Cornell, Joseph (1903–1972)

Routledge Encyclopedia of Modernism ◽

10.4324/9781135000356-rem1391-1 ◽

2018 ◽

Author(s):

Steven Pantazis

Keyword(s):

Natural Science ◽

Art History ◽

American Artist ◽

Music Literature ◽

Joseph Cornell

Joseph Cornell was an American artist known for his poetic use of collage and assemblage. His art, including his films, contains images that derive from art history, music, literature, ballet, theatre, film, and natural science.

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Myth and the ‘home culture concept’

Engendering an avant-garde ◽

10.7228/manchester/9781526101198.003.0004 ◽

2018 ◽

Author(s):

Leah Modigliani

Keyword(s):

Art History ◽

Cultural Practice ◽

Intentional Communities ◽

Cultural Activity ◽

Urban Centre ◽

Home Culture ◽

American Artist ◽

Master's Thesis ◽

Cultural Expressions ◽

Back To The Land

Jeff Wall and Ian Wallace’s rejection of ‘home’ and ‘homeland,’ and the primacy of the manifesto as an important polemical tool in framing one’s work, are explored in Chapter 3 in relation to Wall’s art history master’s thesis on the Berlin Dada group, which established “myth” as an anti-critical cultural practice that was broadly applied to much of the cultural activity then active in Vancouver. Vancouver’s seeming “lack of history,” the existence of back-to-the-land intentional communities living outside of the urban centre, the proliferation of other performance and media based art groups, and the influence of visiting American artist Robert Smithson’s earthworks are all examined as cultural expressions deemed a-historical or romantic by photo-conceptualists.

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Heritage of al-Farabi in art-cultural and pedagogical understanding

Pedagogy and Psychology ◽

10.51889/2020-1.2077-6861.25 ◽

2020 ◽

Vol 42 (1) ◽

pp. 196-206

Author(s):

L. Zolotareva ◽

◽

Y. Zolotareva ◽

Keyword(s):

Visual Arts ◽

Natural Science ◽

Art History ◽

Scientific Article ◽

Biographical Sketch ◽

Arab Muslim ◽

The World ◽

History Of ◽

The Creation ◽

History Classes

The relevance of the scientific article is due to the significant date of 2020 – the 1150th anniversary of the birth and 1060th anniversary of the death of Abu Nasr Ibn Muhammad al-Farabi-an outstanding thinker-scientist of the East, philosopher, encyclopedic, great humanist. At the world art history classes on the theme «Culture of the Arab-Muslim East», at creative seminars on the history of arts of Kazakhstan, the image of al-Farabi, recreated in the visual arts, and his humanitarian heritage are discussed. Al-Farabi is the author of commentaries on the writings of Aristotle (hence his honorary title of «Second teacher») and Plato. He is credited with the creation of the Otrar library. It should be recalled that in 1975, on a large international scale, Moscow, Alma-Ata and Baghdad celebrated the 1100th anniversary of the birth of al-Farabi. His irreplaceable intellectual heritage: he has works on ethics, politics, psychology, natural science, music, but especially known works on logic and philosophy. The main questions of the article: a brief biographical sketch of al-Farabi, about the artists A. Ismailov, S. Kalmakhanov, K. Azhibekuly, the creation of the image of al- Farabi in their creative heritage.

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Art History, Natural History and the Aesthetic Interpretation of Nature

Environmental Values ◽

10.3197/096327120x15868540131288 ◽

2020 ◽

Vol 29 (5) ◽

pp. 537-556

Author(s):

David T. Schwartz

Keyword(s):

Natural History ◽

Natural Science ◽

Art History ◽

Aesthetic Experience ◽

Sensory Experience ◽

Natural Sciences ◽

Historical Knowledge ◽

Scientific Model ◽

The Aesthetic

This paper examines Allen Carlson's influential view that knowledge from natural science offers the best (and perhaps only) framework for aesthetically appreciating nature for what it is in itself. Carlson argues that knowledge from the natural sciences can play a role analogous to the role of art-historical knowledge in our experience of art by supplying categories for properly 'calibrating' one's sensory experience and rendering more informed aesthetic judgments. Yet, while art history indeed functions this way, Carlson's formulation leaves out a second (and often more important) role played by art-historical knowledge over the last century - namely, providing the context needed for interpretations of meaning. This paper explores whether natural science can also inform our aesthetic experience of nature in this second sense. I argue that a robust sense of meaning from our aesthetic experience of nature is indeed made possible by coupling our aesthetic experience of animals with knowledge from the natural science of animal ethology. By extending the scope of Carlson's analogy to include interpretations of meaning, my argument shows that the cognitive, scientific model can accommodate a wider range of aesthetic engagement with nature than previously recognised.

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Space

10.1093/oso/9780199914104.001.0001 ◽

2020 ◽

Keyword(s):

Early Modern ◽

History Of Science ◽

Natural Science ◽

Art History ◽

Cultural Geography ◽

History Of Mathematics ◽

Medieval Period ◽

History Of ◽

Early Modern Era ◽

Modern Era

This volume chronicles the development of philosophical conceptions of space from early antiquity through the medieval period to the early modern era, ending with Kant. The chapters describe the interactions between philosophy at different moments in history and various other disciplines, especially geometry, optics, and natural science more generally. Figures from the history of mathematics, science, and philosophy are discussed, including Euclid, Plato, Aristotle, Proclus, Ibn al-Haytham, Nicole Oresme, Kepler, Descartes, Newton, Leibniz, Berkeley, and Kant. A series of shorter essays, or Reflections, characterize perspectives on space found in the disciplines of ecology, mathematics, sculpture, neuroscience, cultural geography, art history, and the history of science.

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The Avant-Gardist, the Male Genius and the Proprietor

Nordlit ◽

10.7557/13.1785 ◽

2007 ◽

Vol 11 (1) ◽

pp. 275

Author(s):

Martin Fredriksson

Keyword(s):

Art History ◽

Female Body ◽

Full Scale ◽

The Other ◽

Avant Garde ◽

Creative Genius ◽

American Artist ◽

The Law ◽

Legal Character

As the title suggests, this article will deal not only with the avant-garde and the romantic idea of geniality but also with the much more mundane concept of literary property. Even though the law might seem alien to the lofty ideals of the avant-garde artist, the construction of the creative genius and the birth of copyright will eventually prove to be quite closely connected. But before I move on to the legal part I would like to start with the essentials: with the author, or the artist. The American artist John de Andreas sculpture The Artist and his model from 1980 is probably one of the most revealing pictures of the avant-gardist selfconception ever made. This is a picture of the artist at work, but I will argue it can also be regarded as a legal character. What meets the eye is however very far from the law as we know it. de Andreas sculpture is a self-portrait of the artist at work: a highly naturalistic full-scale portrait of two people. One of them is a naked woman, resting casually on a white socket and looking down on the other who is a fully dressed man. As the title clearly states, the sculpture depicts the classical relation between The Artist and his Model, and it is no coincidence that the artist has a male pronoun and the model a female body. The roles of the artist and his model are traditional stereotypes which we can find in most books on art history - one is an artist and the other is a model; one is a man and the other is a woman; one is dressed and the other one is undressed.

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