scholarly journals Metaphors in Contemporary Art

2018 ◽  
Vol 3 (2) ◽  
pp. 235-240
Author(s):  
Wan Nurhasyimah W. Mohd Apandi ◽  
◽  
Ahmad Rashdi Yan Ibrahim ◽  
Keyword(s):  
Contemporary Art ◽  
Visual Art ◽  
Works Of Art ◽  
Selection Of ◽  
Art Critics

The use of metaphors in producing contemporary works of art is often used by artists to convey current ideas and issues in the era of contemporary visual art. The metaphor used is as a symbol for the meaning of a work in conveying the ideas and narrative of the story more creatively. In addition, the use of metaphors should be in line with the selection of subjects and meanings to be used and conveyed more accurately and effectively in the production of works to be seen and studied by art critics.

The art of deceit: Pseudolus and the nature of reading

1996 ◽  
Vol 46 (1) ◽  
pp. 152-174 ◽  
Author(s):  
A. R. Sharrock
Keyword(s):  
Visual Art ◽  
Art Criticism ◽  
Work Of Art ◽  
Works Of Art ◽  
Multiple Levels ◽  
The Moment ◽  
Art Critics

Reading is delusion. In order to read, we have to suspend certain standards of reality and accept others; we have to offer ourselves to deceit, even if it is an act of deception of which we are acutely aware. One way of considering this paradoxical duality in the act of reading (being deceived while being aware of the deception) is more or less consciously to posit multiple levels of reading, whereby the deceived reader is watched by an aware reader, who is in turn watched by a super-reader; and so it continues. The ancient art critics, obsessed as they were with deceptive realism, provide in anecdotal form a good example of such multiplicity of perception when they tell stories of birds trying to peck at painted grapes, horses trying to mate with painted horses, even humans deceived by the lifelikeness of works of art. Such stories act as easy but potent signifiers of ‘realism’ in ancient art criticism, by showing the reactions of a ‘naive reader’ (the animals) whose deception the aware reader can enter into but also see exposed. In verbal or visual art parading itself as realistic, the artistic pretence of a pose of reality is, at some level, intended to be seen as deceptive; when it is non-realistic, or anti-realistic, or even stubbornly abstract (which it rarely is), art still demands that the reader suspend ordinary perception. But deception alone is not enough: ‘deceit’ only becomes artistic when a viewer sees through it, for a work of art which is so lifelike that no-one realizes it is not real has not entered the realm of art. The appreciation of deception happens at the moment when the deception is undone, or by the imaginative creation of a less sophisticated reader who has not seen through the deceit. That is what happens in comedy, more overtly than in other artforms, but in the same way.

scholarly journals Invisible Surveillance in Visual Art

2012 ◽  
Vol 10 (3/4) ◽  
pp. 204-214 ◽  
Author(s):  
Katherine Barnard-Wills ◽  
David Barnard-Wills
Keyword(s):  
Political Theory ◽  
Contemporary Art ◽  
Human Body ◽  
Visual Art ◽  
Art Theory ◽  
Works Of Art ◽  
Surveillance Society

Contemporary art has recently started to engage with surveillance. Before this trend developed art theory had developed a rangeof approaches to understanding identity in art, sometimes borrowing from social, psychoanalytic and political theory. Art work atthe intersection of surveillance and identity tends to focus upon the representation of the human body as subject of surveillanceand bearer of identity. However, contemporary surveillance is data, categorisation and flows of information as much as it isCCTV and images of the person. There are notably fewer works of art that engage with ‘dataveillance’. This paper engages withsuch artwork as a case study for assessing the suitability of contemporary art historical theories of identity to make sense ofidentity in a surveillance society.

scholarly journals Alexander Samokhvalov's picture frames : tradition and innovation

Secreta Artis ◽  
2021 ◽  
pp. 6-26
Author(s):  
Oksana Aleksandrovna Lysenko
Keyword(s):  
Comparative Analysis ◽  
Works Of Art ◽  
Art Historians ◽  
Historical Reliability ◽  
The One ◽  
Original Picture ◽  
Considerable Body ◽  
Selection Of ◽  
Art Critics

In recent years, two contradictory trends related to the study and display of picture frames have emerged in Russian museums. On the one hand, these works have at last caught the attention of scholars leading to publications on the evolution of art framing in Russia. However, the framing of paintings in museums is still not carried out on the basis of conducted research. In the light of a rapidly developing frame market, art historians and art critics have been increasingly replacing historical frames with massproduced ones, while disregarding historical reliability and authenticity of the frames, or the need to follow the author’s conception. Meanwhile, it is known that artists of different eras, as a rule, paid great attention to the selection of picture frames, with some among them, like A. N. Samokhvalov, creating their own. Thus, the purpose of the article is to examine the frames made by Samokhvalov, as well as to draw attention to the question of the author’s original picture framing. Samokhvalov’s frames are characterized by their unique design, which greatly affects the perception of the painting. Despite the fact that there exists a considerable body of art historical studies dedicated to the artist’s work, none of the researchers took notice of the problem of the picture framing. The article is the first to provide a scholarly introduction of designs and drawings of Samokhvalov’s frames, as well as works of art created on their basis. The artist’s frames from the collections of various museums have been attributed according to a comparative analysis. Likewise, traditional and innovative features in the works of Samokhvalov have been revealed as a result of stylistic assessment and comparison of frames produced by the artist with picture frames of the 17th – 20th centuries. The article illuminates the unexplored facet of the artist’s work presenting it in a new light. The research will not only allow to further preserve the unique frames of Samokhvalov in Russian museums, but also exhibit his works in accordance with the author’s intention.

scholarly journals Animals in Human Situations in Ancient Egyptian Ostraca and Papyri

Arts ◽  
2021 ◽  
Vol 10 (3) ◽  
pp. 40
Author(s):  
Azza Ezzat
Keyword(s):  
Everyday Life ◽  
Social Aspects ◽  
Ancient Egyptian ◽  
Works Of Art ◽  
Human Gestures ◽  
Freedom Of Thought ◽  
Political Economic ◽  
Selection Of

It has been said that the ancient Egyptians were raised to tolerate all kinds of toil and hardship; they nevertheless also liked to amuse themselves with comic relief in their everyday life. For example, ancient Egyptian drawing can be quite accurate and at times even spirited. What scholars have described as caricatures are as informative and artistic as supposed serious works of art. Ancient Egyptians have left countless images representing religious, political, economic, and/or social aspects of their life. Scenes in Egyptian tombs could be imitated on ostraca (potsherds) that portray animals as characters performing what would normally be human roles, behaviors, or occupations. These scenes reveal the artists’ sense of comedy and humor and demonstrate their freedom of thought and expression to reproduce such lighthearted imitations of religious or funeral scenes. This paper will focus on a selection of drawings on ostraca as well as three papyri that show animals—often dressed in human garb and posing with human gestures—performing parodies of human pursuits (such as scribes, servants, musicians, dancers, leaders, and herdsmen).

An “Orthodox” Use of the Term “Beautiful”

Philosophy ◽  
1960 ◽  
Vol 35 (133) ◽  
pp. 114-121
Author(s):  
G. P. Henderson
Keyword(s):  
Philosophical Question ◽  
Technical Term ◽  
Philosophical Discussion ◽  
Works Of Art ◽  
Ordinary Conversation ◽  
Art Critics

The word “beautiful” plays a surprisingly unimportant part in the language of sophisticated artistic appreciation; I mean in the informed criticism and comparison of specific works of art. Though in ordinary conversation it can be used naturally and easily, it does not serve readily as a technical term in expert writing or discussion. To become a technical term of this kind it would have to be definable, and definable in terms which commanded sufficient agreement: but attempts to define “beauty” and “beautiful” may well have become restrained by the popularity of philosophical discussion about the significance of these words. No philosophical question is discussed more commonly or from more firmly held opposite positions than the question whether beauty is “objective” or not. Discussion of this and related topics, however, not being the monopoly of professed philosophers but being familiar amongst artists and art critics themselves, tends to remove all shadow of technicality from the crucial terms discussed. Other terms come to serve for the “objective” features of works of art, and others again for the impressions which works of art may make upon us: “beauty” and “beautiful” tend to fall away between these two classes.

Le fonti, i metodi e le narrazioni della storia della videoarte in Italia negli anni Settanta

2017 ◽  
Vol 2 (1) ◽  
Author(s):  
Lisa Parola
Keyword(s):  
Comparative Study ◽  
Contemporary Art ◽  
Narrative Structure ◽  
Video Art ◽  
Wide Range ◽  
History Of ◽  
Selection For ◽  
The Many ◽  
Art And Architecture ◽  
Selection Of

This essay derives from the primary need to make order between direct and indirect sources available for the reconstruction of the history of video art in Italy in the seventies. In fact, during the researches for the Ph.D. thesis it became clear that in most cases it is difficult to define, in terms of facts, which of the different historiographies should be taken into consideration to deepen the study of video art in Italy. Beyond legitimate differences of perspectives and methods, historiographical narratives all share similar issues and narrative structure. The first intention of the essay is, therefore, to compare the different historiographic narratives on Italian video art of the seventies, verifying their genealogy, the sources used and the accuracy of the narrated facts. For the selection of the corpus, it was decided to analyze in particular monographic volumes dealing with the history of the origins of video art in Italy. The aim was, in fact, to get a wide range of types of "narrations", as in the case of contemporary art and architecture magazines, which are examined in the second part of the essay. After the selection, for an analytical and comparative study of the various historiography, the essay focuses only on the Terza Biennale Internazionale della Giovane Pittura. Gennaio ’70. Comportamenti, oggetti e mediazioni (Third International Biennial of Young Painting. January '70. Behaviors, Objects and Mediations, 1970, Bologna), the exhibition which - after Lucio Fontana's pioneering experiments - is said to be the first sign of the arrival of videotape in Italy (called at the time videorecording), curated by Renato Barilli, Tommaso Trini, Andrea Emiliani and Maurizio Calvesi. The narration given so far of this exhibition appeared more mythological than historical and could be compared structurally to that of the many numerous beginnings that historiographyies on international video art identify as ‘first’ and ‘generative’. In the first part of the essay the 'facts' related to Gennaio ’70, as narrated by historiography on video art, are compared. In the second part the survey is carried out through some of the direct sources identified during the research, with the aim of answering to questions raised by the comparison between historiographies. Concluding, it is important to underline that the tapes containing the videos transmitted have not been found and seem to have disappeared since the ending of the exhibition. Nevertheless, the deepening of the works and documentation transmitted during the exhibition is possible thanks to other types of sources which give us many valuable information regarding video techniques and practices at the beginning of 1970 in Italy.

Design Practice of Visual Art Forms Based on Targeted Selection of Microcosmic Appearance

2018 ◽  
pp. 457-472
Author(s):  
Xiaonong Qian ◽  
Ying Wang ◽  
Caixia Du ◽  
Yuhui Yang
Keyword(s):  
Visual Art ◽  
Design Practice ◽  
Art Forms ◽  
Selection Of

Axis: broadening the constituency and extending the sphere of influence of visual art

1998 ◽  
Vol 23 (2) ◽  
pp. 8-11
Author(s):  
Doug Sandle
Keyword(s):  
Visual Culture ◽  
Contemporary Art ◽  
Visual Arts ◽  
Visual Art ◽  
Information Resource ◽  
Text Data ◽  
Widening Access ◽  
Visual Text ◽  
Sphere Of Influence ◽  
National Information

The Axis database is the only national information resource on British artists and craftmakers. It contains visual-text data on over 2,500 contemporary British practitioners and is a rapidly growing source of data for researchers, students, curators, commissioning agents, architects, planners and patrons and purchasers of visual arts. Axis also has an important national role in promoting contemporary art and artists and widening access to visual culture.

scholarly journals Changes in the themes, aesthetics and functions of public images in Kyiv due to the influence of socio-cultural processes in the society of 1990-2010

2021 ◽  
pp. 183-194
Author(s):  
Mariia Ospishcheva-Pavlyshyn
Keyword(s):  
Contemporary Art ◽  
Visual Arts ◽  
Public Art ◽  
Visual Art ◽  
Rapid Development ◽  
Practical Aspect ◽  
Cultural Processes ◽  
The Impact ◽  
Theoretical Developments

On the back of the rapid development in public art in recent decades, and in particular graffiti and muralism, interest in them has grown significantly among cultural studies scholars, art critics, architects, sociologists, and urban planners. Numerous works that have appeared in the West and in Ukraine are devoted to various aspects of the visual public art existence. This theme continues to be one of the most relevant for contemporary visual art. This article complements the bunch of acquired knowledge with a detailed study of the impact of socio-cultural processes in society on the changes that took place in monumental painting, graffiti and muralism in Kyiv during 1990–2010, i.e. during the most important changes in politics and society in recent decades. The peculiarities of each historical stage of this influence are analysed and outlined in the study, and the theoretical analysis is displayed by the description of the most characteristic works. Most of them are researched in detail. In addition, the process of decline of monumental painting in the late 1980s and early 1990s is analysed, the factors of graffiti flourishing in the 1990s are identified and highlighted, and the origins of the rapid development of muralism after 2004 and especially after 2014 are explored. At each stage, changes in the themes, aesthetics and functions of public images are traced. The definitions, such as muralism and graffiti, are updated in this paper, taking into account changes in art and the latest achievements in its analysis. The manifestations of the national-patriotic themes in the contemporary art of muralism are considered in detail, the classification of art work on this subject is given, the corresponding examples are given. Such concepts as public art, synthesis of arts, monumental painting, graffiti, muralism are attentively aligned. The study of the nature of the socio-cultural processes and visual arts correlations is promising for further scientific and theoretical developments and the practical aspect for better understanding of the specific works

Era Modenisme dan Pascamodenisme: Suatu Transformasi Seni Visual dalam Konteks Sosio-Budaya

2021 ◽  
Vol 5 (2) ◽  
pp. 59-68
Author(s):  
Mohamad Kamal Abd Aziz ◽  
Keyword(s):  
Visual Arts ◽  
Cultural Context ◽  
Visual Art ◽  
Modern Art ◽  
Secondary Research ◽  
Changing Trends ◽  
Art Historians ◽  
Postmodern Art ◽  
Art And Culture ◽  
Art Critics

This paperwork discusses some theories between modernist and post-modernist thinking that have been evolved in society. The presence of post-modernist thought is said to be anti-modernist. Thus, the question is whether it emerges as anticipation or the occurrence of a transformation shift at its pace in driving the development of art and culture. The objective of this study is to discuss the changing trends of art practitioners in the context of visual art and culture phenomenon today since the era of modernism. However. to what extent is the presence of post-modernist thinking that is said to be anti-modernism put into practice or is modernist thinking dead? The statement also dissects various notions or is it true that there is no precise and clear interpretation or understanding between "modern art" and "postmodern art"? This is also marked by the emergence of various interpretations and the existence of polemics or discussions among scholars, especially in the discourse of art and culture. This study is using secondary research based on various theories of disciplines and conducting an interview with art critics and art historians in resolving this question. Although there are various doubts in the separation between "modernism" and "postmodernism" but it provides an interesting input that is often associated with the emergence of some characteristics of the postmodern era thought and style that differs in terms of ideas, concepts, approaches, materials, appearance, presentation, ideas, interpretation and it is meaning that leads to the transformation of visual arts in the current socio-cultural context.

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