“Malerische Dichtungen”: Two Landscape Paintings of 1916 by Ernst Ludwig Kirchner

2021 ◽  
Vol 84 (3) ◽  
pp. 379-407
Author(s):  
Sherwin Simmons
Keyword(s):  
Artistic Expression ◽  
Aesthetic Theory ◽  
Artistic Practice ◽  
Van Gogh

Abstract During 1916 Ernst Ludwig Kirchner created a group of landscape paintings, based on his experiences at the Kohnstamm Sanatorium in Königstein, which were more symbolic in character than his previous landscapes. This essay shows that contact with Carl and Thea Sternheim, who encouraged a reengagement with Vincent van Gogh’s paintings and letters, played a role in this change. Kirchner’s recognition of how Van Gogh could express an affect through his painting was reinforced by Dr. Kohnstamm’s writings about empathy’s role in artistic expression. Artistic practice and aesthetic theory were joined in representations of Jena done during Fall 1916 in which Kirchner transformed the landscape through formal means into symbols of his emotional relationship to that space.

Ivan Petrović, Photographer, Archivist and Artist: Interview with Ivan Petrović

2017 ◽  
pp. 4-9
Author(s):  
Miha Colner ◽  
Ivan Petrović
Keyword(s):  
Point Of View ◽  
Artistic Expression ◽  
Film Production ◽  
Theoretical Point ◽  
Artistic Practice ◽  
Photographic Image ◽  
The Past ◽  
Archival Work

Ivan Petrović (1973) has been working in the fields of photography and art for twenty years as a researcher, creator and collector. Since 1997, he has been creating and publishing photographic projects that reflect the spirit of space and time in which they are created, while in his works he uses both documentary approaches as well as research principles. In 2011, together with photographer Mihail Vasiljević, he founded a para-institution, the Centre for Photography (CEF). Despite lacking its own premises, infrastructure or funds for performing its activities, the institution deals with the search, preservation, collection and analysis of local photographic materials from recent history. In the past ten years, Petrović also moved his artistic practice beyond mere artistic expression, since he addresses the phenomena of photography from an analytical-theoretical point of view. His interest lies in the nature of the photographic image and its role in society and historiography. In this spirit, long-term projects such as Documents (1997–2008), Images (2002–), Portfolio Belgrade (2015–) and the latest film production were created. The interview with Ivan Petrović took place on 1 September 2017 in Belgrade. The main themes were the role of photography in the dominant history, the boundary between one’s own practice and archival work, photography as an art and the likes. Keywords: collection, documentary, photography's role, preservation, research

scholarly journals Religious Motifs in Polish Contemporary Art Using the Crucifixion: An Outline of the Problem

2020 ◽  
Vol 28 (1) ◽  
pp. 149-166
Author(s):  
Beata Bigaj-Zwonek
Keyword(s):  
Twentieth Century ◽  
Contemporary Art ◽  
Visual Arts ◽  
Social Problems ◽  
Human Condition ◽  
Artistic Expression ◽  
The Political ◽  
Artistic Practice ◽  
The World ◽  
Post War

Sacred motifs have a long tradition in art and ample figurative representation. They have been present in the visual arts for numerous reasons, from the need to identify faith to artistic expression based on commonly-known truths and stories saturated with meaning. In the art of the twentieth century, Christian motifs were often an excuse to speak about the world, its threats and fears, and the human condition. Polish artists frequently availed themselves of religious symbols and systems in the post-war era, and during the political transforma­tion of the 1980s, they became a way to articulate uncertainty, expectation, and hope for change. Today, the religious trope is a pretext for artistic commentary on religion, social problems, and internal issues of the creators themselves. The article explores the causes and the nature of artistic practice rooted in Christian iconography in Polish contemporary art, with a particular emphasis on the motif of the crucifixion.

Making Art in the Third Critique

2020 ◽  
pp. 145-171
Author(s):  
Abigail Zitin
Keyword(s):  
Cognitive Activity ◽  
Free Play ◽  
Aesthetic Judgment ◽  
Aesthetic Theory ◽  
Artistic Practice ◽  
The Third ◽  
Special Case ◽  
Perceptual Capacity ◽  
Making Art

This chapter inquires into the fate of artistic practice in the text responsible for making form central to the theorization of aesthetics: Immanuel Kant’s Critique of the Power of Judgment. When Kant turns his attention to art, it appears as a special case, not fully within the purview of his theory of aesthetic judgment. How might Hogarth’s practitioner-centered aesthetic theory, in The Analysis of Beauty, inform an interpretation of Kant’s Third Critique? Kant, like Hogarth before him, connects the pleasure in aesthetic judgment with the cognitive activity of formal abstraction. Thinking like an artist means exercising the perceptual capacity for formal abstraction. In Kant’s theory as well as Hogarth’s, the artist can be understood as she who models free play as a practice that can be cultivated by means of this perceptual exercise.

Computer Graphic—Aesthetic Experiments between Two Cultures

Leonardo ◽  
2007 ◽  
Vol 40 (5) ◽  
pp. 421-425 ◽  
Author(s):  
Christoph Klütsch
Keyword(s):  
Computer Graphics ◽  
Computer Graphic ◽  
Aesthetic Theory ◽  
Artistic Practice ◽  
Two Cultures ◽  
The 1950S ◽  
Information Aesthetics

The author presents a summary of his research on the Stuttgart School and information aesthetics as developed by Max Bense in the 1950s and 1960s. Three artists, Frieder Nake, Georg Nees and Manfred Mohr, adopted the use of information aesthetics in computer graphics. The author investigates the relation between artistic practice and aesthetic theory.

Acousmatic-Creationism: A creative method for acousmatic music inspired by Chilean poet Vicente Huidobro’s aesthetic theories

2020 ◽  
Vol 25 (3) ◽  
pp. 333-343
Author(s):  
Alejandro Albornoz
Keyword(s):  
Real World ◽  
Creative Process ◽  
Driving Force ◽  
Aesthetic Theory ◽  
Artistic Practice ◽  
Doctoral Thesis ◽  
The Real ◽  
Creative Strategy ◽  
Acousmatic Music ◽  
Main Ideas

This article assembles and summarises the main ideas presented in the doctoral thesis entitled ‘Voice and Poetry as Inspiration and Material in Acousmatic Music’ by the author and describes his idiosyncratic method for acousmatic composition based on Chilean poet Vicente Huidobro’s aesthetic theory, which is a system that aims at creating artistic works by taking materials from reality and combining them in unexpected ways. The objective of this combination is an equilibrium between rationality and intuition in order to obtain a poem independent of the real world, in the sense of a poetic outcome which avoids traditional mimesis. This creative system, known as Creacionismo, has a central role between various other theoretical, artistic and mainly poetic sources informing the author’s creative process. Huidobro’s creative system has been applied by the author to acousmatic composition procedures generating the notion of acousmatic-creationist as a nomenclature for the process. This particular creative strategy balances rationality and intuition within acousmatic composition and places poetry as a driving force in the use of voice, merging artistic practice and theory in a recursive action.

scholarly journals La danza como forma de conocimiento. Pensar la complejidad: quiasmos y diamantes

2020 ◽  
pp. 107-114
Author(s):  
Sara Reyes Acosta
Keyword(s):  
Aesthetic Experience ◽  
Aesthetic Theory ◽  
Artistic Practice ◽  
Playing Field ◽  
The Aesthetic

The aesthetic tools proposed in this article pursue the intention of articulating and reflecting on dance as a phenomenon and artistic practice both from its generative and reflective ability. For that purpose I establish analogies between the complexities that aesthetic theory and dance share, from the modal interrelationships proposed in Estética modal, which give us the access to think in terms of transitivity, movement and interrelation. Especially in this article, I intend to focus on the intermediate playing field of tension and conflict of the aesthetic experience from the attractive Diamond Theory

scholarly journals Vibrations of 11 March 2011 in Japan’s Performance Scene

2018 ◽  
Author(s):  
Katja Centonze
Keyword(s):  
Visual Arts ◽  
Performance Art ◽  
External Exposure ◽  
Aesthetic Theory ◽  
Polluted Environment ◽  
Artistic Practice ◽  
Strong Resonance ◽  
And Performance ◽  
Underground Music ◽  
Nuclear Crisis

This article discusses the strong resonance provoked by the 2011 triple disaster in the Japanese performance and visual arts by focusing on multimedia artist Yamakawa Fuyuki and the antinuclear activist network’s intersection with the underground music scene. Directly plugging into the disaster, Yamakawa re-elaborated his artistic practice in relation to the nuclear crisis by addressing internal and external exposure to radiation. Illustrated are connections between polluted environment, corporeality, politics and performance art, and how his performative experimentations offer novel insights into the interaction between art and disaster enhancing alternative modes of interpretation in technoscience and aesthetic theory.

scholarly journals A Study of the Aesthetic Thought and Application of "Virtual & Real" in Chinese Ink Animation from Strolling in Aesthetics ——A Case Study of Feelings of Mountains and Waters

2021 ◽  
Vol 9 (4) ◽  
Author(s):  
Xi Zhang
Keyword(s):  
Artistic Expression ◽  
Aesthetic Theory ◽  
New Era ◽  
Traditional Art ◽  
The Core ◽  
Depth Analysis ◽  
The Aesthetic ◽  
Contemporary Chinese ◽  
Aesthetic Meaning

Zong Baihua’s Strolling in Aesthetics is known as a textbook of contemporary Chinese aesthetic theory, while "virtual & real", as an important chapter in this book, is the core of Chinese traditional aesthetics. Its connotation of simple and natural aesthetic meaning has been applied in many fields with the rise of contemporary traditional art. The early ink animation Feelings of Mountains and Waters integrated this aesthetic conception deep into the film. In this paper, based on the analysis of Feelings of Mountains and Waters, a masterpiece of Chinese ink animation, and combined with the film, an in-depth analysis was carried out on the basic theoretical viewpoints in the "Virtual & Real in Chinese Artistic Expression" section in Strolling in Aesthetics. Then a summary was made on the presentation of "virtual & real" in Chinese ink animation, and a discussion was conducted on its internal association and application value with Chinese ink animation, so as to provide reference for the development of Chinese ink animation in the new era.

scholarly journals Early Romantic Aesthetic Theory and Artistic Practice of Benjamin Constant

2021 ◽  
pp. 8-47
Author(s):  
N.B. Mankovskaya ◽  
Keyword(s):  
French Literature ◽  
Critical Realism ◽  
Early Stage ◽  
Human Life ◽  
Aesthetic Theory ◽  
Artistic Practice ◽  
Artistic Creativity ◽  
Romantic Hero ◽  
Benjamin Constant ◽  
The One

The article reconstructs the aesthetics of B. Constant, one of the key figures of the early stage of the formation of French romanticism, the author of one of its first manifestos. The author reveals his aesthetic credo associated with liberalism in his views on society and art, the idea of the self-value of art, its artistic perfection, an increased interest in the national and historical origins of artistic creativity, the local uniqueness, and the character of a romantic hero — sen- sitive, sincere, and at the same time egocentric. It is shown that the vector of Constant’s aesthetic search as one of the creators and theorists of the romantic genres of drama, novel, and novella is directed to the future. He was at the origin of a new direction of French literature — psychological confessional prose. Constant, with his emphasis on the disharmony of the inner world of individuals, deep contrasts between enthusiasm and melancholy, on the one hand, and the sharpened attention to the influence of society on all aspects of human life, including artistic creativity, on the other, not only influenced the next generation of French romantics, but also received a response in Russia in relation to the phenomenon of the “extra person”. His aesthetic theory and artistic practice largely anticipated the tendencies of critical realism in nineteenth-century art and aesthetics.

scholarly journals Dekonstruksi Estetika dan Makna Musik Gamat di Sawahlunto, Sumatera Barat

2016 ◽  
Vol 16 (1) ◽  
pp. 25-35
Author(s):  
Murniati Murniati
Keyword(s):  
Social Integration ◽  
Qualitative Method ◽  
Artistic Expression ◽  
Aesthetic Theory ◽  
Social Culture ◽  
Research Results ◽  
New Form ◽  
Different Cultures

Keberagaman budaya masyarakat lokal terlihat dari kekayaan ekspresi seni budaya masyarakat,di antaranya terdapat pada musik gamat. Tulisan ini melihat dekonstruksi estetika dan makna darifenomena perubahan bentuk dan struktur sajian musik gamat di masyarakat. Untuk membahasnyadigunakan teori dekonstruksi dan estetika dengan metode kualitatif. Dekonstruksi estetika musikgamat merupakan bentuk baru dari unsur tradisi dan modern, terdiri atas struktur yang saling terkaitdan membentuk sebuah sistem. Berdasarkan bentuknya, struktur ketradisian musik gamat mengalamipercampuran pada idiom instrumen, tangga nada, struktur permainan dan peran musisi, strukturlagu-lagu, serta konteks dan waktu pertunjukan. Berdasarkan penelitian disimpulkan bahwa estetikakeberagaman terwujud dari rasa saling menerima antarbudaya yang berbeda dalam pertunjukanmusik gamat. Dekonstruksi estetika musik gamat mengandung makna makna pembauran, kreativitasdan ekspresi serta estetika multikultural.Deconstruction of Aesthetics and Meaning of Gamat Music in Sawahlunto, West Sumatra.The variety of local social culture can be seen in the richness of cultural artistic expression, among others is inGamat music. This study deconstructs the aesthetics and meaning of the phenomena of the changes in formand structure toward the presentation of Gamat music in that society. For this purpose the deconstructionaland aesthetic theory are used with qualitative method. The deconstruction of the aesthetics of Gamat musicrepresents a new form from the traditional and modern element. It consists of interrelated structure andforms a system. Seen from its form, the structure of the tradition of Gamat music  undergoes the mixture ofinstrumental idiom, the scale, the structure of performance and the role of musicians, the structure of thepieces as well as the context and time of performance.  From the research results, it may be concluded thatthe aesthetics of diversity is formed from the sense of mutual acceptance towards different cultures in theperformance of Gamat music. The deconstruction of the aesthetics of Gamat music embodies the meanings of social integration, creativity and expresssion, and multicultural aesthetics as well.

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