scholarly journals PERSEPSI MAHASISWA TERHADAP SENI RUPA TRADISI DAN KONTEMPORER SERTA RELASI PROSES PENJELAJAHAN IDE KREATIF DALAM BERKARYA

2019 ◽  
Vol 10 (2) ◽  
pp. 101
Author(s):  
Narsen Afatara ◽  
Sigit Purnomo Adi ◽  
Sayid Mataram ◽  
Nadia Sigi Prameswari
Keyword(s):  
Contemporary Art ◽  
Fine Arts ◽  
Fine Art ◽  
Art Students ◽  
Traditional Art ◽  
The Arts ◽  
Arts And Culture ◽  
Ancient Times ◽  
University Level ◽  
The University

<p align="center"><strong><em>ABSTRACT</em></strong></p><p><em>The essence of art is creating beauty. Since ancient times beauty is something that is always sought after by humans. The beauty is getting worse due to traditional art increasingly abandoned. Traditional art is all things related to values in a particular community which are maintained purely from generation to generation. In contrast to contemporary art, one of the most prominent and prominent characteristics in contemporary art is the disappearance of boundaries between art. Both forms and styles of fine arts need to be preserved by students as the next generation. The importance of preserving art is part of the preservation of the arts and culture of the nation's heritage. Traditional and contemporary art are taught in the realm of education, especially at the university level through fine arts courses. The purpose of this study is to find out the perceptions of art students on traditional art and contemporary art, so that students as young people can identify and determine their interest in one form and style between traditional and contemporary art.</em></p><p><em> </em></p><p><strong><em>Keywords: Fine Art, Contemporary and Traditional</em></strong></p>

scholarly journals ‘Painting with my students’ – Development of Subject Matter and Refinement of Personal Styles in Selected Paintings among Fine Art Students at Kenyatta University

2020 ◽  
Vol 2 (1) ◽  
pp. 180-206
Author(s):  
Kamau Wango
Keyword(s):  
Subject Matter ◽  
Sense Of Self ◽  
Fine Art ◽  
Individual Growth ◽  
Personal View ◽  
Major Objective ◽  
Art Students ◽  
University Level ◽  
The University ◽  
A Current

Students of Fine Art at the University level embark on many artistic undertakings within their semester durations as a requirement of their programme. In painting, a major objective is the development of a personal style that occurs over a period of time as each student works through the respective painting units spread out across the academic years. As they work through the units, they consolidate and refine their individual styles in readiness to begin their artistic careers in earnest, as well as enhancing their individual growth. This means that they spend a significant amount of time refining their skills as well as gaining knowledge. Another objective in painting is to help students delve into the realm of thematic interpretation in order to acquire the impetus towards an inquiry into the myriad of pertinent issues in their environment and life. This enables them to develop a rationalised personal view that in turn allows them to develop subject matter for the purpose of self-expression. Students’ work is often viewed as students’ work. This paper posits that this, however, does not necessarily denote that students, who for the purpose of this paper will be referred to as student artists, do not already possess the capacity to examine and interpret themes and extract admirable interpretations and anecdotes of self-expression. It does not imply that they do not already possess admirable painting skills even as they endeavour to further develop and refine these skills and consolidate their individual styles. It does not, subsequently, imply that what they paint lacks the capacity for significant inquiry, commentary and sense of self-expression. This paper delves into selected paintings by student Artists to determine whether their level of visual execution, construction and composition of subject matter as well as their interpretive ability, demonstrates or negates a current ability to meet the stated thresholds in their own right.

William Morris’s ‘Work-Pleasure’: Literature, Science and Fine Art

2018 ◽  
pp. 163-185
Author(s):  
Philipp Erchinger
Keyword(s):  
Nineteenth Century ◽  
Fine Arts ◽  
Experimental Methods ◽  
Fine Art ◽  
Arts And Crafts ◽  
Arts And Crafts Movement ◽  
William Morris ◽  
Narrow Sense ◽  
The Arts ◽  
The Aesthetic

This chapter seeks to elucidate nineteenth-century conceptions of art as fine art. Taking its cue from Raymond Williams’s account of a divorce of (fine) art from (technical) work, the chapter pursues various attempts to define the aesthetic specificity of the fine arts, including literature in the narrow sense, in relation to other ways of exercising skill, including the use of experimental methods in the sciences. In this way, it seeks to show that the idea of the aesthetic, despite all attempts to purify it, remained deeply entangled in a net of work, in which experiences of pleasure (or beauty) and playfulness had not yet been separated from material practices of making useful things. As is further explained, the idea of a mutual inclusiveness of pleasure and use was pivotal to the arts and crafts movement, especially to the creative practice of William Morris. Finally, the chapter pursues Morris’s concept of “work-pleasure”, as derived from his News from Nowhere, through a wider debate about the complex relations between the sciences and the (fine) arts.

al-Attar, Suad (1942--)

2018 ◽  
Author(s):  
Tiffany Renee Floyd
Keyword(s):  
Contemporary Art ◽  
Formal Education ◽  
Graduate Training ◽  
Fine Arts ◽  
California State University ◽  
State University ◽  
Art And Design ◽  
Geographic Regions ◽  
The University

Born in Baghdad, Iraq, Suad al-Attar moved to London in 1976. She holds a prominent position within the narrative of Iraqi modern and contemporary art as one of the nation’s leading female artists. In 1965, al-Attar became the first woman to hold a solo exhibition in Baghdad. This exhibition was the beginning of a prolific career that spans several decades and geographic regions. Al-Attar began her formal education at the Academy of Fine Arts in Baghdad and at California State University. She then pursued graduate training in London at the Wimbledon School of Art, where she studied printmaking, and the Central School of Art and Design. After the completion of her studies, al-Attar taught at the University of Baghdad before moving to London. Working within a graphic aesthetic, al-Attar’s work is flat, linear, and oftentimes monochromatic. Her canvases are filled with mythical creatures set in phantasmagoric spaces. The artist’s work is characterized as a manifestation of memory, at both a personal and collective level. Her characters emerge from Iraq’s literary past, but al-Attar also creates a personalized set of symbols based on memories of her homeland. Many of her works also offer introspective laments on the destruction of Baghdad during the turbulent years of the 1990s and 2000s.

Fine arts libraries in British Columbia: culture on the West Coast of Canada

1999 ◽  
Vol 24 (3) ◽  
pp. 5-7
Author(s):  
Melva J. Dwyer
Keyword(s):  
British Columbia ◽  
Fine Arts ◽  
Public Library ◽  
Art Gallery ◽  
Public College ◽  
University Of British Columbia ◽  
The North ◽  
Arts And Culture ◽  
The University ◽  
The North Pacific

Fine arts and culture have existed in British Columbia from the time that the First Peoples came to the North Pacific coast of Canada. Vancouver’s first fine arts library was established in 1930 at the Vancouver Public Library; significant collections have subsequently been developed at the Vancouver Art Gallery, Emily Carr Institute of Art & Design and the University of British Columbia. They serve a diverse clientele: students, artists and researchers. Outlook, a province-wide network, provides access via the Internet to library catalogues of public, college and institution libraries throughout the Province.

scholarly journals Entrepreneurial Pathways in Art

2021 ◽  
Vol 10 (1) ◽  
Author(s):  
Kaisu Tuominiemi ◽  
Scott Benzenberg
Keyword(s):  
Art World ◽  
Art Students ◽  
Art Programs ◽  
Post Secondary ◽  
Arts Programs ◽  
University Level ◽  
Studio Practices ◽  
And Performance ◽  
The University ◽  
The Impact

Art programs at the university level are often designed in a studio-based model where the curriculum objective is “high-levels of disciplinary expertise” (Hong, Essig, & Bridgstock, 2012). These programs graduate artists who, while highly proficient in creation and performance, must navigate a career market which is limited and highly competitive.  This studio model is shifting. Many arts programs at the university level are now beginning to incorporate courses which help artists as they navigate the business of the art world, but these types of interventions still neglect opportunities to fully harness artistic skillsets of art students. Arts Entrepreneurship is an emerging discipline in post-secondary education. This discipline aims address the needs of the artist while also recognizing the unique habits of mind the artist might bring into enterprise. The scope of this discipline extends beyond studio practices by considering and measuring the impact of an artists’ work. “The unique mission of arts programs and therefore a unique of arts entrepreneurship education and a defining aspect of its signature pedagogy is the practice of making art work in and for the real world” (Hong, Essig, & Bridgstock, 2012). In this discipline, artists extend the scope of their “work” beyond creation and towards practices which can future sustain an artistic venture. Arts Entrepreneurship therefore seeks to graduate artists who are able to consider and measure the scope of external impacts. The proposal here seeks to address the need of graduates in art education to pursue meaningful employment while also generating new potentials the artist’s role in wider society.

scholarly journals Common Space and Individual Space: Comments on a Group Task from the First Half of 1993

ARTMargins ◽  
2019 ◽  
Vol 8 (1) ◽  
pp. 105-116
Author(s):  
Monika Dzik ◽  
Monika Zielińska ◽  
Artur Żmijewski
Keyword(s):  
Central And Eastern Europe ◽  
Fine Arts ◽  
Art Students ◽  
Traditional Art ◽  
Common Space ◽  
Socially Engaged Art ◽  
Communicative Strategies ◽  
Art Practices ◽  
Academic Year

The introductory text presents “Common Space and Individual Space: Comments on a Group Task from the First Half of 1993,” a document translated into English from Polish and published here. The original document was first published in Czereja, a magazine created by the students of Kowalnia, a studio for diploma art students run by Grzegorz Kowalski in the Department of Sculpture at the Academy of Fine Arts in Warsaw. “Common Space” compiles the students' accounts of a performative group activity entitled Pierożek drewniany, zimnym mięsem nadziewany (translated as Wooden Dumpling, Filled with Cold Meat) from the 1992–93 academic year. The introduction analyzes “Common Space” as a part of the very creative process within the Wooden Dumpling activity and describes its meaning within the socio-political contexts of post-1989 Poland. It explains the role of Kowalnia's practices as a unique pedagogical experiment anomalous within the fairly traditional art education systems of Central and Eastern Europe of the time. The introduction argues that the document is not only relevant for our understanding of Polish art in the 1990s, but also provokes broader questions about the feasibility and efficacy of socially engaged art practices as well as the communicative strategies employed within them.

scholarly journals Theater Structure and Techniques in Sangam Period

2022 ◽  
Vol 4 (1) ◽  
pp. 149-157
Author(s):  
Rajesh Kanna C ◽  
Sathiyaraj A
Keyword(s):  
Fine Arts ◽  
Cultural Development ◽  
The Arts ◽  
Ancient Times

A country that excels in the arts is considered a civilized country. The arts created in a country play an important role in determining the cultural development of a country. Ancient Tamils have been interested in art since ancient times. They have cultivated fine arts such as music, dance, painting, sculpture and architecture. Drama is one of the arts thus nurtured. Although references to the play are found in the Sangam literature, references to their performances are scarce. On this basis it cannot be dared that the play did not take place in the Sangam period. Evidence of sporadic performance can be seen. Theatrical arrangement, lighting and curtains are a perfect complement to the plays performed in the form of koothu during the Sangam period. This article seeks to explore the concepts behind these.

Digital Resources: Documents of 20th-Century Latin American and Latino Art

2017 ◽  
Author(s):  
María C. Gaztambide
Keyword(s):  
20Th Century ◽  
Contemporary Art ◽  
Latin American ◽  
Social Issues ◽  
Fine Arts ◽  
Primary Source ◽  
Digital Archive ◽  
The Arts ◽  
Central Argument ◽  
Latino Artists

Documents of 20th-Century Latin American and Latino Art: A Digital Archive and Publications Project is a multiyear initiative at the International Center for the Arts of the Americas (ICAA) of the Museum of Fine Arts, Houston that seeks to consolidate Latin American and Latino art as a field of study and to place it on equal footing with other established aesthetic traditions. It encompasses the recovery, translation into English, and publication of primary texts by Latin American and Latino artists, critics, and curators who have played a fundamental role in the development of modern and contemporary art in countries or communities throughout the Americas. The ICAA makes these essential bibliographic materials available free of charge through a digital archive and a series of fully annotated book anthologies published in English. It is facilitating new historical scholarship on 20th-century Latin American and Latino art through a framework of thirteen open-ended editorial categories that center on thematic rather than more traditional chronological guidelines. This approach broadens the discourse on the modern and contemporary art produced along this cultural axis. A discussion and contextualization of a selection of recovered documents that relate to the editorial category of “Resisting Categories: Latin American and/or Latino?” supports this central argument. These and other little-known or previously inaccessible primary source and critical materials will ultimately encourage interdisciplinary and transnational (re)readings of how aesthetics, social issues, and artistic tendencies have been contested and developed in the region.

Il teatro è arte visiva. Le premesse critiche di Toti Scialoja per una moderna concezione della scena

2020 ◽  
Vol 1 ◽  
pp. 113-127
Author(s):  
Martina Rossi
Keyword(s):  
Visual Art ◽  
Fine Arts ◽  
Fine Art ◽  
The Arts ◽  
Mise En Scene ◽  
Italian Culture ◽  
The Sixties

Il teatro è arte visiva is an undated and unpublished text by Toti Scialoja. It has been found in the archive of the artist among other documents related to his activity of teacher at the Academy of Fine Art in Rome. The text could be seen as a proof of Scialoja’s lasting interest in the reflection on the role of the arts in the mise en scène. In particular, he started to propose his own opinion inside of Italian culture debate since the Forties. Some texts on this matter have been published between 1944 and 1946 on “Mercurio”, and in 1949 on “L’Immagine”. Considering those precedents, Il teatro è arte visiva could be considered a summa of the principles that Scialoja already expressed in those previous texts, but actualized according to new experiences, like Grotowski’s Poor Theatre. This mention suggests to propose a dating of the document subsequent the second half of the Sixties and to refer it to his experience as Professor of Scenography at the Academy of Fine Arts. It consents to highlight how he educated his students in light of the most important and innovative experimentation scenic of Avant-gardes, instilling in them the importance of considering theatre like a visual art, formally independent from the single contribution of paint, sculpture, and architecture.

Introduction to “Common Space and Individual Space: Comments on a Group Task from the First Half of 1993,” Academy of Fine Arts, Warsaw

ARTMargins ◽  
2019 ◽  
Vol 8 (1) ◽  
pp. 94-104
Author(s):  
Lidia Klein
Keyword(s):  
Central And Eastern Europe ◽  
Fine Arts ◽  
Art Students ◽  
Traditional Art ◽  
Common Space ◽  
Socially Engaged Art ◽  
Communicative Strategies ◽  
Art Practices ◽  
Academic Year

The introductory text presents “Common Space and Individual Space: Comments on a Group Task from the First Half of 1993,” a document translated into English from Polish and published here. The original document was first published in Czereja, a magazine created by the students of Kowalnia, a studio for diploma art students run by Grzegorz Kowalski in the Department of Sculpture at the Academy of Fine Arts in Warsaw. “Common Space” compiles the students' accounts of a performative group activity entitled Pierożek drewniany, zimnym mięsem nadziewany (translated as Wooden Dumpling, Filled with Cold Meat) from the 1992–93 academic year. The introduction analyzes “Common Space” as a part of the very creative process within the Wooden Dumpling activity and describes its meaning within the socio-political contexts of post-1989 Poland. It explains the role of Kowalnia's practices as a unique pedagogical experiment anomalous within the fairly traditional art education systems of Central and Eastern Europe of the time. The introduction argues that the document is not only relevant for our understanding of Polish art in the 1990s, but also provokes broader questions about the feasibility and efficacy of socially engaged art practices as well as the communicative strategies employed within them.

Sign in / Sign up

Export Citation Format

Share Document