scholarly journals COLOR IN PAINTING (IN PERSPECTIVE FROM PREHISTORIC TIMES TO PRESENT TIMES)

2014 ◽  
Vol 2 (3SE) ◽  
pp. 1-3
Author(s):  
Yatindra Mahobe
Keyword(s):  
Human Life ◽  
Art World ◽  
Special Place ◽  
History Of Art ◽  
History Of

Only by the pronunciation of the word 'Rang' do we find that the environment around us has become colorful. If color is not included in life, then human life would be far from euphoria, desire, taste and beauty, and the fear of such a lifeless life begins to arise.'Color' is an important contribution to painting, in the absence of color, painting cannot be complete. It has an amazing beauty and charm, which automatically draws the viewer and the artist to himself. "Our emotions are directly related to the effect of colors. Color creates mobility in life. The life of the artist is with colors, so it is necessary that he is fully familiar with colors. From time immemorial, color is the element in this art world that is used as a cover in artwork. In the absence of color, the artwork remains incomplete. Colors have their own special place in the history of art. Colors give life to artistry. "1 ‘रंग’ शब्द के उच्चारण मात्र से ही हम पाते हैं कि हमारे आस-पास का वातावरण रंगीन हो गया है। यदि जीवन में रंग का समावेश नहीं होता तो मनुष्य जीवन उल्लास, अभिलाषा, रस एवं सौंदर्य से कोसों दूर होता और ऐसे प्राणहीन जीवन की कल्पनामात्र से भय उत्पन्न होने लगता है।चित्रकला में ‘रंग’ का महत्वपूर्ण योगदान है, रंग के अभाव में चित्रकला संपूर्ण नहीं हो सकती। उसमें एक अद्भूत सौंदर्य और आकर्षण होता है, जो दर्शक एवं कलाकार को अपनी ओर स्वतः खींचता है। ‘‘रंगों के प्रभाव से हमारी भावनाओं का सीधा संबंध है। रंग से जीवन में गतिशीलता उत्पन्न हाती है। कलाकार का जीवन रंगों के ही साथ है, इसलिए यह आवश्यक है कि वह रंगों से पूर्णतः परिचित हो। आदिकाल से लेकर आज तक इस कला जगत में रंग वह तत्व है जिसे कलाकृति में आवरण के रूप में प्रयोग किया जाता है। रंग के अभाव में कलाकृति अधूरी रह जाती है। कला के इतिहास में रंगों का अपना विशिष्ट स्थान है रंग कलाकृति को जीवन प्रदान करते हैं।’’1

Contemporary Art

Art History ◽  
2014 ◽  
Author(s):  
Terry Smith
Keyword(s):  
Contemporary Art ◽  
Modern Art ◽  
Art World ◽  
Local Language ◽  
Early 21St Century ◽  
Public Media ◽  
History Of Art ◽  
History Of ◽  
The 1960S ◽  
The Many

As an art-critical or historical category––one that might designate a style of art, a tendency among others, or a period in the history of art––“contemporary art” is relatively recent. In art world discourse throughout the world, it appears in bursts of special usage in the 1920s and 1930s, and again during the 1960s, but it remains subsidiary to terms––such as “modern art,” “modernism,” and, after 1970, “postmodernism”––that highlight art’s close but contested relationships to social and cultural modernity. “Contemporary art” achieves a strong sense, and habitual capitalization, only in the 1980s. Subsequently, usage grew rapidly, to become ubiquitous by 2000. Contemporary art is now the undisputed name for today’s art in professional contexts and enjoys widespread resonance in public media and popular speech. Yet, its valiance for any of the usual art-critical and historical purposes remains contested and uncertain. To fill in this empty signifier by establishing the content of this category is the concern of a growing number of early-21st-century publications. This article will survey these developments in historical sequence. Although it will be shown that use of the term “contemporary art” as a referent has a two-hundred-year record, as an art-historical field, contemporary art is so recent, and in such volatile formation, that general surveys of the type now common for earlier periods in the history of art are just beginning to appear. To date, only one art-historiographical essay has been attempted. Listed within Contemporary Art Becomes a Field, this essay (“The State of Art History: Contemporary Art” (Art Bulletin 92.4 [2010]: 366–383; Smith 2010, cited under Historiography) is by the present author and forms the conceptual basis of this article. Contemporary art’s deep immersion in the art market and auction system is profiled in the separate Oxford Bibliographies article Art Markets and Auction. This article does not include any of the many thousands of books, catalogues, and essays that are monographic studies of individual contemporary artists, because it would be invidious to select a small number. For similar reasons, entries on journals, websites, and blogs are omitted. A select listing of them may be found in Terry Smith, Contemporary Art: World Currents (Upper Saddle River, NJ: Prentice Hall, 2011; Smith 2011 cited under Surveys). Books on art movements are not to be found because contemporary art, unlike modern art, has no movements in the same art-historical sense. It consists of currents, tendencies, relationships, concerns, and interests and is the product of a complex condition in which different senses of history are coming into play. With regret, this article confines itself to publications in English, the international language of the contemporary art world. This fact obscures the importance and valiance of certain local-language publications, even though many key texts were issued simultaneously both in the local language and English, and many others have subsequently been translated. In acknowledgment of this lacuna, a subsection on Primary Documents has been included.

scholarly journals The E.A.T. Datascape: An Experiment in Digital Social History of Art

2019 ◽  
pp. 110-137
Author(s):  
Christophe Leclercq ◽  
Paul Girard ◽  
Daniele Guido
Keyword(s):  
Social History ◽  
Art History ◽  
Digital Design ◽  
Art World ◽  
Robert Rauschenberg ◽  
Art And Technology ◽  
The Social ◽  
History Of Art ◽  
History Of ◽  
Interdisciplinary Projects

Experiments in Art and Technology (E.A.T.) is an organization co-founded in 1966 by artists Robert Rauschenberg and Robert Whitman, and engineers Billy Klüver and Fred Waldhauer, in order to support collaboration between artists and engineers. The E.A.T. datascape is a digital instrument for analyzing the digitized traces left by its members via many available resources. Its aim is to study as closely as possible the complexity of collaborative interdisciplinary works. The E.A.T. datascape methodology makes it possible, by means of an anthropological action-centred approach, to go beyond the distinction between art history and art sociology and to renew the social history of art by challenging the notion of authorship and by describing the work as constituted by the intersection between heterogeneous trajectories, rather than an object within a context that would influence it, or constitute its environment. In other words, it allows us to reflect on what digital design does, in turn, to the social history of art, and to put forward hypotheses about what a digital social history of art might be or could offer to the study of complex, interdisciplinary projects that are multiplying in the contemporary art world.

Bataille, Georges (1897–1962)

2018 ◽  
Author(s):  
Jonathan Maskit
Keyword(s):  
Human Life ◽  
Adult Life ◽  
History Of Religion ◽  
Wide Range ◽  
History Of Art ◽  
Limits Of Knowledge ◽  
History Of ◽  
Academic Philosophy ◽  
Formally Trained

Georges Bataille was born in Billom, France, raised in Reims, and spent much of his adult life in Paris. Never formally trained as a philosopher, he worked from 1922 to 1942 as a librarian at the Bibliothèque Nationale. In addition to his philosophical works, Bataille also wrote on the history of art as well as a number of critical works and novels. Owing to his position outside academic philosophy, Bataille was able to treat diverse topics in ways which might have been unacceptable otherwise. His work addresses the importance of sacrifice, eroticism and death, as well as the kinds of ‘expenditure’ evidenced by what he called the general economy. It draws on diverse sources (Hegel, Nietzsche, Marcel Mauss, anthropological research, and the history of religion, among others) and treats a wide range of topics: the role of art in human life, the practice of sacrifice in ancient and modern cultures, the role of death in our understanding of subjectivity, and the limits of knowledge.

scholarly journals Legendary Obscurity: the Working Life of Malcolm Ross

2021 ◽  
Author(s):  
◽  
Matthew Robert Plummer
Keyword(s):  
Working Life ◽  
Research Library ◽  
Art World ◽  
Art Gallery ◽  
Diverse Range ◽  
History Of Art ◽  
History Of

<p>Malcolm Ross (1948-2003) was a sculptor, painter, photographer, cartoonist and historian who operated at one remove from the art world for the entirety of his career. As a consequence, almost no analysis, criticism or writing on his work exists, and his place within this country's history of art has subsequently been overlooked. This thesis seeks to give art historical and analytical attention to Ross's oeuvre, arguing for his status as one of New Zealand's key conceptual practitioners. It traces the thematic threads which recur throughout his work and argues that the diverse range of artistic and historic investigations he undertook are ultimately unified within his archive at the E.H. McCormick Research Library, Auckland Art Gallery Toi O Tamaki.</p>

scholarly journals Contemporary Art: World Currents in Transition Beyond Globalization

2014 ◽  
Vol 3 ◽  
pp. 163-173 ◽  
Author(s):  
Terry Smith ◽  
Saloni Mathur
Keyword(s):  
Los Angeles ◽  
Contemporary Art ◽  
Associate Professor ◽  
Art World ◽  
University Of Pittsburgh ◽  
History Of Art ◽  
History Of ◽  
October 17 ◽  
The University ◽  
Art And Architecture

An edited transcript of a colloquium between Terry Smith, Mellon Professor of Contemporary Art History and Theory at the University of Pittsburgh, and Saloni Mathur, Associate Professor of the History of Art, University of California, Los Angeles, held at the Department of the History of Art and Architecture, University of Pittsburgh, on October 17, 2012.

Art Narratives and Globalization

2011 ◽  
Vol 56 (2) ◽  
pp. 135-144
Author(s):  
Patricia Esquivel
Keyword(s):  
Contemporary Art ◽  
Art World ◽  
The West ◽  
History Of Art ◽  
The World ◽  
History Of ◽  
End Of Art ◽  
Arthur Danto

Arthur Danto proklamierte das »Ende der Kunst«, d. h. das Ende der auf ein Narrativ und auf eine unidirektionale Grundlage basierenden Kunstgeschichte. In der zeitgenössischen Kunstwelt und besonders in der Historiographie hingegen findet man durchaus ein Telos. Dieses Telos ist die Globalisierung. Es gibt heute ein sich ausbreitendes unidirektionales Narrativ, dessen Regel als »Netzwerklegitimation« erklärt werden kann. Ein Netzwerk, dessen Ausmaß (mehr Regionen der Welt), Sättigung (mehr Objekte) und Historizität (umfassendere Entwicklungsketten) zunehmen. Das Netzwerk hat auch einen Mittelpunkt, den Westen, wenn auch nicht für immer.<br><br>Arthur Danto proclaimed the »end of art«, that is, the end of the history of art structured on a narrative and unidirectional basis. But in contrast to Danto’s ideas, we detect a telos in the contemporary art world, especially in historiography. This telos is globalisation. At present, we have a clearly expansive unidirectional narrative in which the norm can be summed up as »network legitimation.« A network that is growing in extent (more regions of the world), saturation (more objects) and historicity ( further-ranging chains of development). The network also has a centre, the West, although it may not last forever.

scholarly journals Legendary Obscurity: the Working Life of Malcolm Ross

2021 ◽  
Author(s):  
◽  
Matthew Robert Plummer
Keyword(s):  
Working Life ◽  
Research Library ◽  
Art World ◽  
Art Gallery ◽  
Diverse Range ◽  
History Of Art ◽  
History Of

<p>Malcolm Ross (1948-2003) was a sculptor, painter, photographer, cartoonist and historian who operated at one remove from the art world for the entirety of his career. As a consequence, almost no analysis, criticism or writing on his work exists, and his place within this country's history of art has subsequently been overlooked. This thesis seeks to give art historical and analytical attention to Ross's oeuvre, arguing for his status as one of New Zealand's key conceptual practitioners. It traces the thematic threads which recur throughout his work and argues that the diverse range of artistic and historic investigations he undertook are ultimately unified within his archive at the E.H. McCormick Research Library, Auckland Art Gallery Toi O Tamaki.</p>

scholarly journals Legendary Obscurity: the Working Life of Malcolm Ross

2021 ◽  
Author(s):  
◽  
Matthew Robert Plummer
Keyword(s):  
Working Life ◽  
Research Library ◽  
Art World ◽  
Art Gallery ◽  
Diverse Range ◽  
History Of Art ◽  
History Of

<p>Malcolm Ross (1948-2003) was a sculptor, painter, photographer, cartoonist and historian who operated at one remove from the art world for the entirety of his career. As a consequence, almost no analysis, criticism or writing on his work exists, and his place within this country's history of art has subsequently been overlooked. This thesis seeks to give art historical and analytical attention to Ross's oeuvre, arguing for his status as one of New Zealand's key conceptual practitioners. It traces the thematic threads which recur throughout his work and argues that the diverse range of artistic and historic investigations he undertook are ultimately unified within his archive at the E.H. McCormick Research Library, Auckland Art Gallery Toi O Tamaki.</p>

scholarly journals Legendary Obscurity: the Working Life of Malcolm Ross

2021 ◽  
Author(s):  
◽  
Matthew Robert Plummer
Keyword(s):  
Working Life ◽  
Research Library ◽  
Art World ◽  
Art Gallery ◽  
Diverse Range ◽  
History Of Art ◽  
History Of

<p>Malcolm Ross (1948-2003) was a sculptor, painter, photographer, cartoonist and historian who operated at one remove from the art world for the entirety of his career. As a consequence, almost no analysis, criticism or writing on his work exists, and his place within this country's history of art has subsequently been overlooked. This thesis seeks to give art historical and analytical attention to Ross's oeuvre, arguing for his status as one of New Zealand's key conceptual practitioners. It traces the thematic threads which recur throughout his work and argues that the diverse range of artistic and historic investigations he undertook are ultimately unified within his archive at the E.H. McCormick Research Library, Auckland Art Gallery Toi O Tamaki.</p>

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