The Team as a Creative System. Conditions and Incentives for Effective Creative Collaboration within the Framework of the Project “Ecoartlogia – Stained Glass Ggallery in the Open Air”

Diogenes ◽  
2020 ◽  
Vol 28 (1) ◽  
Author(s):  
Velina Staleva ◽  
◽  
Anastasia Tonkova ◽  
◽  
Keyword(s):  
Interdisciplinary Collaboration ◽  
Fine Arts ◽  
Creative Collaboration ◽  
Stained Glass ◽  
Collaborative Action ◽  
Project Analysis ◽  
The Arts ◽  
Effective Form ◽  
Classical Technique ◽  
Creative Team

The article studies the magnitude of teamwork as an effective form of collaboration when realizing a creative project through mural techniques. To exemplify the context of the theoretical part, we review the concept, the process and the result of the project “EcoARTologiA – Stained Glass Gallery in the Open Air”, realized with students and teachers from the Department of Mural Painting in the Fine Arts Faculty at “St. Cyril and St. Methodius” University of Veliko Tarnovo. Project analysis in the context of the topic dwells on the frames of reference towards the project activities which illustrate why a creative team is considered an effective form of collaborative action in the arts. In terms of artistic achievements and successful realization of aesthetically valuable works in the classical technique of stained glass painting the results confirm the success of the joint creative activity anticipated from the project. The article is intended for professionals interested in the interdisciplinary collaboration between the fields related to the contemporary visual dimensions of mural monumental arts and the importance of project activities for monumental arts education.

Zygmunt Krasiński wobec sztuk pięknych / Zygmunt Krasiński and the Fine Arts

2013 ◽  
Vol 54 (2) ◽  
pp. 145-160 ◽  
Author(s):  
Olga Płaszczewska
Keyword(s):  
Fine Arts ◽  
Literary Tradition ◽  
Individual Sensitivity ◽  
What Works ◽  
The Arts ◽  
The Aesthetic ◽  
A Current ◽  
Aesthetic Preferences

Summary This is an attempt at examining Zygmunt Krasiński’s opinions and preferences with regard to the fine arts, a theme many critics believed to be missing from his writings. While putting things right, this article looks at the issues involved in his artistic choices, for example, what works or artists attracted his attention, in general, and to the point of him actually drawing on them in his own work or provoking him to some response (critical, approving, emotional, etc.). Furthermore, the article tries to explore the reasons and circumstances which may account for Krasiński’s interest in a given painting, print, or sculpture. It may have been the work’s theme as in the case of his ekphrasis of Ary Scheffer’s Dante and Virgil Encountering the Shades of Francesca and Paolo Di Rimini, where literary tradition provided the impulse, or the mode of its execution, or the personal ties with its author, or, finally, some other factors, like a current vogue or simply Krasiński’s individual sensitivity. The ultimate aim of all these inquiries is to outline Krasiński’s relationship with the arts (beaux arts) in the context of the aesthetic preferences of the epoch.

Modernismo: The Catalan Renaissance of the Arts (Outstanding Dissertations in the Fine Arts)

1980 ◽  
Vol 62 (2) ◽  
pp. 333
Author(s):  
Phyllis Braff ◽  
Joseph Phillip Cervera
Keyword(s):  
Fine Arts ◽  
The Arts

Preaching with Their Lives

2020 ◽  
Keyword(s):  
United States ◽  
Health Care ◽  
Social Services ◽  
Fine Arts ◽  
Modern Society ◽  
The United States ◽  
Economic Justice ◽  
Epidemic Disease ◽  
Music Drama ◽  
The Arts

This volume tells the little-known story of the Dominican Family—priests, sisters, brothers, contemplative nuns, and lay people—and integrates it into the history of the United States. Starting after the Civil War, the book takes a thematic approach through twelve essays examining Dominican contributions to the making of the modern United States by exploring parish ministry, preaching, health care, education, social and economic justice, liturgical renewal and the arts, missionary outreach and contemplative prayer, ongoing internal formation and renewal, and models of sanctity. It charts the effects of the United States on Dominican life as well as the Dominican contribution to the larger U.S. history. When the country was engulfed by wave after wave of immigrants and cities experienced unchecked growth, Dominicans provided educational institutions; community, social, and religious centers; and health care and social services. When epidemic disease hit various locales, Dominicans responded with nursing care and spiritual sustenance. As the United States became more complex and social inequities appeared, Dominicans cried out for social and economic justice. Amidst the ugliness and social dislocation of modern society, Dominicans offered beauty through the liturgical arts, the fine arts, music, drama, and film, all designed to enrich the culture. Through it all, the Dominicans cultivated their own identity as well, undergoing regular self-examination and renewal.

scholarly journals ECOART THROUGH VARIOUS APPROACHES

2020 ◽  
Vol 7 (1) ◽  
pp. 21-29
Author(s):  
Martinus Dwi Marianto ◽  
Martinus Dwi Marianto
Keyword(s):  
Natural Environment ◽  
Fine Arts ◽  
Environmental Crisis ◽  
Teaching Materials ◽  
The Arts ◽  
Ecological Values

This research was done as an effort to observe, write, and publicize  eco-activism and achievements by a number of eco-actors in the midst of an increasingly natural environmental crisis, to be used as stimuli and teaching materials for the course of  EcoArt. A number of artists practicing ecoartivism were purposively selected as a sample; their works and achievements are exposed. They are Endar Progresto, Widya Purwoko, Bernadeta Pudiasminarsih (Dyas Ecoprint), and Nasirun. These eco-activists not only work ecologically real, but also creatively communicate ecological values to surrounding communities to change. Nevertheless campaigning this environmental crisis for the better cannot be done partially, but must be jointly supported, organized and socialised continuously. For this reason, their works and achievements, as well as their individual ecoartivism need to be exposed, documented, and assembled as one unit as part of selected subjects of the EcoArt Course in the Fine Arts Department of the Indonesia Institute of the Arts Yogyakarta, to generate  enthusiasm in articulating or representing ecological concerns for ecosystem sustainability and preservation of natural environment through Art.

scholarly journals The Teaching Didactics of Álvaro Siza

2019 ◽  
Author(s):  
Pedro Luz Pinto ◽  
Keyword(s):  
Fine Arts ◽  
Assistant Professor ◽  
The State ◽  
The Arts ◽  
Arts Programs ◽  
One Year ◽  
Alvaro Siza

Álvaro Siza Vieira (1933) began his training at the Architecture Department of the School of Fine Arts in Porto (EBAP) in 1949, one year after the 1st Congress of Portuguese Architects (1948), which became known as the congress of modern architects. There were two fine arts schools at the time in Portugal, in Porto and Lisbon (EBAP and EBAL), both with an equivalent curriculum that was coordinated by the state. Siza attended the course based on the “beaux arts” programs of 1932, concluding the curricular part of his course in 1955 and presenting his final graduation design in 1965. But by this time, Portuguese education in the arts had already switched to “modern”curricula (1952-57 Reform). The following year, having already seen some of his important works built, Siza began his career as assistant professor at the school in Porto.

scholarly journals Community College Ceramics and Student Research: Cooperative Work Experience Projects in the Arts

2021 ◽  
Vol 4 (3) ◽  
pp. 59-60
Author(s):  
Amiko Matsuo ◽  
Keyword(s):  
Work Experience ◽  
Fine Arts ◽  
Cooperative Work ◽  
Natural Clay ◽  
Melting Points ◽  
Eutectic Melting ◽  
The Past ◽  
The Arts ◽  
Clay Deposits ◽  
Student Researchers

For the past three semesters in the Fine Arts Program at Allan Hancock College, student researchers have been sampling, researching, and firing natural clay deposits found in the campus region. Students research local clays by firing them at various temperatures and adding variable fluxes to experiment with eutectic melting points. A cooperative work experience project is being piloted to develop a model outreach/interdisciplinary curricular guide for the Minerals Resources Program.

Belles lettres and Painting

2019 ◽  
Vol 3 (2) ◽  
Author(s):  
Antoaneta Ancheva ◽  
◽  
◽  
Keyword(s):  
Fine Arts ◽  
Emotional Impact ◽  
Musical Imagery ◽  
The Third ◽  
The Arts ◽  
Artistic Styles ◽  
Belles Lettres

There are topics in art that always sound contemporary, so we often come back to them. One of them is Belles lettres and Painting. There are two perhaps even three different theses for this problem. The first is that fiction and fine arts are too far apart from each other as a type of art. The second thesis is that the arts have not only their major and significant differences, but also their undeniable similarities. Such is the perception of the French and German romantics. According to them, in the different historical eras, aesthetic trends and directions (genres) form close artistic styles, criteria and tastes as well as similar literary, plastic and musical imagery. And the third thesis is neutral. It seeks to harmonize the first two – different in expressive means, but similar in ideological and emotional impact respectively to the reader, viewer or listener.

William Morris’s ‘Work-Pleasure’: Literature, Science and Fine Art

2018 ◽  
pp. 163-185
Author(s):  
Philipp Erchinger
Keyword(s):  
Nineteenth Century ◽  
Fine Arts ◽  
Experimental Methods ◽  
Fine Art ◽  
Arts And Crafts ◽  
Arts And Crafts Movement ◽  
William Morris ◽  
Narrow Sense ◽  
The Arts ◽  
The Aesthetic

This chapter seeks to elucidate nineteenth-century conceptions of art as fine art. Taking its cue from Raymond Williams’s account of a divorce of (fine) art from (technical) work, the chapter pursues various attempts to define the aesthetic specificity of the fine arts, including literature in the narrow sense, in relation to other ways of exercising skill, including the use of experimental methods in the sciences. In this way, it seeks to show that the idea of the aesthetic, despite all attempts to purify it, remained deeply entangled in a net of work, in which experiences of pleasure (or beauty) and playfulness had not yet been separated from material practices of making useful things. As is further explained, the idea of a mutual inclusiveness of pleasure and use was pivotal to the arts and crafts movement, especially to the creative practice of William Morris. Finally, the chapter pursues Morris’s concept of “work-pleasure”, as derived from his News from Nowhere, through a wider debate about the complex relations between the sciences and the (fine) arts.

Prologue

2021 ◽  
pp. 9-30
Author(s):  
Daniel Sheehy
Keyword(s):  
Fine Arts ◽  
Institutional Culture ◽  
National Endowment ◽  
Arts Funding ◽  
Cultural Traditions ◽  
University Courses ◽  
The Arts ◽  
Academic Activities ◽  
Relativistic Approach ◽  
Art Forms

What happens when an ethnographic, cultural relativistic approach to arts funding runs head-on into a “fine arts” approach governed by assumptions of excellence, appropriate targets of funding, and methods of distributing funds? This chapter, based on twenty-three years (1978–2000) working at the National Endowment for the Arts, will respond to this question through my personal conceptual and methodological challenges and experiences. When the National Endowment for the Arts and National Endowment for the Humanities were created in 1965, there was talk of creating a third endowment for folklore. This effort was unsuccessful, but it points to the belief at the time that American folk art traditions would not be well served by the federal endowments. There was much truth to this, as I and my colleagues regularly bumped into “glass ceilings and walls” that silently worked against us in supporting our field of hundreds of cultural traditions and thousands of art forms. My ethnomusicological training and experience were invaluable, not only in understanding the art forms and responding to their needs, but also understanding the biases of the institutional culture in which we were housed. At the same time, while certain aspects of my training at UCLA helped in navigating the waters of arts funding, much of the knowledge I applied to my work was learned “on the job” in extra-academic activities and mentorships rather than in university courses and seminars. This line of reflection will yield observations and recommendations to improve training and to increase ethnomusicology’s applicability and social and cultural relevance.

The Life of Rhythm

2019 ◽  
pp. 101-109
Author(s):  
Garry L. Hagberg
Keyword(s):  
Fine Arts ◽  
Jazz Improvisation ◽  
Living Body ◽  
The Arts ◽  
Art As Experience ◽  
Universal Scheme ◽  
Live Organism

Chapter 6 poses the question: Why does rhythm speak to us so deeply? Patterns of accented or percussive sound that move us are meaningful, yet we find it hard to say what associations or connotations create that meaning. It argues that John Dewey’s Art as Experience has deep insights on this question, and focuses on their implications for jazz improvisation. For Dewey, both player and listener are like the live organism interacting within its environment. Hagberg addresses Dewey’s understanding that “rhythm is a universal scheme of existence, underlying all realization of order in change, [that] pervades all the arts, literary, musical, plastic and architectural, as well as the dance”; that “The supposition that the interest in rhythm which dominates the fine arts can be explained simply on the basis of rhythmic processes in the living body is but another case of the separation of organism from environment.”

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