scholarly journals Art paintings accessible to the blind

2021 ◽  
Vol XIX (3) ◽  
pp. 599-612
Author(s):  
Aksinja Kermauner
Keyword(s):  
Visual Arts ◽  
Role Playing ◽  
Work Of Art ◽  
Audio Description ◽  
The Senses ◽  
Blind Persons ◽  
Tactile Graphics

The purpose of the article is to explore in what ways visual arts can be brought closer to blind persons in the postmodern society, in which sight is perceived to be the highest of the senses and in which most information is based on images. The basic methods of presenting a work of art involve the remaining senses, mostly those of hearing and of touch. It is of course not enough just to deliver a factual description of a painting or to transform it into tactile graphics – more complex techniques such as audio-description, method of associations, participating in role-playing, all with the aim of a holistic experience of the work of art, must be sought instead.

Denaturalizing Time: On Kris Verdonck's Performative Installation End

2014 ◽  
Vol 39 (1) ◽  
pp. 47-56 ◽  
Author(s):  
KATIA ARFARA
Keyword(s):  
Visual Arts ◽  
Installation Art ◽  
Single Point ◽  
Point Of View ◽  
Major Influence ◽  
Human Society ◽  
Work Of Art ◽  
The Spectator ◽  
The 1960S ◽  
Space Art

Originating from the avant-garde's attempt to supplant the structural limitations of perspective which ‘bound the spectator to a single point of view’, installation art emerged during the 1960s and the 1970s as a critique of the pure, self-referential work of art. Belgian artist Kris Verdonck integrates that modernist debate into his hybrid practice of performative installation. Trained in visual arts, architecture and theatre, Verdonck uses sophisticated technological devices in order to blur binary distinctions such as time- and space-art, inanimate and animate figures, and immateriality and materiality. This study focuses on End (Brussels 2008), which shows the possible final stages of a human society in ten scenes. I analyse End as an echo of the Futurists’ performance tactics, which prefigured a broadening of the formal aesthetic boundaries of performance art under the major influence of Henri Bergson's theory of time.

scholarly journals ANALISIS FORMALISTIK DALAM MEMAKNAI SIMBOL BUDAYA MELAYU ABSTRAK

2015 ◽  
Vol 3 (2) ◽  
pp. 49-72
Author(s):  
LIZA MARZIANA MOHAMMAD NOH ◽  
HAMDZUN HARON ◽  
JASNI DOLAH
Keyword(s):  
Visual Arts ◽  
General Public ◽  
Modern Art ◽  
Fundamental Question ◽  
Work Of Art ◽  
Physical Data ◽  
Works Of Art ◽  
National Heritage ◽  
Analyze Data

Untuk menghayati sesebuah karya seni pokok persoalan yang hendak dikaji bukanlah keindahan sematamata tetapi unsur yang menyebabkan sesuatu simbol itu terjelma. Subjek, bentuk dan makna adalahtiga aspek dalam simbol yang menjadi asas kepada penghayatan sesebuah seni. Ketiga-tiganya salingberhubungan dan tidak boleh di pisahkan kerana daripadanya kesatuan karya terbentuk seterusnyamenjelaskan gagasan seniman. Demikian dalam memaknai karya, unsur seni adalah penting untuk dikajisebagai data fizikal yang bertindak dalam menghubungkan konteks sesuatu karya itu. Kertas kerja inimenerangkan penggunaan unsur-unsur formalistik untuk menganalisa data bagi memaknai simbol budayaMelayu dalam karya seni catan moden Malaysia. Dengan menjadikan Balai Seni Visual Negara sebagailokasi kajian, kertas kerja ini merujuk buku himpunan warisan tampak negara 1958-2003 terbitan BalaiSeni Visual Negara. Sebanyak empat karya di tahun 1970an sehingga 2000 dipilih bagi menyiasat bentukdan maknanya. Sebagai kesimpulan, kertas kerja ini diharapkan dapat mendedahkan kepada masyarakatumum dan peminat seni khususnya mengenai analisis formalistik sebagai satu cara menganalisa karyaseni. In appreciate of a work of art the fundamental question to be examined is not the sheer beauty but anelement that causes a transformed symbol. Subject, form and meaning in symbols are three aspects thatare fundamental to the appreciation of art. All three are interconnected and cannot be separated to formthe whole aert work and subsequently to define the notion of artistism. Thus in defining an art work, artis an important element to be studied as the physical data in relating the context of the piece of artwork.This paper describes the use of formalistic elements to analyze data to interpret the symbol of Malayculture in Malaysian modern art paintings. By making the National Visual Arts Gallery as the locationfor research, this paper refers to the compilation books of national heritage published in 1958-2003 byNational Visual Arts Gallery. A total of four works from 1970s up to 2000 are selected to investigatethe forms and meanings. In conclusion, this paper is expected to disclose to the general public and artenthusiasts in particular on formalistic analysis as a means of analyzing works of art.

scholarly journals Μιχαήλ Ψελλός: η ματιά του φιλότεχνου

1998 ◽  
Vol 12 ◽  
pp. 75 ◽  
Author(s):  
Χρ. ΑΓΓΕΛΙΔΗ
Keyword(s):  
Literary Genre ◽  
Work Of Art ◽  
Bronze Sculpture ◽  
Works Of Art ◽  
Conceptual Background ◽  
Byzantine Period ◽  
The Senses ◽  
Artistic Product ◽  
Important Shift

  <p>Christine G. Angelidi</p><p> Michael Psellos: The Eye of the Connoisseur </p><p>The descriptions of works of art of the middle Byzantine period are more or less accurate in regard to the reconstruction of the objects as perceived by their authors. However, whatever literary genre they belong to, the <em>ekphraseis</em> usually concentrate on specific parts of religious works of art and their theological explanation. Thus, the artistic product is never perceived as a whole nor do the authors investigate the connexion between the accomplished creation and its conceptual background. As for the descriptions of antique sculptures dating from the same period, the authors seem to have used those particular themes only in an attempt to stress their own literary skills. </p><p>An interesting exception is, once again, provided by the <em>ekphraseis</em> of Michael Psellos and namely his ‘Description of a sculpture representing the resting Cupid'. In this brief article we argue that Psellos' text marks out an important shift from the traditional perception and commentary of the work of art and specifically of an antique one. Not only does he describe in detail this marble sculpture (probably a marble copy of a hellenistic or imperial bronze sculpture), but also deals with the choice of the material as well as the choice of this particular type of Cupid. Furthermore, he stresses the perfection of the artist's achievement, which enables the connection between the form of the sculpture and its theoretical content. For his commentary, Psellos draws material from Plato's dialogues, combining platonic concepts in order to define his own theory of Beauty and Love. </p><p>Two more points of Psellos' <em>ekphrasis</em> are discussed: the value of the sight as the first of the senses leading to philosophy, and the importance of the infant's body as a symbol of purity. Those two characteristics connect our text to the brief praise Psellos dedicated to his grandson ca. 1070.</p><p> </p>

Artistic forgery

2018 ◽  
Author(s):  
Gregory Currie
Keyword(s):  
Visual Arts ◽  
Art Market ◽  
Art World ◽  
False Beliefs ◽  
Aesthetic Value ◽  
Work Of Art ◽  
The Aesthetic ◽  
False Claim

Forgery in art occurs when something is presented as a work of art with a history it does not actually have. Typically this involves a false claim about the producer’s identity. Forgeries are most usually works in the style of the artist whose work they falsely claim to be, while a forgery that is a copy of an existing work is a fake. Forgery is most common in the visual arts, but is also possible in other arts, such as literature and music. The main aesthetic problem that forgery poses is that typically no deception is practised concerning what we might call the appearance of the forged object (generalizing from the pictorial case). Thus the forger does not deceive us about the disposition of colours on the canvas, the sequence of musical notes in the score, or the sequence of words in the text. If we adopt the widely held view that aesthetic value is a function of appearance alone, we shall conclude that something’s being a forgery is irrelevant to its aesthetic worth; whatever false beliefs the viewer might be induced to have about the work, those beliefs could not affect an honest judgment of its aesthetic value. But in the art world it is universal practice to condemn forgery. If that practice is to be justified as anything other than artistic snobbery and the protection of prices in the art market, it must be shown that the aesthetic interest of a work is not exhausted by its appearance alone. In fact it can be shown that the aesthetic features of a work often depend on its historical features as well as on its appearance, and that these historical features are likely to be obscured by the deception that forgery involves.

Criticizing and Evaluating the Visual Arts in India: Preliminary Example

1988 ◽  
Vol 47 (1) ◽  
pp. 3-28 ◽  
Author(s):  
Joanna Williams
Keyword(s):  
Visual Arts ◽  
Work Of Art ◽  
Works Of Art ◽  
The Way

By what standards should we judge works of art from another culture or era? We are generally used to the idea that understanding the meaning of an image requires consideration of its distinctive context—literary, religious, social, and so on. Evaluating the quality of a work of art is another specific case of this broad dilemma of understanding. Do we evaluate good and bad images by the “proper” criteria and in the way that is appropriate to them?

scholarly journals Abstraction and art

2003 ◽  
Vol 358 (1435) ◽  
pp. 1241-1249 ◽  
Author(s):  
Bernard Gortais
Keyword(s):  
Visual Arts ◽  
Science And Technology ◽  
Work Of Art ◽  
Digital Platforms ◽  
The Arts ◽  
Successful Work ◽  
The World ◽  
The Spectator ◽  
Definition Of ◽  
Generic Representation

In a given social context, artistic creation comprises a set of processes, which relate to the activity of the artist and the activity of the spectator. Through these processes we see and understand that the world is vaster than it is said to be. Artistic processes are mediated experiences that open up the world. A successful work of art expresses a reality beyond actual reality: it suggests an unknown world using the means and the signs of the known world. Artistic practices incorporate the means of creation developed by science and technology and change forms as they change. Artists and the public follow different processes of abstraction at different levels, in the definition of the means of creation, of representation and of perception of a work of art. This paper examines how the processes of abstraction are used within the framework of the visual arts and abstract painting, which appeared during a period of growing importance for the processes of abstraction in science and technology, at the beginning of the twentieth century. The development of digital platforms and new man–machine interfaces allow multimedia creations. This is performed under the constraint of phases of multidisciplinary conceptualization using generic representation languages, which tend to abolish traditional frontiers between the arts: visual arts, drama, dance and music.

scholarly journals Cinema e pintura em diálogo

2020 ◽  
Author(s):  
Maria Fátima Nunes ◽  
Carlos Miguel Rodrigues
Keyword(s):  
Visual Arts ◽  
Creative Process ◽  
Film Studies ◽  
Research Project ◽  
Work Of Art ◽  
The Public

Being the cinema, heir of painting, among other arts, it is natural that these two forms of representation have been theorized either by researchers in the field of film studies (Aumont, 2004), visual arts (Manovich, 2005), by filmmakers (Eisenstein, Godard...). Much of this theorization has had the object of studying biographical films of painters (cf. the work organized by Thivat, 2011). The question of the dialogue between cinema and painting has been posed by Queiroz (2012) ; by Nunes (2014). However, if we consider the example of the film Le Mystère Picasso, although Henri-George Clouzot filmed Picasso in the creative act, as spectators we do not have access to the genesis of the creative process, we only see the gestures and features of Picasso. This is, the cinema has functioned as a technology of recording, memory and digital composition, as a translator of the creative process of a work of art. Hence, as part of the research project “Cinema and painting in dialogue”, we intend to question film writing (cinematographic editing) as “translator” of the genesis of the creative process of a work of art; to establish, through filmic writing, the process of creating a work of art: drawing, painting, sculpture... And bringing cinema and painting closer together in the dialogical process of receiving and appropriating the work by the public.

scholarly journals Identity of the work of art

2010 ◽  
Vol 21 (2) ◽  
pp. 293-308
Author(s):  
Stefan Ristic
Keyword(s):  
Visual Arts ◽  
Physical Object ◽  
Ontological Status ◽  
Symbolic System ◽  
Work Of Art ◽  
Music And Literature ◽  
Works Of Art ◽  
The Arts ◽  
Art Forms ◽  
Definition Of

The paper intends to determine the identity of the work of art in visual arts, music and literature. The discussion is of ontological nature. Particular attention is given to the problem of imitation of works of art in different arts, making a distinction between two types of imitation: fakes and forgeries. The first type is found only within the arts where the work of art is a singular physical object, i.e. with the so called autographic arts, whereas the second type can also be found in other, allographic arts, although less commonly. The problem of the imitation of works of art is closely related with the issue concerning the possibility of reducing the work of art to a formal symbolic system which would serve as a definition of the work of art. The discussion shows that a consistent analysis of the ontological status of the work of art in different art forms provides results that may seem at the first glance unintuitive and surprising.

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