Alexis Peskine, Guillaume Bresson, and Adel Abdessemed as sculptors of history: a study of visual arts inspired by the riots of 2005 in France

2020 ◽  
Vol 45 (3-4) ◽  
pp. 285-303
Author(s):  
Elise Bouhet
Keyword(s):  
Video Games ◽  
Cultural Studies ◽  
Visual Arts ◽  
Zero Tolerance ◽  
Fine Arts ◽  
Blind Spot ◽  
Historical Events ◽  
Art Works ◽  
Youtube Videos ◽  
Governmental Management

What do the visual arts tell us about historical events happening in our societies? In this article, we will examine the case of the French riots of 2005. While anthropology, media, and cultural studies have investigated visual forms such as video games, YouTube videos, and graffiti that address the riots, there has been a blind spot in the study of the representation of the riots in the fine arts, such as painting and sculpture. This study will thereby identify and analyze the art works of three contemporary francophone, and transnationally recognized artists who visually represented the riots of 2005. Indeed, the art pieces by Alexis Peskine (La France “des” Français), Guillaume Bresson (Untitled), and Adel Abdessemed (Practice Zero Tolerance) could not be more different esthetically speaking. Peskine’s colorful painting offers a postcolonial reading of the riot, deconstructing stereotypes associated with race that the riot reinforced. Bresson’s imposing neoclassical painting stages the choreography of agitated rioters. Abdessemed comments on the violence provoked by the governmental management of the riots with a sculpture installation showing three burnt cars. Despite these differences, the three artists’ approaches indubitably converge insofar as they first react to the constant play between images of power and the power of images. In addition, this observation involves an intervention into the discourse and imaginative processes that are currently shaping the narrative and interpretation of the riots. In this sense, Peskine, Bresson, and Abdessemed operate as sculptors of history.

Gerak Tari Baris Tunggal dalam Fotografi Ekspresi Menggunakan Teknik Strobo Light

2014 ◽  
Author(s):  
Ida Bagus Candra Yana*
Keyword(s):  
Visual Arts ◽  
Dance Movement ◽  
Multiple Images ◽  
Strobe Light ◽  
Creative Idea ◽  
The Arts ◽  
Art Works ◽  
Art Photography ◽  
Aesthetic Values ◽  
Aesthetic Expression

Dance  photography  is  a  photo  shoot  on a  dance  movement  which  has  a  characteristic as  it  shows  on  a  particular  movement  with unique costumes. The arts of dance photography specifically describes through a specific thematic effect  with  an  aesthetic  and  creative  oncoming. Based on the photographer experience to capture the  light  together  with  his  aesthetic  expression on  movement  photography,  he  finally  presented the  visual  arts  on  Baris  Tunggal  Dance  in  art photography expressions using strobe light. Basically,  the  creative  works  focused on  the  dancer  movements  and  transformed  into photography  expression  which  blended  with aesthetic  and  creative  idea  (ideational)  also  the technical photo shoot capability (technical) of the photographer. The photo shoots technique chosen through a variety of consideration which oriented on practical implementations possibilities, resulting photographs  in  freeze,  blurred,  and  multiple-images  as  art  photography.  The  art  photograph includes  extrinsic  and  intrinsic  aesthetic  values through photo presentation. With the presence of this photography art works it was not only present Gerak Tari Baris Tunggal dalam Fotografi Ekspresi Menggunakan Teknik Strobo Light in the form of mere documentation but it was the art photography expression on creative and aesthetic level. Keywords:  movements,  Baris  Tunggal  Dance, photography expression, strobo-light * Dosen ISI Denpasar

scholarly journals Perjalananku: Penggunaan Medium Elektronik (Cahaya) Dalam Karya Seni Arca

2021 ◽  
Vol 6 (2) ◽  
pp. 60-66
Author(s):  
Syed Alwi Syed Abu Bakar ◽  
◽  
Aznan Omar ◽  
Noor Enfendi Desa ◽  
Siti Humaini Said Ahmad @ Syed Ahmad ◽  
...  
Keyword(s):  
Visual Arts ◽  
Research Method ◽  
Electronic Media ◽  
Electronic Medium ◽  
Research Project ◽  
Art Works ◽  
Social Sharing ◽  
Conventional Medium

This research represents time using electronic medium through sculpture. An electronic media (light) is one of new medium in Malaysian visual arts. The use of electronic (light) as a medium, does bloom up medias in Malaysian visual arts. The exploration of this new medium, was inspired by Dan Flavin. The research includes element of light and social sharing. This research method practiced the studio base based on Wallas’ theory. This research project would benefit the societies, at the same time it would contribute to a process of creating an art works. The combination between electronic (light) and conventional medium will diverse the use of medium in producing art works.

scholarly journals THE ROLE OF CONTEMPORARY MEDIA IN THE TEACHING OF THE ART

2019 ◽  
Vol 34 (2) ◽  
pp. 547-553
Author(s):  
Vojislav Ilić ◽  
Tamara Stojanović-Đorđević ◽  
Andrijana Šikl-Erski
Keyword(s):  
Information And Communication Technologies ◽  
Visual Arts ◽  
New Technologies ◽  
Fine Arts ◽  
Educational Process ◽  
Input Output ◽  
Internet Connection ◽  
Modern Media ◽  
The World ◽  
Contemporary Media

We are witnessing that Information and Communication Technologies (ICT) have a huge impact on the functioning of the world. This explains why the tools they provide play such an important role in the educational process, their use opens up numerous opportunities and perspectives in education. Today, aware of the inevitability of digital technologies in the functioning of the world, and of the benefits they bring, we try to use them as meaningfully as possible in education.In the visual arts, ICT technologies provide various opportunities for exploring multicultural and multi-technological content. The social tendencies of the 21st century set new criteria for the modern man - creativity, flexibility and innovation, which also requires the development of educational systems in accordance with these new, changing conditions. In the context of contemporary teaching and the education process in the field of art, new technologies certainly deserve special attention as a medium and a means that enables students to apply them to innovative forms of communication, research, learning and creative expression in the field of visual arts. Today's media bring flexibility, speed, accessibility, interchangeability of digital data and this is what makes contemporary media essential in the teaching of fine arts. The basis of modern media used in the teaching of fine arts are personal computers supported by internet connection, with specific software and various input-output devices. With the use of contemporary media in a specialized classroom for the teaching of fine arts, one can speak of an increase in the choice of teaching, an increase in the choice of means of learning and expression, and finally, an increase in individualization in teaching.In the twenty-first century classroom, the teaching of fine arts is increasingly influenced by external influences, so that the classroom is a place for students to learn, explore, do and evaluate works of art. The wealth of information offered through the use of information technology is multiplied by many over the traditional media. The basis of modern media used in the specialized classroom for the teaching of fine arts are computers supported by internet connection, with specific software and various input-output devices.

scholarly journals Co to znaczy być artystą/artystką?

2017 ◽  
Vol 61 (1) ◽  
pp. 71-99
Author(s):  
Marek Krajewski ◽  
Filip Schmidt
Keyword(s):  
Visual Arts ◽  
Visual Art ◽  
Fine Arts ◽  
Nationwide Survey ◽  
Social World ◽  
Decision Makers ◽  
The Social ◽  
The Common ◽  
Artistic Career ◽  
Depth Interviews

Who is an artist? Questions over how to define this role divided the makers of the project The Invisible Visual: Visual Art in Poland—Its State, Role, and Significance. The authors’ sources of data were the results of a nationwide survey, a survey of graduates of the Polish Academy of Fine Arts in the years 1975–2011, and in-depth interviews with seventy individuals in the field of visual arts. The authors were able to establish, first, that persons working in the art field give different definitions from those beyond its bounds; second, that artists, decision-makers, curators, and critics try to defend the sense and autonomy of their activities against ways of thinking and acting that are typical of other areas of the social world (while they are themselves engaged in disputes over who has a right to call him- or herself an artist and what is and isn’t good art); and third, being an artist is marked by a difficult-to-cross boundary, as is shown by the common necessity of supplementing artistic work by other sources of income and the high risk of failure in an artistic career.

The cultural code in the visual arts system: specificity of formation and development

2020 ◽  
Vol 42 (1) ◽  
pp. 247-253
Author(s):  
Svetlana Syvorotkina ◽  
Keyword(s):  
Visual Arts ◽  
Visual Art ◽  
Fine Arts ◽  
Ancient Egypt ◽  
Medieval Art ◽  
Art Forms ◽  
Cultural Code ◽  
Historical Periods ◽  
Form Effect

The dialectical unity of the essence and the cultural code phenomenon regarding of the visual arts are dealt with in that article. Artworks are considered based on Lotman`s understanding of artwork as culture text. Discusses multiplicity of art forms and multifunctionality of arts form. Effect of changes in time and historical periods an impact on satisfaction of secular and profane human`s requirements. The author focuses on visual and illustrative forms of fine arts and focuses on analysis of traditional fine arts categories. The cultural code in visual art system is considered at Paleolithic artifacts, ancient Egypt`s art and medieval art examples.

Computational Expression

2021 ◽  
pp. 134-156
Author(s):  
Amanda L. Strawhacker ◽  
Amanda A. Sullivan
Keyword(s):  
Stem Education ◽  
Visual Arts ◽  
21St Century ◽  
Fine Arts ◽  
Computational Thinking ◽  
Thinking Skills ◽  
Pedagogical Approach ◽  
The Past ◽  
Science Technology ◽  
And Mathematics

In the past two decades, STEM education has been slowly replaced by “STEAM,” which refers to learning that integrates science, technology, engineering, arts, and mathematics. The added “Arts” portion of this pedagogical approach, although an important step towards integrated 21st century learning, has long confused policymakers, with definitions ranging from visual arts to humanities to art education and more. The authors take the position that Arts can be broadly interpreted to mean any approach that brings interpretive and expressive perspectives to STEM activities. In this chapter, they present illustrative cases inspired by work in real learning settings that showcase how STEAM concepts and computational thinking skills can support children's engagement in cultural, performing, and fine arts, including painting, sculpture, architecture, poetry, music, dance, and drama.

Haidar, Kadhim (1932–1985)

2018 ◽  
Author(s):  
Nada Shabout
Keyword(s):  
Visual Arts ◽  
Fine Arts ◽  
Theatre Design ◽  
Religious Symbolism ◽  
Standard Textbook ◽  
Modern Thought ◽  
The 1950S ◽  
Coups D'etat

Born in Baghdad, Iraq, Kadhim Haidar studied art at the Institute of Fine Arts in Baghdad after receiving a degree in Arabic Studies from the Higher Institute for Teachers in 1953. Later, in 1961 and 1962, he pursed a BA in theatre design and graphics at the Royal School of Art and Graphics in London. After his return from London, he taught at the Institute of Fine Arts in 1962 and the Academy of Fine Arts in Baghdad in 1968. He founded the Design Department at the Academy of Fine Arts in Baghdad in 1974 and chaired the Visual Arts Department there in 1981 and 1982. He was a contributing writer and a poet for various publications including Al-TakhtitwalElwan [Sketching and Colors], which became a standard textbook at the academy. Haidar’s work explored key political shifts in Iraq during the 1950s and 1960s through a re-imagination of popular religious symbolism, which was seen in opposition to the new secular modern thought favored by his generation of artists, and thus had been absent from the work of modern Iraqi artists. His most noted series of work is Melhamet al-Shahid [The Martyr’s Epic], which is based on a poem he wrote in Baghdad in 1965. Through his negotiation of the martyrdom of the Prophet Mohammed’s grandson, al-Hussayn, at the battle of Karbala, Haidar’s work gained added significance for contemporary Iraqis within the turbulent political years of coups d’état and unsettled affairs.

Video Games and Aesthetic Contemplation

2020 ◽  
pp. 155541202091472
Author(s):  
Paul Atkinson ◽  
Farzad Parsayi
Keyword(s):  
Video Games ◽  
Visual Arts ◽  
Video Game ◽  
Visual Environment ◽  
Visual Object ◽  
Sufficient Time ◽  
Time And Space ◽  
Aesthetic Engagement

Video games present incredibly rich visual environments that can be studied from a variety of perspectives including those germane to the visual arts. The medium has evolved to such a degree that evaluation should not rest on whether an individual game can be considered art, but what types of aesthetic engagement the medium affords. A key figure in the study of the visual arts is aesthetic contemplation, in which extended attention reveals aesthetic differences. Although the video game presents many sites and scenes worthy of such contemplation, this mode of spectatorship requires sufficient time and space to attend to a visual object. In order to open up a space for aesthetic engagement, many of the ludological and narrative demands of the game must recede. In this article, we will investigate the degree to which players have choice in how, or how long, they attend to a game’s visual environment.

The U.S. Video Game Industry

2009 ◽  
pp. 499-514
Author(s):  
Janet C. Dunlop
Keyword(s):  
Video Games ◽  
Cultural Studies ◽  
Video Game ◽  
Video Gaming ◽  
Video Game Industry ◽  
Star Wars ◽  
Game Industry ◽  
Cover Art ◽  
Capitalist Ideology ◽  
The U.S

Today’s media are vast in both form and influence; however, few cultural studies scholars address the video gaming industry’s role in domestic maintenance and global imposition of U.S. hegemonic ideologies. In this study, video games are analyzed by cover art, content, and origin of production. Whether it is earning more “powers” in games such as Star Wars, or earning points to purchase more powerful artillery in Grand Theft Auto, capitalist ideology is reinforced in a subtle, entertaining fashion. This study shows that oppressive hegemonic representations of gender and race are not only present, but permeate the majority of top-selling video games. Finally, the study traces the origins of best-selling games, to reveal a virtual U.S. monopoly in the content of this formative medium.

Sign in / Sign up

Export Citation Format

Share Document