Art, abstract

2018 ◽  
Author(s):  
John H. Brown
Keyword(s):  
Visual Art ◽  
Abstract Art ◽  
Colour Properties ◽  
Avant Garde ◽  
Modes Of Representation ◽  
Figurative Art ◽  
The Subject ◽  
Art Canon ◽  
Definition Of ◽  
Artistic Values

The use of the term ‘abstract’ as a category of visual art dates from the second decade of the twentieth century, when painters and sculptors had turned away from verisimilitude and launched such modes of abstraction as Cubism, Orphism, Futurism, Rayonism and Suprematism. Two subcategories may be distinguished: first, varieties of figurative representation that strongly schematize, and second, completely nonfigurative or nonobjective modes of design (in the widest sense of that term). Both stand opposed to classic representationalism (realism, naturalism, illusionism, mimeticism) understood as the commitment to a relatively full depiction of the subject matter and construed broadly enough to cover the traditional ‘high art’ canon through to Post-Impressionism. Analytic and Synthetic Cubism are model cases of the first subcategory while Mondrian’s neoplasticism and Pollock’s classic drip works are paradigms of the second. Though the effect was revolutionary, the positive motivations for this degree of abstraction in visual art were not wholly new. What was new was the elevation of previously subordinate aims to the front rank and the pursuit of certain principal aims in isolation from the full pictorial package. Thus abstract art variously celebrates structural and colour properties of objects, scenes and patterns; effects of motion, light and atmosphere; aspects of perceptual process, whether normal or expressively loaded; and forms expressing cosmic conceptions, visionary states or utopian ambitions. With a few exceptions (for example, the Futurists) the founders of abstract art were far from lucid or forthcoming about the significance of their work, and viewers have found successive waves of abstraction initially baffling and even offensive. But abstract art now forms a secure part of the ‘high art’ canon, though generally its appeal is less well understood than that of the classic modes of representation. Criticisms of abstract art have also become more lucid. The chief philosophical issues affecting abstract art concern the definition of the term and the delineation of subordinate types; the relation between abstraction and other modes of avant-garde art that superficially resemble it; the magnitude of the artistic values so far achieved by the various forms; and finally the theoretical limits of significance attainable by abstraction as compared with the limits encountered in figurative art.

Art, abstract

2018 ◽  
Author(s):  
John H. Brown
Keyword(s):  
Visual Art ◽  
Abstract Art ◽  
Colour Properties ◽  
Art World ◽  
Avant Garde ◽  
Decorative Art ◽  
Modes Of Representation ◽  
Art Canon ◽  
Definition Of ◽  
Artistic Values

The widespread use of the term ‘abstract’ for a category of visual art dates from the second decade of the twentieth century, when painters and sculptors had turned away from verisimilitude and launched such modes of abstraction as cubism, Orphism, futurism, Rayonism and suprematism. Two subcategories may be distinguished: first, varieties of figurative representation that strongly schematize, and second, completely nonfigurative or nonobjective modes of design (in the widest sense of that term). Both stand opposed to classic representationalism (realism, naturalism, illusionism, mimeticism) understood as the commitment to a relatively full and undistorted depiction of the subject matter and construed broadly enough to cover the traditional ‘high art’ canon through to post-Impressionism. Analytic and synthetic cubism are model cases of the first subcategory while Mondrian’s neoplasticism and Pollock’s classic drip works are paradigms of the second. Though the effect was revolutionary, the positive motivations for this degree of abstraction in visual art were not wholly new. What was new was the elevation of previously subordinate aims to the front rank and the pursuit of certain principal aims in isolation from the full pictorial package. Thus abstract art variously celebrates structural and colour properties of objects, scenes and patterns; effects of motion, light and atmosphere; aspects of perceptual process, whether normal or expressively loaded; and forms expressing cosmic conceptions, visionary states or utopian ambitions. With a few exceptions (for example, the Futurists) the founders of abstract art were far from lucid or forthcoming about the significance of their work, and viewers have found successive waves of abstraction initially baffling and even offensive. But abstract art now forms a secure part of the ‘high art’ canon, though generally its appeal is less well understood than that of the classic modes of representation. Criticisms of abstract art have also become more lucid. Issues concerning abstract art include the definition of the concept itself and the delineation of subordinate types; the relation between abstraction and other modes of avant-garde art that superficially resemble it; the magnitude of the artistic values so far achieved by the various forms; and the theoretical limits of significance attainable by abstraction as compared with the limits encountered in nonabstract figurative art. Abstract art merits attention from philosophers more than do traditional types of figurative and decorative art for at least two reasons: philosophical theories played a significant role in engendering abstraction and subsequent art-world discourse purporting to elucidate abstractions often operates with concepts requiring philosophic analysis to clarify and assess.

Traditional and Modern Art

2017 ◽  
pp. 52-72
Keyword(s):  
Visual Arts ◽  
Visual Art ◽  
Modern Art ◽  
Human Capabilities ◽  
The World ◽  
The Subject ◽  
Comprehensive Manner ◽  
Textual Traditions ◽  
Classical Greek Philosophy ◽  
Definition Of

In visual arts both the subject matter and the techniques form traditions extending sometimes through millennia, recording the human evolution and humanity in far more direct ways than, for instance, textual traditions can ever do. In short, visual arts open a rare window to the essence of humanity itself. Visual art is testing in a comprehensive manner the human capabilities to experience the world. Modern art has further opened up the whole definition of visual arts and freed even greater number of possibilities. Anything can be presented as visual art, if the audience is ready to accept it as art and “sees” it as art. I also discuss the basis of art as we inderstand it. Life imitates art and art imitates life. Which one is the copy then? The concept of mimêsis is one of the most frequently misunderstood concepts of classical Greek philosophy. In spite of breaks in tradition and misunderstandings, what is most important, is that in European art traditions the idea of liberal art as a means of expressing and shaping in a creative way ideas has kept alive and strives.

American Rhapsody

2016 ◽  
Author(s):  
Judith Zilczer
Keyword(s):  
Visual Art ◽  
Max Weber ◽  
The United States ◽  
Abstract Art ◽  
Comparative Case Study ◽  
Avant Garde ◽  
Visual Music ◽  
Georgia O'keeffe ◽  
Contemporary Artist ◽  
Aesthetic Values

The opening decades of the twentieth century saw painters renounce mimetic representation for the formal rigors and spiritual transcendence of visual art divorced from reproduction of the visible world. That they chose to do so in no small measure resulted from a profound shift in aesthetic values: music became the paradigm for visual art. While the concept of visual music gained international currency, this seductive aesthetic model had particular resonance in the United States. Between 1910 and 1930, leaders of the American avant-garde, such as Arthur Dove, Marsden Hartley, Georgia O’Keeffe, and Max Weber, experimented with musical ideas to forge a new abstract art. A comparative case study of the music pictures of these painters and the inter-media installations of contemporary artist Jennifer Steinkamp will illuminate the transformation of the modernist ideal of visual music in the postmodern era.

scholarly journals Decentred Geographies: Poetics and Politics of the Avant-garde

2020 ◽  
pp. 49-66
Author(s):  
Zrinka Božić Blanuša
Keyword(s):  
Comparative Literature ◽  
World Literature ◽  
Literary Studies ◽  
Primary Interest ◽  
Avant Garde ◽  
The Past ◽  
The Subject ◽  
Franco Moretti ◽  
David Damrosch ◽  
Definition Of

Thanks to the work of Pascale Casanova, Franco Moretti, David Damrosch and many others, over the past two decades, the concept of world literature has once again become the subject of thorough examination within the field of literary studies, especially in relation to cosmopolitanism and globalization. When it comes to the study of individual national literatures and specific regional contexts, as well as to the definition of comparative literature as a discipline, debates regarding its background, its reach and limitations could not be ignored. World literature thus appears as a heterogenous entity – always manifesting in different contexts in different forms – consistently in dialogical exchange with specificities of a particular literature and culture. Instead of discussing the problematic relation between centre and periphery or criticizing the idea of global literary and cultural canon, the avant-garde as an international and global phenomenon that appears even more radically on the so-called periphery is what is of primary interest to me. Therefore, the purpose of this paper is to demonstrate that avant-garde (in its various forms and radical expressions) simultaneously challenges art as an institution and introduces the idea of a decentred geography of world literature.

scholarly journals Theoretical Review of Entrepreneur and Social Entrepreneurship Concepts.

2022 ◽  
Vol 3 (6) ◽  
pp. 19-26
Author(s):  
María Dolores Martínez García ◽  
José María Moreno Meneses ◽  
Karina Valencia Sandoval
Keyword(s):  
Literature Review ◽  
Social Entrepreneurship ◽  
Gradual Increase ◽  
Environmental Problems ◽  
Avant Garde ◽  
Correct Definition ◽  
Different Types ◽  
The Subject ◽  
Definition Of

This article includes a theoretical review of Social Entrepreneurship (SE) due to the gradual increase in the need for new businesses, but also for solutions to social and environmental problems. First, a brief introduction is given explaining why it is important today to have a correct definition of ES. Additionally, the concept of entrepreneur and its different types are defined to create a context and thus be able to talk about the subject. Likewise, a literature review is carried out to achieve a better understanding of an avant-garde concept such as this type of entrepreneurship. Finally, the article concludes with the most important points covered throughout the writing, in addition to a definition of entrepreneur and social entrepreneurship made after analyzing the information found.

Concrete Cuba

2019 ◽  
pp. 131-143
Author(s):  
Abigail McEwen
Keyword(s):  
National Identity ◽  
Visual Arts ◽  
Cuban Revolution ◽  
Abstract Art ◽  
Political Protest ◽  
Avant Garde ◽  
Figurative Art ◽  
The 1950S

Art historian Abigail McEwen focuses on the so-called concretos, a generation of abstract Cuban painters that emerged during the 1950s and included Luis Martínez Pedro, Mario Carreño, José M. Mijares, and the Romanian-born Sandú Darié. According to McEwen, the concretos saw themselves as the last generation of the island’s artistic avant-garde, which contradicted their predecessors’ quest for a vernacular expression of national identity in the visual arts while striving for modernization and cosmopolitanism. She shows that the abstract turn in Cuba was both an aesthetic revolt against figurative art and a political protest against the Batista regime. The abstract art movement gradually waned after the triumph of the Cuban Revolution, with its preference for narrative and representational art.

scholarly journals Mykola Bidenko’s poetry: typology and idiography

2021 ◽  
Vol 27 (1) ◽  
pp. 1-6
Author(s):  
Roman Tkachenko
Keyword(s):  
Contemporary Art ◽  
Future Research ◽  
Problem Statement ◽  
Avant Garde ◽  
First Approximation ◽  
The Future ◽  
The Subject ◽  
The Aesthetic ◽  
Definition Of ◽  
Artistic Heritage

The relevance of the selected inquiry is in the need for urgent understanding of the ways of Ukrainian literature development, in particular, of poetry development, at the turn of the 20–21th centuries. It is no secret that art recreates the spiritual atmosphere of the time, but even more valuable is its ability to respond to subtle changes in the mood of contemporaries and form a spiritual picture of the future. In this sense, the study of contemporary art will be useful not only to literary critics. The subject of research is the typological and idiographic parameters of M. Bidenko’s poetry, its immediate artistic context, unique features of poetics, education and ideological and thematic direction. We understand the problem statement as an attempt to outline the first approximation of the role and place of M. Bidenko’s creative heritage in the context of Ukrainian literature of the late 20 — early 21th centuries. The study used mainly typological method, as well as principles of hermeneutics in the interpretation of key images. The purpose of this article is to outline the aesthetic and typological parameters of the artistic heritage of M. Bidenko, its unique features and features, consistent with the artistic context, based on the analysis of formal means and conceptual principles. As the result of the study Bidenko’s poetry is outlined mainly in the aesthetic coordinates of avant-garde and belongs to the environment of the Kyiv school of poets (verlibre, autotheliality of the word, avoidance of rhetoric, etc.), but in worldview he is more radical, skeptical and paradoxical than “kyivans.” In our view, Bidenko's dominant reception is a paradox. Pain as one of the key images of Bidenko's poetry, is metaphysical. Against such pain, the poet invented a “cure of death.” We see the novelty of this exploration in the definition of the dominant technique and our own interpretation of key images in Bidenko’s poems. Promising for future research are the nature of Bidenko’s verlibrium, features of the author's syntax or the nature of visual flavor.

scholarly journals phenomenon of musicality in expressiveness of V. Kandinskyi canvases

2021 ◽  
Vol 5 (S2) ◽  
pp. 303-316
Author(s):  
Оlena M. Markova
Keyword(s):  
Abstract Art ◽  
Avant Garde ◽  
Art Form ◽  
The Subject

The radicalism of the picturesque aspirations of modern and avant-garde style was fed by overcoming the statics of this art form and the subject specify of the expression. Ideal and temporary nature of the music presented the source of this sort expressiveness, which to the ful was used by V. Kandinskiy. His music preparation, subsequently friendship with A. Schoenberg promoted the corresponding to creative choice, which he has done the declaration of the abstract art and projection music sign to compositions and acceptance in graphic sphere. Kandinskiy rested in achievements post-impressionism – post-symbolism, in which are presented “washed away” in scene, not clearly given image. The music elements painting Kandinskiy realized as independence of the colour and symbolic elements in compositions. In this work is made analysis of linen “Composition II”, “Improvisation 8” and “Improvisation IV”. It is attention to symbology Roman and Arabic numerals, presented in name, which put into composition of the picturesque linen to associations with conditional image types of the music sound. The special accent is made on analogy of the symmetries of the distribution colorful heel and line to ?rchytonic construction of the music forms. 

Typologization of security regulation

2020 ◽  
pp. 20-27
Author(s):  
Denis Tikhomirov
Keyword(s):  
Social Relations ◽  
Scientific Literature ◽  
Legal Regulation ◽  
Procedural Understanding ◽  
Limited Ability ◽  
Methodological Basis ◽  
Wide Range ◽  
The Subject ◽  
Definition Of ◽  
Legal Understanding

The purpose of the article is to typologize terminological definitions of security, to find out the general, to identify the originality of their interpretations depending on the subject of legal regulation. The methodological basis of the study is the methods that made it possible to obtain valid conclusions, in particular, the method of comparison, through which it became possible to correlate different interpretations of the term "security"; method of hermeneutics, which allowed to elaborate texts of normative legal acts of Ukraine, method of typologization, which made it possible to create typologization groups of variants of understanding of the term "security". Scientific novelty. The article analyzes the understanding of the term "security" in various regulatory acts in force in Ukraine. Typological groups were understood to understand the term "security". Conclusions. The analysis of the legal material makes it possible to confirm that the issues of security are within the scope of both legislative regulation and various specialized by-laws. However, today there is no single conception on how to interpret security terminology. This is due both to the wide range of social relations that are the subject of legal regulation and to the relativity of the notion of security itself and the lack of coherence of views on its definition in legal acts and in the scientific literature. The multiplicity of definitions is explained by combinations of material and procedural understanding, static - dynamic, and conditioned by the peculiarities of a particular branch of legal regulation, limited ability to use methods of one or another branch, the inter-branch nature of some variations of security, etc. Separation, common and different in the definition of "security" can be used to further standardize, in fact, the regulatory legal understanding of security to more effectively implement the legal regulation of the security direction.

Antonio Negri

2018 ◽  
Author(s):  
Ingrid Diran
Keyword(s):  
Critical Distance ◽  
Middle Voice ◽  
The Subject ◽  
Definition Of ◽  
Antonio Negri

Agamben describes his posture as a reader as one of seeking a text’s Entwicklungsfähigkeit, or capacity for elaboration.1 In examining Agamben’s practices of reading, we can attend to the opposite phenomenon: the counter-elaboration that a text, in having being read by the philosopher, performs upon Agamben’s own thought. This reciprocal elaboration might constitute a paradigm for Agamben’s use of reading, according to his own idiosyncratic definition of use as an event in the middle voice, in which (according to a definition of Benveniste) the subject ‘effects an action only in affecting itself (il effectue en s’affectant)’ (UB 28). With this definition in mind, we could say that Agamben effects a text (he writes) only to the extent that he is also affected by another text (he reads). This is why Agamben’s position as a reader proves particularly important to any assessment of his work, quite aside from the problem of influence or intellectual genealogy. For this same reason, however, assessing Agamben’s relation to Antonio Negri – a figure with whom, by most measures, he is at odds – poses an unexpected challenge: how can Agamben’s thought be a use of Negri? Answering this question means not only assessing the critical distance between the two thinkers, but also taking this distance as a measure, in the Spinozan sense, of mutual affection.

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