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.

Traditional and Modern Art

2017 ◽  
pp. 52-72
Keyword(s):  
Visual Arts ◽  
Visual Art ◽  
Modern Art ◽  
Human Capabilities ◽  
The World ◽  
The Subject ◽  
Comprehensive Manner ◽  
Textual Traditions ◽  
Classical Greek Philosophy ◽  
Definition Of

In visual arts both the subject matter and the techniques form traditions extending sometimes through millennia, recording the human evolution and humanity in far more direct ways than, for instance, textual traditions can ever do. In short, visual arts open a rare window to the essence of humanity itself. Visual art is testing in a comprehensive manner the human capabilities to experience the world. Modern art has further opened up the whole definition of visual arts and freed even greater number of possibilities. Anything can be presented as visual art, if the audience is ready to accept it as art and “sees” it as art. I also discuss the basis of art as we inderstand it. Life imitates art and art imitates life. Which one is the copy then? The concept of mimêsis is one of the most frequently misunderstood concepts of classical Greek philosophy. In spite of breaks in tradition and misunderstandings, what is most important, is that in European art traditions the idea of liberal art as a means of expressing and shaping in a creative way ideas has kept alive and strives.

scholarly journals Development of the idea of art synthesis in European culture of the XIX–XX centuries

2021 ◽  
pp. 1-19
Author(s):  
Anna Nikiforova
Keyword(s):  
Visual Arts ◽  
Cultural Context ◽  
Modern Art ◽  
Visual Language ◽  
Artistic Expression ◽  
Art Nouveau ◽  
Avant Garde ◽  
European Culture ◽  
Perception Of Time ◽  
And Performance

This article is dedicated to examination of art synthesis as a phenomenon that extended to various spheres of culture and art of the XIX–XX centuries. This period marks the emergence of a different visual language and new forms of perception of artistic expression. Analysis is conducted on the  forms of implementation of the idea Gesamtkunstwerk, and their development throughout the XX century: mythologization as a peculiar method of thinking, strive to go beyond the purely artistic imagery, subjectification of the perception of time and space, creation of the organized aesthetic environment, aesthetic dimension of humanism, synthetism of mentality and universalism of the artist. Special attention is given to the historical-cultural context, from the views of the Jena Romantics and musical theory of R. Wagner to the works of the masters of Art Nouveau, avant-garde and innovators of the theatrical scenery. The author also reviews the advent of the new forms of artistic expression. The analysis of the key trends allows determining the broad sense of the idea of art synthesis for the culture: philosophy, poetry, architecture, visual arts, design, and performance. The novelty of this study consists in description of the idea of art synthesis as one of the key meaning-forming factors in the European culture of the XIX–XX centuries. The article examines the problem of performativity of modern art as the logical continuation of the evolution of forms of artistic expression. Modern theatrical and performative practices (“live” exhibitory spaces, “museum of senses”, “theater of plentitude”, exploratory theater, promenade theater, and other) can be viewed as the reconceived version of the idea of art synthesis that originated in the culture of German Romanticism.

scholarly journals Educational space of visual art of Ukraine

2021 ◽  
pp. 105-118
Author(s):  
Nataliia BULAVINA
Keyword(s):  
Visual Arts ◽  
Learning Process ◽  
Visual Art ◽  
Modern Art ◽  
Institutional Structure ◽  
Basic Principles ◽  
Communication Links ◽  
History Of ◽  
Definition Of ◽  
Educational Component

The article analyses the educational space of Ukrainian visual arts. The educational component of the modern art system is insufficiently studied and requires the definition of its boundaries, a description of the main characteristics, the delineation of development vectors. Therefore, the article gives a meticulous view of the preconditions and history of building the basic principles of the educational order of local visual arts. The rest of the research examines the current learning process, its structure, components and communication links. The author determines the place of education in the system of institutional structure of modern visual art of Ukraine, emphasizes its features in relation to the global educational art paradigm.

Mainstreaming the phenomenon of the sacred in the crisis situation of contemporary culture

Servis plus ◽  
10.12737/7585 ◽  
2015 ◽  
Vol 9 (1) ◽  
pp. 71-78
Author(s):  
Елена Горбунова ◽  
Elena Gorbunova
Keyword(s):  
Digital Media ◽  
Modern Art ◽  
Contemporary Culture ◽  
Modern Culture ◽  
Different Types ◽  
Postmodern Art ◽  
Art And Culture ◽  
Cultural Sphere ◽  
Classical Culture ◽  
Modern Era

The article presents an analysis of the processes of resacralization occurring in culture and art in parallel with the desacralization, which is the ontologicalfoundation of modern culture and postmodern art and has a worldview character, because the lack of spirituality in modern art and culture, spiritual and essential desolation of grounds of cultural sphere in general is associated on our view with the loss of the transcendent beginning or foundations that characterized all previous traditional classical culture and aesthetics. It was found that the resacralization takes different forms, leading to different types of shamanism (real and virtual) and sacralization of materiality, cruelty, somatic and libidinal phenomena in art, through which a person can go beyond their being, which leads to, respectively, shamanism in art, materialism, physicality, sexuality, violence in mass-to-date art, electronic digital media and specific artistic search and expressions in virtual art. Revealed that the process of resacralization is made possible by the fact that at the heart of the sacred there are deep archetypes of human consciousness, which define and interchange the sacred. However, modern culture has become a sacredly empty simulacrum, a shell without a high spiritual content, form and meaning, not presenting high and spiritual content, but rather suggesting low-lying values, because it is filled by the meanings and contents which have become relevant in the modern era. It is concluded that modern art makes sacred predominantly everyday and even baser postmodern phenomena and trends of today.

The Sounding Cosmos Revisited

2018 ◽  
Vol 21 (3) ◽  
pp. 29-46 ◽  
Author(s):  
Massimo Introvigne
Keyword(s):  
Visual Arts ◽  
Modern Art ◽  
Religious Movements ◽  
Abstract Art ◽  
New Religious Movements ◽  
Special Issue ◽  
Wassily Kandinsky ◽  
Art Historians ◽  
Academic Events

Starting with the 2013 conference Enchanted Modernities in Amsterdam, a number of academic events, exhibitions, and publications (including a 2016 special issue of Nova Religio) documented the growing interest of both art historians and scholars of new religious movements in the influence of the Theosophical Society and other esoteric groups on the birth and development of modern art. At the center of this renewed interest is the controversial work of Finnish art historian Sixten Ringbom (1935–1992), who in the late 1960s “discovered” the Theosophical connections of Russian pioneer of abstract art Wassily Kandinsky (1866–1944), discussed in his book The Sounding Cosmos. In this paper, I discuss Ringbom’s background, his almost coincidental discovery of Theosophy, the ostracism his work received from those who did not want modern art to be associated with irrationalist and disreputable “cults,” and his posthumous influence on the birth of a new subfield within the study of new religious movements, devoted to their relationships with the visual arts.

scholarly journals De originaliteit van het plagiaat. Gimmick! eigent zich op postmoderne wijze postmoderne beeldende kunst toe

2021 ◽  
pp. 139-158
Author(s):  
Albert Gielen,
Keyword(s):  
Visual Arts ◽  
Visual Art ◽  
Modern Art ◽  
The Novel ◽  
Visual Artist

Gimmick! written by Joost Zwagerman is a postmodern artist’s novel. The protagonist Walter van Raamsdonk, in short called Raam, is a visual artist, just like his friends Groen and Eckhardt. This article analyzes the novel as a postmodern phenomenon centered on postmodern visual art. Because the novel and the visual arts in the novel can be characterized as postmodern, it is investigated which characteristics of the post­modern can be found in both disciplines. To what extent does the novel reflect post-modern art? Citing in both disciplines has far-reaching consequences for the appearance of visual art and for the novel.

scholarly journals ZOULIKHA BOUABDELLAH VISUAL ART AND CONTEMPORARY CALLIGRAPHY IN MODERN ALGERIA

2019 ◽  
Vol 4 (1) ◽  
Author(s):  
M. Fyza Ghaniya ◽  
Suranta Suranta
Keyword(s):  
Qualitative Methods ◽  
Visual Arts ◽  
Visual Art ◽  
The State ◽  
Art And Culture ◽  
Religious Concept ◽  
Modern Era ◽  
Depth Interviews ◽  
Art Experts

This study discusses the development of traditional poles that influence modern visual arts based on Aljazair culture, from conservative cultures under Ottoman influence to become Liberals after the French colonization brought to the Modern era. The majority of previous studies only discussed descriptive art variations in Algerian culture or only included elements of art in Algeria. This study uses qualitative methods, data collected by in-depth interviews with Visual Art experts at the best institutions in Indonesia and literature studies on art and culture in Algeria. This paper does not encourage artists to violate Islamic rules in their work. However, this study shows that there are artists who come out of Islamic rules to achieve certain goals and are not taboo in art. The paper concludes that a religious concept that is applied in a state principle does not make and guarantee that all members of the entire community line are fully conservative and obedient to the conservative rules in the state or legislation that must be obeyed in that country.

scholarly journals Dak’Art. Biennale de l'Arte Africain Contemporain

2019 ◽  
Author(s):  
Chiara Pattaro
Keyword(s):  
Contemporary Art ◽  
Visual Arts ◽  
Cultural Context ◽  
Case Histories ◽  
African Art ◽  
Pan African ◽  
Art And Culture

Dak’Art, the Dakar Biennale of Art was devised in Senegal in 1989 as the Biennale de Dakar des Arts et des Lettres but – after an edition committed only to literatures, the Biennale des Lettres in 1990 – was achieved in 1992 as the Biennale Internationale des Arts de Dakar. Its creation is influenced by Leopold Sedar Senghor’s ideas: between 1960 and 1980, he was the first President of Independent Senegal and was always a passionate promoter of African art and culture. Under his government the nation developed a flourishing cultural context that will later lead to the birth of Dak’Art which, from its second edition in 1992, is exclusively dedicated to visual arts. This essay describes history, management and organization of its editions, until 2014, analysing some artists and artworks as case histories. The study identifies therefore the characteristics of a Biennale that is purposefully Pan-African, committed to giving visibility and prominence to African contemporary art, which is still poorly represented in the international art system.

scholarly journals MODERNIZATION PROCESSES IN THE MODERN FINE ART

THE BULLETIN ◽  
2020 ◽  
Vol 5 (387) ◽  
pp. 281-287
Author(s):  
B. R. Karabalayeva ◽  
◽  
S. Pelshe ◽  
N. L. Seitakhmetova ◽  
◽  
...  
Keyword(s):  
Visual Arts ◽  
Visual Art ◽  
New Technologies ◽  
Modern Art ◽  
Conceptual Art ◽  
Point Of View ◽  
The Core ◽  
The Past ◽  
Iconic Images ◽  
Basic Ideas

Today, in the visual arts of Kazakhstan, the actual art is developing dynamically. Although the popularity of new technologies has been observed only in the last decade, there are selected, unique works in the actual art of Kazakhstan. The artists received the core of actual art they were interested in from the conceptual art of Russia. It began to expand, because in General, within the framework of conceptual art, social and basic ideas were very well developed. This affected not only the spiritual process, but also people's thoughts. The main search for contemporary art can be observed in the creation of mythological images. The attempt of brush masters to abstract originates from bold fantasies that smoothly pass to iconic images, along with various ways of image; there are attempts to convey the idea of compositional works. In the article, the authors review the space of historical development of the art of Kazakh painting. In addition, the modern art of painting in Portugal is offered as an analysis of the set themes and positions of modern art of painting, comparative analyses are provided. Today’s visual art landmarks will be used to analyze the predictive and critical point of view of the past and future.

Art, History, and Postwar Fiction

2018 ◽  
Author(s):  
Kevin Brazil
Keyword(s):  
Visual Arts ◽  
Art History ◽  
Visual Art ◽  
New Left ◽  
Doris Lessing ◽  
William Gaddis ◽  
Continuity And Change ◽  
Historical Developments ◽  
The Cold War ◽  
The Relationship

Art, History, and Postwar Fiction explores the ways in which novelists responded to the visual arts from the aftermath of the Second World War up to the present day. If art had long served as a foil to enable novelists to reflect on their craft, this book argues that in the postwar period, novelists turned to the visual arts to develop new ways of conceptualizing the relationship between literature and history. The sense that the novel was becalmed in the end of history was pervasive in the postwar decades. In seeming to bring modernism to a climax whilst repeating its foundational gestures, visual art also raised questions about the relationship between continuity and change in the development of art. In chapters on Samuel Beckett, William Gaddis, John Berger, and W. G. Sebald, and shorter discussions of writers like Doris Lessing, Kathy Acker, and Teju Cole, this book shows that writing about art was often a means of commenting on historical developments of the period: the Cold War, the New Left, the legacy of the Holocaust. Furthermore, it argues that forms of postwar visual art, from abstraction to the readymade, offered novelists ways of thinking about the relationship between form and history that went beyond models of reflection or determination. By doing so, this book also argues that attention to interactions between literature and art can provide critics with new ways to think about the relationship between literature and history beyond reductive oppositions between formalism and historicism, autonomy and context.

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