scholarly journals PSIKOLOGIS DALAM SENI: KATARSIS SEBAGAI REPRESENTASI DALAM KARYA SENI RUPA

2020 ◽  
Vol 2 (2) ◽  
pp. 105
Author(s):  
Ernawati Ernawati
Keyword(s):  
Visual Arts ◽  
Personal Experience ◽  
Visual Art ◽  
Qualitative Method ◽  
Multidisciplinary Approach ◽  
Visual Image ◽  
Psychological Aspects ◽  
Visual Elements ◽  
The Arts

Tujuan penelitian ini adalah mengungkap peran aspek psikologis katarsis dalam karya seni rupa. Prinsip seputar psikis dapat dipraktikan dalam karya seni, salahsatunya gerakan seni rupa kontemporer. Kajian karya berdasarkan aspek psikologis, salah satunya katarsis termasuk hal yang krusial untuk dilakukan.  Metode pada penelitian ini menerapkan metode kualitatif dengan pendekatan multidisiplin (psikologi seni dan semiotika). Hasil penelitian menunjukkan bahwa Perspektif lebih obyektif karena seniman sebagai kreator berbanding lurus dengan karya yang disajikan. Elemen visual yang dipilih dan disajikan seniman tersusun berdasarkan kemampuan kreatif menyusun citra visual yang berangkat dari aspek pengalaman yaitu berupa rasa khawatir/kegelisahan atau ketakutan yang mendasarinya dalam berkarya. Karya seni yang terwujud representasi dari dunia psikis seniman sebagai kreator. Pendekatan psikologis dalam berkarya dengan dipadukan kemampuan akademik dari aspek keilmuan seni rupa setidaknya mampu memperkaya keilmuan dalam keberagaman seni rupa. Dalam konstelasi seni rupa Indonesia kontemporer, kajian dari perspektif psikologis, khususnya katarsis pada karya seni berelasi dengan psikobiografi atau pengalaman pribadi seniman. This research aims to explore the role of catharsis psychological aspects in visual artwork. The principle surrounding the psychic can be practiced in the artwork. One of them is contemporary art movements. A study of works based on psychological aspects, one of which is cathartic includes the crucial thing to do.  The method in this study implements a qualitative method with a multidisciplinary approach (the psychology of Art and semiotics). The results show that perspective is more objective because the artist as a creator is directly proportional to the work showed.The selected and presented visual elements by the artist are arranged based on a creative ability to compose a visual image that influences the experience aspect of worry/anxiety or fear underlying it in the works. The artwork embodied is a representation of the part of a psychic artist as creator. The psychological approach of working combined with the academic ability of the science aspect of the arts is at least, capable of enriching science in the diversity of visual arts. In the constellation of contemporary Indonesian visual art, a study from a psychological perspective, especially catharsis on artwork relates to a psychobiography or an artist's personal experience.

scholarly journals Interpretation of 9 Selected Visual Works of Contemporary Young Talent from the Context of the National Cultural Policy Core

2018 ◽  
Vol 3 (2) ◽  
pp. 43-60
Author(s):  
Firdaus Naif Omran Zailuddin ◽  
◽  
Muhammad Abdullah ◽  
Hawari Berahim ◽  
Azharudin Mappon
Keyword(s):  
National Culture ◽  
Indigenous Peoples ◽  
Visual Arts ◽  
Cultural Policy ◽  
Visual Art ◽  
Art Criticism ◽  
Cultural Elements ◽  
Visual Elements ◽  
Art Works

Contemporary Young Talent (CYT) is a visual arts competition organized by the National Visual Arts Gallery (NVAG) which is the most prestigious in Malaysia. Its 40 years of organization have successfully produced many renowned artists who are now pioneers in the Malaysian and regional visual arts arena. In line with the strength of CYT as a reflection of the future of Malaysian visual arts and the role of art as a cultural vehicle, the objective of the study is to analyze and further dismantle the latest visual art works of Malaysian artists from the perspective of national culture through the CYT platform from 2000 to 2013. This study aims to clearly understand the visual elements and features that are the cultural identity in the latest Malaysian visual arts. This objective was achieved through observation and reading of CYT catalog books published by NVAG, scholarly books, journals, and relevant previous studies as well as interviews on three artists and academics who won the CYT competition. This study uses a qualitative approach, guided by the 4 components of the theory of art criticism Feldman E.B. (1994) namely description, analysis, interpretation and evaluation. 9 works will be analyzed from the aspects of ‘form’ and ‘meaning’. The results of the work analysis will be compared with national cultural elements (data triangulation) and then justify and classify CYT visual art works based on the 3 cores of the National Cultural Policy, namely, the culture of the region's indigenous peoples, other appropriate cultures and Islamic culture through descriptive text.). This study is important to create awareness, deeper appreciation and provide knowledge to art admirers in understanding the meaning and approach and content in the latest visual artwork. The results of the study through descriptive texts explain the existence of national cultural elements and their relationship in selected contemporary works of CYT (2000-2013).

Developing Craft in the Ballet Class

2021 ◽  
Vol 39 (2) ◽  
pp. 147-157
Author(s):  
Susie Crow
Keyword(s):  
Visual Arts ◽  
Alternative Model ◽  
Embodied Learning ◽  
Sports Science ◽  
The Arts ◽  
Theoretical Investigations ◽  
Attitudes And Perceptions

The ballet class is a complex pedagogical phenomenon in which an embodied tradition is transmitted in practice from one generation to the next, shaping not just the dancing but the attitudes and perceptions of dancers throughout their careers. This paper emerges from observations and experience of recent and current ballet class practice, and theoretical investigations into embodied learning in the arts. It outlines the influential role of large hegemonic institutions in shaping how ballet is currently taught and learned; and the effect of this on the class's evolving relation to ballet's repertoire of old and emerging dances as artworks. It notes the increasing importation into ballet pedagogy of thinking rooted in sports science, engendering the notion of the dancer as athlete; and of historic attitudes which downplay the agency of the dancer. I propose an alternative model for understanding the nature of learning in the ballet class, relating it to what Donald Schön calls ‘deviant traditions of education for practice’ in other performing and visual arts ( Schön 1987 p16). I look at the dancer's absorption via the class of ballet's danse d’école, its core technique of academic dance content. I suggest how this process might more constructively be understood through the lens of craft learning and the development of craftsmanship via apprenticeship, the dancer learning alongside the teacher as experienced artist practitioner who models behaviours that foster creativity.

On gazers’ encounters with visual art: ekphrasis, readers, ‘iconotexts’1

2019 ◽  
pp. 237-256
Keyword(s):  
Visual Art ◽  
Visual Image ◽  
Literary Texts ◽  
Visual Medium ◽  
General Sense ◽  
Verbal Representation ◽  
Informed Reader ◽  
Role Of The Reader ◽  
Concise Definition

This chapter defines ekphrasis concisely as ‘the verbal representation of real or fictive configurations composed in a non-kinetic visual medium’. It rejects narrower definitions that exclude texts on non-representational visual configurations, including architecture, or restrict the discourse to literary texts representing works of art. But with its emphasis on the text the concise definition unduly reinforces the consideration of ekphrasis as a form of ‘intermedial transposition’ in contemporary discourse on intermedial relations. An ekphrastic text should be primarily approached as the record of a viewer’s interpretive encounter with a non-kinetic visual configuration, which may not actually contain anything that has been ‘transposed’ from the image. This viewer may be the persona of a poem, a figure in a prose narrative, or an art critic. It is the reader’s task to construct these viewers in the interpretation of any ekphrastic text. But the role of the reader has not received much attention. This includes the question of the immediate mental reception of ekphrastic texts. The critical construct of ‘iconotexts’, suggesting that such verbal texts spontaneously trigger a mental visual image for the informed reader, is problematic, and even in a more general sense the term may be of limited critical use.

The Arts

2019 ◽  
pp. 131-195
Author(s):  
Murray Pittock
Keyword(s):  
Eighteenth Century ◽  
Visual Arts ◽  
Visual Art ◽  
Public Display ◽  
The Arts ◽  
Outdoor Environments ◽  
Indoor And Outdoor Environments ◽  
Indoor And Outdoor

The growing circulation of visual art and its widening appearance in domestic collections and public display is an important moniker of the advance of consumerism, cosmopolitanism and innovation. What once had been (and for much of the eighteenth century still remained) an international aristocratic pastime suffused itself steadily into the houses and purchases of the professional well-to-do, bringing with it variety of origin, variety of subject, and whole new genres which could inflect the manner in which indoor and outdoor environments were represented and understood as they came under the control of society’s elites. Such new images could, in their turn, embed the centrality of questions of landscape, geographical conditions and human societies in the ideas of Enlightenment thinkers who moved in intellectual spheres much removed from the visual arts.

scholarly journals THE ROLE OF VISUAL ARTS IN BALANCING ADVERSE SITUATIONS IN INDIA

2020 ◽  
Vol 8 (7) ◽  
pp. 358-361
Author(s):  
Alpana Upadhyaya ◽  
Vinny Wadhwa
Keyword(s):  
Visual Arts ◽  
Visual Art ◽  
Positive Thinking ◽  
Negative Thinking ◽  
Inner World ◽  
And Control

Life has a strange way to unfold. Anything that exists on this Earth comes out of action, but the action only derives its fruits if it’s aligned with your inner world. Adverse situations in life will happen despite all the precautions and safeguards we put in place, in an attempt to prevent or at best avoid their effects. In this, people must concentrate on how to react and control the emotions in this situation. How to overcome negative thinking with the positive one? Positive thinking just means that you approach unpleasantness in a more positive and productive way. Visual Art can be a refuge for intense emotions and illness in adverse situations. Visual art draws people’s attention to details and the environment, which creates a distraction from day-to-day thoughts. No matter whether people chose visual arts to create for ourselves or simply observe or enjoy it.

Il teatro è arte visiva. Le premesse critiche di Toti Scialoja per una moderna concezione della scena

2020 ◽  
Vol 1 ◽  
pp. 113-127
Author(s):  
Martina Rossi
Keyword(s):  
Visual Art ◽  
Fine Arts ◽  
Fine Art ◽  
The Arts ◽  
Mise En Scene ◽  
Italian Culture ◽  
The Sixties

Il teatro è arte visiva is an undated and unpublished text by Toti Scialoja. It has been found in the archive of the artist among other documents related to his activity of teacher at the Academy of Fine Art in Rome. The text could be seen as a proof of Scialoja’s lasting interest in the reflection on the role of the arts in the mise en scène. In particular, he started to propose his own opinion inside of Italian culture debate since the Forties. Some texts on this matter have been published between 1944 and 1946 on “Mercurio”, and in 1949 on “L’Immagine”. Considering those precedents, Il teatro è arte visiva could be considered a summa of the principles that Scialoja already expressed in those previous texts, but actualized according to new experiences, like Grotowski’s Poor Theatre. This mention suggests to propose a dating of the document subsequent the second half of the Sixties and to refer it to his experience as Professor of Scenography at the Academy of Fine Arts. It consents to highlight how he educated his students in light of the most important and innovative experimentation scenic of Avant-gardes, instilling in them the importance of considering theatre like a visual art, formally independent from the single contribution of paint, sculpture, and architecture.

Personality and interest in the visual arts

2016 ◽  
Vol 6 (2) ◽  
pp. 126-140 ◽  
Author(s):  
Catherine L. Bachleda ◽  
Asmae Bennani
Keyword(s):  
Visual Arts ◽  
Sensation Seeking ◽  
Visual Art ◽  
Online Survey ◽  
Demographic Variables ◽  
Empirical Examination ◽  
Student Sample ◽  
Content Type ◽  
The Arts ◽  
The Relationship

Purpose The purpose of this paper is to explore the relationship between personality and interest in the visual arts in a sample of Moroccan workers. Design/methodology/approach Data were gathered from 210 respondents to an online survey. Findings Results indicate that interest in the visual arts is associated with openness and sensation seeking, even after controlling for income and education. Practical implications This study suggests that to increase consumption of visual arts products or experiences, arts marketers should focus on the personality traits of openness and sensation seeking rather than the demographic variables of income and education. Originality/value Results extend conclusions about openness and interest in the visual arts to a non-student sample and extend the importance of sensation seeking to visual art interests as opposed to visual art preferences and art judgement. This study also represents the first empirical examination of interest in the arts in Morocco.

Creational Aesthetics and the Challenge of Conceptual Art

2016 ◽  
Vol 20 (5) ◽  
pp. 663-673
Author(s):  
Steven Félix-Jäger
Keyword(s):  
Contemporary Art ◽  
Visual Art ◽  
Conceptual Art ◽  
Art World ◽  
Theological Aesthetics ◽  
The Arts ◽  
Essential Form ◽  
God's Image

A trend in theological aesthetics is to advocate for a “creational aesthetic” when discussing the ontology and calling of the artist. In its essential form, a creational aesthetic affirms that artists honor the Creator God by creating art. In some way artists are functioning as God’s image when they make art. While this view is popular in the Christian engagement of the arts, it is uncertain if such an observation is the preeminent way of understanding the role of the artist. Can one be considered an artist if s/he is removed from the tactile process of making? In the contemporary art world, the role of the artist in visual art has come into question with a stronger emphasis on conceptuality, over and against construction. In this article I argue for an alternate way of understanding creational aesthetics that makes room for conceptuality in art.

scholarly journals Translation as artistic communication in the aesthetics of migration: From nonfiction to the visual arts

Ars Aeterna ◽  
2017 ◽  
Vol 9 (2) ◽  
pp. 53-70 ◽  
Author(s):  
Alessandra Rizzo
Keyword(s):  
Visual Arts ◽  
Cross Cultural ◽  
Shared Knowledge ◽  
Left Behind ◽  
The Arts ◽  
Media Constructions ◽  
Bear Witness ◽  
Inclusive Form ◽  
Ultimate Ground

Abstract In an increasingly globalized and digitalized world, where the advancement of technologies and media constructions oversimplify and manipulate public beliefs and shared knowledge, the artistic sector seems to provide new networks of solidarity, collaboration and interaction that challenge a world dominated by conflicts and cultural shocks. Against this backdrop, acts of translation within the arts bear witness to humanity and become the ultimate ground for subjective expression and fundamental reflections upon individualist attitudes against migration issues. By putting emphasis on the role of translation in its political transfer of migration into the arts, this investigation draws attention to a recent corpus of works of art that testifies to the modalities by means of which the creative cultural industries are contributing to giving voice to migration not just as transruption and memory, but as an inclusive form of movement and communication. In Notes on the Exodus by Richard Flanagan, with illustrations by Ben Quilty (2016), and in the arts installations Call Me By My Name and All I Left Behind. All I Will Discover (London, 2017), translation intervenes as an instrument of cross-cultural collaboration and solidarity, resistance and dissent, and also demonstrates to what extent stories of migration can interact within art forms and be performed as acts of translation involving processes of (re)narration and (re)framing of identities.

scholarly journals Extracurricular Activity on Music and Visual Art Associates with Children’ Academic Achievement by Transferring Each Subject Score

2021 ◽  
Author(s):  
Chiaki Ishiguro ◽  
Toru Ishihara ◽  
Noriteru Morita
Keyword(s):  
Academic Performance ◽  
Extracurricular Activities ◽  
Visual Arts ◽  
Visual Art ◽  
Structural Equation ◽  
Positive Association ◽  
Equation Modeling ◽  
Extracurricular Activity ◽  
English Music ◽  
The Arts

Abstract The present longitudinal study examined whether extracurricular activities in the arts have a positive association with general academic performance, which is mediated by improved art scores. Data was collected from 700 seventh-grade children (379 boys and 321 girls) for over three years. Information regarding their participation in extracurricular activities in music and visual arts, grade points in general academic performance (i.e., Japanese, Social Studies, Mathematics, Science, and English), music, and arts were obtained, at the end of the seventh and ninth grades. Structural equation modeling revealed that both participation in extracurriculars in music and visual arts was positively associated with improvements in general academic performance from seventh to ninth grade, and these associations were mediated by improvements in music and visual arts scores. This finding suggests that arts education can contribute to improving general academic performance.

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