Beautiful Fragrances

Art Scents ◽  
2020 ◽  
pp. 209-228
Author(s):  
Larry Shiner
Keyword(s):  
Fine Arts ◽  
Fine Art ◽  
Complex Structures ◽  
Art And Design ◽  
Design Practices ◽  
The Creation ◽  
Over Time

Chapter 11 considers the claim that the best perfumes should be classified as part of the fine arts. The chapter argues that from the perspective of contemporary aesthetic definitions of fine art, perfumes have all it takes to be fine art since they have complex structures that develop over time that can be used to represent ideas and express emotions. Yet the second half of the chapter argues that from the perspective of contemporary contextual and historical definitions of art, perfumes are more like design art than fine art. The contextual case against fine art status is based on a model of art and design practices that involves roles, intentions, media, norms, and institutions. If we compare the creation of a commercial perfume designed by a perfumer with a “perfume” commissioned by an artist for an installation, commercial perfume looks like a design art. Chapter 11 ends in an impasse.

scholarly journals Fine Art and Design Works In the Context of Intellectual Property

2020 ◽  
Vol 3 (1) ◽  
pp. 20-24
Author(s):  
Rahmanu Widayat ◽  
Deny Tri Ardianto
Keyword(s):  
Higher Education ◽  
Intellectual Property ◽  
Fine Arts ◽  
Fine Art ◽  
Design Work ◽  
Art And Design ◽  
Creation Process ◽  
Original Works ◽  
Prevention Methods ◽  
Interpretation Method

Fine Art and design works are classified as Intellectual Property that is protected by law. On the other hand, art creations are prone to be imitated or falsified on the grounds of being taken as inspiration or for commercial advantage. In Higher Education, especially in the field of Art and Design, methods to create original works have been taught to prevent intelectual property violation. However, due to dishonorable interests, the possibility of plagiarism and forgery can still occur. The questions that arise were: 1) what are classified as works of art and design? 2) What are the Intellectual Property Laws related to the field of art and design? 3) What are the prevention methods offered by fine arts and design higher education? Interpretation method was applied on the law concerning art and design, complemented with an explanation of art and design work creation process as a form of prevention to avoid imitations.

Perfume between Art and Design

Art Scents ◽  
2020 ◽  
pp. 229-242
Author(s):  
Larry Shiner
Keyword(s):  
Fine Art ◽  
Art And Design ◽  
The Status ◽  
Art Photography ◽  
The Way ◽  
Art Quilts

Chapter 12 explores two main ways out of the impasse reached in Chapter 11. The first way would adopt one of the current composite or disjunctive definitions of (fine) art; the second way would abandon the quest for defining (fine) art and consider instead what it would take to promote some perfumery practices to the status of art perfumes, parallel to the way some kinds of photography or quilt making have become art photography or art quilts. Since this solution to the impasse would mean that only certain types of perfumes could be considered art perfumes, leaving most standard perfumes part of design, a postlude to Part III, “Free Art versus Design Art,” answers the concern of perfume admirers that this would demote the finest perfumes for wear to “minor art” status.

scholarly journals And Shift! A Review of Approaches That Support Transition from A-Level Art and Design to Fine Art Undergraduate Study

Arts ◽  
2019 ◽  
Vol 8 (2) ◽  
pp. 46
Author(s):  
Judy Thomas
Keyword(s):  
Fine Arts ◽  
Fine Art ◽  
Art And Design ◽  
Undergraduate Study ◽  
The United Kingdom ◽  
Art Program ◽  
Foundation Program ◽  
One Year ◽  
Undergraduate Programs ◽  
Art Pedagogy

The profile of students applying to BA Fine Art undergraduate programs has shifted in the United Kingdom (UK). Until recently the usual academic pathway was to proceed after A-level to a one-year Art Foundation program; this route is increasingly challenged by a sense of urgency to enter university earlier. Students more frequently enter straight from school. To accommodate the recruitment of younger applicants there are significant implications for Higher Education Fine Art pedagogy. This article reports on some of the approaches implemented at Northumbria University to support positive transition and learning within the BA Fine Art program. Using the Year 1–Level 4 Fine Art as a case study this reflects on how one university fine arts team has responded to the challenge of induction.

scholarly journals Arkitektur og utstillinger som berører. En studie av nyere basisutstillinger i norske kunst- og kunstindustrimuseer

Nordlit ◽  
2015 ◽  
pp. 293
Author(s):  
Birgitte Sauge
Keyword(s):  
Fine Arts ◽  
Fine Art ◽  
Historical Narrative ◽  
Art Gallery ◽  
Art And Design ◽  
Museum Architecture ◽  
Museum Displays ◽  
Different Types ◽  
The Relationship

<p>The intention with this article is to describe current exhibition practices at some Norwegian fine art- and design museums and to relate these practices to the visitors and their experiences, by comparing data concerning the plans and interior designs of gallery rooms and the organization of the displays.</p><p>This investigation is based on data from a survey of 19 permanent exhibitions in 12 fine arts and design museums, conducted in 2011–12; the Norwegian museum architecture and museum displays with its more than 100 year old traditions; and Charlotte Klonk’s book <em>Spaces of Experience: Art Gallery Spaces from 1800–2000</em>.</p><p>The survey shows that the purpose built museums to a large extent have kept their original layout and the organization of rooms. The non-purpose built museums tend to imitate the museums from the 1800s, within the limits of their given architecture. Different types of specially designed rooms are found in all buildings, regardless of age and purposes. Regarding the organization of displays, the most frequent principle is a combination of historically chronological types and themes. Almost as frequent are strictly historical chronological displays and thematic displays without any historical narrative.</p><p>Hence, the comparisons reveal that there are no fixed patterns regarding the historical types and the conventions concerning the relationship between the museum architecture and organization of the displays, which lead to the conclusion that today there is no general curatorial strategy in Norwegian fine art- and design museums with regard to the visitors’ experiences.</p>

scholarly journals An Artistic Solution to A Multi-Figure Composition In The Rospis Technique Of Monumental Painting

2021 ◽  
Vol 04 (11) ◽  
Author(s):  
Adolat Khomidkhonova ◽  
Keyword(s):  
Fine Arts ◽  
Fine Art ◽  
Mountain Ranges ◽  
Graphic Form ◽  
Over Time

First of all, let’s talk about the fact that monumental painting is the oldest form of fine art. In the early days of fine arts, the first examples of monumental painting were animals and hunting scenes depicting people on the ground, on rocks, and in graphic form. Such unique and magnificent artifacts can also be found in caves in the Pamir mountain ranges in our region. Over time, the monumental works have been polished, developed and continue to evolve.

scholarly journals Penerapan Prinsip-Prinsip Seni Rupa Pada Kaligrafi Di Masjid Baiturrahman Unimed

2020 ◽  
Vol 3 (2) ◽  
pp. 419-426
Author(s):  
Joko Tri Utoyo ◽  
Agus Priyatno ◽  
Adek Cerah Kurnia Azis
Keyword(s):  
Data Collection ◽  
Fine Arts ◽  
Fine Art ◽  
Research Topic ◽  
Art And Design ◽  
Research Instrument ◽  
Assessment Sheet ◽  
Qualitative Descriptive ◽  
Five Elements ◽  
Descriptive Method

This study aims to determine the results of applying the principles of fine arts to some calligraphy at the Baiturrahman Unimed mosque. This study uses the rattil method (tidying up, arranging, order) to find out how deep the application of the principles of art used in calligraphy, and the type of calligraphy used. Calligraphy that is taken for research uses a qualitative descriptive method in which the researcher will describe and describe all aspects related to proportion, balance, rhythm, clarity, and unity. So with this method it will be known about the principles of art and design in calligraphy. This research instrument uses a camera and scanner as documentation and an assessment sheet in the form of a table of indicators based on the principles of fine arts which is limited to only five (5) aspects. Data collection techniques are carried out by making observations, documentation, and literature studies related to the research topic. And from the sample taken, it is known that the type of khat used is the Naskhi, Riq'ah, and Tsuluts khat. Overall the application of the principles of fine art in calligraphy at the Baiturrahman Unimed mosque has elements from the value of the proportion aspect then the aspect of balance, the aspect of rhythm, followed by the aspect of clarity, and the last aspect is the unity of the five elements, it turns out that in its application there is no wholeness and perfection elements and design which means that the application is still not good.

EXHIBITION AS A GENRE OF PLASTIC ART: "DIOR"

2020 ◽  
pp. 138-150
Author(s):  
Mariya T. Maistrovskaya ◽  
◽  
Keyword(s):  
Visual Art ◽  
Spatial Organization ◽  
Fine Arts ◽  
Environmental Design ◽  
Exhibition Design ◽  
Fine Art ◽  
Museum Of Fine Arts ◽  
Artistic Images ◽  
Fashion Designers

The article is the second part of the research that consider and analyze two exhibitions held in recent years at the A.S. Pushkin Museum of Fine Arts named, “Chanel: according to the laws of art” (2007) and “Dior: under the sign of art” (2011), dedicated to the largest fashion designers of our time. The original concepts and artistic solutions of the exhibition design of these exhibitions became events not only in the fashion world, but also in the art of the exhibitiaon. These exhibitions presented various exhibition solutions, vivid artistic images, expressive spatial organization, conceptual and scenographic arrangement of copyright collections in the context of high fine art. The most important conceptual component of the exhibitions was to present the art of fashion designers, juxtaposing, giving rise to associations and building analogies and contexts with visual art, against which unique collections were exhibited and in the circle. With this single conceptual view of their work, and the single space of the museum in which the exhibitions were held, the artistic and architectural strategy of the exhibitions was diametrically opposite, revealing the palette and variety of artistically expressive means and modern exhibition design. Both exhibitions were created by modern foreign curators and designers and represent talented and creative exposition projects, the analysis of which can be useful for domestic environmental design as vivid examples of the exposition as a genre of plastic art, which is considered the modern museum and exhibition exposition at its highest and creative forms.

Reading Genesis Through Chronicles: The Creation of the Sons of Jacob

2016 ◽  
Vol 7 (2) ◽  
pp. 138-168
Author(s):  
Andrew Tobolowsky
Keyword(s):  
Historical Memory ◽  
Source Material ◽  
Biblical Studies ◽  
Dynamic Nature ◽  
Dynamic Power ◽  
The Creation ◽  
Book Of Genesis ◽  
Over Time

Scholars are increasingly aware of the dynamic nature of the interaction between the nine-chapter-long genealogy that begins the book of Chronicles and its source material. However, little attention has been paid to the role this interaction might have played in the creation of some key biblical ideas, particularly in the “eponymous imagination” of the tribes as literally the sons of Jacob. Through comparison with scholarly approaches to the pseudo-Hesiodic Catalogue of Women and an investigation into the ramifications for biblical studies of ethnic theory and historical memory on the fluidity of ethnicity and memory over time, this article seeks to reassess the dynamic power of the Chronicles genealogy as an ethnic charter for the elites of Persian Yehud. Focus on the distinctive imagination of Israel in the crucial narratives in the book of Genesis, as compared with narratives elsewhere in the primary history, and the contributions of the Chronicles genealogy to their redefinition, allows us to address the Bible’s dependence upon the lens the Chronicles genealogy imposes upon it.

FEATURES OF THE ORGANIZATION OF ARTISTIC AND DESIGN ACTIVITY OF JUNIOR SCHOOLCHILDREN

2020 ◽  
pp. 62-70
Author(s):  
Olesia Makoviichuk ◽  
Alona Shulha
Keyword(s):  
High School Students ◽  
Primary School ◽  
Junior High School ◽  
Fine Arts ◽  
Design Activity ◽  
School Students ◽  
Art And Design ◽  
Artistic Activity ◽  
Labor Training ◽  
Design Activities

The article analyzes the theoretical aspects of art and design activities, considers the features of the integrative organization of art and design activities of students in the lessons of fine arts and technology in primary school. Artistic and project activities of junior schoolchildren are realized through the disciplines of fine arts and labor education (technology) in primary school. The concept of "artistic and design activity" is analyzed through the prism of the concepts of "activity", "artistic activity". The following are considered: interconnected structural components of artistic design, types of activity and types of tasks aimed at the implementation of artistic design activities of junior schoolchildren. The article emphasized the potential of an integrated combination in primary school of fine arts and labor training (technology) for art and design activities of junior high school students.

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