scholarly journals Interpretation of 9 Selected Visual Works of Contemporary Young Talent from the Context of the National Cultural Policy Core

2018 ◽  
Vol 3 (2) ◽  
pp. 43-60
Author(s):  
Firdaus Naif Omran Zailuddin ◽  
◽  
Muhammad Abdullah ◽  
Hawari Berahim ◽  
Azharudin Mappon
Keyword(s):  
National Culture ◽  
Indigenous Peoples ◽  
Visual Arts ◽  
Cultural Policy ◽  
Visual Art ◽  
Art Criticism ◽  
Cultural Elements ◽  
Visual Elements ◽  
Art Works

Contemporary Young Talent (CYT) is a visual arts competition organized by the National Visual Arts Gallery (NVAG) which is the most prestigious in Malaysia. Its 40 years of organization have successfully produced many renowned artists who are now pioneers in the Malaysian and regional visual arts arena. In line with the strength of CYT as a reflection of the future of Malaysian visual arts and the role of art as a cultural vehicle, the objective of the study is to analyze and further dismantle the latest visual art works of Malaysian artists from the perspective of national culture through the CYT platform from 2000 to 2013. This study aims to clearly understand the visual elements and features that are the cultural identity in the latest Malaysian visual arts. This objective was achieved through observation and reading of CYT catalog books published by NVAG, scholarly books, journals, and relevant previous studies as well as interviews on three artists and academics who won the CYT competition. This study uses a qualitative approach, guided by the 4 components of the theory of art criticism Feldman E.B. (1994) namely description, analysis, interpretation and evaluation. 9 works will be analyzed from the aspects of ‘form’ and ‘meaning’. The results of the work analysis will be compared with national cultural elements (data triangulation) and then justify and classify CYT visual art works based on the 3 cores of the National Cultural Policy, namely, the culture of the region's indigenous peoples, other appropriate cultures and Islamic culture through descriptive text.). This study is important to create awareness, deeper appreciation and provide knowledge to art admirers in understanding the meaning and approach and content in the latest visual artwork. The results of the study through descriptive texts explain the existence of national cultural elements and their relationship in selected contemporary works of CYT (2000-2013).

scholarly journals PSIKOLOGIS DALAM SENI: KATARSIS SEBAGAI REPRESENTASI DALAM KARYA SENI RUPA

2020 ◽  
Vol 2 (2) ◽  
pp. 105
Author(s):  
Ernawati Ernawati
Keyword(s):  
Visual Arts ◽  
Personal Experience ◽  
Visual Art ◽  
Qualitative Method ◽  
Multidisciplinary Approach ◽  
Visual Image ◽  
Psychological Aspects ◽  
Visual Elements ◽  
The Arts

Tujuan penelitian ini adalah mengungkap peran aspek psikologis katarsis dalam karya seni rupa. Prinsip seputar psikis dapat dipraktikan dalam karya seni, salahsatunya gerakan seni rupa kontemporer. Kajian karya berdasarkan aspek psikologis, salah satunya katarsis termasuk hal yang krusial untuk dilakukan.  Metode pada penelitian ini menerapkan metode kualitatif dengan pendekatan multidisiplin (psikologi seni dan semiotika). Hasil penelitian menunjukkan bahwa Perspektif lebih obyektif karena seniman sebagai kreator berbanding lurus dengan karya yang disajikan. Elemen visual yang dipilih dan disajikan seniman tersusun berdasarkan kemampuan kreatif menyusun citra visual yang berangkat dari aspek pengalaman yaitu berupa rasa khawatir/kegelisahan atau ketakutan yang mendasarinya dalam berkarya. Karya seni yang terwujud representasi dari dunia psikis seniman sebagai kreator. Pendekatan psikologis dalam berkarya dengan dipadukan kemampuan akademik dari aspek keilmuan seni rupa setidaknya mampu memperkaya keilmuan dalam keberagaman seni rupa. Dalam konstelasi seni rupa Indonesia kontemporer, kajian dari perspektif psikologis, khususnya katarsis pada karya seni berelasi dengan psikobiografi atau pengalaman pribadi seniman. This research aims to explore the role of catharsis psychological aspects in visual artwork. The principle surrounding the psychic can be practiced in the artwork. One of them is contemporary art movements. A study of works based on psychological aspects, one of which is cathartic includes the crucial thing to do.  The method in this study implements a qualitative method with a multidisciplinary approach (the psychology of Art and semiotics). The results show that perspective is more objective because the artist as a creator is directly proportional to the work showed.The selected and presented visual elements by the artist are arranged based on a creative ability to compose a visual image that influences the experience aspect of worry/anxiety or fear underlying it in the works. The artwork embodied is a representation of the part of a psychic artist as creator. The psychological approach of working combined with the academic ability of the science aspect of the arts is at least, capable of enriching science in the diversity of visual arts. In the constellation of contemporary Indonesian visual art, a study from a psychological perspective, especially catharsis on artwork relates to a psychobiography or an artist's personal experience.

The Changing Role of Art and Interpretations of Art in Contemporary Societies

2017 ◽  
pp. 1-9
Keyword(s):  
Contemporary Art ◽  
Visual Art ◽  
Modern Art ◽  
Modern Science ◽  
Art Works ◽  
Rule Breaking ◽  
Changing Role

In this chapter the changing role of art and interpretations of art in contemporary societies are discussed. Visual art works are always open to a great diversity of possible interpretations, impressions and opinions. There are also vastly differing opinions and ideas about what art is or should be. What characterizes contemporary art is the idea that it is one of the areas freedom that allow and encourage rule-breaking and visions. In short, it is the refuge of imagination in a society that otherwise is built on modern science, logic and reflexivity. For some that freedom and imagination is too much: modern art may include elements of carnival madness, sophomoric humour, cheap publicity-seeking or hoax – in addition to great art providing deep experiences and/or thoughts to people who cherish the opportunity to feed their souls with art. Viewing art can be a deeply intimate individual process or a social statement, sometimes both of these. However, this book also offers consolation to all art lovers: art itself is globally in no danger of disappearing as a result of any political or commercial pressure.

scholarly journals THE ROLE OF VISUAL ARTS IN BALANCING ADVERSE SITUATIONS IN INDIA

2020 ◽  
Vol 8 (7) ◽  
pp. 358-361
Author(s):  
Alpana Upadhyaya ◽  
Vinny Wadhwa
Keyword(s):  
Visual Arts ◽  
Visual Art ◽  
Positive Thinking ◽  
Negative Thinking ◽  
Inner World ◽  
And Control

Life has a strange way to unfold. Anything that exists on this Earth comes out of action, but the action only derives its fruits if it’s aligned with your inner world. Adverse situations in life will happen despite all the precautions and safeguards we put in place, in an attempt to prevent or at best avoid their effects. In this, people must concentrate on how to react and control the emotions in this situation. How to overcome negative thinking with the positive one? Positive thinking just means that you approach unpleasantness in a more positive and productive way. Visual Art can be a refuge for intense emotions and illness in adverse situations. Visual art draws people’s attention to details and the environment, which creates a distraction from day-to-day thoughts. No matter whether people chose visual arts to create for ourselves or simply observe or enjoy it.

scholarly journals Empowering Pasifika Students to Express their Identities through Visual Arts in New Zealand Secondary Schools: The Role of Euro-descendent Teachers

2016 ◽  
Vol 18 (2) ◽  
pp. 85 ◽  
Author(s):  
Jill Elizabeth Smith
Keyword(s):  
New Zealand ◽  
Young People ◽  
Secondary Schools ◽  
Ethnic Group ◽  
Visual Arts ◽  
Art Teachers ◽  
European Research ◽  
Art Works ◽  
Pasifika Students

The greatest numbers of young people in New Zealand are from Pasifika peoples’ ethnic groups. In contrast, art teachers in secondary schools are predominantly European. Research conducted in 2015, which investigated how art teachers are responding to the increasing diversity of students, uncovered important insights. This article provides “snapshots” of how four European-New Zealand art teachers, who work in schools where Pasifika students comprise the largest ethnic group, are empowering them to express themselves within their cultural milieu. Articulated through the voices of the art teachers, the stories of these students are visualized through examples of their art works.

scholarly journals Contemporary Russian street art. Formation and development

2021 ◽  
Vol 59 ◽  
pp. 343-351
Author(s):  
Vasily P. Veshnev ◽  
Dmitry G. Tkach
Keyword(s):  
Visual Culture ◽  
Visual Art ◽  
Street Art ◽  
Subsequent Formation ◽  
Art And Design ◽  
Art Works ◽  
Media Space ◽  
Public Recognition ◽  
Characteristic Features

The paper provides an overview of the main periods of formation of Russian street art as an artistic phenomenon. It analyzes the role of leading authors and associations that have played a key role in the development of this type of art. The study identified the structure and characteristic features of Russian street art. Street art is a specific form of contemporary urban visual art, characterized by a wide variety of creative concepts and artistic techniques. Street art works are always contextual, to a greater or lesser extent integrated into the urban aesthetic and communication environment, and as a rule, stylistically and thematically relevant, aimed at direct dialogue with the viewer. In Russia, street art emerged in the late 1990s and early 2000s as a continuation of artistic practices of the graffiti subcultures and included three periods of its subsequent formation and development: 1995–2005 — the formation of an artistic phenomenon; 2005–2015 — development and public recognition; 2015 till present — active expansion into the information and media space, into the field of art and design, institutional recognition. The development of street art in Russia, as well as throughout the world, is affected by the global mass visual culture, however, in the last decade, an alternative trend has been gaining momentum, which consists in the active use of national artistic and imaginative content. Thus projects reflecting socio-political and cultural agenda that is relevant for Russia and timed to coincide with memorable dates and major events in the country are being promoted and approved.

scholarly journals "RUSHNYK-TOWEL OF NATIONAL UNITY" AS A CULTURAL AND CONSOLIDATING FACTOR OF UKRAINIANS

2018 ◽  
pp. 148-150
Author(s):  
Liudmyla Sorochuk
Keyword(s):  
National Culture ◽  
Cultural Policy ◽  
Colonial Period ◽  
National Unity ◽  
Post Colonial ◽  
The Awakening ◽  
Folk Traditions ◽  
Self Organized ◽  
Ukrainian Society

The question of the functioning of the ethnocultural tradition in the post-colonial period is considered, which is a significant factor in the unification of the Ukrainian nation. The article focuses on the fact that folk art, namely the manufacturing and embroidery of a towel, is an embodiment of the ideals of folk thinking and ideological foundations, where symbols-amulets of our people are coded for many centuries. Attention is drawn to the peculiarity and widespread use of a towel as an amulet to many ritual acts of family and calendar ceremonies. The organizational measures and carrying out of modern cultural projects in independent Ukraine, which prompt the revival of folk traditions in the post-colonial period, are explored. A vivid example was the All-Ukrainian cultural and artistic, sociopolitical project "Towel of national unity" as a consolidating factor for uniting Ukrainian society. The role of the handmade artwork (more than one and a half thousand masters were attached to the manufacturing and embroidery of a towel) was evaluated in the awakening of national consciousness and patriotism. It was noted that the citizens and representatives of the Ukrainian diaspora, people of different nationalities and religious denominations, men and women of all ages, and even children, participated in this cultural and patriotic action. All participants of the cultural activity united one goal - to create a guard for Ukraine "Towel of national unity". This Towel can really be called the symbol of Ukraine's unification, because this is a self-organized cultural event, aimed to unite and indivisible all regions of our state, uniting of Ukrainians both in Ukraine and abroad. It is shown on a concrete example how people can unite around the idea, show their creativity, opportunities and realize it in life. It is proved that the ethno-cultural heritage of Ukrainians undoubtedly influences the development of the national culture and supports the ethno-cultural policy aimed at uniting Ukrainian society.

scholarly journals State Culture Capital Foundation Importance Work Strategy for Support of Education and Professional Qualification Development of Creative Personality of Visual Arts

2015 ◽  
Vol 2 ◽  
pp. 519
Author(s):  
Aija Vīgnere
Keyword(s):  
National Culture ◽  
Visual Arts ◽  
Cultural Policy ◽  
State Budget ◽  
Professional Qualification ◽  
State Culture ◽  
Culture Capital ◽  
Arts And Culture ◽  
Cultural Processes ◽  
Creative Capital

In national culture politics, one of the most urgent issues in provision of creative process, creative activity and professional development of artists is the insufficient funding for culture. State budget resources via the State Culture Capital Foundation are diverted for the needs of culture and arts with the aim – provide such environment of arts and culture in Latvia that would strengthen and increase the value of creative capital of culture and facilitate participation of as large part of society as possible in the cultural processes so that to help everyone to understand and analyse the world, to be flexible and open to changes. The work analyses the work strategy and tasks of State Culture Capital Foundation, volume of project competition funding, its usefulness and results, also indicators of cultural policy in work of foundation.

scholarly journals Fotografi Surealisme Visualisasi Estetis Citra Fantasi Imajinasi

2019 ◽  
Vol 15 (1) ◽  
pp. 1-12
Author(s):  
Soeprapto Soedjono
Keyword(s):  
Visual Culture ◽  
Visual Art ◽  
Fine Arts ◽  
Visual Appearance ◽  
The Real ◽  
Visual Elements ◽  
Works Of Art ◽  
Art Works ◽  
The Creation ◽  
Real Forms

ABSTRAKSebagaimana yang terjadi pada ranah seni sastra dan seni rupa, pengaruh surealisme sebagai moda artistik penciptaan karya seni, ternyata juga memengaruhi perkembangan bentuk dan genre baru di ranah fotografi. Sebagai bagian dari upaya-upaya penciptaan karya kreatif fotografis, beberapa fotografer menggunakan berbagai aspek dalam domain fotografi untuk juga bisa menampilkan karya-karya yang bernuansa surréal dan terkesan bersifat surealistis dengan berbagai teknik-teknik penciptaan visualnya. Prinsip-prinsip surealisme yang berkaitan dengan upaya memadukan elemen visual yang nyata dan yang bersifat tidak nyata (virtual, dream-like, fantasy) dalam karya-karya fotografi merekamenghasilkan sebuah fenomena ‘keraguan’ dalam menyikapi karya fotografinya. Hal ini terjadi karena yang selama ini karya fotografi diyakini sebagai medium penghasil karya seni visual yang nyata/realis dan merupakan satu bentuk representasi realitas yang faktual telah menjadi ‘ragu’ terhadap hasil karya fotografi surrealistic yang diciptakannya.Visualisasi bentuk-bentuk yang riil tertampilkan bertentangan dengan kelayakan konvensi logika visual alamiah realisme media fotografi yang ada. Namun, secara artistik tentunya kehadiran fotografi surealistik ini bisa dijadikan sebagai salah satu upaya alternatif penampilan visual karya seni fotografi yang ekspresif. Dalam arti bahwa ranah fotografi juga memiliki moda ungkapan ekspresif estetik yang juga memiliki kemungkinan untuk mengekplorasi aspek-aspek dunia mimpi bawah sadar, fantasi, yang bernuansa simbolisme visual dalam kancah pengembangan budaya visual yang bernilai ‘nyata - tidak nyata’. Surrealism Photography: Aesthetic Visualization of the Imagination Fantasy Imagery. As appeared in the sphere of literary and fine arts, the influence of surrealism as an artistic mode for the creation of works of art, apparently it also influences the development of new forms and genres in the sphere of photography. As part of the efforts to create photographic creative works, some photographers use various aspects in the photographic domain to also be able to present works which are surreal in nature and seem surrealistic in their various visual creation techniques. The principles of surrealism are associated with the attempts to combine visual elements which are real and not real (virtual, dream-like, fantasy) in photography works produce a phenomenon of ‘doubt’ in addressing the photographic work. This happens because all this time photography is believed to be a medium that produces visual art works that are real or realistic and is a form of factual reality representation which has become ‘doubtful’ of the surrealistic photographic works that it creates. The visualization of the real forms that appear is contrary to the feasibility of the natural visual logic conventions of the realism of the existing photographic media. However, artistically, the presence of this surrealistic photography can be used as an alternative attempt for the visual appearance of expressive photographic artworks. In the sphere of photography, it makes sense that it has an aesthetic expressive mode of expression which also has a possibility to explore the aspects of the subconscious self, fantasy, having the nuance of visual symbolical in the domain of developing visual culture which could be valued as ‘real-not real’.

scholarly journals The Image of the Virgin Mary in the Visual Arts of Modern Russia

ICONI ◽  
2021 ◽  
pp. 48-57
Author(s):  
Zulfiya U. Guseva ◽  
◽  
Galina V. Alekseeva ◽  
Keyword(s):  
Contemporary Art ◽  
Visual Arts ◽  
Visual Art ◽  
Virgin Mary ◽  
Russian Art ◽  
Art Works ◽  
Spiritual Tradition ◽  
The Subject ◽  
Cultural Code

The article is devoted to the issue of the continuity of the Russian pictorial tradition and the representation of spiritual meanings in contemporary Russian art. The authors aims to consider the image of the Virgin Mary as part of the cultural code of Russia. The object of the research is the materials of the visual art works by contemporary Russian artists of the late 20th and early 21st centuries, studied from the perspective of their Byzantine origins. The subject of this research is the image of the Virgin Mary in contemporary Russian visual art. The result of the research is an understanding of the forms of transformation of the canon of spiritual tradition in contemporary art.

scholarly journals Российские академики XIX – начала XX века в собрании В.П. Сукачёва

2020 ◽  
pp. 186-215
Author(s):  
L.N. Snytko
Keyword(s):  
Art Education ◽  
National Culture ◽  
Art History ◽  
Art Criticism ◽  
Art Museum ◽  
Russian Society ◽  
History Analysis ◽  
History Of ◽  
Imperial Academy

The article is devoted to the history of the collection of the Irkutsk Regional Art Museum named after V.P. Sukachev, which includes a unique collection of leading Russian artists of the 18th – 20th centuries. The formation of this collection became possible thanks to the founder of the museum V.P. Sukachev. A detailed analytical overview of the history of the collection is given; the factors contributing to its formation are highlighted, an art history analysis of the main works is carried out; the role of the St. Petersburg Imperial Academy of Arts in the formation and development of national culture, in art education and the upbringing of Russian society is noted. The research uses methods: historical-genetic, comparative, as well as a set of art criticism methods. Статья посвящена истории собрания Иркутского художественного музея имени В.П. Сукачёва, которое включает в себя уникальную коллекцию ведущих отечественных художников XVIII–XX веков. Началом ее формирования Иркутск обязан основателю музея В.П. Сукачёву. Дается подробный очерк истории собрания; выделяются факторы, способствующие его формированию, проводится искусствоведческий анализ основных произведений; отмечается роль Императорской Академии художеств в формировании и развитии отечественной культуры, в художественном образовании и воспитании российского общества. В исследовании применяются методы: историко-генетический, компаративный, а также комплекс искусствоведческих методов.

Sign in / Sign up

Export Citation Format

Share Document