Gender and Its Representation in Contemporary Arts

2017 ◽  
Vol 6 (2) ◽  
pp. 11 ◽  
Author(s):  
Nihan Akdemir
Keyword(s):  
20Th Century ◽  
Contemporary Art ◽  
Social Function ◽  
Conscious Awareness ◽  
Aesthetic Appreciation ◽  
Human Beings ◽  
The Social ◽  
Art Practices ◽  
Art Works ◽  
The Aesthetic

The concept of gender is an important issue that has been over-emphasized in recent years with an increasing rate of violence against human beings, is perhaps an important issue that needs to be addressed much more. The similarity of the terms, gender and sex, suggests that these two concepts are the same. The elimination of this mistake and the transformation of the position into a conscious awareness are carried out with the awareness of social responsibility with contributions in different disciplines. At this point, an evaluation can be made on art and the social function of art can be mentioned because the art is an important way of communicating collective messages through the artists by their works. In the 20th century, and especially since the second half of the century, the content of art is as important as the aesthetic appreciation and this point can be seen at the art practices which multidisciplinary approaches get to the forefront. In this paper, the way of expression of the concept of gender in contemporary art has been researched through the social function of art. The methods of this work depend on literature and artwork sample researches. And the concept of gender has been primarily addressed. This concept has been studied in terms of art works, disciplines, forms of expression, and works of artists who find meaning and overlap. And the results show that the concept of gender has found its place in contemporary arts.

scholarly journals Los ‘apocalipsis silenciosos’ del arte contemporáneo como dispositivos transformadores de conciencia para la reparación de una memoria ecológica degradada

2020 ◽  
Vol 23 ◽  
pp. 230-246
Author(s):  
Ricardo González-García
Keyword(s):  
Contemporary Art ◽  
Human Beings ◽  
Capitalist System ◽  
Future Scenario ◽  
Raising Awareness ◽  
The Social ◽  
The World ◽  
El Sistema ◽  
Unlimited Growth ◽  
Arte Contemporáneo

Como una reunión simbólica de conciencia, toda gran obra de arte es un apocalipsis silencioso que, con sus significativas impresiones o interacciones, puede llegar a transformar la estructura social. Transfigurando el mundo mediante sus espacios de representación, es capaz de adquirir una capacidad profética que denuncia situaciones a fin de, como en el caso específico aquí ofrecido, reestablecer el equilibrio de los ecosistemas degradados por la huella que el ser humano ha impreso sobre ellos. Esta misma impronta antropocénica, auspiciada por la idea de progreso que confiere la utopía del crecimiento ilimitado propuesta por el sistema capitalista, paradójicamente podría llevar al ser humano a asistir al fin de su propia especie. Por esta razón, parte del arte contemporáneo lleva tiempo sumamente preocupado en concienciar a la sociedad y, así, frenar la llegada de un catastrófico escenario futuro. Debido a la urgencia de esta acuciante situación, se abordan diversas denuncias establecidas en las prácticas artísticas para cambiar la actitud de sus espectadores. Para ello, se proponen aquí dos vertientes: la de obras que muestran escenarios distópicos y la de otras más activistas que tratan de atajar la situación desde entornos concretos. As a symbolic gathering of conscience, every great artwork is a silent apocalypse that, with its significant impressions or interactions, can transform the social structure. Transfiguring the world through its spaces of representation, it is capable of acquiring a prophetic capacity that denounces situations in order to, as in the specific case offered here; restore the balance of ecosystems degraded by the footprint that human beings have printed on them. This same anthropocenic imprint, sponsored by the idea of progress that confers the utopia of unlimited growth proposed by the capitalist system, paradoxically could lead the human being to attend the end of his own species. For this reason, part of contemporary art has been extremely concerned about raising awareness in society and, thus, curbing the arrival of a catastrophic future scenario. Due to the urgency of this pressing situation, we complaints various complaints established in artistic practices to change the attitude of its spectators. To do this, we proposed two aspects here: that of works that show dystopian scenarios and that of other more activists which try to tackle the situation from specific environments.

scholarly journals Uma leitura crítica do livro de Habacuc na perspectiva da fenomenologia da religião

2008 ◽  
Vol 14 (2) ◽  
pp. 218-224
Author(s):  
Jeová Rodrigues dos SANTOS
Keyword(s):  
Present Article ◽  
Old Testament ◽  
Social Function ◽  
Social Injustice ◽  
Human Beings ◽  
The Social ◽  
Internal Constitution

The proposal of the present article is to analyze the approaches and estrangements among the presuppositions of the Religion’s Phenomenology (process of internal constitution of the religious phenomenon, its social function, and the plausibility of the religion in the post-modernity) and the message of a prophetic book of the Old Testament denominated Habacuc, that is about subjects that relate the religion with problems linked to the social injustice and the implant of the justice in its time. The relevance of this analysis meets in the fact that the religious phenomenon and the concepts of justice and social injustice are intimately related and they accompany the human beings from the first well-known civilizations to day.

scholarly journals Land art u dječjem vrtiću – studije slučaja

2021 ◽  
Vol 15 (2) ◽  
pp. 135-150
Author(s):  
Marija Brajčić
Keyword(s):  
20Th Century ◽  
Contemporary Art ◽  
Negative Impact ◽  
Good Effect ◽  
Land Art ◽  
Creative Work ◽  
Traditional Art ◽  
Art Works ◽  
The Sixties

Land Art is a principle in contemporary art that developed in the sixties and seventies of the 20th century, as a reaction to commercialization in art. The art of Land Art abandoned museums and galleries and develops monumental projects in free space and landscapes, which in an artistic way are changing and adapting without having any negative impact on the environment. Knowing and evaluating contemporary art in practice is as important as observing and evaluating traditional art works, which is also based on the development of subtle perception of art. For this reason, this case study examines the possibility of implementing contemporary art in this case Land Arta in pedagogical work with children in Kindergarten. Land Art is, in its essence, quite suitable as an incentive for creative work for interaction with nature, the use of natural materials that are close to children, has a good effect on the psyche of the child and contains an educational ecological component. The results showed that the children who participated in this research were creatively responsive and created interesting artworks inspired by land art.

scholarly journals The Function Of Ngenteg Linggih Ceremony In Pejaten Tabanan

2021 ◽  
Vol 5 (2) ◽  
pp. 73-82
Author(s):  
Ida Ayu Tary Puspa ◽  
Ida Bagus Subrahmaniam Saitya
Keyword(s):  
Social Function ◽  
Religious Ethics ◽  
The Public ◽  
The People ◽  
The Social ◽  
The Aesthetic ◽  
The Universe

The Dewa Yajña Ceremony is a ceremony addressed to Ida Sang Hyang Widhi with all of His manifestations as a form of devotion because He has created the universe and everything in it. This gratitude was manifested by the people of Pejaten Village by holding a ceremony to instill the Creator to rest in the sacred temple building. The Ngenteg Linggih ceremony has functions such as religious, ethics, aesthetics, and social. Each of these functions is related to one another which of course will play a role in the ceremony. Such as a religious function in which the ceremony provides a basis for belief in the community through the rites and ritual equipment to convince the public that through the ceremony carried out, religious emotions will grow. The function of ethics is to provide guidance in living through the Ngenteg Linggih ceremony to always live life by thinking, saying, and doing good according to what you are doing in your ceremony. The aesthetic function provides beauty as well as truth and sanctity so that people feel the beauty in regulating life practices as outlined in the means and implementation of the ceremony. The social function is shown by the community who work together hand in hand to load the ceremony and carry it out with the concept of ngayah.

scholarly journals Nostalgia against melancholy: artistic corporeal representations of the eternal return as a solution. A comparative approach to the work of Jon Mirande and Balthasar Klossowski

2018 ◽  
pp. 157-172
Author(s):  
Amaia Elizalde Estenaga
Keyword(s):  
Real Time ◽  
20Th Century ◽  
Art Criticism ◽  
Comparative Approach ◽  
Human Beings ◽  
Eternal Return ◽  
Artistic Representations ◽  
Art Works ◽  
Cyclical Time ◽  
Important Means

This paper focuses on the role that nostalgia and memory play in avoiding the melancholy that the idea of death and passage of concrete real time convey to human beings. While archaic societies found collective responses to the issue and believed in the myth of the eternal return and cyclical time, their modern counterparts started to understand time as linear and, as a consequence, had to find other strategies to abolish concrete real time. By analysing art works from the anthropological and comparative approaches of art criticism, it is contended that art has been an important means to resolve the problem, as some of the corporeal artistic representations of the eternal return created during the 20th century demonstrate.

scholarly journals A Visual Imprint of Moving Air:

2017 ◽  
Vol 76 (3) ◽  
pp. 326-348 ◽  
Author(s):  
Sabine von Fischer
Keyword(s):  
Social Function ◽  
Scientific Methods ◽  
Schlieren Technique ◽  
Scientific Authority ◽  
Architectural Acoustics ◽  
Aesthetic Appeal ◽  
Spatial Sound ◽  
The Social ◽  
The Aesthetic ◽  
Mechanical Objectivity

Prompted by an archival finding from the laboratory of Franz Max Osswald, Switzerland's first academic expert in applied acoustics, Sabine von Fischer explores the schlieren technique for photographing sound in sectional models. A Visual Imprint of Moving Air: Methods, Models, and Media in Architectural Sound Photography, ca. 1930 examines how images were used to communicate findings in the emerging discipline of architectural acoustics. In Osswald's persistent experiments in visualizing the invisible phenomena of sound, the social, the technical, and the aesthetic were inseparable. Using photography, Osswald adhered to the paradigm of mechanical objectivity, yet his visual experimenting with phenomena of spatial sound possibly demonstrates an awareness that the senses cannot be excluded from scientific methods. The shadows of moving air in the sound photographs make claims toward their scientific authority, their aesthetic appeal, and their social function as expert tools.

Nature, Wilderness, and Supreme Goodness

2020 ◽  
Vol 42 (3) ◽  
pp. 237-251
Author(s):  
Shan Gao ◽  
Keyword(s):  
Human Nature ◽  
Natural World ◽  
Moral Values ◽  
Aesthetic Appreciation ◽  
Human Beings ◽  
The Aesthetic

Transcendentalism and Confucianism involve different understandinsgs of the concepts of nature, wilderness, and supreme goodness in terms of the metaphysical understanding of nature and how it influences the understanding of human nature. The goodness of Tao is not transcendental as understood by transcendentalism. Rather the goodness of Tao as the important moral values is shaped by human beings’ experience of the natural world. It is this deeper philosophical reason why transcendentalism encourages the aesthetic appreciation of wilderness while Confucianism encourages the aesthetic appreciation of humanized nature.

Vietnamese Artists in Paris

2018 ◽  
Author(s):  
Ann Proctor
Keyword(s):  
20Th Century ◽  
Cultural Influence ◽  
World's Fair ◽  
International Exhibitions ◽  
Art Works ◽  
Overseas Travel ◽  
French Colonial ◽  
The Aesthetic ◽  
Radical Transformation

Vietnam was a French colony when the artistic and cultural influence of Paris was at its peak. Despite this, few Vietnamese ventured to France in order to establish or further their artistic education. Reasons for this anomaly include the fact that prior to the middle of the 20th century few Vietnamese left the place where they were born, and that French colonial rule restricted overseas travel for their subjects. The very few artists who went to France were from privileged backgrounds, and generally traveled either under a scholarship or in association with international exhibitions, such as the Colonial Exhibition in Paris (1931) or the 1937 World’s Fair. Artists who moved overseas for political reasons rarely returned to Vietnam, but those who did return in the first half of the 20th century contributed to a radical transformation in Vietnamese painting and sculptural practice, moving Vietnamese art into a modern international framework. Changes occurred in the aesthetic and physical appearance of art works, the way arts education was received, the manner in which art works circulated, and ultimately in the societal role of the artist (prior to colonization, Vietnamese art was generally produced within specific guilds).

Estetica vieții cotidiene în filozofia RSR

Transilvania ◽  
2021 ◽  
pp. 1-11
Author(s):  
Christian Ferencz-Flatz
Keyword(s):  
Everyday Life ◽  
Social Function ◽  
Guiding Principle ◽  
The Social ◽  
The 1960S ◽  
The Aesthetic

The present paper analyses the emergence of a novel field of interest in the philosophical aesthetics of the 1960s in Romania: the aesthetics of everyday life. As such, it first starts by drawing out an overview of the aesthetic discussions in 1950s Romania by closely reading several articles from the main philosophical journal of the period: Cercetări filozofice. In this regard, I focus on two main aspects, namely the theory of reflection, which was the guiding principle of Marxist-Leninist aesthetics, and the theory of the social function of art. Further on I will sketch out how these two aspects defined the main traits of the local aesthetics of everyday life, a topic which took the center fold of aesthetic interest for almost a decade, and which has ever since the early 2000s found renewed interest.

Artistic Research on Life Forms: Exploring the Intersections of Science, Art and Life in the Context of Globalization

Leonardo ◽  
2008 ◽  
Vol 41 (5) ◽  
pp. 468-477 ◽  
Author(s):  
Mojca Puncer
Keyword(s):  
New Media ◽  
Complex Structure ◽  
Life Forms ◽  
The Political ◽  
Science Technology ◽  
Critical Commentary ◽  
The Social ◽  
Art Practices ◽  
The Aesthetic ◽  
Everyday Reality

Contemporary art practices are characterized by the transformation of completed or finalized objects into open works, fluid spatial situations and relations in the social field. Art processes raise the question: Can the complex structure of artworks provide an analogy and methodology that art researchers can use to co-design our culture from anthropological, philosophical, aesthetic and sociopolitical perspectives? This paper addresses this question through an examination of the artistic use of, and critical commentary on, media and available technologies, and of the artistic treatment of life forms found in the work of the younger generation of Slovenian artists (Tratnik, Berlot, Peljhan, Lovšin and others). The strategies these artists employ in their projects significantly strengthen the case for a re-articulation of the aesthetic, the ethical and the political, through a transition in various territories: art, (biotechnological) science, technology, new media and everyday reality.

Sign in / Sign up

Export Citation Format

Share Document