The Black Scuare – from Alle to Malevich

2019 ◽  
Vol 3 (1) ◽  
Author(s):  
Alexander Gyoshev ◽  
Keyword(s):  
Contemporary Art ◽  
Cultural Context ◽  
White Background ◽  
Abstract Painting ◽  
Central Concern ◽  
French Writer ◽  
Adequate Understanding ◽  
Iconic Image ◽  
Dark Figure

The study observes some of the most important details hidden in Kazimir Malevich’s abstract painting “Black Square on a White Background” (1915). Of central concern for the more adequate understanding of this intriguing piece of art is the tracking of its supposed relationship with the work of Alfons Alle – French writer known for his extravagant style and ideas. The differences between Alle’s painting entitled “Negroes Fighting in a Cellar at Night” and Malevich’s composition, both sharing similar themes, are analyzed in their specific historical and cultural context. Finally, there is a hypothesis about “Black Square on a White Background” as a work marked with a psychological projection that unfolds itself through the dark figure of the square, as an iconic image that still has an impact on the contemporary art and may serve as a key to some symbols of the present.

scholarly journals Issue of Integrity of Art Education in the Context of Changes in Art and Visual Culture

Pedagogika ◽  
2014 ◽  
Vol 114 (2) ◽  
pp. 167-179
Author(s):  
Edita Musneckienė
Keyword(s):  
Visual Culture ◽  
Art Education ◽  
Contemporary Art ◽  
Cultural Context ◽  
Arts Education ◽  
New Technologies ◽  
Thinking Skills ◽  
Education Programs ◽  
Creative People ◽  
Wide Range

This article examines a paradigmatic change of contemporary art education in the context of visual culture and focus to the integrity of arts in formal and informal art education. The article is based on an international research “Contemporary art and visual culture in education” which reveals the problematic aspects of contemporary arts and visual culture in education in general. The research method was the discourse analysis of the participants and researchers, who presented the insights in reflective groups and during the interview with teachers and educators.This paper explores how contemporary cultural context and the spread of visual culture provide preconditions for changes in art education. The aim of the article is to analyze theproblems and perspectives of integral arts education in formal and non-formal education: what the educational challenges and opportunities appear in the context of contemporary art and visual culture? How the integral arts could be realized in art education practice in different arts disciplines and areas of education?Contemporary art and visual culture is increasingly multidimensional, the wide range of visual art forms integral with per formative arts, new technologies and media merge the limits between the arts disciplines. That becomes relevant pedagogical problem with the fact that arts education is traditionally allocated to the separate arts subjects such as music, art, theatre, dance, which also can also be divided into separate areas. This subject segregation of the school curriculum and strong subject orientation limits multimodal contemporary arts education. Secondary Education programs provide opportunities for several options of arts education disciplines (photography, cinema art, graphic design, contemporary music technologies), but it needs special resources for the schools and professional teachers. Many schools follow on traditional model of teaching art and still focusing on simple interpretation of modern artworks, different media and technical skills.Contemporary model of teaching integrated arts and visual culture in education is challenging, because it is based on visual literacy and critical thinking skills, it emphasizes inquiry-based education, a critical understanding of contemporary art practices, problem solving and creating new valuable ideas. Knowledge and experiences came from various sources: formal, non-formal, accidental, individual.Great potential for contemporary art education has non-formal art education programs and projects. Successful project-based initiatives in art education have been excellent examples of arts integration.Artists and other creative people involved into a process of education, their collaboration with schools and communities could initiate some interdisciplinary and collaborative practices. Non-formal arts education environment creates more space for creativity, freedom and diversity. Additional arts education programs, museum and gallery education, artistic competitions and international projects allows for the wider development of arts education. Art education in the new age requires changing attitudes towards learning and teaching, changing roles of the educator and new learning environments.

Plasmas: A New Class of Motion-Induced Brightness Illusion

Perception ◽  
1997 ◽  
Vol 26 (1_suppl) ◽  
pp. 16-16 ◽  
Author(s):  
P Tse
Keyword(s):  
Angular Velocity ◽  
Visual Angle ◽  
White Background ◽  
Phase Lag ◽  
High Background ◽  
Computer Screen ◽  
Dark Background ◽  
New Class ◽  
Black Cross ◽  
Dark Figure

When a white figure is set in smooth continuous motion against a dark background, a ‘shadowy’ region forms around and behind it, somewhat similar to the wake that a boat leaves in water. Conversely, when a dark figure moves against a white background, this ‘wake’ appears lighter than the background. When several such figures move, these ‘wakes’ can link up in surprising ways. For example, if four white circles of radius r are positioned on a dark background at the vertices of an imaginary square whose width is, say, 4 r, and this imaginary square rotates about its centre, bands darker than the background form between the four circles, linking them through the centre. This ‘black cross’ is nonrigid, and is accompanied by dark ‘wakes’ on the outside of the circles. I call these illusory brightness regions ‘plasmas’. The relation of this effect to other motion-induced brightness illusions is considered. In particular, this effect has different properties than either induced gratings (McCourt, 1982 Vision Research22 119 – 134) or phantom gratings (Tynan and Sekuler, 1975 Science188 951 – 952). Plasmas are not due to retinal afterimages or persistence, since they form in regions never traversed by the moving figure. Nor are they an artifact of the computer screen, since the illusion occurs equally well in displays constructed from paper. Plasmas have the opposite phase relative to the inducing figure, disappear when a figure stops moving, are strongest at high background/inducer contrast, and are most visible when the luminance of the inducers is in the photopic range. Experiments measuring the strength of plasmas as a function of angular velocity and visual angle are described. A model is proposed according to which plasmas are due to a phase lag in luminance-edge induced lateral inhibition.

scholarly journals DIMENSI SPIRITUAL DALAM SENI LUKIS ABSTRAK KONTEMPORER INDONESIA: SEJARAH DAN WACANA

2019 ◽  
Vol 11 (1) ◽  
pp. 1-15
Author(s):  
Amir Gozali
Keyword(s):  
Content Analysis ◽  
Reference Material ◽  
Contemporary Art ◽  
Abstract Art ◽  
Analysis Method ◽  
Abstract Painting ◽  
Historical Aspects ◽  
Content Analysis Method ◽  
Written Sources

AbstractAbstract art through its abstraction mode is an attempt to explore the essence and existence of humanityin the dimension of spirituality. Abstraction is able to present a deeper meaningful space because of theopen dialogue between artists - works - spiritual observers. This research was conducted to explore andexplore the transcendental and spirituality dimensions especially in contemporary Indonesian abstractpainting as part of the expression and reflection of the search for the essence of the artist. In addition,historical aspects and discourse dynamics will also be analyzed in order to obtain a comprehensiveunderstanding in understanding the development of abstract art in Indonesia. This study uses qualitativemethods by optimizing studies on written sources and literature relating to the study of contemporaryIndonesian abstract painting by further analyzing the historical aspects and dynamics of discourse. Datawere analyzed using content analysis method. This study is expected to be a reference material for learningabstract art, artists, and art lovers.Keywords: spiritual, abstract painting, contemporary art, Indonesia

scholarly journals AICA Congress in Poland in 1960: “International Character of Contemporary Art”

2020 ◽  
pp. 82-90
Author(s):  
Irina Genova
Keyword(s):  
Contemporary Art ◽  
Eastern European ◽  
Abstract Painting ◽  
Meeting Point ◽  
Art Scene ◽  
History Of ◽  
Western European ◽  
International Character

The art historian prof. Irina Genova traces the history of AICA (Association internationale des critiques d’art) and focuses on its congress in Poland (Warsaw and Krakow) in 1960. The carefully chosen topic of the congress, “International Character of Contemporary Art”, meant to provide a meeting point for Western European and Eastern European artists and to open the post-Stalinist Eastern art scene to the contemporary tendencies of the abstract painting. The situation was different in the different countries. The research draws a parallel between the quite open Polish scene and the more conservative and closed Bulgarian one and the reception the congress had in those two contexts.

scholarly journals An aesthetic of the unknown

2015 ◽  
Vol 7 (1) ◽  
pp. 19-32
Author(s):  
Michael Evans
Keyword(s):  
Contemporary Art ◽  
Art Criticism ◽  
Theoretical Framework ◽  
Art Theory ◽  
Abstract Painting ◽  
The Unconscious ◽  
Conscious Mind ◽  
Starting Point ◽  
Numinous Experience

This paper begins to establish an ‘aesthetic of the unknown’ by drawing together theorists and approaches from mainstream art criticism to provide a starting-point for an aesthetic sympathetic with Jungian perspectives, in an attempt to bridge a gap between contemporary abstract painting, contemporary art theory, and Jungian studies. This is a framework for approaching abstract painting not as an object awaiting interpretation or ‘reading’, but rather as something that offers a numinous experience (or experience of the unknown), which can be thought about but may remain ultimately unknowable and irreducible. Such experience – involving both the unconscious and conscious mind – would provide glimpses of forms of meaning not accessible to full rational exposition. This type of unconsciously understood meaning is explored, acknowledging that there is a need to preserve this encounter with the unknown and a need for a contemporary critical, theoretical framework that recognises the importance of this within abstract painting.

scholarly journals Portrait in Contemporary Russian Painting in the Context of World Art: A Typology of the Genre

2021 ◽  
Vol 11 (4) ◽  
pp. 636-648
Author(s):  
Svetlana M. Gracheva ◽  
Keyword(s):  
Contemporary Art ◽  
21St Century ◽  
Cultural Context ◽  
Cultural Development ◽  
Virtual Space ◽  
Semiotic Analysis ◽  
Russian Art ◽  
Art Practices ◽  
History Of ◽  
Portrait Painting

In Russian fine art, portrait painting has been traditionally distinguished by extraordinary variety and depth, reflecting the figurative and stylistic searches of artists of different periods. Russian art historians have comprehensively studied the portrait genre in the history of art. At the same time, the well-established classification of genres does not allow to take into account completely the variety of trends and approaches to the depiction of a person in contemporary art. The understanding of the portrait genre’s boundaries in contemporary art is extremely blurred. Sometimes it means either any image of a person, or even the absence of one at all. It appears essential and important to consider the work of Russian artists in the context of international visual art practices to compose a more holistic picture connected with general cultural development. The article proposes to expand the established typology of the portrait genre adopted in Russian art. The already well-known typology of portrait painting can be updated with other types of portrait based on the semantic and semiotic analysis of artistic works of the late 20th — 21st century. It is important to study contemporary Russian portrait painting from the perspective of a variety of typological models, and to use the new language of contemporary art history to understand the processes taking place in Russian painting of the late 20th — 21st century, in order to facilitate the entry of Russian art into the international cultural context. An idea has been matured to create a National Portrait Gallery in Russia which would collect portraits and self-portraits of the greatest personalities of our era in a real and virtual space.

An African Background to the Old Testament

2021 ◽  
Author(s):  
Isaac Boaheng
Keyword(s):  
Old Testament ◽  
Cultural Context ◽  
Social Economic ◽  
Background Information ◽  
Adequate Understanding ◽  
African Perspective ◽  
The Right ◽  
Proper Interpretation ◽  
African Setting ◽  
Old Testament Studies

An African Background to the Old Testament is a brief introduction to the geographical, social, economic, political and religious backgrounds of the Old Testament from an African viewpoint. It is written to help (African) Bible students to have access to the right background information required for proper interpretation of Scripture within the African setting. The seven-chapter book, after a thorough examination of the geographical, social, economic, political and religious backgrounds of the Old Testament from an African perspective contends that Old Testament scholarship in Africa must be carried out by those with adequate understanding and experience of the African socio-cultural context and must be done through proper interaction with that context. The Book is written in a non-technical way to make it accessible to everyone. Every chapter is organized thematically in sub-headings. Each chapter also ends with a recap of the main points discussed and review questions to allow the student to reflect on what has been discussed before proceeding to the next chapter. Universities and Seminaries can use it as a textbook for undergraduate and postgraduate courses in Old Testament Studies.

scholarly journals A Look at Tok Pisin save: A Lexical Verb and an Aspectual Marker in a Cultural Context

2019 ◽  
pp. 79-93
Author(s):  
Paweł Kornacki
Keyword(s):  
Social Interaction ◽  
Cultural Context ◽  
Social Relationship ◽  
Semantic Category ◽  
Adequate Understanding ◽  
Papua New Guinean ◽  
Short Narrative ◽  
Linguistic Material

This paper studies a common Tok Pisin lexical verb and auxiliary save ‘know’; ‘habitual’, respectively, and its prominent uses in examples of social interaction described in one section of the Wantok magazine and a Papua New Guinean writer’s short narrative. The linguistic material examined here seems to point to the semantic category of ‘social relationship nouns’ (SRNs) as relevant to the contextually and culturally adequate understanding of the examined examples of Tok Pisin usage.

Ökonomien der sozialen Medien – Bildpolitik und Gemeinschaftsbildung in den digitalen Netzwerken der Gegenwartskunst

2018 ◽  
Vol 81 (4) ◽  
pp. 575-587
Author(s):  
Antje Krause-Wahl
Keyword(s):  
Contemporary Art ◽  
The Internet ◽  
Central Question ◽  
Artistic Practice ◽  
Art And Politics ◽  
Digital Communities ◽  
Central Concern ◽  
Internet Art ◽  
The Relationship ◽  
Visual Cultures

Abstract Following debates on participation and the relationship between art and politics as a central question of contemporary art, this essay discusses networked communities in the visual cultures of ‘Post-Internet Art’. For DIS and Juliana Huxtable digital communities are both the topic of their installations and pictures and part of their artistic activities within the internet: the blog DIS Magazine and the tumblr blog Blue Lip Black Witch-Cunt. In comparing their artistic practice with network-like communication in magazines of the 1970s, the essay argues that it is not a central concern of post-internet art how network images may subvert the economy of images in the net. Rather this kind of art demonstrates the effects of networks, in which participation causes singularity instead of community.

scholarly journals Hvad er mesterværker? Kunsten som genforhandling af virkeligheden

2006 ◽  
Author(s):  
Laura Luise Schultz
Keyword(s):  
Everyday Life ◽  
20Th Century ◽  
Contemporary Art ◽  
Cultural Context ◽  
Gertrude Stein ◽  
Body Art ◽  
Work Of Art ◽  
Works Of Art ◽  
Art Forms ◽  
Or Practice

This article discusses how the idea of a national list of canonical works of art is at odds with performative strategies in contemporary art as they have developed since the early avantgardes first began to mix art and everyday life. From the middle of the 20th century, performative art forms such as happening, body art and all sorts of peformance art and theatre, challenged the notion of the work of art in favor of a concept of art as event or practice. Through the work of American modernist poet Gertrude Stein, and especially her deconstruction of the concepts of masterpieces and genius, the article explores how the performative turn has changed the way art is inscribed in a larger cultural context and history: Significant works of art no longer claim their right to glory through their monumental permanence and significance, but through their ability to change: to relate to shifting perspectives on an ever-changing reality.

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