scholarly journals ESCRITOS DE ARTISTAS, ESCRITOS EM ARTE: NOTAS SOBRE O LEGADO DE FERREIRA E COTRIM / Artists writings, writings in art: notes on the legacy of Ferreira and Cotrim

2022 ◽  
Vol 27 (42) ◽  
pp. 234-249
Author(s):  
Equipe Escritos de artistas, Escritos em arte
Keyword(s):  
Art History ◽  
Art Making

A partir do legado deixado pelo livro Escritos de artistas: anos 60-70, organizado por Gl�ria Ferreira e Cecilia Cotrim, apresentamos nossa reconstitui��o desse contradispositivo (Agamben), a publica��o Escritos de artista, escritos em arte (v.1) feita por discentesdo Programa de P�s-gradua��o em Artes da Uerj. Entendemos o livro de Ferreira e Cotrim como uma atitude editorial (Morais) que permeia os campos da hist�ria da arte, da cr�tica, da curadoria e do fazer art�stico ao evidenciar a escrita de artista como um contradiscurso que coloca em di�logo tais segmenta��es. Neste artigo, demonstramos como as pesquisadoras nos fornecem as partituras editoriais para nossa execu��o atual e espec�fica ? sob uma perspectiva colaborativa e plural, respondendo a demandas locais de alunos do PPGArtes-Uerj.Palavras-chave:Escrita de artista. Gl�ria Ferreira. Uerj. Contradiscurso. Dispositivo.AbstractIn this article we present the reconstruction of the counterapparatus (Agamben): the publishing of Escritos de artista, escritos em arte (v. 1) by the students of the post graduation program of UERJ following the legacy of the book Escritos de artistas: anos 60-70, from authors Gl�ria Ferreira and Cecilia Cotrim. The book is understood as an editorial attitude (Morais) that permeates the fields of art history, critics, curatorship and art making by highlighting the artistic writing as a counterdiscourse that promotes dialogue between these segments. We demonstrate how the researchers provide the editorial guidelines for our current and specific execution ? under a plural and collaborative perspective as an answer to local demands of the students of PPGArtes-UERJ.Keywords:Artist writing. Gl�ria Ferreira. Uerj. Counterdiscourse. Apparatus.

scholarly journals Art, Creativity, and the Potential of Artificial Intelligence

Arts ◽  
2019 ◽  
Vol 8 (1) ◽  
pp. 26 ◽  
Author(s):  
Marian Mazzone ◽  
Ahmed Elgammal
Keyword(s):  
Artificial Intelligence ◽  
Computer Science ◽  
Contemporary Art ◽  
21St Century ◽  
Art History ◽  
Large Scale ◽  
Style Analysis ◽  
Art Making ◽  
Making Art

Our essay discusses an AI process developed for making art (AICAN), and the issues AI creativity raises for understanding art and artists in the 21st century. Backed by our training in computer science (Elgammal) and art history (Mazzone), we argue for the consideration of AICAN’s works as art, relate AICAN works to the contemporary art context, and urge a reconsideration of how we might define human and machine creativity. Our work in developing AI processes for art making, style analysis, and detecting large-scale style patterns in art history has led us to carefully consider the history and dynamics of human art-making and to examine how those patterns can be modeled and taught to the machine. We advocate for a connection between machine creativity and art broadly defined as parallel to but not in conflict with human artists and their emotional and social intentions of art making. Rather, we urge a partnership between human and machine creativity when called for, seeing in this collaboration a means to maximize both partners’ creative strengths.

An alphabet of colors

2019 ◽  
Vol 68 (1) ◽  
pp. 168-203 ◽  
Author(s):  
Ann-Sophie Lehmann
Keyword(s):  
General Education ◽  
Art History ◽  
Close Reading ◽  
Dutch Republic ◽  
Art Making ◽  
Art Works ◽  
Teacher's Manual ◽  
Ubiquitous Presence

A close reading of the first handbook for teachers written in the Dutch Republic by Dirck Adriaensz Valcooch and the color recipes it contained, offers some answers to broader questions concerning the role of art making in general education: was the broad literacy movement in the Protestant Republic beneficial to creative practices? Did the ubiquitous presence of art works support the emergence of practice-based learning? And were pedagogical and artistic expertise related when it came to teaching art? In order to move the teacher’s manual closer to the domain of art history, this article first addresses the difficulties that instructive descriptions of color-related processes posed for Karel van Mander and others, and then briefly looks at how general education welcomed or discouraged creative practices before and around 1600. The analysis of Valcooch’s chapter on ink and paint against the background of wider pedagogical developments, argues that educational writings can significantly add to our understanding about how the artistic use of colors was conveyed in teaching.

¿Dónde están los Judíos en la “Vida Americana?”: Art, Politics, and Identity on Exhibit

Images ◽  
2020 ◽  
Vol 13 (1) ◽  
pp. 144-156
Author(s):  
Jeffrey Shandler
Keyword(s):  
United States ◽  
Art History ◽  
American Art ◽  
The United States ◽  
Left Wing ◽  
Art Making ◽  
Profound Impact ◽  
American Artists ◽  
Politics Of Race

Abstract Vida Americana: Mexican Muralists Remake American Art, 1925–1945, an exhibition that opened at the Whitney Museum of American Art in February, 2020, proposed to remake art history by demonstrating the profound impact Mexican painters had on their counterparts in the United States, inspiring American artists “to use their art to protest economic, social, and racial injustices.” An unexamined part of this chapter of art history concerns the role of radical Jews, who constitute almost one half of the American artists whose work appears in the exhibition. Rooted in a distinct experience, as either immigrants or their American-born children, these Jewish artists had been making politically charged artworks well before the Mexican muralists’ arrival in the United States. Considering the role of left-wing Jews in this period of art-making would complicate the curatorial thesis of Vida Americana. Moreover, the exhibition’s lack of attention to Jews in creating and promoting this body of work raises questions about how the present cultural politics of race may have informed the analysis of this chapter of art history.

scholarly journals An Art History & Art Making Course for Blind Adults

2013 ◽  
Vol 33 (3) ◽  
Author(s):  
Street Thoma
Keyword(s):  
Art History ◽  
Visually Impaired ◽  
Three Dimensional ◽  
Art Museum ◽  
Art Making ◽  
Blind And Visually Impaired ◽  
Audio Description ◽  
History Of ◽  
Visually Impaired Students ◽  
Philadelphia Museum Of Art

<p>The manager of the Philadelphia Museum of Arts accessible programs gives a history of the institution&rsquo;s services for people with disabilities, with particular attention to services for the blind and visually impaired.&nbsp; These include descriptive tours, touch tours, three-dimensional tactile interpretations of two-dimensional works, and a long standing art history and art making class for blind and visually impaired students, Form in Art.&nbsp;</p><p>&nbsp;Key words:</p><p>Philadelphia Museum of Art, museum accessibility, touch tours, descriptive tours, audio description, blind artists, art education for the blind and visually impaired.&nbsp;</p>

scholarly journals Art Integrated Learning Techniques in Artificial Intelligence

2021 ◽  
pp. 251-260
Author(s):  
Pooja Sharma ◽  
Lakhbir Kaur
Keyword(s):  
Artificial Intelligence ◽  
Visual Arts ◽  
Art History ◽  
Large Scale ◽  
Scientific Progress ◽  
Arts And Crafts ◽  
Historical Period ◽  
Art Making ◽  
Science And Art ◽  
Learning Techniques

This research paper is designed on planning meaningful visual arts integration and AI, it is based on the discussion of the contemporary design and inheritance protection of arts and crafts, and the influence of artificial intelligence on arts and crafts, this paper makes clear the integration of the two in the historical period of the epoch development and the scientific progress of arts and crafts. From project re-engineering to educational modernization, it promotes the allowance of the value and innovative apparatus of arts and dexterities, so as to realize its defensible expansion in the Artificial Intelligence atmosphere. Artificial Intelligence creativity escalations for empathetic art and artistes in the 21st century. Sponsored by our training in computer science and art history , we claim for the reflexion of AICAN’s works as art, relate AICAN works to the fashionable art context, and itch a reassessment of how we might define human and machine inventiveness. Our effort in emerging Artificial Intelligence progressions for art creation, flamboyance investigation, and peculiar large-scale style decorations in art antiquity has commanded us to judiciously consider the antiquity and delicacies of human art-making and to perceive how those summaries can be exhibited and trained to the machine. We campaigner for a assembly between machine imagination and art broadly defined as parallel to but not in conflict with human artists and their passionate and social targets of art making. Rather, we urge a partnership between human and machine imagination when called for, seeing in this alliance a means to capitalize on both partners’ imaginative strengths.

scholarly journals Art History and Other Stories

2020 ◽  
Vol 18 (38) ◽  
pp. 197-217
Author(s):  
Luiza Esper Berthoud
Keyword(s):  
Art History ◽  
Art Criticism ◽  
Modern Art ◽  
Art Appreciation ◽  
Art Making ◽  
The Relationship

Through the analysis of one erroneous piece of art criticism, an essay by Goethe that re-imagines a lost ancient sculpture, I demonstrate the difficulty that the discipline of art history has with conceptualizing the experience of art making and how one ought to respond to it. I re-examine the relationship between art making and art appreciation informed by ideas such as the Aristotelian view of Poiesis, Iris Murdoch’s praise of art in an unreligious age, and Giorgio Agamben’s call for the unity between poetry and philosophy. I also argue that much of modern art criticism has forgotten Arts’ earlier conceptual vocation, and propose methods of appreciating art that are in themselves artistic.

A UK–US “Black Lexicon of Liberation”: A Bibliography of African American and Black British Artists, Artworks, and Art-Making Traditions

2018 ◽  
Vol 5 (1) ◽  
Author(s):  
Celeste-Marie Bernier
Keyword(s):  
Social Justice ◽  
African American ◽  
Art History ◽  
Visual Language ◽  
Real Problem ◽  
Art Making ◽  
Black British ◽  
The Past ◽  
Black Art

The Western canon of art history exerts a stranglehold that generates almost insurmountable problems for artists and audiences of Black art. It is shaped by gatekeepers who are committed not only to deciding which art is studied and which artists are worthy of inclusion but also to controlling the images and image-making traditions in ways that are structured in dominance. African diasporic artists have mobilized art-making traditions in an individual and collective fight for “a new visual language” that destabilizes and demythologizes any and all such prescription in definitions, theories, and ways of seeing. But at the heart of any and all difficulties in doing justice to them and their struggle is the very real problem of accessing their artworks, artist statements, exhibition histories, and biographical materials. Working with artists, artists’ estates, and galleries over the past few years, I have put together a bibliography for the benefit of researchers, consisting of artists’ archives, websites, repositories, exhibition histories, statements, interviews, and criticism. Conceiving of this compilation as a weapon in the arsenal of social justice, I have assembled this bibliography as a tool for artists and audiences who are dedicated to heeding the rallying cry of African American painter Winfred Rembert as he insists that we all must go “back into the battleground.”

scholarly journals Realism Relativized: A Cultural-Historical Approach to What Images Capture

2021 ◽  
Author(s):  
Jesse Prinz
Keyword(s):  
Cultural Diversity ◽  
Art History ◽  
East Asian ◽  
Alternative Theory ◽  
Art Making ◽  
The West ◽  
Cultural Traditions ◽  
Western Art ◽  
Visual Skills ◽  
Ideal Framework

It is sometimes assumed that there can be a unified and universal analysis of pictorial realism, but this seem implausible. Realism has been understood differently at different times in Western art history art, and art-making traditions elsewhere often aspire to forms of realism that contrast with forms operative in the West. Such variations are presented here, with examples from European, African, and East Asian art. Contact between cultural traditions is also considered. Within analytic aesthetics, some definitions of realism are designed to accommodate cultural diversity, but they face challenges. Leading definitions are critically examined. For example, there are theories that focus on entrenchment, visual skills, and informativeness. None of these constructs captures what realist systems share in common, and none provides an ideal framework for explicitly describing how such systems differ. An alternative theory of pictorial realism is presented. On that theory, realist systems each aim to capture aspects of reality, but they focus on different aspects and provide different manners by which those aspects may be captured.

Art History as Genetic Epistemology

1985 ◽  
Vol 30 (12) ◽  
pp. 962-964
Author(s):  
Pavel Machotka
Keyword(s):  
Art History ◽  
Genetic Epistemology
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