Abstract Art and the Aesthetic View beneath the Art of Teaching

2021 ◽  
Author(s):  
MARIA CECILIA DE LUNA
Keyword(s):  
Abstract Art ◽  
Art Of Teaching ◽  
The Aesthetic

Materialities of Abstraction

2021 ◽  
Vol 67 (2) ◽  
pp. 191-214
Author(s):  
Brandon Truett
Keyword(s):  
Material Culture ◽  
Virginia Woolf ◽  
Literary History ◽  
Abstract Art ◽  
Artistic Practice ◽  
Material World ◽  
Bloomsbury Group ◽  
Art Object ◽  
Visual Artist ◽  
The Aesthetic

This article recovers the 1918 chapbook that the understudied Vorticist poet and visual artist Jessie Dismorr composed for the American sculptor John Storrs and his wife Marguerite. It examines the ways the chapbook reorients the aesthetic criteria by which we recognize abstraction in the early twentieth century. Studying how Dismorr’s divergent and feminist approach to Vorticist practice exploits “the materialities of abstraction,” or the traces of the material world that evince the outside of the abstract art object, it suggests that these material traces lead us to reimagine the boundary between inside and outside, and thus the way an art object indexes and interacts with the material world. Proposing that the recovery of an object as seemingly inconsequential as an individual chapbook in fact raises questions about how we construct the literary- and art-historical field of modernism, the article situates Dismorr’s work in relation to other feminist understandings in British modernism of the socialized space of artistic practice across media exemplified by Virginia Woolf ’s account of sociability within the Bloomsbury Group, and argues for the importance of such unique objects as chapbooks to the study of material culture within literary history and within art history as well.

The Contribution of Visual Area V5 to the Perception of Implied Motion in Art and Its Appreciation

2021 ◽  
pp. 107-111
Author(s):  
Marcos Nadal ◽  
Zaira Cattaneo
Keyword(s):  
Transcranial Magnetic Stimulation ◽  
Brain Region ◽  
Magnetic Stimulation ◽  
Visual Area ◽  
Abstract Art ◽  
Causal Role ◽  
Motion Information ◽  
Aesthetic Appreciation ◽  
Implied Motion ◽  
The Aesthetic

Does V5, a brain region involved in the perception of movement, contribute to the aesthetic appreciation of artworks that depict movement? In the study under discussion, the authors asked participants to view abstract and representational artworks depicting motion. While they judged the sense of motion conveyed by the artworks and how much they liked them, the authors delivered transcranial magnetic stimulation (TMS) over V5. They found that TMS over V5 reduced the sense of motion participants perceived and reduced how much participants liked the abstract paintings. These results show, first, that V5 is involved in extracting implied motion information even when the object whose motion is implied is not real. Second, they show that V5 is involved in extracting implied motion information even in the absence of any object, as in the abstract paintings. Finally, they show that activity in V5 plays a causal role in the appreciation of abstract art.

scholarly journals The Significance of the Logo of NEOM in Plasticizing Contemporary Abstract Artworks

2018 ◽  
Vol 11 (7) ◽  
pp. 54
Author(s):  
Elham Abdullah Rayes
Keyword(s):  
Experimental Approach ◽  
Female Students ◽  
Abstract Art ◽  
Aesthetic Value ◽  
High Quality ◽  
Plastic Arts ◽  
The Arts ◽  
Quasi Experimental ◽  
Descriptive Approach ◽  
The Aesthetic

The current study aimed at plasticizing contemporary artworks by activating the formal and denotative significances of the logo of NEOM through the concept of abstract art. To achieve the study objectives, participants were asked to plasticize contemporary artworks using multiple-sized canvas, several coloring materials, a computer and some software as a technological medium, and high-quality printer papers to activate the significances of the logo of NEOM. Abstract artworks were displayed and analyzed in the light of activating the formal and denotative significances of the logo of NEOM. The author follows the descriptive approach and the quasi-experimental approach. The experiment was applied to female students in the Arts Lab at Umm Al-Qura University in 2018/ 1439H. The experiment yielded the ability of activating the logo of NEOM in artworks (plastic works), combining the significances of the logo of NEOM and abstract art produces unusual artworks, plastically activating the logo of NEOM resulted in enriching the aesthetic value of artworks, and formal and denotative significances of the logo of NEOM enrich plastic arts especially abstract works. The author recommends keeping up with contemporary progress and events and inspiring plastic artworks from the reality around the artist.

TRENDS IN CONTEMPORARY PAINTINGS

2019 ◽  
Vol 7 (11) ◽  
pp. 154-160
Author(s):  
Vivek Nimbolkar ◽  
Alka Khade
Keyword(s):  
Abstract Art ◽  
Abstract Painting ◽  
Concrete Form ◽  
Form Alone ◽  
Music And Architecture ◽  
The Aesthetic

Before there was an art of abstract painting, it was already widely believed that the value of a picture was a matter of colors and shapes alone. Music and architecture were constantly held up to painters as examples of a pure art which did not have to imitate objects but derived its effects from elements peculiar to itself. But such ideas could not be readily accepted, since no one had yet seen a painting made up of colors and shapes, representing nothing. If pictures of the objects around us were often judged according to qualities of form alone, it was obvious that in doing so one was distorting or reducing the pictures; you could not arrive at these paintings simply by manipulating forms. And in so far as the objects to which these forms belonged were often particular individuals and places, real or mythical figures, bearing the evident marks of a time, the pretension that art was above history through the creative energy or personality of the artist was not entirely clear. In abstract art, however, the pretended autonomy and absoluteness of the aesthetic emerged in a concrete form. Here, finally, was an art of painting in which only aesthetic elements seem to be present.

scholarly journals Analysis of philosophy and humanization art relationship in the first decade of the XX century

2019 ◽  
Vol 72 ◽  
pp. 03050
Author(s):  
Alla Matveeva ◽  
Roman Krasnov ◽  
Elena Atmanskykh ◽  
Regina Zaynetdinova
Keyword(s):  
Philosophical Analysis ◽  
Abstract Art ◽  
Methodological Basis ◽  
The Aesthetic ◽  
Unambiguous Conclusion

When writing the article, the authors pursued one goal: to understand why extreme subjectivity in art, the abandonment for centuries of setting traditions, laws and techniques in art led to the loss of aesthetic criteria by the modernism art, and what philosophical trends influenced this process. The methodological basis of the article is the principles of integrity, objectivity and historicism. The following methods were applied: historical and philosophical analysis, focused on the objective completeness of the study; cultural and comparative approaches aimed at establishing spiritual ties between artists of different historical eras. The article analyzes the works of philosophers and artists, such as: Bergson, Schopenhauer Nietzsche, Chirico, Apollinaire, Lenin, Bru, Kandinsky. Various directions of bourgeois art are considered. The authors believe that abstract art, fully antisocial and dehumanized, fully meets the aesthetic ideals of the modernism art, which opposed itself to human from its very birth. The authors argue that if you take the artists’ position of that time, you can make an unambiguous conclusion, the dehumanization of art could not be avoided. According to the authors, abstract art, fully antisocial and extremely dehumanized, is fully consistent with the goals of bourgeois ideologists and fully meets the aesthetic ideals of the art of modernism, which has opposed itself to man since its inception.

scholarly journals Arts-Based Instructional Leadership: Crafting a Supervisory Practice that Supports the Art of Teaching

2008 ◽  
Vol 3 (1) ◽  
Author(s):  
Zach Kelehear
Keyword(s):  
Instructional Leadership ◽  
Implementation Study ◽  
Preliminary Results ◽  
Art Form ◽  
Art Of Teaching ◽  
Principles Of Design ◽  
The Aesthetic ◽  
Supervisory Practice

If teaching at its best is an art (Davis, 2005; Sarason, 1999; Grumet, 1993; Eisner, 1985; Barone, 1983; Greene, 1971; Smith 1971), then instructional leadership of teaching, done best, must also be based in art (Behar-Horenstein, 2004; Klein, 1999; Eisner, 1983 & 1998a; Blumberg, 1989; Barone, 1998). The author examines possible applications of an arts-based approach to instructional leadership (Blumberg, 1989; Pajak, 2003; Barone, 1998). Building on the research base regarding instructional leadership as art form, the author combines the Feldman Method (Feldman, 1995) of critique, Eisner’s (1998) notion of connoisseurship and Ragans’ (2005) articulation of the elements of art and the principles of design to construct a practice that captures both the technical craft of teaching and the aesthetic dimensions evident in artistic pedagogy (Eisner, 1983; Sarason, 1999). Preliminary results of an ongoing implementation study are presented.

scholarly journals Perceptual Organisation Affects Perception and Appreciation of Abstract Art: A Case Study with Black Square and Red Square by Kazimir Malevich

2021 ◽  
pp. 1-45
Author(s):  
Arefe Sarami ◽  
Reza Afhami ◽  
Johan Wagemans
Keyword(s):  
Original Artwork ◽  
Abstract Art ◽  
Aesthetic Appreciation ◽  
Simultaneous Presence ◽  
Relative Configuration ◽  
Aesthetic Preference ◽  
The Aesthetic ◽  
Original Configuration

Abstract Perceptual organisation is hypothesised as a key in the perception and appreciation of abstract art. Here, we investigated how relational and compositional features affected the perception and aesthetic appreciation of Black Square and Red Square by Kazimir Malevich (1915). We studied how (i) the presence and obliquity of the red square and (ii) the relative configuration of the black and red square affected the detectability of the obliquity of the black square in this artwork. Results showed that the simultaneous presence and obliquity of the red square masked the obliquity of the original black square. The likelihood of the black square being incorrectly perceived as an exact square was always maximum in the original configuration and even slight alterations in the original configuration of the work resulted in the obliquity of the black square to be noticed. The original artwork was more aesthetically preferred compared to its alternatives. We argue that the artist may have intentionally set the configuration to mask the obliquity of the black square and maximise the aesthetic preference.

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