Writing Body Stories

2017 ◽  
pp. 348-368
Author(s):  
June Gersten Roberts
Keyword(s):  
Visual Art ◽  
Subjective Wellbeing ◽  
Video Installation ◽  
Art Gallery ◽  
Dance Performance ◽  
Physical Knowledge ◽  
Life Journey

Gerry Tuvey’s Body Stories project maps the life journey of her dancing body through the scars and memories of illness, injury, and surgery. Through solo dance performance, visual art, and video installation, Body Stories witnesses injury as physical knowledge. The author, writing as collaborative artist and video maker, reflects on Body Stories with a particular focus on four dance videos made for projection in the performance installation (three of which accompany this book). The fourth is a four-minute performance video of Turvey’s Body Stories performance at Huddersfield Art Gallery in 2013. The text reflects on positive wellbeing experiences found through participating in autobiographic storytelling, and explores sites for locating wellbeing within the videos, which offer absorbing, visceral framings of Turvey’s body, revealing both her vulnerability and her physical power. The chapter describes the concept of haptic visuality, delving into various video strategies that enhance, question, and recolour the pallet of subjective wellbeing.

Conforming Line

2018 ◽  
Vol 62 (2) ◽  
pp. 2-3
Author(s):  
Naomi Elena Ramírez
Keyword(s):  
Latin American ◽  
Visual Art ◽  
American Art ◽  
Video Art ◽  
Latin American Art ◽  
Art Gallery ◽  
Dance Performance ◽  
And Performance

A practice of experimental graphic scoring for performance explores the ambiguity and transformation at the conflation of boundaries between dance/performance and photography. Within the score, fragments of the moving gestural body are photographed and then placed upon the page in relation to and modified by lines. Naomi Elena Ramírez (b. Hermosillo, Mexico) is a multidisciplinary artist whose work encompasses visual art, video art, and performance, and the process by which the different mediums can inform each other. Her work has been presented by A.I.R. Gallery, the Institute of (Im)Possible Subjects, Movement Research at the Judson Church, DoublePlus at Gibney Dance, The Bronx Latin American Art Biennial, Nurture Art Gallery, BRIC Contemporary Arts online exhibitions, Wallplay Gallery, and The Situation Room, LA.

scholarly journals Ocena sztuki osób z niepełnosprawnością wzroku przez dzieci i dorosłych

2018 ◽  
pp. 167-183
Author(s):  
MAGDALENA SZUBIELSKA ◽  
KATARZYNA PASTERNAK ◽  
MARZENA WÓJTOWICZ ◽  
ANNA SZYMAŃSKA
Keyword(s):  
Visual Impairment ◽  
Age Differences ◽  
Picture Books ◽  
Visual Art ◽  
Low Vision ◽  
Point Scale ◽  
Art Gallery ◽  
Line Drawings ◽  
The Aesthetic ◽  
Aesthetic Preferences

Magdalena Szubielska, Katarzyna Pasternak, Marzena Wójtowicz, Anna Szymańska, Ocena sztuki osób z niepełnosprawnością wzroku przez dzieci i dorosłych [Evaluation of art of people with visual impairment by children and adults]. Interdyscyplinarne Konteksty Pedagogiki Specjalnej, nr 22, Poznań 2018. Pp. 167-183. Adam Mickiewicz University Press. ISSN 2300-391X. DOI: https://doi.org/10.14746/ikps.2018.22.10 The aim of the study was to determine whether the age of the audience of the exhibition influences the assessment of aesthetic preferences of artistic products made up by people with visual impairment. The research was conducted to give an answer if there are differences in the preferences of different categories of artworks created by artists who are blind or low vision. The research consisted in the evaluation of raised-line drawings, photographs, sculptures and the tactile picturebook. These artistic products were presented in the art gallery. The assessments were made on a 5-point scale, where the respondents indicated how much they liked the artworks they were watching. In the study participated 118 people, including 80 children and 38 adults. It turned out that age and type of art had an interactive impact on the aesthetic assessment. Age differences in aesthetic preference werefound in reference to drawings and picture books. The visual art created by people with sight impairment was evaluated very positively.

scholarly journals Leadership of Malay Painters as a Backdrop to the Landscape of Modern Malaysian Painting (Abdullah Ariff, Hossein Enas & Syed Ahmad Jamal)

2019 ◽  
Vol 9 (2) ◽  
pp. 1973-1981
Keyword(s):  
Visual Art ◽  
Art Gallery ◽  
Cultural Approach ◽  
The Arts ◽  
Art Form ◽  
Paul Cezanne ◽  
Qualitative Observation ◽  
Observation Method ◽  
Unique Style ◽  
Local Leaders

Modern painting was a new ideology that was brought in from Western countries in the 20th century. The art form, which was pioneered by renowned artist Paul Cezanne, can be identified through its own unique style, characterised by bold brush strokes and strong colours that represent self-expression. The influence of the modern painting movement was first introduced to the Malay Peninsula in the early 1900s by the British, who had colonised Penang at the time. This influence resulted in the emergence of three prominent local painters, who became local leaders of the modernism ideology, namely, Abdullah Ariff, Hoessein Enas and Syed Ahmad Jamal. Their indomitable spirit and efforts to develop the local painting scene succeeded and this is evident in their establishment as painters that are regarded as being of high calibre both nationally and internationally. They must therefore be categorised as leaders and visual guides to encourage Malay youth to participate in the world of painting. Therefore, an analytical observation must be carried out to show that these three prominent painters possess characteristics of leadership, creativity, critical thinking and efficiency, as well as advantages in various aspects whether in art creation or administration. Among these aspects are a dominant personality, painting through touches of colour on a canvas that can influence the viewer, the ability to move their peers and students to take part in the arts and to effectively convey a theme through painting. In order to consider these matters, the writer used the qualitative observation method, with a cultural approach, specifically by collecting written data and visuals from the National Visual Art Gallery. The existence of this research paper provides us with a picture of a sincere and persistent struggle, which succeeded in guiding local youth to join the effort in further elevating the nation's visual art field.

scholarly journals Stillness in Four Movements

2017 ◽  
Vol 2 ◽  
Author(s):  
Alden Henderson ◽  
Class of 2017
Keyword(s):  
Visual Art ◽  
Research Process ◽  
John Cage ◽  
Dance Performance ◽  
Mark Rothko

Stillness in Four Movements, a dance performance culminating from a year-long research process, investigates conceptions of stillness as movement in a manner similar to the ways John Cage explored silence in music, or the ways Mark Rothko explored the concept of nothingness in visual art. Total stillness is, of course, impossible. Our hearts are always beating, cells are decomposing, and atoms are moving. Nonetheless, this project asks how dance can productively engage with the concept of stillness as choreographic material. Stillness explores the difficulty of engaging with the notion of stillness through choreographic material in four sections that address questions of stillness in choreography.  

Perancangan Media Interaktif Gerak Tari Topeng Patih pada Wayang Topeng Malangan Menggunakan Sensor Kinect

2020 ◽  
Vol 20 (2) ◽  
pp. 75-88
Author(s):  
Bayu Ramadhani Fajri ◽  
Agariadne Dwinggo Samala ◽  
Fadhli Ranuharja
Keyword(s):  
Interactive Media ◽  
Simulation Method ◽  
Alternative Solution ◽  
Learning Activities ◽  
Instructional Media ◽  
Art Gallery ◽  
Dance Performance ◽  
Religious Background ◽  
Media Learning ◽  
Basic Motion

Tari Topeng Patih is a part of the traditional dance performance art “Wayang Topeng Malangan” with a religious background which grew up around people in Malang City, East Java. Presently, art gallery of Tari Topeng Malangan has been difficult to be found. In addition to the difficulty of finding this art gallery even in the regions of origin, the problems is also about the interest and enthusiastic public, especially teenagers in Malang to learn this dance is still very rare. As a result, this art is slowly deteriorated and increasingly falling by the presence of various modern performances. In regarded to learn Tari Topeng Patih, the conventional learning activities requiring a special place such as a dance studio that is generally located far away from downtown Malang. Thus to overcome this problem is requires an instructional media that can be used as an alternative solution to learn and obtain information about Tari Topeng Patih, one way may be able to use the simulation method by utilizing the technology and education. The results of the design is the interactive media learning and simulation for basic motion of Tari Topeng Patih by using Kinect media.

Dance History in Contemporary Visual Art Practice: Kelly Nipper’s Weather Center

2016 ◽  
Vol 60 (2) ◽  
pp. 103-121
Author(s):  
Jennie Goldstein
Keyword(s):  
Visual Art ◽  
Movement Analysis ◽  
Laban Movement Analysis ◽  
Art Practice ◽  
Dance History ◽  
Video Installation ◽  
Moving Image ◽  
Mary Wigman

Kelly Nipper’s video installation Weather Center (2009) is emblematic of the presence of dance in recent visual art. Nipper’s persistent fascinations with Mary Wigman, Laban Movement Analysis, and expansive notation practices result in live performances, moving-image installations, and photographs, creating visual art that reveals how dance and its particular histories can function as malleable material within the museum.

The National Gallery of Zimbabwe

2018 ◽  
Author(s):  
Amanda H. Hellman
Keyword(s):  
Visual Culture ◽  
Visual Art ◽  
Modern Art ◽  
Art Museum ◽  
National Gallery ◽  
Art Gallery ◽  
Art And Design ◽  
Southern Rhodesia ◽  
One Year ◽  
Contemporary Artists

The National Gallery of Zimbabwe is an art museum in Harare dedicated to collecting, preserving, and promoting Zimbabwean visual culture. Though the collection focuses on contemporary artists from Zimbabwe, its holdings are diverse, containing traditional and contemporary African along with European Old Master paintings—a reflection of the acquisition interests of the first director. Sir James Gordon McDonald (1867–1942), a friend and biographer of Cecil Rhodes, gifted £30,000 to found an art gallery in 1943. Ten years later in 1953 a board was established to raise funds, build the museum, and select a director. In 1956, Scotsman Frank McEwen (1907–1994) was appointed to the post of director. The Rhodes National Gallery was opened on 16 July 1957 in Salisbury, Southern Rhodesia (renamed Harare, Zimbabwe in 1980). The institution changed its name to the National Gallery of Rhodesia in 1972, one year prior to McEwen’s resignation. One of McEwan’s projects was the Rhodes National Gallery Workshop School. Artists who participated in this early workshop, such as Thomas Mukarobgwa and John and Bernard Takawira, helped define Zimbabwean modern art. After Zimbabwe gained independence in 1980 the National Gallery developed the BAT Workshop, which became the National Gallery School of Visual Art and Design in 2012.

scholarly journals The Dynamics of Visual Art Dialogues: Experiences to Be Used in Hospital Settings with Visual Art Enrichment

2011 ◽  
Vol 2011 ◽  
pp. 1-7
Author(s):  
Britt-Maj Wikström
Keyword(s):  
Health Care ◽  
Health Professionals ◽  
Health Care Professionals ◽  
Visual Art ◽  
Environmental Enrichment ◽  
Patient Communication ◽  
Art Gallery ◽  
Qualitative Analyses

Objectives. Given that hospitals have environmental enrichment with paintings and visual art arrangement, it would be meaningful to develop and document how hospital art could be used by health professionals.Methods. The study was undertaken at an art site in Sweden. During 1-hour sessions, participants () get together in an art gallery every second week five times.Results. According to the participants a new value was perceived. From qualitative analyses, three themes appear: raise association, mentally present, and door-opener. In addition 72% of the participants reported makes me happy and gives energy and inspiration, and 52% reported that dialogues increase inspiration, make you involved, and stimulate curiosity.Conclusion. The present study supported the view that visual art dialogue could be used by health care professionals in a structured manner and that meaningful art stimulation, related to a person’s experiences, could be of importance for the patients. Implementing art dialogues in hospital settings could be a fruitful working tool for nurses, a complementary manner of patient communication.

scholarly journals AN URBAN WALKABOUT WITH CINDY SHERMAN'S PHOTOGRAPH, "UNTITLED #466, 2008”

2021 ◽  
Vol 6 (1) ◽  
pp. 132-150
Author(s):  
Sandra Elaine Filippelli
Keyword(s):  
Visual Art ◽  
Art Gallery ◽  
Cindy Sherman ◽  
Literary Art

In this article, the narrator of the story immerses herself in the interiority of a character depicted in a Cindy Sherman portrait on an art gallery wall. The narrator invites the character out of the photograph and immerses her in the pandemic-stricken city outside. In this way, the author engages with contemporary visual art while composing fictional text as literary art. Her encounter with the photograph becomes an aesthetic visual and literary investigation of art, text, and characterization set against the backdrop of the global COVID-19 crisis.

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