scholarly journals Al-Qatt Al-Asiri aesthetics and its role in enriching the contemporary art production: جماليات القَطْ العسيري ودوره في إثراء الإنتاج الفني المعاصر

2019 ◽  
Vol 3 (4) ◽  
Author(s):  
Yousry Saeed Mohammed Al Qahtani
Keyword(s):  
Contemporary Art ◽  
Visual Arts ◽  
Artistic Production ◽  
Descriptive Approach ◽  
Art Production ◽  
Aesthetic Values

  The study aims to identify Al-Qatt Al-Asiri aesthetics and highlighting its importance in enriching contemporary artistic production. It also aims to identify the artistic and aesthetic values that characterize Al-Qatt Al-Asiri. The researcher used the analytical descriptive approach to describe the particulars of Al-Qatt Al-Asiri, and to analyze some of artworks for some of Aseer region artists. The study concluded that Aseer region and its folk decorations, represented in Al-Qatt Al-Asiri, has artistic and aesthetic values, which participate in updating distinct works of the visual arts. This study sought to ensure the originality and heritage through inspiring by Al-Qatt Al-Asiri and employing it in a contemporary form. The study recommended establishing an academy, under the umbrella of the General Authority for Culture, specialized in learning the style of Al-Qatt Al-Asiri by popular female artists, to maintain this style and disseminate it within the community.

Gerak Tari Baris Tunggal dalam Fotografi Ekspresi Menggunakan Teknik Strobo Light

2014 ◽  
Author(s):  
Ida Bagus Candra Yana*
Keyword(s):  
Visual Arts ◽  
Dance Movement ◽  
Multiple Images ◽  
Strobe Light ◽  
Creative Idea ◽  
The Arts ◽  
Art Works ◽  
Art Photography ◽  
Aesthetic Values ◽  
Aesthetic Expression

Dance  photography  is  a  photo  shoot  on a  dance  movement  which  has  a  characteristic as  it  shows  on  a  particular  movement  with unique costumes. The arts of dance photography specifically describes through a specific thematic effect  with  an  aesthetic  and  creative  oncoming. Based on the photographer experience to capture the  light  together  with  his  aesthetic  expression on  movement  photography,  he  finally  presented the  visual  arts  on  Baris  Tunggal  Dance  in  art photography expressions using strobe light. Basically,  the  creative  works  focused on  the  dancer  movements  and  transformed  into photography  expression  which  blended  with aesthetic  and  creative  idea  (ideational)  also  the technical photo shoot capability (technical) of the photographer. The photo shoots technique chosen through a variety of consideration which oriented on practical implementations possibilities, resulting photographs  in  freeze,  blurred,  and  multiple-images  as  art  photography.  The  art  photograph includes  extrinsic  and  intrinsic  aesthetic  values through photo presentation. With the presence of this photography art works it was not only present Gerak Tari Baris Tunggal dalam Fotografi Ekspresi Menggunakan Teknik Strobo Light in the form of mere documentation but it was the art photography expression on creative and aesthetic level. Keywords:  movements,  Baris  Tunggal  Dance, photography expression, strobo-light * Dosen ISI Denpasar

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 «The Great Neurosis» of Jacques Loysel and Alfred Kubin

2020 ◽  
pp. 144-149
Author(s):  
D. O. Martynova ◽  
Keyword(s):  
Mental Illness ◽  
Contemporary Art ◽  
Visual Arts ◽  
Visual Image ◽  
Lost Generation ◽  
Disciplinary Power ◽  
Graphic Artist ◽  
Art Practices ◽  
The Impact ◽  
Pathological Image

On the example of the work «The Great Neurosis» by the French sculptor Jacques Loysel and «Europe» by the Austrian graphic artist Alfred Kubin, it is described and analyzed how artists gave characteristics of changes in their eras, using the same visual image associated with a mental illness. It is proved that while Loysel’s artwork was associated with the latest discoveries in medicine, then Kubin’s artwork was reinterpreted in a new way, reflecting the problems and experiences of the «lost generation». From this it follows that the example of the works «The Great Neurosis» and «Europe» by Loysel and Kubin can be traced not only to evolution, but also to the introduction of the pathological image of the “hysterical body” both in the art of the XXth century and in contemporary art practices. Such a study demonstrates the relevance and signifi cance of studying the links between, as well as the analysis of the impact of mechanisms of institutions of disciplinary power on the visual arts of various eras.

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

scholarly journals VISUAL STRATEGIES OF CONTEMPORARY ART: A Case Study of Banksy’s Artworks

2020 ◽  
Vol 7 (1) ◽  
pp. 9-14
Author(s):  
Singgih Prio Wicaksono
Keyword(s):  
Contemporary Art ◽  
Visual Communication ◽  
Visual Language ◽  
Symbolic Meaning ◽  
Social Implications ◽  
Visual Strategy ◽  
Descriptive Approach ◽  
Visual Strategies

Visual Strategy of Contemporary Art: The Study of Banksy’s Artwork. The development of contemporary art has introduced a new understanding and recognition of esthetics. This article aims to describe postesthetic phenomena as trends in the visual communication of contemporary art. The method used is a descriptive approach and analysis of Banksy's work. This study produces a discussion about: 1). Postesthetic symptoms in Banksy's work, 2). Characteristics of Banksy's work, 3). Banksy's symbolic meaning, 3). Social implications arising from the postesthetic approach to Banksy's work. Keywords: visual language, consumerism, contemporary art

Representing, Performing and Mitigating Climate Change in Contemporary Art Practice

Leonardo ◽  
2012 ◽  
Vol 45 (2) ◽  
pp. 124-131 ◽  
Author(s):  
Gabriella Giannachi
Keyword(s):  
Climate Change ◽  
New Media ◽  
Contemporary Art ◽  
Visual Arts ◽  
Art Practice ◽  
Quarter Century ◽  
The Public

Over the last quarter-century, an increasing number of artists have been variously engaging the public in artworks addressing the anthropogenic phenomenon known as climate change. Focusing specifically on works developed in the fields of visual arts, performance and new media, and on a body of theory attempting to distinguish between terms such as nature, landscape, weather, climate and environment, this article aims to offer an exploration of how these works, by adopting, often concurrently, three strategies—representation, performance and mitigation—affect our understanding of our changing relationship to nature and climate.

The Phenomenon of Metamodernism in Contemporary Russian Art (On the Example of Paintings by V. Pushnitsky)

2021 ◽  
Vol 13 (1-2) ◽  
pp. 425-441
Author(s):  
Denis Podlednov ◽  
Keyword(s):  
Contemporary Art ◽  
Visual Arts ◽  
Da Vinci ◽  
Leonardo Da Vinci ◽  
Francis Bacon ◽  
Stylistic Analysis ◽  
Russian Art ◽  
Color Features ◽  
Research Interview ◽  
Claude Monet

The article is devoted to the analysis of the functioning of metamodernism in the field of Russian contemporary art. Researchers of metamodernism talk about the revival of historicity, depth and affect that were lost with the era of postmodernism. Metamodernism is characterized by oscillation, metaxis, new sincerity, neo-romantic sensuality, reconstruction, etc. In this paper, the author attempts to analyze markers of metamodernism in the visual arts using the example of the artist Vitaly Pushnitsky (St. Petersburg). The material for the study was a research interview with the artist V. Pushnitsky, as well as a semiotic and formal-stylistic analysis of his works (2015-2020). The author comes to the conclusion that through such markers of metamodernism as oscillation, reconstruction and appeal to new sincerity, the artist V. Pushnitsky seeks to show the reality in which the artist is at the stage of searching for new artistic means of expression. Along with this, through certain compositional and color features, V. Pushnitsky pays tribute to such artists as Pierre-August Renoir, Claude Monet, Leonardo da Vinci, Francis Bacon, as well as the Japanese poet I. Kosugi.

From Top Down Under: New Insights into the Social Significance of Superimpositions in the Rock Art of Northern Kimberley, Australia

2019 ◽  
Vol 29 (3) ◽  
pp. 479-495 ◽  
Author(s):  
Ana Paula Motta
Keyword(s):  
Contemporary Art ◽  
Rock Art ◽  
Social Significance ◽  
Top Down ◽  
Supernatural Power ◽  
The Social ◽  
Northwestern Australia ◽  
Art Production ◽  
Cultural Dominance

Rock-art researchers have long acknowledged the importance of discerning superimposition sequences as a means for exploring chronology. Despite their potential for reconstructing painting events and thus informing on a site's production sequences, the social significance of superimpositions and their associated meanings have been little explored. In the Kimberley Region of northwestern Australia, interpretations of superimpositions as an analytical lens have often lingered on the ‘negative’ connotations of this practice (e.g. to destroy supernatural power embedded in previous paintings and/or to show cultural dominance). As a result, it has been proposed that the overpainting of previous images was tantamount to defacing, leading to the proposition that new images constituted a form of vandalism of older art. In this paper, a sample of rock-art sites from the northwestern and northeastern Kimberley is analysed with the aim of grounding the study of superimpositions in more nuanced practices, leading researchers to contemplate the role they played among populations within the same area. It is argued here that superimpositions brought together past and present experiences that served to reinforce the links between contemporary art production and the inherited landscape.

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