A Study on the Aesthetic Archetypes of Korean and Healing Meaning in Kim Hwan Ki's Art Works -Focusing on Jung's Analytical Psychology-

2021 ◽  
Vol 5 (2) ◽  
Keyword(s):  
Analytical Psychology ◽  
Art Works ◽  
The Aesthetic

Transcending the Sublime: Arctic Creolisation in the Works of Isaac Julien and John Akomfrah

Films on Ice ◽  
2015 ◽  
Author(s):  
Helga Hlaðgerður Lúthersdóttir
Keyword(s):  
Identity Politics ◽  
White Male ◽  
Art Installation ◽  
The North ◽  
The Sublime ◽  
Art Works ◽  
Colonial Legacies ◽  
Contemporary Film ◽  
The Aesthetic

This chapter examines the aesthetic strategies and political impetus of contemporary film artists who challenge the notion of an Arctic explorer as a heroic white male, striding forth on his own to conquer the white sublime. Focusing on Isaac Julien’s video and art installation True North (2004) and John Akomfrah’s The Nine Muses (2010). Luthersdottir foregrounds the myriad ways in which these films and art works partake in a creolisation of the white Arctic. The chapter thereby foregrounds an overlooked and complementary historical and cinematic record, which is explicit about the significance of identity politics and colonial legacies in the north, rather than reifying established representational norms.

Feminist Art and the Political Imagination

Hypatia ◽  
2003 ◽  
Vol 18 (4) ◽  
pp. 189-213 ◽  
Author(s):  
Amy Mullin
Keyword(s):  
The Political ◽  
Political Art ◽  
Feminist Art ◽  
Political Imagination ◽  
Political Work ◽  
Art Works ◽  
Political Works ◽  
The Aesthetic

Activist and political art works, particularly feminist ones, are frequently either dis-missed for their illegitimate combination of the aesthetic and the political, or embraced as chiefly political works. Flawed conceptions of politics and the imagination are responsible for that dismissal. An understanding of the imagination is developed that allows us to see how political work and political explorations may inform the artistic imagination.

scholarly journals Problems of time and space in the philosophy of Shūzō Kuki (1888 – 1941)

2021 ◽  
pp. 1-12
Author(s):  
Lyubov' Borisovna Karelova
Keyword(s):  
Time Correlation ◽  
Edo Period ◽  
Time And Space ◽  
Space And Time ◽  
Art Works ◽  
Temporal Aspect ◽  
The Subject ◽  
The Aesthetic ◽  
Different Characteristics ◽  
Philosophical Writings

The subject of this research is the philosophy of Shūzō Kuki, which is usually associated with his original concept, built around the concept of iki that simultaneously denotes taste, wealth, sensibility, dignity, reserve, and spontaneity, as well as embodies the aesthetic ideal formed in urban culture of the Edo period (1603 – 1868). The Japanese philosopher is also notable for a number of other intellectual insights. For depicting a holistic image on the philosophical views of Shūzō Kuki, a more extensive array of his works is introduced into the scientific discourse. A significant part of these work have not been translated into the Russian or other foreign languages. This article explores the problems of time and space, which are cross-cutting in the works of Shūzō Kuki  using examples of such philosophical writings as the “Theory of Time”, “What is Anthropology?”, “Problems of Time. Bergson and Heidegger”, “Metaphysical Time”, "Problems of Casualty”. The research employs the method of historical-philosophical reconstruction and sequential textual analysis of sources. Special attention is given to the problems of cyclical time, correlation between the infinite and the finite, and its reflection in the literary or art works, existential-anthropological landscape of space and time, spatial-temporal aspect of casualty and relevance. The conclusion is made on the contribution of Shūzō Kuki to elaboration of the problems of space and time, namely his cross-cultural approach that allows viewing the general philosophical problems from the perspective of both Western and Eastern thought, as well as a distinct  “interdisciplinary” approach towards analysis of the phenomena of space and time, which are viewed from different perspective and acquire different characteristics depending on the angle and aspect of reality of the corresponding context. Thus, there is a variety of concepts of time, which do not eliminate, but complement each other.

scholarly journals KARYA SENI RUPA 2 DIMENSI DI MAN 2 SITUBONDO

2019 ◽  
Vol 9 (1) ◽  
pp. 48
Author(s):  
Lailatul Choiriyah . ◽  
Dra. Luh Suartini, M.Pd. . ◽  
Drs.Agus Sudarmawan, M.Si. .
Keyword(s):  
Data Collection ◽  
Fine Art ◽  
Green Bean ◽  
Wood Powder ◽  
Aesthetic Value ◽  
Art Works ◽  
Materials Used ◽  
The Aesthetic ◽  
Descriptive Qualitative ◽  
Coconut Fibers

Penelitian ini bertujuan untuk: (1) Mendeskripsikan alat dan bahan yang digunakan oleh siswa MAN 2 Situbondo untuk membuat karya Seni Rupa 2 dimensi. (2) Mendeskripsikan jenis dan bentuk karya Seni Rupa 2 dimensi yang dihasilkan siswa MAN 2 Situbondo. (3) Mendeskripsikan nilai Estetik karya Seni Rupa 2 dimensi yang dibuat oleh siswa MAN 2 Situbondo. Metode yang digunakan adalah deskriptif kualitatif dengan tekhnik pengumpulan data sebagai berikut: (1) Tekhnik Observasi, (2) Tekhnik Wawancara, (3) Tekhnik Dokumentasi. Hasil penelitian yang diperoleh: (1) Alat dan bahan yang digunakan dalam proses pembuatan karya 2 dimensi di MAN 2 Situbondo ( pensil, penghapus, penggaris, kuas, mangkok plastik, gunting, gelas plastik, hair dryer, kanvas, triplek, benang, kulit telur, kompor, canting, wajan, rol karet, pisau cungkil, kertas karton, cat, air, serbuk kayu, glitter, isolasi kertas, plastik segitiga, pernis, lem fox, biji kacang hijau, kain, remasol, daun pandan, serabut kelapa, bokol posing, karet gelang, tinta bak, cat offset, kertas gambar, dan busa ati. (2) Jenis dan bentuk dari karya seni rupa 2 dimensi di MAN 2 Situbondo berupa: mural, kaligrafi, batik, grafis, mozaik dan poster. (3) Nilai estetik yang terlihat pada karya seni rupa 2 dimensi berupa: bentuk, tema, dan aspek keindahannya. Kata Kunci : Seni Rupa, 2 dimensi, MAN 2 Situbondo This study aimed to: (1) Describe the tools and materials used by students in MAN 2 Situbondo to create 2-dimensional works of fine art. (2) Describe the types and forms of 2-dimensional works of fine art produced by students of MAN 2 Situbondo (3) Describethe aesthetic value of 2-dimensional works of fine art that was made by students of MAN 2 Situbondo. The method used in this study was descriptive qualitative with data collection techniques as follows: (1) Observation, (2) Interviews, (3) Documentation. The results of this studywere: (1) The tools and materials used in the process of making 2-dimensional works of fine art in MAN 2 Situbondo, (pencils, erasers, rulers, brushes, plastic bowls, scissors, plastic cups, hair dryer, canvas, plywood, threads, eggshells, stoves, canting, frying pans, rubber rollers, prying knives, paperboard, paint, water, wood powder, glitter, papertape, triangular plastic, varnish, wood glue, green bean seeds, cloth, remasol, pandan leaves, coconut fibers, bokolbosing, rubber bands, ink tanks, offset paint, drawing paper, and Eva sponge sheet . (2) The types and forms of 2-dimensional works of fine art in MAN 2 Situbondowere murals, calligraphy, batik, graphics, mosaics and posters. (3) The aesthetic value that could be seen in the 2-dimensional art works were the forms, the themes and the aspects of its beauty. keyword : fine Art, 2 dimensions, MAN 2 Situbondo

Vietnamese Artists in Paris

2018 ◽  
Author(s):  
Ann Proctor
Keyword(s):  
20Th Century ◽  
Cultural Influence ◽  
World's Fair ◽  
International Exhibitions ◽  
Art Works ◽  
Overseas Travel ◽  
French Colonial ◽  
The Aesthetic ◽  
Radical Transformation

Vietnam was a French colony when the artistic and cultural influence of Paris was at its peak. Despite this, few Vietnamese ventured to France in order to establish or further their artistic education. Reasons for this anomaly include the fact that prior to the middle of the 20th century few Vietnamese left the place where they were born, and that French colonial rule restricted overseas travel for their subjects. The very few artists who went to France were from privileged backgrounds, and generally traveled either under a scholarship or in association with international exhibitions, such as the Colonial Exhibition in Paris (1931) or the 1937 World’s Fair. Artists who moved overseas for political reasons rarely returned to Vietnam, but those who did return in the first half of the 20th century contributed to a radical transformation in Vietnamese painting and sculptural practice, moving Vietnamese art into a modern international framework. Changes occurred in the aesthetic and physical appearance of art works, the way arts education was received, the manner in which art works circulated, and ultimately in the societal role of the artist (prior to colonization, Vietnamese art was generally produced within specific guilds).

Aesthetic Realism 2

2009 ◽  
Author(s):  
John W. Bender
Keyword(s):  
Philosophical Analysis ◽  
Aesthetic Property ◽  
Art Works ◽  
Aesthetic Properties ◽  
Aesthetic Realism ◽  
The Aesthetic

Aesthetic property realism would seem to be committed to at least some version of the following two claims: (a) there is a distinctive category of predications or attributions used in describing art works and other objects of our aesthetic attention; and (b) it is correct to construe these attributions as asserting that certain aesthetic properties exist and are objectively true of art works and other objects. Although anti-realist challenges have focused mainly on deconstructing (b), there has also been considerable scepticism over (a), i.e. over the very concept of aesthetic properties. The distinction between the aesthetic and the non-aesthetic is one of those distinctions that has strong intuitive credibility but yields grudgingly to philosophical analysis.

The Avant-Garde and Technology: Toward Technological Fundamentalism in Turn-of-the-Century Europe

1995 ◽  
Vol 8 (2) ◽  
pp. 397-416 ◽  
Author(s):  
Frank Trommler
Keyword(s):  
Nineteenth Century ◽  
Aesthetic Experience ◽  
Turn Of The Century ◽  
Material World ◽  
Avant Garde ◽  
Art And Technology ◽  
Hands On ◽  
Art Works ◽  
The Aesthetic ◽  
Mies Van Der Rohe

The ArgumentThe avant-garde's fascination with technology around 1900 grew out of several motivations: to shock the antitechnological bourgeois public; to experience a sense of mastery toward the material world, especially with cars, airplanes, and other machines; and to overcome the nineteenth-century separation of art and technology. The article highlights the radical shifts in the perception of technology that correspond with the emerging hands-on encounter with technological objects in homes, cities and at the workplace at the turn of the century. This technological fundamentalism differed sharply from the anxious and symbolically mediated approach to the “materialism” of the machine in the nineteenth century. It was accompanied by a concept of liberation through technological purity which is reflected by the fact that Gropius, Mies van der Rohe and Corbusier did not just design functional objects but also made special efforts to accentuate their functionalism as part of the aesthetic experience of modernity. As French and Italian artists, especially the Futurists, incorporated speed, virility, and the experience of the elementary in the metaphoric construction of technology, they even expressed a kinship with those painters and sculptors who shifted their focus to the rediscovery of the “primitive” magic in the art works from Africa and Polynesia

scholarly journals Artistic ceramics of the Republic of Moldova in the period 2001-2010

Arta ◽  
2021 ◽  
Vol 30 (1) ◽  
pp. 98-103
Author(s):  
Constantin Spinu ◽  
Keyword(s):  
Ceramic Materials ◽  
Decorative Arts ◽  
Important Place ◽  
Republic Of Moldova ◽  
Art Works ◽  
The Republic ◽  
The Aesthetic ◽  
Technological Methods ◽  
Methods Of Operation ◽  
Semantic Values

Artistic ceramics, as a genre of professional decorative arts, being actively practiced in the second half of the twentieth century by a small number of artists in the Republic of Moldova, has seen an upward evolution, resulting in original achievements. The article examines the changes in the art of ceramics of the Republic during the first decade of the 21st century that have not been explored so far. As a result of the analysis of the art works, a number of thematic and aesthetic aspects were identified that reflect the creative goals and stylistic preferences of artists working in the considered period of time. The article examines the morphological features of the composition of the artistic shape of the ceramic artworks. Special atention is paid to the influence of technological methods of operation with ceramic materials (classical and mixed techniques) on achieving the aesthetic and semantic values of the ceramic artworks. An important place is reserved in the study to the principles of creative processing of folk motifs and the analysis of stylistic innovations that played an important role in achieving a meaningful image of the ceramic works of the time.

scholarly journals Law in the Work of Felix Gonzales-Torres

2018 ◽  
Author(s):  
Eduardo Penalver ◽  
Sergio Munoz Sarmiento
Keyword(s):  
Contemporary Art ◽  
The Political ◽  
Art Works ◽  
The Aesthetic

Within contemporary art, it is well known that Felix Gonzalez-Torres created elegant, sparse and poetic art works. Through his use of diverse media—photography, drawing, and sculpture (created by using unusual materials such as candy, stacks of paper, or battery operated clocks) Gonzalez-Torres merged the personal and the political; the conceptual and the aesthetic. These aspects of his work have been thoroughly explored by artists, scholars, and collectors alike.

scholarly journals Из цикла «Прогулки и диалоги с Владимиром Глуховцевым»

2020 ◽  
Author(s):  
A.I. Slutsky
Keyword(s):  
Human Life ◽  
Russian Literature ◽  
Russian Society ◽  
Main Task ◽  
Book Design ◽  
Alice In Wonderland ◽  
Graphic Artist ◽  
Art Works ◽  
Literary Images ◽  
The Aesthetic

Статья посвящена реконструкции особенностей творческого мировоззрения художника и книжного графика Владимира Глуховцева. Публикуемые материалы созданы ученым и поэтом Аркадием Слуцким, который был близким другом художника на протяжении тридцати лет. Автором использован историко-биографический метод, при этом материалами, помимо авторских воспоминаний, послужили произведения классиков русской литературы. Представленные микросюжеты в постмодернистском ключе раскрывают различные события и особенности творческой биографии художника. Эстетические поиски Глуховцева как книжного графика были обращены кструктуре книги. Своей главной задачей он видел не интерпретацию литературных образов, а организацию книжного пространства и читательского восприятия текста. Начав свой творческий путь как продолжатель традиций русской графики, В.А.Глуховцев со временем выработал собственный подход к художественному творчеству, при этом сумев сохранить постоянную и живую связь с академической традицией.The article is devoted to the reconstruction of the biography and features of the creative worldview of Vladimir Glukhovtsev, an artist and book illustrator. The published materials were created by the scholar and poet Arkady Slutsky, who had been a close friend of the artist for thirty years. The methodological basis of the publication was the historical-biographical method, which allows revealing the features of the historical process through the analysis of various situations and micro-plots that arise in human life. Slutskys memoirs that he wrote over the last years of his life constituted the main factual outline of this article. The materials of the article were works of Russian and foreign philosophers and theorists of fine art, works of the classics of Russian literature. Consistently presented micro-plots (about the Glukhovtsev dynasty and the archive of Alexander Glukhovtsev (the artists father), about working on illustrations for Alice in Wonderland, Traveling with Pushkin, Traveling to Prague) reveal various features and events of the artists creative biography in a postmodern way. The research focuses on Glukhovtsevs experiments in the field of book design, on his pedagogical activity and inner imaginative world. Slutsky describes and analyzes Glukhovtsevs cultural environment in the context of the intellectual demands of Russian society at the turn of the 21st century, rich in turbulent sociopolitical events. The concept of factual presentation of the material is supplemented by oral history, the artists live speech, reproduced textologically from the phonograms of conversations with Glukhovtsev that Slutsky transcribed. A valuable part of the content of the article is the so-called philosophical and lyrical digressions, an attempt to comprehend everything that happened to the author and the character in space and time. The author concludes that the aesthetic searches of Glukhovtsev as a book graphic artist were focused on the structure of a book. The main task of the artist was the organization of the book space and the reading perception of the text rather than the interpretation of literary images. The artist sought to focus the readers attention in a special way, and for this he masterfully used a set of techniques for designing printing elements in his own authorial style. Having begun his career as a successor of the traditions laid down by the luminaries of the Russian graphics of the 20th century (Vladimir Favorsky, Andrey Goncharov, Mikhail Kupriyanov), Glukhovtsev eventually developed his own approach to artistic creativity, while being able to maintain a constant and lively connection with the academic tradition.

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