Landart plein air “Between Sand and Foam” – Between the Everyday and the Ephemera

2021 ◽  
Vol 5 (2) ◽  
Author(s):  
Bissera Valeva ◽  
Keyword(s):  
Financial Support ◽  
High Tide ◽  
Research Fund ◽  
Work Of Art ◽  
Art Form ◽  
The Everyday ◽  
Traditional Artists

The text focuses on the realization of the plein air as a part of a larger project (ARTguments) implemented with the financial support of the Research Fund of Sofia University. The art form “landart” was chosen not by chance. It is characteristic for artists to “argue”, to transform their ephemeral visual sensations into art installations – materialized in nature, digitally stored emotional provocations, which also rely on the “co-authorship” of the elements. The pictorial focus is on “unnecessary”, discarded, marginalized objects, without utilitarian application, but discovered and recognized as necessary in the process of creating a work of art. This is the so called by Juri Lotman process of renaming “external” to the artistic installation elements in which they “invade” from the outside world implanting themselves in the imaginary space of the visual work. The art event aims to unite different artists as a way of expression, to gather and impose diverse, even dissimilar concepts.The forum realizes conceptual works by traditional artists, materializes the artistic reaction viewed from different angles, meets a random audience with non-randomly created installations, and last but not least, embodies different works as different visual emotion. The concept of the plein air is subordinated to the philosophy of Khalil Gibran and in particular to his sentences from the eponymous edition „Sand and Foam“:“I am forever walking upon these shores, Between the sand and the foam, The high tide will erase my foot prints,And the wind will blow away the foam...”

scholarly journals KAJIAN FILOSOFIS LONTAR CALONARANG

2018 ◽  
Vol 2 (1) ◽  
pp. 274
Author(s):  
I Gusti Ayu Widayanti ◽  
I Made Surada ◽  
I Made Adi Brahman
Keyword(s):  
Literary Work ◽  
Social Function ◽  
Cultural Preservation ◽  
Work Of Art ◽  
Literary Works ◽  
Art Form ◽  
The People ◽  
The Social ◽  
Black Magic ◽  
The Village

<p><em>Lontar Calonarang's literary works is a work of art. Calonarang term other than as one of the works of literature, Calonarang also means characterization</em><em> </em><em>or the name of a man in the play known as Rangda ing Girah. Calonarang is also known as art form such as wayang pacalonarangan and in staging pacalonarangan dance drama. Lontar Calonarang is a lontar manuscript that specifically tells about Calonarang revenge using black magic against the people in Girah village. This is because the people in the village of Girah no one wants to marry Calonarang child is Ratna Manggali. Lontar Calonarang literary work is interesting to read and researched because this literary work has a philosophical meaning of construct so easy to be understood in depth. </em></p><p><em>The results that can be obtained from this literary work are Teachings contained in lontar Calonarang include Rwa Bhineda, Catur Asrama, and Tantra. The function of the teachings contained in the Calonarang lontar is the religious function, the social function, and the function of cultural preservation. While the philosophical meaning derived from this literary work is the meaning of balance, meaning of education, and the meaning of divinity.</em><strong><em></em></strong></p>

scholarly journals A LIVING TEMPLE - (PHAD PAINTING IN RAJASTHAN)

2018 ◽  
Vol 6 (3) ◽  
pp. 252-255
Author(s):  
Krishna Mahawar
Keyword(s):  
Folk Art ◽  
The State ◽  
Art Form ◽  
Traditional Artists

I consider Phad Painting as a valuable pilgrimage of Rajasthan. Phad painting (Mewar Style of painting) or Phad is a stye religious scroll painting and folk painting, practiced in Rajasthan state of India. This is a unique scroll making folk art; this style of painting is traditionally done on a long piece of cloth or canvas, known as phad. It is synonymous with the Bhopa community of the state. These are beautiful specimen of the Rajasthani cloth paintings. The narratives of the folk deities of Rajasthan, mostly of Pabuji and Devnarayan- who are worshipped as the incarnation of lord Vishnu & Laxman. Each hero-god has a different performer-priest or Bhopa. The repertoire of the bhopas consists of epics of some of the popular local hero-gods such as Pabuji, Devji, Tejaji, Gogaji, Ramdevji.The Phad also depict the lives of Ramdev Ji, Rama, Krishna, Budhha & Mahaveera. The iconography of these forms has evolved in a distinctive way. Shahpura in Bhilwara district of Rajasthan are widely known as the traditional artists of this folk art-form for the last two centuries. Presently, Shree Lal Joshi, Nand Kishor Joshi, Prakash Joshi and Shanti Lal Joshi are the most noted artists of the phad painting, who are known for their innovations and creativity. Noted examples of this art are Devnarayan Ki Phad and Pabuji Ki Phad.

Cinderella! Cinderella!: A closer look into Dutch seventeenth-century gender roles and genre paintings

2020 ◽  
Vol 9 (3) ◽  
pp. 123-139 ◽  
Author(s):  
Katie Downs
Keyword(s):  
Seventeenth Century ◽  
Gender Roles ◽  
Everyday Life ◽  
Middle Ages ◽  
Catholic Church ◽  
Golden Age ◽  
Everyday Practices ◽  
Art Form ◽  
The Everyday ◽  
Second Commandment

This article highlights a time when Northern artists were no longer allowed to paint or carve holy images as they had done during the Middle Ages and the Renaissance. The Catholic Church banned this art form due to the interpretation of the second commandment: ‘Thou shalt make no graven image of thy God’. Genre paintings were the outcome of this banishment and a way to represent and depict an everyday life scene in a Dutch seventeenth-century household. The paintings would show the best of a situation and also its worst counterpart in almost a mocking comical way. By exploring these paintings, we come to understand how women were fed propaganda into becoming a better housewife, mother and bearing the weight of physical nourisher to all. Although amusing, the images have been celebrated and considered legendary during the Golden Age of the Netherlands. While taking a closer look at genre paintings and the everyday practices of the Dutch household, we can connect patterns to how these paintings affected women and influenced their domestic duties in the Golden Age.

Making History: Chan as an Art Form

2016 ◽  
Author(s):  
Alan Cole
Keyword(s):  
The Past ◽  
Art Form ◽  
Human Ability ◽  
The Everyday ◽  
The World ◽  
Everyday World

This chapter highlights several important elements at work in the process of writing history. The first thing to see is that writing history represents a doubling of reality: in addition to the everyday world that one lives in, where one's senses are engaged in a fluid and continuous manner, the writer of history works to evoke scenes and events that, though invisible, can be made to appear to the reader as integral parts of reality, albeit in the past. Put this way, one can appreciate how the skills needed to write history reflect the growing human ability to artify the world. Why this matters for understanding Chan literature is that one wouldn't be far wrong in describing Chan as a gradually solidifying set of literary gestures designed to enhance—and organize—the present, by carefully designing and curating images of an imaginary past.

Art and Republicanism

1998 ◽  
pp. 62-66
Author(s):  
Fernando Inciarte
Keyword(s):  
Special Reference ◽  
General Introduction ◽  
Work Of Art ◽  
Western Art ◽  
Art Form ◽  
End Of Art ◽  
Aristotelian Tradition ◽  
Platonic Tradition

Republicanism is contrasted with liberalism with special reference to the notions of presence, absence and representation. The contrast is more conspicuous in the Platonic tradition of republicanism than it is in the Aristotelian tradition, the former being more likely to degenerate into some form of totalitarianism. Examples thereof are given in accordance with the distinction between a strong and a soft iconoclasm, as it is found both in Antiquity and in Eastern and Western Europe’s quest for absolute presence or—as in avantgarde art of modernity—for absolute self-presence of the work of art. Having left such political and artistic utopias behind it, the pendulum is now swinging back in the direction of representation, but no longer in the illusionist sense which has dominated Western art form the Renaissance to the beginning of our century. Tied to the question of iconoclasm is the debate about the end of art inaugurated by Hegel in the general introduction to his Aesthetics and resumed in our days.

Genetic Art and the Aesthetics of Biology

Leonardo ◽  
2002 ◽  
Vol 35 (2) ◽  
pp. 137-144 ◽  
Author(s):  
Steve Tomasula
Keyword(s):  
Biological Materials ◽  
Genetically Engineered ◽  
Aesthetic Judgment ◽  
Art And Science ◽  
Work Of Art ◽  
Traditional Art ◽  
Biological Form ◽  
The Creation ◽  
The Rich ◽  
Traditional Artists

The creation of Alba, the first mammal genetically engineered to be a work of art, accents the increasing number of artists who take as their medium plants, cells, genes and other biological materials. Like traditional artists, these bioartists raise traditional art issues; but since their work collapses the gap between art and science, representation and biological form, they also marry the rich tradition of manipulating nature for aesthetic reasons, the ethical complexities created by today's biotech revolution and the historical ramifications of applying aesthetic judgment to humans.

scholarly journals Landscape as an expression of cultural identity and its interpretation as an art form

2012 ◽  
Vol 60 (8) ◽  
pp. 127-132
Author(s):  
Pavel Kostrhun
Keyword(s):  
Cultural Identity ◽  
Scientific Knowledge ◽  
Cognitive Process ◽  
Work Of Art ◽  
Scientific Methods ◽  
Art Form ◽  
Human Intention

The essay elaborates the thesis that reality, in its universality, cannot be captured by descriptive scientific methods. Whatever we see as reality is conditioned by human intention and subject to historical and temporal circumstances. The text suggests the possibility that our landscape awareness could be extended to include the artistic reflection, focusing on objects whose structure is seemingly less clear and graspable, and preferring thinking more abstract than contextual. Despite the progress in, and the extent of, scientific knowledge – or because of it – we realize that such knowledge has its limits, presupposed and insurmountable. One of the meanings of a valuable work of art – a result of the cognitive process of its own kind – is that it gives us an information more or less accurate on something that is beyond our practical and theoretical experience, something elusive and yet existing. A possibility is also suggested that through artistic exploration and understanding of the landscape, a nation’s cultural identity can manifest itself.

A Wider Audience: Robert Rauschenberg, the White Paintings and CinemaScope

2016 ◽  
Author(s):  
Stephen Monteiro
Keyword(s):  
New York ◽  
Art Gallery ◽  
Robert Rauschenberg ◽  
Art Form ◽  
Action Painting ◽  
The Everyday ◽  
The Spectator ◽  
The Moment ◽  
Movie Theatre ◽  
Twentieth Century America

Robert Rauschenberg’s White Paintings have been interpreted as enigmatic “blank slates” that question the meaning of painting and the gallery experience. First shown in New York in 1953, at the same time that widescreen cinema was launched with the CinemaScope film The Robe, the White Paintings created a dialogue between movie theatre and art gallery as places of popular spectacle. Despite the competing aesthetic claims of modernist painting and widescreen cinema in mid-twentieth-century America, both addressed the spectator as active participant. Ideas of “action painting” competed with attempts at producing screen action requiring a ranging eye. This chapter demonstrates how, at the moment Hollywood sought to promote movie-going as a “serious”, engrossing art form through widescreen picture formats, Rauschenberg sought to relegate painting to a supporting role in the activity of the everyday as shadows of the surrounding world would move across it screen-like surface.

Restoration opera and the failure of patronage

2018 ◽  
Author(s):  
Bryan White
Keyword(s):  
Financial Support ◽  
Important Place ◽  
Royal Patronage ◽  
Art Form ◽  
Theatre Companies ◽  
Ambivalent Attitude ◽  
Restoration England ◽  
Charles Ii ◽  
English Culture

Despite experiments in the 1650s, through-sung opera failed to gain a firm foothold in Restoration England. Explanations for this circumstance have focussed on English taste, the finances of London’s theatre companies, and the popularity of native ‘dramatick opera’. While these were obstacles to the progress of through-sung opera in England, they do not explain why Thomas Betterton and the United Company ventured a rumoured £4000 on the production of Dryden’s and Grabu’s Albion and Albanius (1685).The lack of royal patronage has been overlooked as a barrier to the development of opera in England. Charles II displayed an ambivalent attitude to through-sung opera (English or otherwise) throughout his reign. His reticence to provide direct financial support was the most significant factor in the failure of the art form to find an important place in English culture of the Restoration period.

‘Por una gentil floresta’: Invention, Discovery and Desire in a Fifteenth-Century Villancico

2021 ◽  
Vol 98 (5) ◽  
pp. 453-469
Author(s):  
E. MICHAEL GERLI
Keyword(s):  
Fifteenth Century ◽  
Textual Criticism ◽  
Rich Source ◽  
Close Reading ◽  
Social Significance ◽  
Work Of Art ◽  
Art Form ◽  
Human Understanding

We persistently fail to appreciate the very status of cancionero poetry as an innovative art form, as literature worthy of serious analysis, and as an intellectual and humanistic pursuit. The villancico ‘Por una gentil floresta’, attributed to both the Marqués de Santillana and Suero de Ribera, is a case in point, a composition that is very well known but grossly underappreciated as a work of art, a cultural commentary, or for its social significance. It exists in multiple incarnations, in both the manuscript and early printed traditions of the cancioneros, attesting to its ample circulation and popularity. While the object of intense philological enquiry regarding issues of authorship, transmission, and possible influence, the numerous studies dedicated to this villancico do not foreclose further discussion of it to achieve greater appreciation of its artistic and human complexity. Close reading illustrates the abundant literary, thematic and cultural possibilities it offers, and allows us to articulate the wealth, intricacy, human understanding and artistic significance of fifteenth-century Castilian courtly verse; possibilities that reach well beyond philology and textual criticism and prove it a rich source for fruitful interpretation that exemplifies the kind of poetry and hermeneutical potential that can be found in the cancioneros.

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