MÜASİR RƏSSAMLARIN YARADICILIĞINDA BAKI TƏSVİRLƏRİ

2020 ◽  
Vol 54 (05) ◽  
pp. 169-172
Author(s):  
Arzu Fazil Hashimova ◽  
Keyword(s):  
Key Words ◽  
Contemporary Art

Key words: Contemporary art, painting, Baki, composition, landscape

scholarly journals CONTEMPORARY ART SCENARIO IN THE STATE OF ANDHRA PRADESH

2021 ◽  
pp. 186-192
Author(s):  
Dr. K. Mrutyunjaya Rao
Keyword(s):  
Key Words ◽  
Art Education ◽  
Contemporary Art ◽  
Andhra Pradesh ◽  
The State ◽  
Art Departments ◽  
Art School

The Art activity in the state of Andhra Pradesh was pioneered by Damerla Ramarao and Varada Venkataratnam with the help some English officers and some of their disciples. Later whole art activity is concentrated at Hyderabad till the state bifurcation in 2014. The Art education and Institutions were discussed in details. The arrival of Baroda school product has helped us to mark our self as distinct school on the cultural map of India with help of Ravinder G Reddy, V.Ramesh, T.Sudhakara Reddy, CRS Patnaik and Dr. K.Mrutyunjaya Rao. These masters has succeeded to paved a bridge between art and Contemporary art of India. Later the product of Andhra art school has spreaded all over the state and country. Two art departments emerged in the region of Rayalaseema under the lead of Dr.K. Mrutyunjaya Rao. Due to state bifurcation, the major art activity and development has gone to Telangana. The Residual Andhra Pradesh has lost so much. Many of Andhra Artists settled at other states for bread and butter. But now recovering slowly. KEY WORDS: Damerla Rama Rao , Baroda, Contemporary, Aesthetic, Scrap Sculpture, Kadapa,

scholarly journals De La Revolución A La Transformación Espiritual. La trayectoria Pictórica De Arturo Moyers Villena.

Xihmai ◽  
2013 ◽  
Vol 6 (12) ◽  
Author(s):  
Manuel Alberto Morales Damián
Keyword(s):  
Key Words ◽  
Contemporary Art ◽  
The State ◽  
Mural Painting ◽  
Palabras Clave ◽  
Religious Painting ◽  
Arte Contemporáneo

Resumen El presente trabajo es una sucinta biografí­a artí­stica de Arturo Moyers Villena, muralista mochiteco radicado en Hidalgo desde la década de los 80. Se destaca su obra pictórica a partir del análisis de las temáticas que aborda en sus obras manifestándose una evolución que permite proponer tres etapas en su trayectoria. El trabajo se fundamenta en las entrevistas con la familia Moyers López, la revisión del archivo familiar y el análisis de sus obras murales y de caballete. Noviembre de 2011   Palabras clave: Arturo Moyers Villena, arte contemporáneo mexicano, pintura mural, pintura revolucionaria, pintura religiosa.   Abstract This paper is a brief artistic biography of Arturo Moyers Villena. He is a mural painter who was born in Los Mochis, Sinaloa and he live in the State of Hidalgo from the eighties. On the analysis of his work we propose three periods in his pictorial development. Was made interviews with the Moyers López family, was review the familiar archive and was analysed his murals and other paintings.   Key words: Arturo Moyer Villena, Mexican Contemporary Art, Mural Painting, Revolutionary Painting, Religious Painting.

The reciprocity between art and architecture

2019 ◽  
Vol 6 (4) ◽  
pp. 112-116
Author(s):  
Hakan Saglam
Keyword(s):  
Twentieth Century ◽  
Key Words ◽  
Contemporary Art ◽  
Modern Architecture ◽  
First Century ◽  
The Other ◽  
Arts And Crafts ◽  
Avant Garde ◽  
The Enlightenment ◽  
Art And Architecture

The concept of ‘Art’ in the modern meaning, evaluates within the Enlightenment’s seminal World of philosophy. Before the Enlightenment architecture and craft were instinctively united fields of creating, almost impossible to detach one from the other. From the beginning of twentieth century the avant-garde of modern architecture were aware of the growing schism between art and architecture and vice versa. The pioneers were writing manifestos, stating that art and architecture should form a new unity, a holistic entity, which would include all types of creativity and put an end to the severance between “arts and crafts”, “art and architecture”.  Approaching the end, of the first decade of the twenty first century, as communicative interests in all fields are becoming very important, we should once more discuss the relation/ interaction / cross over of art and architecture; where the boundaries of the two fields become blurred since both sides, art and architecture, are intervening the gap between. The aim of this paper is to discuss the examples of both contemporary art and architecture, which challenge this “in between gap.” Key words: Architecture, art, interaction, in between.

scholarly journals Corpos dissidentes afro-diaspóricos e suas poéticas contemporâneas no espaço urbano

Revista Prumo ◽  
2019 ◽  
Vol 4 (7) ◽  
pp. 110-123
Author(s):  
Paola Barreto Leblanc ◽  
Lucas Brasil Vaz Amorim
Keyword(s):  
Key Words ◽  
Contemporary Art ◽  
Urban Space ◽  
The Body ◽  
Body Experience ◽  
Interdisciplinary Framework ◽  
The Relationship ◽  
Urban Territory

In this paper, we develop a brief analysis of the relationship between afro-diasporic dissident bodies, urban territory, and contemporary art. To investigate these categories, we start from an interdisciplinary framework, analyzing, from a decolonial perspective, counter-hegemonic subjectivities traversed by the body experience — racialized, gendered, unclassified - as well as specific artistic practices that tension such experiences. Key-Words: decoloniality; afro-diasporic bodies; contemporary art; urban space.

scholarly journals Destellos de luz y sus ambivalencias simbólicas

AusArt ◽  
2016 ◽  
Vol 4 (1) ◽  
pp. 65-76
Author(s):  
Joaquim Cantalozella i Planas ◽  
Marta Negre i Busó
Keyword(s):  
Key Words ◽  
Contemporary Art ◽  
Site Specific ◽  
Human Thought ◽  
Art Works ◽  
Electrical Devices ◽  
Light Darkness ◽  
The Many ◽  
Everyday Reality ◽  
Point Of Departure

La luz sugiere una imagen culturalmente construida, sus metáforas están tan arraigadas a nuestro pensamiento que se hace difícil ignorar el efecto que provocan. A causa de la carga cultural que posee, en una escenificación o representación, la luz alude a cierta mística o trascendencia; incluso siendo esta completamente artificial, sujeta a artefactos y bombillas. Podría decirse, pues, que en nuestra cotidianeidad electrificada, las luces que envuelven el entorno toman partido en este juego de significados. En la presente era de la tecnificación, la luz no parece haber perdido el menor ápice de su poder evocativo, lo cual es perceptible en muchas propuestas artísticas, cuyos enfoques ambivalentes redundan irónicamente en los grandes temas. Esto sucede porque muchas de ellas parten de un ideario desmitificador, para aplicar criterios diferentes tanto en la elaboración como en la recepción de las imágenes. Aun así, los significados tradicionales de la luz sobreviven en propuestas de muy distinta índole, ya sea en clave crítica o no. En el presente artículo, indagamos en las lecturas que suscitan obras realizadas mediante estos parámetros, aquellas que justamente se instalan en la contradicción y la aceptan como punto de partida.Palabras clave: LUZ; OSCURIDAD; ARTE CONTEMPORÁNEO; TECNOLOGÍA; INTERVENCIONES  Flashes of light and their symbolic ambivalence AbstractLight in art is essentially tied to culturally constructed images and its various metaphors are so enmeshed in human thought that their effect is difficult to ignore. Because of its cultural load, the light in any staging or representation invariably refers, however indirectly, to matters that are in some sense mystical and transcendent—even when it relies upon prosaic electrical devices or simple light bulbs. We might argue, therefore, that the many lights illuminating our electrified everyday reality also play their part in this game of meanings. Indeed, in today’s technified world, light does not seem to have lost even the slightest portion of its evocative potential. This is evidenced in the many art works whose intentional ambivalence casts a wry eye on the big issues they address and which set out to demystify their subject, applying novel criteria in how images are created and responded to. But it is also seen in the more traditional metaphors of light which still abound, critical or otherwise, in art works of very different kinds. This article examines the readings that emerge from artworks created with these parameters, the very ones that that are based on contradiction and accept contradiction as their point of departure. Key Words: LIGHT; DARKNESS; CONTEMPORARY ART; TECHNOLOGY; SITE-SPECIFIC

scholarly journals Percursos para achar-se: os deslocamentos de Robert Smithson

2019 ◽  
Vol 20 (35) ◽  
Author(s):  
Anelise Tietz
Keyword(s):  
Key Words ◽  
Contemporary Art ◽  
Artistic Practice ◽  
Robert Smithson ◽  
In Transit ◽  
Institutional Space

Este artigo discute a prática artística de Robert Smithson, com ênfase nas obras que apresentam deslocamentos, sejam físicos, sejam de trânsito entre espaço institucional e não-institucional, relacionando-os com uma experiência romântica, principalmente com a figura do flâneur. Entendemos que o deslocamento em Smithson busca uma experiência de individualidade e, portanto, intitulamos de percursos para achar-se.  Abstract This article discusses the artistic practice of Robert Smithson, with emphasis on the works that present displacements, whether physical or in transit between institutional and non-institutional space, relating them to a romantic experience, especially with the figure of the flâneur. We understand that Smithson's displacement seeks an experience of individuality, it is called "routes to find yourself".  Palavras-chave: Robert Smithson; Deslocamento; Flâneur; Arte Contemporânea.  Key-words: Robert Smithson; Displacement; Flâneur; Contemporary Art. 

scholarly journals Repeticiones y revisiones: el remake en la fotografía construida

2013 ◽  
pp. 5-41
Author(s):  
Maribel Castro
Keyword(s):  
Key Words ◽  
Contemporary Art ◽  
Cultural Meaning ◽  
New Approaches ◽  
Palabras Clave ◽  
The World ◽  
Collective Imagination ◽  
Strong Commitment ◽  
Art Photography ◽  
Arte Contemporáneo

Desde la posmodernidad, la teoría de la fotografía se ha ocupado de la idea de que las fotografías pueden ser entendidas como procesos de significación y codificación cultural. En un contexto artístico interesado por el pastiche, la cita, la deconstrucción y el cuestionamiento de las ideas de autoría y originalidad, el remake se consolida como modo de producción de versiones de iconos pertenecientes al imaginario colectivo, y se convierte en una estrategia representacional recurrente en la fotografía artística actual. Nos reta a reconocer lo que vemos, cuestionar cómo lo vemos, y problematizar cómo las imágenes dan forma a nuestras emociones y comprensión del mundo. Tras desarrollar el concepto de remake, analizaremos sus implicaciones estéticas, narrativas y representacionales en la fotografía escenificada, mediante el estudio de un conjunto de propuestas artísticas recientes que hacen uso de un stock de imágenes preexistentes (especialmente procedentes de la Pintura), reelaborándolas con nuevos enfoques que expresan además un compromiso con el presente. PALABRAS CLAVE: Fotografía escenificada; remake; arte contemporáneo; deconstrucción; originalidad.ABSTRACT Since posmodernism, photography theory has dealt with the idea that photographs can be understood as processes of cultural meaning and coding. In an artistic context interested in pastiche, quotation, deconstruction and questioning ideas of authorship and originality, the remake is consolidated as way of producing revisions of icons belonging to the collective imagination, and becomes a recurring representational strategy in current art photography. It challenges us to recognize what we see, to question how we see it, and to problematize how images give shape to our emotions and understanding of the world. After developing the concept of remake, we will analyze its aesthetic, narrative and representational implications in staged photography, through the study of a set of recent artistic proposals that make use of a stock of preexisting images (specially from Painting), that then are reworked with new approaches that express a strong commitment to the present.                                                                                                                 KEY WORDS: Staged photography; remake, contemporary art; deconstruction; originality.

scholarly journals Como medir o tempo ?

2019 ◽  
Vol 20 (35) ◽  
Author(s):  
Vitor Martins
Keyword(s):  
Key Words ◽  
Contemporary Art ◽  
Video Image

Este trabalho parte da prática da confecção de três vídeo-artes, sob a luz de um pensamento e de um fazer foto-imagético, para refletir sobre a capacidade da arte técnica, e do manuseio da câmera, de usar o tempo como insumo.  Palavras-chave: Vídeo; Imagem; Arte Contemporânea; Tempo Abstract: This essay is based on the practice of making three video-arts, thought a photo-imaging thinking, to reflect on the ability of technical art, and the handling of the camera, to use time as an input. Key-words: Video; Image; Contemporary art; Time 

scholarly journals Ar-quiteturas. Os infláveis como estratégia de reinterpretação do lugar

Revista Prumo ◽  
2019 ◽  
Vol 4 (7) ◽  
pp. 138-151
Author(s):  
Adriana Sansão Fontes ◽  
Fernando Espósito ◽  
Sergi Arbusà
Keyword(s):  
Key Words ◽  
Contemporary Art ◽  
Rio De Janeiro ◽  
The Other ◽  
Common Denominator ◽  
Site Specific ◽  
Adequate Response ◽  
Other Hand ◽  
The Common

Architecture, a discipline called to design the living places, usually operates within a logic that has as main objective welcoming human acts. Its status as a built object requires an adequate response not only material, structural, spatial and environmental, but also in meeting the most vital demands of these acts. Art, on the other hand, can respond with almost absolute freedom, uncompromising with the proper habits of living, in which the act of dwelling can be questioned, freeing itself from its responsibilities related to life. This paper presents a clipping of the work of the artistic collective Penique Productios - the inflatables - their references and methodology, highlighting two interventions in Rio de Janeiro, carried out in a partnership between Penique, DAU PUC-Rio and FAU/UFRJ. The common denominator is to establish a connection between architecture, city and art, through large, ephemeral and habitable collective works that dialogue with the existing place, stimulating its reinterpretation. Key-Words: Inflatables, ephemeral interventions, site-specific interventions, contemporary art

scholarly journals Museu de Arte Contemporânea de Serralves: Projectos com Escolas

Palíndromo ◽  
2014 ◽  
Vol 5 (10) ◽  
Author(s):  
Moema Martins Rebouças
Keyword(s):  
Discourse Analysis ◽  
Key Words ◽  
Contemporary Art ◽  
General Public ◽  
Theoretical Basis ◽  
Educational Service ◽  
Cultural Institution ◽  
Museum Of Contemporary Art

ResumoA Fundação Serralves é uma instituição cultural de âmbito internacional  que possui um Museu de Arte Contemporânea com um Serviço Educativo (SE) responsável pela organização de programas para o público em geral e especialmente para as escolas. Este artigo apresenta parte de uma investigação sobre o Projetos com Escolas proposto pelo SE no ano 2012/2013 e envolve desde a estrutura e organização deste projeto anual aos protagonistas e as ações interinstitucionais geradas por ele. Como percurso metodológico utiliza materiais publicados pelo Serviço Educativo e conversas com os protagonistas dessas ações (Serviço Educativo da FS) e profissionais da escola envolvidos no projeto. Para fundamentação recorre aos princípios da semiótica francesa e/ou discursiva.Palavras chaves: museu e escola, análise de discurso, arte contemporânea. AbstractSerralves Foundation (FS in Portuguese) is a cultural institution of International range that owns a Museum of Contemporary Art with an Educational Service (SE in Portuguese) responsible for organizing programs for the general public, and specially for schools. This paper presents part of an investigation about the Projects with Schools proposed by the SE in 2012/2013, and concerns from the structure and organization of this annual project, to its chief actors and the inter-institutional actions it generates. Its methodology uses material published by the SE and talks held with the main actors of such actions (Educational Service of FS) and with the professionals from schools involved in the project. As a theoretical basis it uses the principles of French, or discursive semiotics.  Key-words: museum and school, discourse analysis, contemporary art.

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