The Image Of The “Other” As Revealed Through Visual Arts: Backgrounds And Perspectives

2020 ◽  
Author(s):  
Nadia. S. Tjurina
Keyword(s):  
Visual Arts ◽  
The Other

Intermedialität

2006 ◽  
Vol 51 (2) ◽  
pp. 52-78 ◽  
Author(s):  
Corina Caduff ◽  
Sabina Gebhardt Fink ◽  
Florian Keller ◽  
Steffen Schmidt
Keyword(s):  
Visual Arts ◽  
The Other ◽  
Systematic Description ◽  
Artistic Representations ◽  
Music Literature ◽  
Music Film ◽  
Made In

Intermedialität wird hier systematisch an Musik, Literatur, visuelle Kunst und Film dargestellt. Den Anfang machen allgemeine Überlegungen zu Materialität und Medium in diesen verschiedenen Künsten. Im Weiteren werden unter dem Aspekt ›Bimedialität‹ verschiedene Beispiele vorgestellt, die jeweils aus zwei Medien bestehen (z.B. Musikfilm, das Lied oder Schriftbilder). Dabei folgen wir der Frage, ob und wie jeweils eines der beiden Medien eine Vorrangstellung bekommt. Der abschließende Teil behandelt „intermediale Bezüge in Monomedialität“. Hier geht es um monomediale Darstellungen, denen aber eine Beschäftigung mit einem anderen Medium vorangegangen ist. Das ist etwa dann der Fall, wenn ein Schriftsteller über ein Bild schreibt, ohne daß dieses (im Text) zu sehen ist. In this article, we offer a systematic description of intermedia relations across music, literature, the visual arts, and film. Beginning with some general reflections on materiality and medium in these diverse fields of art, we then offer various examples consisting of two media (e.g. music film, song, images in writing). We pursue the question if, and how, one of the two media may take priority over the other. In our conclusion, we deal with „intermedia relations in monomediality“. This section focuses on artistic representations made in one medium, but based on reflections on another medium. For instance, this is the case when a novelist writes about a picture without having this picture reprinted in the text.

Toward an international art library: the growth of the Research Library at the Getty Research Institute, 1979-2002

2002 ◽  
Vol 27 (4) ◽  
pp. 25-32 ◽  
Author(s):  
Susan M. Allen
Keyword(s):  
Visual Arts ◽  
Research Program ◽  
Art History ◽  
General Public ◽  
The Other ◽  
Research Library ◽  
Grant Program ◽  
Research Institute

The Getty Research Institute (GRI) is one of four programs of the J. Paul Getty Trust, an international cultural and philanthropic institution devoted to the visual arts, all of which reside at the Getty Center situated high on a beautiful hilltop in Brentwood, California. (The other programs of the Getty Trust are the J. Paul Getty Museum, the Getty Conservation Institute, and the Getty Grant Program.) From the beginning it was understood that the GRI would develop a research program in the discipline of art history and more generally the humanities, and that a library would support its work. Since its founding the GRI has, in fact, developed a major library as one of its programs alongside those for scholars, publications, exhibitions and a multitude of lectures, workshops and symposia for scholars, students and the general public. What is now known as the Research Library at the GRI has grown to be a significant resource and this article focuses on its history, the building that houses it, its collections and databases, and access to them all.

The Structural Framework of Pictorial Balance

Perception ◽  
1996 ◽  
Vol 25 (12) ◽  
pp. 1419-1436 ◽  
Author(s):  
Paul Locher ◽  
Sharon Gray ◽  
Calvin Nodine
Keyword(s):  
Visual Arts ◽  
Structural Features ◽  
Original Compositions ◽  
The Other ◽  
Global Integration ◽  
Artistic Style ◽  
Structural Framework ◽  
Museum Professionals ◽  
Balance Structure ◽  
Good Agreement

Two experiments were performed to examine how the subjective balance of a painting is created by its structural features and to determine if balance influences the way people look at paintings. Stimuli consisted of sixteen reproductions of twentieth-century paintings varying in artistic style and a reconstructed less-balanced version of each. Participants in experiment 1 determined the location of the balance center of each composition, assigned ‘weights’ to the pictorial features which contributed to the location of the balance center, and rated the picture for balance. It was found that design and museum professionals and individuals untrained in the visual arts were in good agreement as to the structural framework underlying the balance organization of a painting. For all participants, disruption of the balanced organizations of the original compositions led to reliable shifts in the location of the perceived balance centers of the originals compared with their less-balanced perturbations. Additionally, it was observed that particular features as such were not the origin of the balance phenomenon; rather, judgments concerning the balance structure and its center were dependent on the global integration of information across a wide area of the display field, but especially from its central region. Last, the subtle changes in balance structure between versions resulted in lower ratings of balance being assigned to the less-balanced perturbations by the design professionals only; the other two participant groups evaluated overall balance of the versions as comparable. In experiment 2, eye movements of a different group of untrained individuals were recorded as they performed similar tasks on the art stimuli. It was found that disruption of the balance structure of the original representational but not abstract compositions resulted in different regions of the original and perturbed versions being visually explored. Findings of both experiments are related to theoretical notions of balance.

scholarly journals Medialness and the Perception of Visual Art

2017 ◽  
Vol 5 (2) ◽  
pp. 169-232 ◽  
Author(s):  
Frederic Fol Leymarie ◽  
Prashant Aparajeya
Keyword(s):  
Visual Arts ◽  
Visual Art ◽  
Medial Axis ◽  
The Other ◽  
Mathematical Representation ◽  
Creative Performance ◽  
Core Feature ◽  
Art Analysis ◽  
The One ◽  
Cartoon Animation

In this article we explore the practical use of medialness informed by perception studies as a representation and processing layer for describing a class of works of visual art. Our focus is towards the description of 2D objects in visual art, such as found in drawings, paintings, calligraphy, graffiti writing, where approximate boundaries or lines delimit regions associated to recognizable objects or their constitutive parts. We motivate this exploration on the one hand by considering how ideas emerging from the visual arts, cartoon animation and general drawing practice point towards the likely importance of medialness in guiding the interaction of the traditionally trained artist with the artifact. On the other hand, we also consider recent studies and results in cognitive science which point in similar directions in emphasizing the likely importance of medialness, an extension of the abstract mathematical representation known as ‘medial axis’ or ‘Voronoi graphs’, as a core feature used by humans in perceiving shapes in static or dynamic scenarios. We illustrate the use of medialness in computations performed with finished artworks as well as artworks in the process of being created, modified, or evolved through iterations. Such computations may be used to guide an artificial arm in duplicating the human creative performance or used to study in greater depth the finished artworks. Our implementations represent a prototyping of such applications of computing to art analysis and creation and remain exploratory. Our method also provides a possible framework to compare similar artworks or to study iterations in the process of producing a final preferred depiction, as selected by the artist.

The avant-garde’s visual arts in the context of Santayana’s idea of vital liberty

Human Affairs ◽  
2012 ◽  
Vol 22 (2) ◽  
Author(s):  
Krzysztof Skowroński
Keyword(s):  
Twentieth Century ◽  
Visual Arts ◽  
The Other ◽  
Political Life ◽  
The Political ◽  
Human Beings ◽  
Political Dimension ◽  
Avant Garde ◽  
Other Hand ◽  
The Universe

AbstractIn the present paper, the author looks at the political dimension of some trends in the visual arts within twentieth-century avant-garde groups (cubism, expressionism, fauvism, Dada, abstractionism, surrealism) through George Santayana’s idea of vital liberty. Santayana accused the avant-gardists of social and political escapism, and of becoming unintentionally involved in secondary issues. In his view, the emphasis they placed on the medium (or diverse media) and on treating it as an aim in itself, not, as it should be, as a transmitter through which a stimulating relationship with the environment can be had, was accompanied by a focus on fragments of life and on parts of existence, and, on the other hand, by a de facto rejection of ontology and cosmology as being crucial to understanding life and the place of human beings in the universe. The avant-gardists became involved in political life by responding excessively to the events of the time, instead of to the everlasting problems that are the human lot.

Jewish Ham

2018 ◽  
pp. 103-134
Author(s):  
Lindsay Kaplan
Keyword(s):  
Visual Arts ◽  
The Other ◽  
The Reformation ◽  
The Way ◽  
Patristic Exegesis

Many scholars have considered how the curse of Ham in Genesis serves as a justification for the enslavement of Africans. However, in seeking for the origin of Ham’s purported blackness, they overlook his association with Jewish hereditary inferiority. Originating in patristic exegesis, this idea circulates widely in medieval visual arts and popular discourses. While medieval Christian commentaries on Genesis that link Ham to Africa do not mention Noah’s curse, the idea of Jewish cursed servitude appears adjacent to these considerations, thus paving the way for a transfer of hereditary inferiority from one group to the other. The association of Jews with Ham continues into the Reformation, but subsides as the imperative to subordinate Jews gives way to intra-Christian enmity. The figure of Ham as representing a curse of Jewish perpetual slavery is eclipsed by a more profitable, opportunistic application to Africans that justifies their enslavement.

The Aesthetic Mediation

2018 ◽  
pp. 143-200
Author(s):  
Richard Viladesau
Keyword(s):  
Nineteenth Century ◽  
Visual Arts ◽  
The Other ◽  
Romantic Period ◽  
Popular Piety ◽  
Biblical Scholarship ◽  
Other Hand ◽  
The Cross ◽  
The Aesthetic ◽  
Naturalistic Realism

In the visual arts of the Romantic period the crucifixion of Christ often became a representation of the sufferings of humanity. Caspar David Friedrich’s paintings placed the cross in the context of the immensity of nature. Toward the end of the nineteenth century there was an increasing tendency to portray Jesus’ suffering in the genre of naturalistic realism. Some painters consciously attempted to incorporate the findings of modern biblical scholarship, rather than follow traditional models. Early film representations, on the other hand, tended to rely on classical types and popular piety.

Art History: A Very Short Introduction

2020 ◽  
Author(s):  
Dana Arnold
Keyword(s):  
Visual Arts ◽  
Art History ◽  
The Other ◽  
Short Introduction ◽  
Western Art ◽  
Wide Range ◽  
Critical Approaches ◽  
Key Aspects ◽  
The Impact ◽  
Global Art

Art history encompasses the study of the history and development of painting, sculpture, and the other visual arts. Art History: A Very Short Introduction considers the issues, debates, and artefacts that make up art history. It explores the emergence of social histories of art and, using a wide range of images, it discusses key aspects of the discipline including how we write about, present, read, and look at art, and the impact this has on our understanding of art history. This second edition includes a new chapter on global art histories, considering how the traditional emphasis on periods and styles in art originated in Western art and can obscure other critical approaches and artwork from non-Western cultures.

The Return of Miserabilism: Richard Billingham's Ray & Liz

2019 ◽  
Vol 73 (1) ◽  
pp. 33-41
Author(s):  
J. M. Tyree
Keyword(s):  
Visual Arts ◽  
The Other ◽  
Film Culture ◽  
Feature Film ◽  
Narrative Cinema ◽  
Contemporary Cinema ◽  
Historical Art

This essay discusses Richard Billingham's debut feature film, Ray & Liz (2018), through the lens of miserabilism as both an historical art movement and as an endemic feature of British film culture. The film provides both continuity and innovation in Billingham's work, connecting with his 1990s photographs of his family (originally displayed alongside the work of other Young British Artists [YBAs] at the London Sensation exhibition in 1997), and introducing new formal aspects of narrative cinema into his career in the visual arts. Called a “cine-memoir” by Billingham, Ray & Liz portrays incidents from the artist's family's life and his own upbringing near Birmingham, focusing on his father's alcoholism and his parents' loss of custody of Billingham's brother. The film questions many of the assumptions about how poverty is represented in contemporary cinema and challenges the tendencies of miserabilism towards apolitical nihilism on one hand and simplistic message-making on the other.

scholarly journals Gris: metáfora, símbolo y relato en (inter)acción.

Sincronía ◽  
2021 ◽  
Vol XXV (80) ◽  
pp. 314-334
Author(s):  
Ismael Antonio Borunda Magallanes ◽  
Keyword(s):  
Visual Arts ◽  
Video Game ◽  
Symbolic Representation ◽  
The Other ◽  
Psychological Process ◽  
Other Hand ◽  
Theoretical Perspectives ◽  
History Of Art ◽  
History Of ◽  
Narrative Hermeneutics

Gris, an independent Spanish video game, explores the expressive possibilities of this creative medium through a story that is, on one hand, a symbolic representation of the psychological process of the protagonist, and, on the other hand, a foundational narrative about the loss and recovery of identity. This title employs the expressive tools of the history of art to build its aesthetic proposal; in particular, it is categorically placed in the line of surrealism as an artistic current. The analysis of this elements is realized through fundamental notions of rhetoric and poetics, referencing authors such as Helena Beristáin and Carmen Bobes, and the narrative hermeneutics of Paul Ricoeur, as well as theoretical perspectives that allow building bridges of analysis between literature and the visual arts.

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