating local as public art; Tereza Hadravova and Sabrina Muchová on public art as meditation on public time; Mateusz Salwa on community gardens as public art; Andrea Baldini on The Nanjing Massacre Memorial; Marcello Sessa on the public dimension in Allan Kaprow’s theory and Nicola Turrini on the work of Felix Gonzalez-Torres.
A brief focus of three essays (Tamara Tagliacozzo, Nikolaos Tzanakis Papadakis and Attilio Vincenzo Burrone) is devoted to Benjamin and Adorno, while the miscellaneous section closes the issue with papers (Aldo Trucchio, Modesta Di Paola, Saverio Macrì, Nicola Di Stefano) that seek to account for some issues in the current debate.
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Allen, Melissa L., and Norman H. Freeman. "Children Readily Think About People’s Minds When They Think About Artworks." Empirical Studies of the Arts 38, no. 1 (September 16, 2019): 81–89. http://dx.doi.org/10.1177/0276237419868957.
Повний текст джерелаАнотація:
Art education includes activating two sources for developmental change. One resource that can be called upon to promote developmental change is external to the child, encouraged by teaching and by exposure to artworks. The other resource acts as a pacemaker internal to the child’s own cognitive development, facilitated by some conception of the minds of artists and viewers. Studies show how children become interested in the intentions which give rise to artworks and to subsequent exhibition to the viewing public. A natural grasp of intention is readily activated in experimentation by psychologists and might profitably be mobilized by educators in helping children develop their ideas about possible relations between artworks, artists, and viewers.
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Armstrong, John, and Linda Carroli. "Flourish. A project by Harbinger Consultants and Mandy Ridley in Brisbane, Australia." Journal of Public Space 2, no. 2 (October 11, 2017): 141. http://dx.doi.org/10.5204/jps.v2i2.99.
Повний текст джерелаАнотація:
<p>The Public Art projects that Harbinger Consultants undertake always provide a curatorial framework and strategy that draws out and documents the multi-layered histories of the area/site and its communities of users (both historic and contemporary). These are central to the development of the brief for the artist/s and the ensuring collaborative process between public art curator and artist. It is essential to understand the factors that influence perceptions of place, paying particular attention to personal and community interpretations of culture and make these available to the artists so the artistic process and artworks relate in a holistic and creative way to the specific resources of the area including existing artworks in the vicinity. Public artworks are principal elements, statements and markers of place encountered by people in their everyday exAn example of a placemaking Public Art project developed, curated and managed by Harbinger Consultants is Flourish by artist Mandy Ridley at Ernest Street Tunnel, South Brisbane for Brisbane City Council, Queensland Rail and South Bank Corporation. The tunnel is formed by a railway line passing over a street and pedestrian pathway. perience of a locale.<br /><br /></p>
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BURT, WARREN. "Some parentheses around algorithmic composition." Organised Sound 1, no. 3 (December 1996): 167–72. http://dx.doi.org/10.1017/s1355771896000234.
Повний текст джерелаАнотація:
Algorithmic composition and gambling, two activities associated (in the public mind) with the use of chance, are contrasted. Gambling is based on the concepts of winning and losing. Algorithmic composition is not, or should not be. Problems of mappings of information from one medium to another are considered, along with problems of reception for artworks made with these methods. In the end, the quality of attention given to an artwork may be more critical to its reception than any methods used to construct it. Mr. Yasser’s Piano, Tuning the Furniture of Chaos and Pi and the Square Root of Two, three recent algorithmic compositions by the author, are considered in the light of these thoughts.
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Costa, Rita. "Precarious, fragile and temporary interactions between the public sculpture collection of Santo Tirso and its non-specialized audience." Journal of Arts Writing by Students 6, no. 2 (September 1, 2020): 95–111. http://dx.doi.org/10.1386/jaws_00018_1.
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The following article depicts ongoing research from the project Quiet Dialogues, part of a Ph.D. thesis in artistic education in the Faculty of Fine Arts of the University of Porto. Quiet Dialogues is a project that aims to map, explore and materialize the interactions that occur between the passer-by audience of the city and the International Museum of Contemporary Sculpture of Santo Tirso. The project’s resulting map will be in a public online archive showcasing all the interactions collected during the research. As the museum displays its artworks in the public space, this research explores three behavioural categories the audience may react towards the artwork. They are as follows: a mental relationship (a stand-off with the memory), a physical relationship (using the sculpture as shelter or support) and a playful interaction (using the sculpture as a game or in a ludic approach).
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Bao, Hongwei. "Sharing food, vulnerability and intimacy in a global pandemic: The digital art of the Chinese diaspora in Europe." Journal of Contemporary Chinese Art 8, no. 2 (November 1, 2021): 129–45. http://dx.doi.org/10.1386/jcca_00041_1.
Повний текст джерелаАнотація:
This article examines the digital artworks created by three Chinese diaspora artists based in Europe: Berlin-based queer filmmaker Fan Popo’s short digital video Lerne Deutsch in meiner Küche (‘Learn German in my kitchen’), London-based performance artist Zeng Burong’s performance Non-Taster and London-based writer David K. S. Tse’s digital radio play The C Word. All three artworks were created in 2020 during the pandemic and all deal explicitly with the issues of anti-Asian racism and cross-cultural understanding. All these artworks also engage with issues of food and culinary practices. Through an analysis of the three artworks, I suggest that making digital art about food can serve as a creative and culturally sensitive strategy to engage with pandemic politics. Indeed, in an era of rising nationalism and international antagonism, diasporic Chinese artists have turned to seemingly mundane, apolitical and non-confrontational ways such as creating digital artworks about food to engage with the public about important social and political issues. This functions as a creative and culturally sensitive strategy to conduct social and political activism and to enhance cross-cultural understanding. It also showcases the political potential and social relevance of digital art for a pandemic and even a post-pandemic world.
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Young, Jacklyn. "Allied forces: libraries and museums collaborating on World War II provenance research." Art Libraries Journal 29, no. 2 (2004): 33–36. http://dx.doi.org/10.1017/s0307472200013596.
Повний текст джерелаАнотація:
In recent years museums and galleries have come under scrutiny following claims that artworks confiscated or looted during the Second World War, and still unaccounted for, have made their way into public collections. In response, many such institutions worldwide have been endeavouring to reaffirm the integrity of their collections. The Queensland Art Gallery has established a Provenance Research Team to complete its records for artworks of European origin which have missing provenance details during the period 1933-1945. This paper highlights the role the Gallery Library is taking in supporting the project.
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Hadravova, Tereza, and Sabrina Muchová. "Public art as meditation on public time." Aisthesis. Pratiche, linguaggi e saperi dell’estetico 15, no. 1 (August 2, 2022): 29–39. http://dx.doi.org/10.36253/aisthesis-13447.
Повний текст джерелаАнотація:
In this paper, we draw attention to temporal aspects of works of art displayed, performed, or held in public spaces, generally designated as public art. We argue that the debate on public art has been biased towards discussing the spatial. We focus on the “temporariness” of public art, the primary temporal feature that has been under scrutiny in recent philosophical literature on public art. We explore arguments it has been woven into. In particular, we discuss and reject using temporariness as the mark dissecting the realm of public art into two different artforms and argue that it is just one of many temporal properties public artworks have and can use to bear meanings. We outline other ways works of public art bear temporal features and interact with temporal properties of spaces they occupy, and argue that those too are, potentially, aesthetically significant. We illustrate some of these with an example of a particular public artistic site, the open-air art gallery «ArtWall» located in Prague, the Czech Republic.
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Cotte, Sabine. "Conservation collaboration with Mirka Mora for three treatments of her public artworks." AICCM Bulletin 33, no. 1 (December 2012): 80–89. http://dx.doi.org/10.1179/bac.2012.33.1.010.
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Halford-Harrison, R. "Creation and enforcement of rights in digitized versions of public domain artworks." Journal of Intellectual Property Law & Practice 6, no. 8 (June 3, 2011): 542–46. http://dx.doi.org/10.1093/jiplp/jpr076.
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Heriyawati, Yanti, and Afri Wita. "Exploring Maritime Art toward the Appreciation of Coastal Literacy." Harmonia: Journal of Arts Research and Education 22, no. 2 (December 31, 2022): 283–97. http://dx.doi.org/10.15294/harmonia.v22i2.37140.
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This paper aims to show appreciation of maritime artworks. There is much global literature on art appreciation but only a few foci on maritime art appreciation. Filling the vacancy requires the study of how the community or public values maritime artworks in the context of the coastal community’s literacy. This article presents the results of maritime art appreciation through Focus Group Discussion (FGD). The participants included academicians, government officials, artists, creators, community, kiyai, and students. The maritime artworks appreciated were “Segara Garam’ and “Tasbih Pesisir” as natural and virtual artworks. Respondents’ insight, knowledge, and experience showed varied perceptions. Respondents with maritime culture backgrounds were quite expressive in expressing the importance of the coastal community’s local wisdom values, while respondents without maritime culture backgrounds paid more attention to artistic and aesthetic aspects instead of to meaning. Appreciation experience showed the importance of perception of maritime art in actualizing local genius. Maritime art appreciation was performed to improve people’s awareness of strengthening maritime culture literacy. Sociocultural differences influenced how they appreciated and produced maritime culture knowledge maritime culture. Respondents’ cognition and affective abilities show varied interpretations, perceptions, and definitions of art values.
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Agoston, Jessica. "New Zealand Sculpture OnShore: Popular, Successful and Vitally Important." Back Story Journal of New Zealand Art, Media & Design History, no. 10 (June 24, 2022): 63–77. http://dx.doi.org/10.24135/backstory.vi10.71.
Повний текст джерелаАнотація:
As a result of not being subject to the same rules, regulations and public consultation requirements of permanent public artworks, temporary art occupies a privileged position. If a member of the public does not like what they see, they need not worry. The artwork in question will be gone soon enough. This position presents not only an opportunity for engagement with a large, diverse audience, but also, as will be suggested, the necessity for the temporary to engage meaningfully with the physical, historic, and cultural layers of the site on which it occurs. Taking the Auckland Council Public Art Policy as a point of departure, and using New Zealand Sculpture OnShore (NZ SoS) as a proxy for temporary public art exhibitions that co-opt public spaces, the complex matrix and inherently political nature of public art will be explored and examined. Specific attention is given to site, audience, time and space that combine create place. The theories of Lucy Lippard, Mary Jane Jacob, John Dewey and others inform the critical discussion. Interviews with multiple people who had significant roles in the development and creation of NZ SoS as it exists today offer deeper insights into the historical background, ideology and purpose that underpins the exhibition.
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Dempsey, Anna. "What absence makes visible: the removal of Confederate statues as an opportunity for transforming the public square and its memory landscape." Sculpture Journal: Volume 31, Issue 1 31, no. 1 (March 1, 2022): 37–54. http://dx.doi.org/10.3828/sj.2022.31.1.04.
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In his work on art and politics, Jacques Rancière contends that artwork can democratize the police state. For Rancière, the ‘police’ refers to those architectures of social formation that shape ‘the sensible’, a societal agreement regarding who can be seen and heard in the public sphere. Artworks, in his view, can function as visible sites of resistance to societal strictures and act as catalysts for reshaping dominant public discourses. Building on Rancière’s attention to art as an important avenue through which resistant narratives break into the sensible, we might regard the recent removal of four Confederate monuments in New Orleans as a triumph of resistant narratives. While it is imperative to expose the racist discourses that these sculptures visualize, we must also answer the question, ‘What’s next?’ In this article, I analyse the Paper Monuments project (2017-19), a creative response to the question of what should replace New Orleans’ Confederate statues. This two-year public art and history project, which is consistent with Rancière’s definition of art as a catalyst for structural change, represents - as I argue -a model for how other urban centres might respond to the removal of offensive public art.
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Fitton, Ben. "The strange monumentality of some artworks or something." Art & the Public Sphere 10, no. 1 (July 1, 2021): 71–85. http://dx.doi.org/10.1386/aps_00049_1.
Повний текст джерелаАнотація:
This article investigates the idea that sometimes artworks become strange monuments: occasionally to themselves. It begins with an overview of how various artworks have taken on aspects of monumentality, setting up a number of coordinates for thought ‐ energy, appropriation, fiction, resurrection and so on. It then turns to the contested status of Rachel Whiteread’s House (1993), paying attention to the ways in which its potential to endure as a conventional public monument was denied, leaving behind a strange set of digital monuments in its afterlife. It goes on to contrast the tomb-like preservation of Roger Hiorns’ Seizure ([2008] 2013) at the Yorkshire Sculpture Park with the rhetoric surrounding its initial staging in Southwark. This logic of preservation is compared with how Thomas Hirschhorn has revisited his early monument works, and his claims regarding their eternal life.
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Razali, Rosmidahanim, Ruzamira Abdul Razak, Mohd Nafis Saad, Nizar Nazrin, and Ishak Ramli. "Understanding the Meaning and Symbols of Animals in Visual Artwork: A Case Study of Five Selected Works in the SI + SA 2020 Exhibition." Idealogy Journal 6, no. 2 (September 1, 2021): 78–90. http://dx.doi.org/10.24191/idealogy.v6i2.301.
Повний текст джерелаАнотація:
Visual artwork is a platform to convey the meaning of the theme chosen in producing the work. However, it is difficult to understand the meaning through the symbols highlighted by the artist. Based on that situation the objective of this study is to collect information on visual artworks that apply animal symbols in the SI + SA 2020 exhibition. Five artists have been identified using animal symbols in the production of their artwork. This study is based on qualitative research approach using four types of data; namely the study of literature that explains the meaning and symbol of animals from the point of view of previous scientific writing. The second method is based on information obtained from the artist statement in the SI + SA 2020 Exhibition catalogue. The third method, the researcher interviewed (partially structured) five artists who have been selected using animal symbols in their artwork. The fourth method is to use the theory of Edmund Burke Feldman (1994) which has four stages in the theory, namely description, analysis, interpretation and evaluation. Triangulation (qualitative) studies are conducted to obtain more data and the validity of the findings obtained. The result shows an understanding of the meaning and symbol varies according to the needs of the individual or society. Some artists associate symbols in the context of personal experiences or observations of an event. Symbols can also carry meaning in the context of social sciences. In the production of their artworks, the use of symbols is a method to convey a message and an easier way to communicate. Conclusion clearly shows that the meaning of these animal symbols depends on different personal perceptions - different from the references studied. It can reveal to the general public that the use of animal symbols applied in the work can carry various meanings. Researchers suggest for future studies to conduct comprehensive research on the use of symbols in contemporary visual arts Malaysia.
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Savva, Andri. "Young Pupils' Responses to Adult Works of Art." Contemporary Issues in Early Childhood 4, no. 3 (September 2003): 300–313. http://dx.doi.org/10.2304/ciec.2003.4.3.6.
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Art educators have asserted that, in order to develop curricula that use adult works of art, it is necessary to understand how children perceive and respond to art objects. Although ‘art’ is not included in the early years national curriculum of Cyprus, curriculum resource books encourage the introduction of adult artworks in nursery schools. This exploratory study was designed to gather information regarding young children's (aged 4–5 years) responses to adult paintings. An open-ended interview procedure was used. Three reproductions of paintings of different artistic styles were selected: a realistic, a semi-realistic and an abstract. The sample included 25 children selected randomly from 12 public nursery schools of Cyprus. The findings suggest that artworks are an important part of children's educational experiences, if approaches and methods that are compatible with their perceptual abilities are used. The study identified some relevant factors underlying young children's responses to artworks and provides recommendations to enhance children's learning in art.
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Munib, J. A., B. Sudardi, T. S. Pitana, R. Widayat, and D. T. Ardianto. "Buto character developing with utilization of firewood waste to eco-friendly eco-artworks." IOP Conference Series: Earth and Environmental Science 905, no. 1 (November 1, 2021): 012013. http://dx.doi.org/10.1088/1755-1315/905/1/012013.
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Abstract Firewood waste is a discarded item, and some people used substitute for stoves or cooking utensils for both industrial and household. Firewood smoke affects the air, environment pollution and global warming. Research used a qualitative method and actions with creative ideas to be prototype by utilizing firewood waste into eco-artworks, several prototypes from wood waste with various types of wood, mahogany, teak, and silk tree/sengon wood waste. They aims to gain a deep understanding programs directed at the creative process in response to environmental damage. Besides being a source education to the public, they can also be used as cultivating sensitivity to protecting the natural environment. In addition, eco-artworks from firewood waste is represented become a eco-friendly concept to relevant program namely reintroducing Indonesian culture, especially for buto character to public.
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Woodward, Robin. "People, Place, Public: The Public Art of Nic Moon." Back Story Journal of New Zealand Art, Media & Design History, no. 4 (September 19, 2018): 19–37. http://dx.doi.org/10.24135/backstory.vi4.3.
Повний текст джерелаАнотація:
In the realm of public art, New Zealand artist Nic Moon’s practice extends from permanent outdoor sculpture to ephemeral, site-responsive installations and staged public events. Such a range spans the trajectory of contemporary public art, a genre which theorists struggle to define categorically: historical precedents for public art offer no template for the present or for the future. Working in conjunction with mana whenua iwi, local government agencies, art institutions, museums, architects and the community¸ Moon creates large-scale object art as well as temporary and relocatable works, circumstantial installations, public artworks as utilities, and ephemeral art with a short life span. Her public art encompasses a broad spectrum of forms while speaking constantly of human ecology - the interdisciplinary study of relationships between people, our social systems and our environments. It is these relationships that underpin the work of Moon who, in common with new genre public artists internationally, is prepared to work outside the historical framework of public art to engage her audience in socially conscious, political art.
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Leone, Grace. "Application to Occupy." Journal of Public Space 3, no. 1 (April 30, 2018): 103–8. http://dx.doi.org/10.5204/jps.v3i1.321.
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Urban Animators: Living Laboratory (UA:LL) was a public art research project that actively engaged with the RMIT University New Academic Street capital works project, undertaken at the Melbourne city campus from 2015-2017. The construction site and the surrounding campus were envisaged as a living laboratory encouraging research that engaged with the internal infrastructure, process and community of RMIT University.As curator of the UA:LL public art program I created a framework that encouraged collaboration, provocation, solidarity and exchange amongst RMIT University students, staff and alumni. This was achieved through the process of open expression of interests, learning and teaching, invited artists and industry research partnerships all resulting in public artworks embedded in the construction zone. The artistic installations included public artworks on construction hoardings and projections within the constriction zone that positively activated the site condition and helped mitigate the disruption occurring on the campus.As a curator, artist and designer I proposed a spatial curatorial proposition to the city via a public art installation titled ‘Gantry Section D’ as part of the UA:LL program. ‘Gantry Section D’ was the result of an intensive period of practice based investigation into the condition created when a city is undergoing transformation.
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Simonova, S. A., and G. B. Atalyan. "TOWARDS THE ISSUE OF EVOLUTION OF ART IN THE 20TH AND 21ST CENTURIES: CULTUROLOGICAL ANALYSIS." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 24, no. 84 (2022): 84–92. http://dx.doi.org/10.37313/2413-9645-2022-24-84-84-92.
Повний текст джерелаАнотація:
Art, its role, ways of creation, translation and perception have undergone significant changes in the course of the last century. In general, one can talk of aestheticisation of culture, which could not but have a certain impact on art. The departure from “classical art” began already in the epoch of modernism. The “digital turn” has contributed to new hypostasis of art in culture. The virtual medium has introduced new, unprecedented opportunities both in technical and spiritual aspects. Artworks have become more accessible to the general public, with a possibility of user intervention in creative process and the use of artificial intelligence therein. The phenomenon of cyber art has emerged, requiring profound culturological analysis. The use of digital technologies in creation of artworks actualises the issue of constraints of artificial intelligence potential in creative process as well as the problem of ethical and aesthetic content of works created by neural network with the use of algorithms and other digital technologies. In this regard, the notion of mosaic culture is important – as consisting of disparate elements, lacking consistency and integrity of perception and cognition. The mosaic culture refers one to the concept of “rhizome,” reflecting as well the consumer-oriented aspect of the mass culture. Therefore, this entails a danger of replacing the unique nature by mainstream values, and, moreover, of transformation or even loss of the original ontological and axiological sense of the artwork.
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Cabezos-Bernal, Pedro M., Pablo Rodriguez-Navarro, and Teresa Gil-Piqueras. "Documenting Paintings with Gigapixel Photography." Journal of Imaging 7, no. 8 (August 21, 2021): 156. http://dx.doi.org/10.3390/jimaging7080156.
Повний текст джерелаАнотація:
Digital photographic capture of pictorial artworks with gigapixel resolution (around 1000 megapixels or greater) is a novel technique that is beginning to be used by some important international museums as a means of documentation, analysis, and dissemination of their masterpieces. This line of research is extremely interesting, not only for art curators and scholars but also for the general public. The results can be disseminated through online virtual museum displays, offering a detailed interactive visualization. These virtual visualizations allow the viewer to delve into the artwork in such a way that it is possible to zoom in and observe those details, which would be negligible to the naked eye in a real visit. Therefore, this kind of virtual visualization using gigapixel images has become an essential tool to enhance cultural heritage and to make it accessible to everyone. Since today’s professional digital cameras provide images of around 40 megapixels, obtaining gigapixel images requires some special capture and editing techniques. This article describes a series of photographic methodologies and equipment, developed by the team of researchers, that have been put into practice to achieve a very high level of detail and chromatic fidelity, in the documentation and dissemination of pictorial artworks. The result of this research work consisted in the gigapixel documentation of several masterpieces of the Museo de Bellas Artes of Valencia, one of the main art galleries in Spain. The results will be disseminated through the Internet, as will be shown with some examples.
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Snedarova, Jana. "Zlín: Public Art and the City." International Visual Culture Review 1 (December 5, 2019): 43–53. http://dx.doi.org/10.37467/gka-visualrev.v1.2242.
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In this article, the topic of public art in an urban environment of the post-industrial city is viewed in the context of one place – Zlín. Contemporary artworks integrated into the city spaces show the city as a site, in the context of its Modernist architecture and urbanism. They reflect both the past and the present-day changes in society and the way how we see and experience the world. Public art in Zlín has become part of the transformation and regeneration of public spaces fostering the enhancement of the quality of lives of local urban residents. It is evident from the research that Zlín can be perceived as a place with great potential for new art projects and for the public’s participation and engagement.
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Alizadeh, Hooshmand, Josef Kohlbacher, Rozhen Kamal Mohammed-Amin, and Tabin Latif Raouf. "Gender Inequalities and the Effects of Feminine Artworks on Public Spaces: A Dialogue." Social Inclusion 9, no. 4 (November 30, 2021): 158–67. http://dx.doi.org/10.17645/si.v9i4.4374.
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Feminist street art aims to transform patriarchal spaces into places of gendered resistance by asserting a feminist presence in the city. Considering this, as well as women’s social life, their struggle against lingering forces of patriarchy, and relating features of inequality (domestic violence), there was a feminist installation artwork by the young Kurdish artist Tara Abdulla that shook the city of Sulaimani in Iraqi Kurdistan on 26 October 2020. She had prepared a 4,800‐meter‐long washing line covered with the clothes of 99,678 Kurdish women who were survivors of sexual and gender‐based violence. They installed it along the busiest street of the city (Salim Street). She used this piece of feminine to express her reaction to the Kurdish society regarding, the abuse that goes on silently, behind closed doors. She also aimed towards normalizing women’s bodies. After the installation, she received many controversial reactions. As her artwork was a pioneering project in line with feminist issues in Kurdistan which preoccupied the city for quite a while, the aim of this article is to investigate the diverse effects of her work on the current dialogue regarding gender inequality in the Kurdish society. To do this, we used the research method of content analysis on big data (Facebook comments) to investigate the public reactions of a larger number of locals. The Feminine effectively exposed some of the deep‐rooted cultural, religious, and social barriers in addressing gender inequalities and silent sexual violence issues in the modern Kurdish patriarchal society.
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Spee, Blanca T. M., Matthew Pelowski, Jozsef Arato, Jan Mikuni, Ulrich S. Tran, Christoph Eisenegger, and Helmut Leder. "Social reputation influences on liking and willingness-to-pay for artworks: A multimethod design investigating choice behavior along with physiological measures and motivational factors." PLOS ONE 17, no. 4 (April 20, 2022): e0266020. http://dx.doi.org/10.1371/journal.pone.0266020.
Повний текст джерелаАнотація:
Art, as a prestigious cultural commodity, concerns aesthetic and monetary values, personal tastes, and social reputation in various social contexts—all of which are reflected in choices concerning our liking, or in other contexts, our actual willingness-to-pay for artworks. But, how do these different aspects interact in regard to the concept of social reputation and our private versus social selves, which appear to be essentially intervening, and potentially conflicting, factors driving choice? In our study, we investigated liking and willingness-to-pay choices using—in art research—a novel, forced-choice paradigm. Participants (N = 123) made choices from artwork-triplets presented with opposing artistic quality and monetary value-labeling, thereby creating ambiguous choice situations. Choices were made in either private or in social/public contexts, in which participants were made to believe that either art-pricing or art-making experts were watching their selections. A multi-method design with eye-tracking, neuroendocrinology (testosterone, cortisol), and motivational factors complemented the behavioral choice analysis. Results showed that artworks, of which participants were told were of high artistic value were more often liked and those of high monetary-value received more willingness-to-pay choices. However, while willingness-to-pay was significantly affected by the presumed observation of art-pricing experts, liking selections did not differ between private/public contexts. Liking choices, compared to willingness-to-pay, were also better predicted by eye movement patterns. Whereas, hormone levels had a stronger relation with monetary aspects (willingness-to-pay/ art-pricing expert). This was further confirmed by motivational factors representative for reputation seeking behavior. Our study points to an unexplored terrain highlighting the linkage of social reputation mechanisms and its impact on choice behavior with a ubiquitous commodity, art.
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Abdrassilova, G. S., and L. M. Aukhadiyeva. "SAKEN NARYNOV’S ARTWORKS: THE SYMBIOSIS OF ARCHITECTURE AND TOPOLOGICAL EXPERIMENTS." Bulletin of Kazakh Leading Academy of Architecture and Construction 82, no. 4 (December 14, 2021): 6–14. http://dx.doi.org/10.51488/1680-080x/2021.4-15.
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The works of Kazakh architect Saken Narynov attract researchers from various countries due to their innovative features. His works divided into three groups: topological experiments; public and residential buildings; futuristic projects. The article is based on the study of scientific papers, conversations with the architect, as well as design and graphic documents from the master’s archive. The analysis S. Narynov’s works allows to identify new directions in the modern regional architecture of Kazakhstan.
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Santoro, A., L. Barazzetti, and V. Pracchi. "REVEALING AN UNKNOWN MUSEUM AND ITS COLLECTION USING DIGITAL TOOLS: THE PALAZZO DI GIUSTIZIA IN MILAN." International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLVI-M-1-2021 (August 28, 2021): 669–76. http://dx.doi.org/10.5194/isprs-archives-xlvi-m-1-2021-669-2021.
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Abstract. The paper presents the generation of an interactive cataloging system for the Courthouse of Milan (Palazzo di Giustizia) and more than one hundred artworks stored in the building. The courthouse is an “unknown museum” in the city and represents a masterpiece of the architectural and figurative culture in the '30s. The online system developed in the project aims at solving a twofold task. First, it must present the "unknown museum" to citizens through a simple and effective online website. Second, it must serve as a repository for technical information not available to the public and only limited to the specialists in conservation. This second section includes catalog forms produced according to specific national standards for artworks, which require a variety of information such as size, material, artist, state of conservation, and description of previous restorations and interventions. The catalog, supported by the development of a preventive conservation plan, meets the need to identify all artworks and their conditions, planning interventions, and keeping a record of restoration activities.
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Kuznetsov, Andrew V. "Emergence in Interactive Embedded Art." International Journal of Art, Culture and Design Technologies 8, no. 2 (July 2019): 1–19. http://dx.doi.org/10.4018/ijacdt.2019070101.
Повний текст джерелаАнотація:
This article is devoted to the problem of novelty in embedded art. Exciting possibilities of microelectronics for visual art are considered. Implementations of available microcontrollers, sensors and actuators are given. A new kind of interactions between spectators and artworks with embedded electronics was investigated. Special attention is paid to the effect of emergence, which is generated by this interaction. Computational artwork is being considered in a new unconventional context. An aesthetic difference between the deterministic and nondeterministic algorithms was shown. The combination of acrylic paintings with light-emitting diodes (LEDs) was systematically studied to give useful recommendations for an artistic community. Produced artifacts were demonstrated at exhibitions and were used to teach students at the university and VHS Freiburg, Germany. The results showed a great public interest in embedded electronic systems and a tremendous theoretical and practical perspective for the permanently developing contemporary art.
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Thomas, Mary. "Reframing Public Art in the Borderlands." Latin American and Latinx Visual Culture 4, no. 3 (July 1, 2022): 8–22. http://dx.doi.org/10.1525/lavc.2022.4.3.8.
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This article examines a series of public artworks created by Jari “WERC” Alvarez and Gera “GERALUZ” Lozano both singly and together between 2009 and 2013 in San Diego, California, and El Paso, Texas. Although the works produced then reveal an engagement with the history of Chicano muralism and visual representations of the US-Mexico border, Lozano and Alvarez’s projects offer a careful recuperation of the way the region and the site of the border are represented through their stylistic vocabularies that span graffiti, abstraction, and conceptual practice. This essay argues that the artists enact this reparative relationship through a “bricozaje” aesthetic orientation, which refers to the adaptation of bricolage techniques by artists whose work directly engages the fragmented space of the border and integrates the heterogeneous experiences that mark the experience of moving within and between cultural and artistic borderlands.
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Graimprey, Sonja. "Cultural heritage and creation: acquiring, cataloguing and promoting livres d’artistes in French public libraries." Art Libraries Journal 38, no. 1 (2013): 20–26. http://dx.doi.org/10.1017/s0307472200017831.
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The term ‘livres d’artistes’ hides from view creative artworks, whose presence in special library collections is justified by their artistic and literary value but also by their value as witness of their times. After defining the content of these collections, this article analyses the way ‘livres d’artistes’ are managed. Because they are different from all other books, they struggle to find their public. Active promotion is thus an essential step in making them properly influential.