scholarly journals Image spaces. Digital visual media in the context of baroque mural painting in architecture

2021 ◽  
Vol 29 (38) ◽  
pp. 249-254
Author(s):  
Piotr P. Drozdowicz
Keyword(s):  
Digital Media ◽  
20Th Century ◽  
Contemporary Art ◽  
Visual Media ◽  
Basic Material ◽  
Mural Painting ◽  
Total Work ◽  
Work Of Art ◽  
Spatial Turn ◽  
Avant Garde

In the art of the 20th century, space became the basic material. Today, digital media and VR and AR technologies are used to cross the visual and space barriers, but always at the expense of experiencing reality. The spatial turn in culture results from the post-avant-garde ideas of art that cuts itself off from ancient art. Using the example of the fresco by Andrea del Pozzo from the Sant’Ignazio church in Rome, we will show analogies between baroque illusionist painting and digital visual media. It turns out that contemporary art arrives at the space issues that have been practiced in architecture and art since antiquity. The space created by painting illusion as a total work of art exhibits many features of contemporary art and the phenomena of VR and AR such as intermediality, immersion, interactivity. Spatial turn arguments can be used to enhance the potential of classic painting language in architecture.

scholarly journals Composer of the revolution: Scriabin’s idea of the Mysterium - the total work of art

Muzikologija ◽  
2019 ◽  
pp. 161-181
Author(s):  
Branislava Trifunovic
Keyword(s):  
20Th Century ◽  
Social Systems ◽  
Social Climate ◽  
Total Work ◽  
Work Of Art ◽  
Avant Garde ◽  
Political Reality ◽  
The World ◽  
Artistic Vision ◽  
Russian Intelligentsia

The purpose of this paper is to demonstrate that Alexander Scriabin with his conception of the total work of art, named Mysterium, unconsciously provided the artistic vision of revolutionary claims, anticipating the October Revolution of 1917. Since the first decade of the 20th century, the revolutionary conscience was a singular feature of the Russian intelligentsia, so the concept of Mysterium was, in such social climate, a concept of force that prompted the artist to seek a better world. Just like avant-garde artists - whose actions are an intervention in social systems - in his Mysterium Scriabin emphasized the need for a transformation of the world through art. Bearing this in mind, the musicological interpretation of Mysterium here is made with the aim of positioning Scriabin as a modernist subject. The insights into the composer?s responses to socio-political reality - both within Scriabin?s philosophical and creative narratives - refer to the demands of the revolutionaries for the collective/sobornost. This study shows that those demands were, in the case of Scriabin, shaped as the idea of the utopian function of art.

Geo-locations

2020 ◽  
Author(s):  
Peta Mitchell
Keyword(s):  
Social Sciences ◽  
Digital Media ◽  
20Th Century ◽  
Social Relations ◽  
Cultural Theory ◽  
Spatial Turn ◽  
Time Space ◽  
Starting Point ◽  
Critical Approaches ◽  
Humanities And Social Sciences

Since around 1970, and across a broad spectrum of humanities and social sciences disciplines, there has been an ongoing and critical reassessment of the role played by space, place, and geography in the formation and unfolding of human knowledge, subjectivity, and social relations. Starting with the identification of a distinctive “spatial turn” within critical and social theory in the second half of the 20th century, it has become a commonplace to recognize space as being political and as having a particular affective and effective power. A distinctive constellation of socio-technological changes at the start of the 20th century brought the question of space to the critical foreground, and, by the end of the 20th century, a loosely defined and interdisciplinary “spatial theory” had emerged, while a number of fields across the humanities and social sciences had avowedly undergone their own “spatial turns.” More recently, new critical approaches have emerged that foreground the geo- as both a starting point and method for critical analysis as well as new inter-disciplines—namely the geohumanities and spatial humanities—that provide a focus for the range of work being done at the interstices of geography and the humanities. With the rise to ubiquity of geospatial and geolocative technologies since around 2005—and their almost wholesale penetration into everyday life in the global North in the form of the GPS-enabled smartphone—the question of the geo- and its role in locating and mediating human experience, knowledge, and social relations has become ever more salient. In an era where the geo- becomes geolocation, and is increasingly defined by networked relations among humans, digital media, and their locational data traces, new approaches and schools of thought that transect geography, digital media, and critical and cultural theory have once more emerged, constituting what may be thought of as a new, digital spatial turn. Charting the trajectory of the geo- as a key site and mode of critique across and through these often overlapping “spatial turns”—across time, space, and disciplinary boundaries—is itself a work of geolocation.

scholarly journals On Lars von Trier, Enfant Terrible of Danish Art Film

2011 ◽  
Author(s):  
Mette Hjort
Keyword(s):  
20Th Century ◽  
Contemporary Art ◽  
Good Deal ◽  
Artistic Practice ◽  
Avant Garde ◽  
Lars Von Trier ◽  
Crucial Feature ◽  
Art Film

THE PROBLEM WITH PROVOCATION: ON LARS VON TRIER, ENFANT TERRIBLE OF DANISH ART FILM Anyone interested in contemporary art is likely to have spent a good deal of time pondering the nature and role of artistic provocation. Provocation as a crucial feature of artistic practice was largely unknown before 1800 (Walker 1999: 1). The idea of 'shocking the recipient' was, however, 'a dominant principle of artistic intent' for members of the various avant-garde movements that emerged in the early decades of the 20th century (Peter Bürger, cited in Walker: 2), and at this point the provocateur is a well-known and even expected figure in the landscape of art. It is not difficult to think of examples of artworks that are self-evidently about creating a sense of outrage. Let me mention just a few well-known works that prompted a public outcry: Rick Gibson's Human Earrings (1985), which consists of a...

scholarly journals L’Educational Turn. L’éducation comme média artistique: À la recherche d’une interactivité nouvelle

2016 ◽  
Vol 43 (1) ◽  
pp. 40
Author(s):  
Rébéca Lemay-Perreault
Keyword(s):  
Public Participation ◽  
20Th Century ◽  
Contemporary Art ◽  
Museum Education ◽  
Knowledge Dissemination ◽  
Institutional Critique ◽  
Relational Aesthetics ◽  
Avant Garde ◽  
Interaction Mode ◽  
Artistic Medium

Abstract: “Educational Turn”, an expression used for a decade by museology and various contemporary art environments, by artists as well as curators (Rogoff, 2008; O’Neill & Wilson (Eds.), 2010; Wilson & O’Neill, 2010; Wesseling (Ed.), 2011).  Derived from artistic avant-garde tendencies of the second half of the 20th Century, including institutional critique and relational aesthetics, it immediately brings forward the issues of interactive modalities of the exhibited artwork, public participation, and knowledge dissemination.  But this expression actually goes further since the concept of “educational turn” is not only rooted in the artwork as a mediation tool, but to cite Podesva (2007), in education as an artistic medium, fudging the disciplinary limits of art, museology, and museum education.  What is new about this turn and how does it transform museum practices?  This essay aims to define a new interaction mode embodied by these productions by analyzing the historiographical corpus theorizing the movement. KEYWORDS: Educational Turn; contemporary art; interactivity; museum; postmodernismRésumé: « Educational turn », un terme qui, depuis dix ans, a su se faire connaître dans différents milieux de l’art contemporain et de la muséologie, tant chez les artistes que chez les conservateurs (Rogoff, 2008; O’Neill & Wilson (Eds.), 2010; Wilson & O’Neill, 2010; Wesseling (Ed.), 2011). Issu des avant-gardes artistiques de la deuxième moitié du 20e siècle, notamment de la critique institutionnelle et de l’esthétique relationnelle, il pose d’emblée la question des modalités d’interactivité de l’objet d’exposition, de la participation des publics et de la transmission des savoirs. Mais l’expression va plus loin puisque l’idée d’un « educational turn » prend non seulement ancrage dans une conception de l’œuvre d’art comme dispositif de médiation, mais aussi, pour reprendre l’expression de Podesva (2007), de l’éducation comme un médium artistique, brouillant les frontières disciplinaires de l’art, de la muséologie et de l’éducation muséale. En quoi ce tournant est-il nouveau et quelles transformations apporte-il à la pratique muséale ? À travers une analyse du corpus historiographique théorisant le mouvement, cet essai vise définir un nouveau mode d’interactivité incarné dans ces productions.MOTS CLES: Eductional Turn; art contemporain; interactivité; musée; postmodernité

Interdisciplinary Arts

2017 ◽  
Author(s):  
Tanya Augsburg
Keyword(s):  
Creative Arts ◽  
Total Work ◽  
Work Of Art ◽  
Avant Garde ◽  
Academic Scholarship ◽  
Interdisciplinary Arts

This chapter offers a brief and necessarily incomplete overview of what has been written on the interdisciplinary arts within academic scholarship on the creative arts. The author identifies five major integrative aspects highlighted in the existing literature on the interdisciplinary arts: (1) the Wagnerian Gestamtkunstwerk, i.e., the `total work of art;’ (2) the legacy of the historical avant-garde, with its focus on radical juxtaposition; (3) the continuation of post WWII arts experimentation in between and among multiple art mediums simultaneously with Happenings, intermedia and multimedia; (4) the intersections between art, science, and/or technology; and (5) interdisciplinary arts as its own emergent subject of inquiry, practice, and research. The chapter additionally includes a brief overview of the transdisciplinary arts. It concludes with the observation that considerations of current developments in interdisciplinary arts will serve to advance the understanding of interdisciplinarity in general.

scholarly journals Из истории Людвиг Музеум – от коллекции к музею

2021 ◽  
pp. 164-175
Author(s):  
E.V. Orlova
Keyword(s):  
20Th Century ◽  
Contemporary Art ◽  
Art History ◽  
Pop Art ◽  
Avant Garde ◽  
German Art ◽  
The Status ◽  
Museum Of Contemporary Art ◽  
The 1960S

The article is devoted to the founding of the Museum Ludwig in Cologne and presents an analysis of the process of building this museum of contemporary art in dynamics — from the beginning of the collection within the walls of the Wallraf-Richartz Museum to gaining the status of an independent exhibition giant. The study provides an overview of the collection and its sources, identifies individual significant works of art, accompanied by art history descriptions, and sets out the reasons and the chronicle of the separation of the Museum Ludwig from the Wallraf-Richartz Museum. The museum, established in 1976, presents German art from the first half of the 20th century, American and British pop art of the 1960s, Russian avant-garde, photorealism and contemporary art from the last third of the 20th century. It has departments of painting, sculpture, graphics and art photography. The role of the famous German patrons and collectors of Peter and Irene Ludwig in the formation and replenishment of the museum's funds is noted. Статья посвящена основанию Музея Людвига в Кёльне и представляет анализ процесса построения этого музея современного искусства в динамике — от начала формирования коллекции в стенах Музея Вальрафа-Рихарца до обретения статуса самостоятельного экспозиционного гиганта. В исследовании даны обзор коллекции и источники ее формирования, указаны отдельные крупные произведения искусства, сопровожденные искусствоведческим описанием, а также изложены причины и хроника выделения Музея Людвига из состава Музея Вальрафа-Рихарца. Вновь образованный в 1976 году музей представляет искусство Германии с первой половины XX века, американский и британский поп-арт 1960-х годов, русский авангард, фотореализм и актуальное искусство последней трети ХХ века. В нем созданы отделы живописи, скульптуры, графики и художественной фотографии. Отмечена роль известных немецких меценатов и собирателей Петера и Ирены Людвиг в формировании и пополнении фондов музея.

scholarly journals Към въпроса за стила „Pодно изкуство” в аспекта на българския авангард през 20-те години на ХХ век

2020 ◽  
pp. 209-222
Author(s):  
Галя Симеонова-Конах
Keyword(s):  
Cultural Heritage ◽  
20Th Century ◽  
Contemporary Art ◽  
Interdisciplinary Research ◽  
Special Significance ◽  
Research Perspective ◽  
Avant Garde ◽  
Native Art

The article presents the selected aspects of the Bulgarian avant-garde movement called “Native Art” (Rodno izkustvo) which developed in art (painting of Ivan Milev and others) and literature (the so-called decorative prose, ars decorum) in the 1920s. An aesthetical object of the then creators was searching for spirituality of the community expressed through a synthesis of such form of cultural heritage as symbolism, secession, Old Bulgarian and Byzantine iconography, rituals and folklore embroideries, ancient mosaic. For the constitution of the style “Rodno izkustvo”, the aesthetics of Bulgarian expressionism along with its artistic forms of rhythm and motion had a special significance. The analysis focuses on the theoretical writings by the most important representatives of Bulgarian avant-garde, namely, Čavdar Mutafov, Geo Milev, Nikolai Rainov, Sirak Skitnik and others whose attitude towards the problems of the style highlighted the process of it arising from individual acts to artistic syntheses. In the article, there are also references to the works of the contemporary art historian Dimitâr Avramov. The interdisciplinary research perspective of the article allows the author to indicate the distinctive properties of the avant-garde style of the Native Art, but also to illuminate the intellectual turn in Bulgarian art at the beginning of the 20th century.

Little Excursions Outside the Avant-Garde: the Pageant, the Parade and the Dome

2018 ◽  
pp. 186-219
Author(s):  
Koenraad Claes
Keyword(s):  
Integrated Design ◽  
Fin De Siecle ◽  
Small Scale ◽  
Total Work ◽  
Work Of Art ◽  
Avant Garde ◽  
Little Magazines ◽  
Fin De Siècle ◽  
Similar Content ◽  
Gift Book

Publicity for the British Fin-de-Siècle avant-garde peaked around the middle of the 1890s with the appearance of the Yellow Book and the Savoy (see Chapter 4), but even afterwards its integrated design aesthetic continued to exert an explicit influence. Significantly, it can be discerned in a number of periodicals that feature similar content and many of the same contributors as less compromising little magazines, but that had given up on the avant-garde position that these little magazines had so insistently claimed. Chapter 6 shows how the coterie responsible for the small-scale Dial (see Chapter 3) moved on to broadly marketed publications such as the Pageant (1896–97) and the children’s gift book Parade (1897) that both imported into the Aestheticist format aspects of the decidedly mainstream gift book genre, or the Dome (1897–1900) that presented itself as an insider’s alternative to the most commercially successful art magazines of its period. All three publications relativised the former vanguardist strategy of their producers through their contents as well as through their presentation, and even questioned the validity of the purist doctrines that only a few years before were deemed essential, including that of the Total Work of Art.

IMAGINARY SPECIAL EFFECTS IN THE CLASSICAL ROMANTIC GESAMTKUNSTWERK FANTASY

2021 ◽  
Vol 6 (15) ◽  
pp. 100-112
Author(s):  
Leman Berdeli
Keyword(s):  
Contemporary Art ◽  
Fine Arts ◽  
Point Of View ◽  
Total Work ◽  
Work Of Art ◽  
Special Effects ◽  
Creative Ability ◽  
Television Screen ◽  
Human Labor ◽  
The Ideal

This study aims to contribute to the field of contemporary art-technology by leaving a historical-artistic touch in line with the function of the fine arts on our ‘senses’ that were conceived, imagined, and took place on the stage by dint of human labor and creative ability during the absence of technology. The prominent outcome shows that an integrated Opera where optics and acoustics dominate and the production of spectacular effects depends more on the art of the stage machinist is among the auditory-visual spectacles of the scene that one which has the most need for ‘artificial visions’.The study has shown that the ideal of achieving a holistic work of art, by aestheticizing the ‘scenic space’ has been stated by the Italian scenographer Pietro Gonzaga (1751-1831) in one of his several theoretical treatises: “À Propos d'Optique Théâtrale”(About Theatre Optics) stamped in 1807 in St. Petersburg before Richard Wagner's (1813–1883) conception of the total work of art has been professed. The scenographer has particularly considered that the stage which contains the show and its simulation in the place where the event takes place could itself be expressive. The study concludes by referring to the clairvoyant point of view of a scenographer who could be regarded as the pioneer of modern day directing art, that the total work of stage art took place in 18th -19th centuries is envisaged to function as a kind of television screen.

scholarly journals Hvad er mesterværker? Kunsten som genforhandling af virkeligheden

2006 ◽  
Author(s):  
Laura Luise Schultz
Keyword(s):  
Everyday Life ◽  
20Th Century ◽  
Contemporary Art ◽  
Cultural Context ◽  
Gertrude Stein ◽  
Body Art ◽  
Work Of Art ◽  
Works Of Art ◽  
Art Forms ◽  
Or Practice

This article discusses how the idea of a national list of canonical works of art is at odds with performative strategies in contemporary art as they have developed since the early avantgardes first began to mix art and everyday life. From the middle of the 20th century, performative art forms such as happening, body art and all sorts of peformance art and theatre, challenged the notion of the work of art in favor of a concept of art as event or practice. Through the work of American modernist poet Gertrude Stein, and especially her deconstruction of the concepts of masterpieces and genius, the article explores how the performative turn has changed the way art is inscribed in a larger cultural context and history: Significant works of art no longer claim their right to glory through their monumental permanence and significance, but through their ability to change: to relate to shifting perspectives on an ever-changing reality.

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