Optical Art: Theory and Practice

Art Education ◽  
1969 ◽  
Vol 22 (9) ◽  
pp. 38
Author(s):  
Perry Kelly ◽  
Rene Parola
Keyword(s):  
Theory And Practice ◽  
Art Theory

scholarly journals Primitive and Traditional Art in Modern Art Theory and Practice

2020 ◽  
Author(s):  
Marina Mikhailovna Novikova
Keyword(s):  
Subject Matter ◽  
Modern Art ◽  
Traditional Culture ◽  
Theory And Practice ◽  
Art Theory ◽  
Artistic Creativity ◽  
Traditional Art ◽  
The Subject ◽  
Symbolic Content ◽  
Formal Techniques

The article is devoted to identifying the points of contact between primitive and modern cultures. The subject matter is based on the theory and practice of artistic creativity, its origins and aesthetic potential. The article reveals the degree of influence of the figurative-semantic and symbolic content of primitive and traditional culture on modern artistic creativity: on stylistic, formal techniques, themes, images; in General, on artistic thinking.

Alterity in Art: Towards a Theory and Practice of Infra-thin Critique

Paragraph ◽  
2014 ◽  
Vol 37 (3) ◽  
pp. 356-371 ◽  
Author(s):  
Siobhán Shilton
Keyword(s):  
Contemporary Art ◽  
Theory And Practice ◽  
Art Theory ◽  
Aesthetics Of Resistance ◽  
Different Cultures ◽  
The Relationship

This article explores distinctively visual presentations and performances of alterity from the perspective of art theory and practice. It gives particular attention to Marcel Duchamp's notion and practice of the infra-mince. The ‘infra-thin’ is not usually related to postcolonial questions. However, numerous evocations of alterity in contemporary art, this article argues, resonate with Duchamp's infra-thin — not only in their practices but also in the ways in which they present the relationship between different cultures and views of ‘difference’. Focusing on artwork responding to the ‘Arab Springs’ as a striking instance of wider aesthetics of resistance, this article shows how such art can be seen to adapt the infra-thin for the purposes of a multidirectional critique.

Flatness in Dutch Art: Theory and Practice

2008 ◽  
Vol 121 (2-3) ◽  
pp. 153-184
Author(s):  
Paul Taylor
Keyword(s):  
Theory And Practice ◽  
Art Theory ◽  
Dutch Art

scholarly journals Art politicking in postwar Yugoslavia

2011 ◽  
pp. 533-546
Author(s):  
Dragan Calovic
Keyword(s):  
Time Span ◽  
Theory And Practice ◽  
Art Theory ◽  
Work Time ◽  
Ideological Position ◽  
Specific Manifestation

In this paper, we are focusing on the process of art politicking in Yugoslav art theory in the period from 1945 to 1952. The work time span is determined by the existence of the Apparatus for agitation and propaganda, by means of which the development of art theory and practice was greatly determined in the postwar Yugoslavia. The set problem is to be approached through consideration of demands which official art theory was set to Yugoslav artist of this period, as well as through consideration of artistic and theoretic frames by which perspective of art politicking was determined. In this paper, art politicking is seen like specific manifestation of ideological position by which official political platform in the period from 1945 to 1952 was built. According to this, interpretation of art politicking not only as act of propaganda, but as well as symbol of fight for accomplishment of vision of new Yugoslav society is proposed.

scholarly journals Chinese and Painting: an outsider's, inside experience of the Lingnan School and Xie He's writings.

2021 ◽  
Author(s):  
◽  
Margaret Piggott Jiang
Keyword(s):  
Personal Experience ◽  
Fine Arts ◽  
Theory And Practice ◽  
Third Generation ◽  
Art Theory

<p>In this thesis, I draw on personal experience and contact with painters from within the Academy [of Fine Arts] structure, art associations, societies and individual practitioners, both in China and overseas. I choose to use the materials of brush, ink and paper that make up the treasures of the artist's studio. My understanding and interpretation is based on my experience as apprentice to master Fang Chuxiong, a third generation master of the Lingnan School. My perceptions were further shaped by the discussions on art theory and practice I had with masters and professors from both within the Lingnan School and outside the academy structure.</p>

The Crystal Interface in Contemporary Art: Metaphors of the Organic and Inorganic

Leonardo ◽  
2010 ◽  
Vol 43 (3) ◽  
pp. 250-255 ◽  
Author(s):  
Mark A. Cheetham
Keyword(s):  
Contemporary Art ◽  
Theory And Practice ◽  
Art Theory ◽  
Science And Art ◽  
Art Production ◽  
Crystal Interface

What the author calls the “crystal interface” presents an opportunity to historicize and theorize the remarkable fascination with crystals found in contemporary art theory and practice. In aesthetics, science and art production, the crystal materializes intimations of transparency, of vitalistic transformation or of a purist stability. It powerfully articulates a line or gradation between the organic and inorganic. The author's goal is to create a context in which to understand the recourse to the crystal in contemporary art, specifically in the work of Roger Hiorns, David Altmejd and Gerard Caris. As a frame, the author examines Schopenhauer's, Worringer's and Deleuze and Guattari's adoption of the crystal as metaphor and material exemplar.

scholarly journals Tele-kiss. Nam-June Paik’s expanded media in the light of Zen Buddhism

2021 ◽  
Vol 28 (37) ◽  
pp. 308-316
Author(s):  
Kamil Lipiński
Keyword(s):  
Zen Buddhism ◽  
Participatory Culture ◽  
Theory And Practice ◽  
Industrial Society ◽  
Art Theory ◽  
Special Stress ◽  
The Subject ◽  
Post Industrial ◽  
Insight Into ◽  
Broad Overview

The article offers a broad overview of Nam-June Paik’s ideas of the expansion of video arts interpreted in the light of Zen Buddhism. His works recognized as the most significant examples of his marriage between the art theory and practice are marked by a thought-provoking vision of participatory culture, communicated in-between the networks in the post-industrial society. Our purpose is to reexamine his attitude to TV culture in the oscillation between Western and Eastern gaze considered in connection to the problems of emptiness and meditation drawn from Zen religious beliefs. In discussing his installations there is special stress to reconstruct his inner-insight into the subject of seeing and watching inscribed in a closed-circuit of the communication network.

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