Exhibitions of Sculpture as a Sign of the Spatial Shift: From Spring Salon to Sculpture in the Garden

Ikonotheka ◽  
2017 ◽  
Vol 26 ◽  
pp. 253-276
Author(s):  
Anna Maria Leśniewska
Keyword(s):  
Modern Art ◽  
Work Of Art ◽  
Research Perspective ◽  
Spatial Shift ◽  
Outdoor Space ◽  
Crucial Part ◽  
Selection Of

A selection of exhibitions of sculpture held between the years 1946 and 1957 illustrates the formal transformations and diversity of methods of exhibiting sculpted forms as identifi ed through their manner of cooperating with space. The experiments, which commenced during the First Exhibition of Modern Art (1948) and were later creatively developed at the Krzywe Koło and Zachęta galleries, were based on ideas that had been formulated by K. Kobro and W. Strzemiński in Kompozycja przestrzeni. Obliczenia rytmu-czasoprzestrzennego (1931), produce a diversifi ed picture of intense formal exploration of sculpture, with the category of “space” emerging as a crucial part of the research perspective. The integrated gallery space and the setting for a work of art – which during the Sculpture in the Garden show (1957) included outdoor space – defi ned a trend that was moving towards the concept of an installation. Exhibitions indirectly connected with sculpture, e.g. Studium przestrzeni (1957), were used as research instruments in the process of extending the boundaries of sculptural forms to include their reaching into space.

scholarly journals INSTALLATION ART IN INDIA: CONCEPTS AND ROOTS

2016 ◽  
Vol 4 (10) ◽  
pp. 16-20
Author(s):  
Mohsina Aaftab
Keyword(s):  
New Media ◽  
Installation Art ◽  
Modern Art ◽  
Conceptual Art ◽  
Work Of Art ◽  
Private Spaces ◽  
Traditional Work ◽  
Selection Of ◽  
Media Installation

Present study focuses on the new media Installation Art in India, its present scenario, and backgrounds. Essentially installation art has taken its heritage from conceptual art, which came into prominence in 1970s, when the concept or idea was prominent – when an artist uses a conceptual form of art which means that all of the arrangement and conclusion are made previously and the implementation is an obligatory concern. So, spontaneously idea became a machine that makes the art. An idea suddenly pops in his mind and he just implemented it, in his very own way. This kind of art does not narrow itself to gallery spaces and can refer to any materials intervention in everyday public or private spaces. After India became independent, art began to change here. considerately several movements and group bounced up all over the country headed by ambitious young artists with vision of bringing modern art to India. Now the art of India is totally changed. Contemporaries are not bound to use paper and canvas, wall or any other art surfaces. They are not bound to make mythological paintings or sculptures but they are free to do anything, they are free to use any medium, material and space they want. After a European artist Marcel Duchamp’s “ready-mades artist” started exploring the margin of art, trying to eliminate the contrast between art and life. For conceptual artists art need not look like a traditional work of art. Presented study focuses on the installation work of Indian artists. Four artists were selected by the researcher viz. Subodh Gupta, Shilpa Gupta, Bharti Kher and ChintanUpadhaya. Researcher investigates the concepts behind the art work of selected artists, their methods and materials they have used in their art work. The selection of artist in current study is on the bases of their fame and popularity. Method of the current study is analytical.

scholarly journals Analisis Mural Karya Arnis Muhammad Ditinjau Dari Segi Fungsi dan Gaya

2021 ◽  
Vol 4 (2) ◽  
pp. 767-773
Author(s):  
Alpiza Simah Budi ◽  
Daulat Saragi
Keyword(s):  
Everyday Life ◽  
Public Space ◽  
Environmental Conditions ◽  
General Public ◽  
Qualitative Method ◽  
Sampling Technique ◽  
Two Dimensional ◽  
Aesthetic Value ◽  
Work Of Art ◽  
Selection Of

This study aims to describe the function and style of the mural by Arnis Muhammad. Mural as art in public space, which means that the space for movement and the target audience for the audience and audience is the general public. As a two-dimensional work of art, mural is also inseparable from style. Visually, the style in a work of art is the selection of objects, techniques, colors, and environmental conditions, time, era, and environmental conditions in which an artist creates his work. The population in this research is that all of Arnis Muhammad's mural works for the 2017-2019 period are 51 works. In this study the authors took samples using purposive sampling technique. The reason for taking samples is the number of mural works that still exist and are still intact. There are 10 mural works in the research location. In this case, the writer examines these mural works based on their function and style. The method used in this research is descriptive qualitative method. The function of the mural by Arnis Muhammad is a personal function as a reflection of the resonance of the environment in which he lives. Social function, as a form of concern for the environment and the surrounding community in everyday life. Physical function, as an aesthetic value enhancer and the various ways the general public use it. Arnis Muhammad's murals tend to have a surreal and decorative style.

Page as alternative space redux: artists’ magazines in the 21 st century

2013 ◽  
Vol 38 (3) ◽  
pp. 10-17
Author(s):  
David Senior
Keyword(s):  
Digital Media ◽  
Contemporary Art ◽  
Art History ◽  
Modern Art ◽  
Museum Of Modern Art ◽  
Art And Design ◽  
The Past ◽  
Production And Distribution ◽  
New Challenges ◽  
Selection Of

In the past few years, several new publications and exhibitions have presented surveys of the genre of artists’ magazines. This recent research has explored the publication histories of individual titles and articulated the significance of this genre within contemporary art history. Millennium magazines was a 2012 exhibition at the Museum of Modern Art that traced the artists’ magazine into the 21st century. The organizers, Rachael Morrison and David Senior of MoMA Library, assembled a selection of 115 international tides published since 2000 for visitors to browse during the run of the exhibition and created a website as a continuing resource for information about the selected tides. The exhibition served as an introduction to the medium for new audiences and a summary of the active community of international artists, designers and publishers that still utilize the format in innovative ways. As these projects experiment with both print and digital media in their production and distribution of content, art libraries are faced with new challenges in digital preservation in order to continue to document experimental publishing practices in contemporary art and design.

Tragic Representation: Paul Klee on Tragedy and Art

2013 ◽  
Vol 43 (3) ◽  
pp. 443-461 ◽  
Author(s):  
María del Rosario Acosta López
Keyword(s):  
Modern Art ◽  
Human Existence ◽  
Pictorial Representation ◽  
Work Of Art ◽  
New Approach ◽  
Paul Klee ◽  
Heaven And Earth ◽  
The Way

Abstract This paper traces and examines the different connotations given to the notion of “tragedy” in Paul Klee’s thought. From his early reflections on, Klee relates this notion to an intermediate and conflictive condition that characterizes human existence—an existence that takes place between heaven and earth, between the ethereal and the earthly. This essay focuses on how the connotations Klee gives to tragedy in different moments of his reflections transform the way he conceives the work of art. Hence, I will attempt to show how Klee’s reflections relate the tragedy of human existence not only to the figure of the artist, understood as a tragic figure, but also to an idea of tragedy that the work produces and represents in its own particular way of coming into being. Thus, this paper poses a new approach to Klee’s suggestive proposal on modern art as well as to the meaning given to pictorial representation throughout his thought and artworks.

scholarly journals What makes for a ‘good’ or ‘bad’ paediatric diabetes service from the viewpoint of children, young people, carers and clinicians? A synthesis of qualitative findings

2015 ◽  
Vol 100 (9) ◽  
pp. 826-833 ◽  
Author(s):  
Katherine Curtis-Tyler ◽  
Lisa Arai ◽  
Terence Stephenson ◽  
Helen Roberts
Keyword(s):  
Young People ◽  
Physical Health ◽  
Age Groups ◽  
Long Term Conditions ◽  
Children And Young People ◽  
Paediatric Diabetes ◽  
Experience Of Care ◽  
Crucial Part ◽  
Selection Of

BackgroundThere is mounting evidence that experience of care is a crucial part of the pathway for successful management of long-term conditions.Design and objectivesTo carry out (1) a systematic mapping of qualitative evidence to inform selection of studies for the second stage of the review; and (2) a narrative synthesis addressing the question, What makes for a ‘good’ or a ‘bad’ paediatric diabetes service from the viewpoint of children, young people, carers and clinicians?ResultsThe initial mapping identified 38 papers. From these, the findings of 20 diabetes-focused papers on the views on care of ≥650 children, parents and clinicians were synthesised. Only five studies included children under 11 years. Children and young people across all age groups valued positive, non-judgemental and relationship-based care that engaged with their social, as well as physical, health. Parents valued provision responsive to the circumstances of family life and coordinated across services. Clinicians wanting to engage with families beyond a child's immediate physical health described finding this hard to achieve in practice.LimitationsSocioeconomic status and ethnicity were poorly reported in the included studies.ConclusionsIn dealing with diabetes, and engaging with social health in a way valued by children, parents and clinicians, not only structural change, such as more time for consultation, but new skills for reworking relations in the consultation may be required.

scholarly journals ANALISIS FORMALISTIK DALAM MEMAKNAI SIMBOL BUDAYA MELAYU ABSTRAK

2015 ◽  
Vol 3 (2) ◽  
pp. 49-72
Author(s):  
LIZA MARZIANA MOHAMMAD NOH ◽  
HAMDZUN HARON ◽  
JASNI DOLAH
Keyword(s):  
Visual Arts ◽  
General Public ◽  
Modern Art ◽  
Fundamental Question ◽  
Work Of Art ◽  
Physical Data ◽  
Works Of Art ◽  
National Heritage ◽  
Analyze Data

Untuk menghayati sesebuah karya seni pokok persoalan yang hendak dikaji bukanlah keindahan sematamata tetapi unsur yang menyebabkan sesuatu simbol itu terjelma. Subjek, bentuk dan makna adalahtiga aspek dalam simbol yang menjadi asas kepada penghayatan sesebuah seni. Ketiga-tiganya salingberhubungan dan tidak boleh di pisahkan kerana daripadanya kesatuan karya terbentuk seterusnyamenjelaskan gagasan seniman. Demikian dalam memaknai karya, unsur seni adalah penting untuk dikajisebagai data fizikal yang bertindak dalam menghubungkan konteks sesuatu karya itu. Kertas kerja inimenerangkan penggunaan unsur-unsur formalistik untuk menganalisa data bagi memaknai simbol budayaMelayu dalam karya seni catan moden Malaysia. Dengan menjadikan Balai Seni Visual Negara sebagailokasi kajian, kertas kerja ini merujuk buku himpunan warisan tampak negara 1958-2003 terbitan BalaiSeni Visual Negara. Sebanyak empat karya di tahun 1970an sehingga 2000 dipilih bagi menyiasat bentukdan maknanya. Sebagai kesimpulan, kertas kerja ini diharapkan dapat mendedahkan kepada masyarakatumum dan peminat seni khususnya mengenai analisis formalistik sebagai satu cara menganalisa karyaseni. In appreciate of a work of art the fundamental question to be examined is not the sheer beauty but anelement that causes a transformed symbol. Subject, form and meaning in symbols are three aspects thatare fundamental to the appreciation of art. All three are interconnected and cannot be separated to formthe whole aert work and subsequently to define the notion of artistism. Thus in defining an art work, artis an important element to be studied as the physical data in relating the context of the piece of artwork.This paper describes the use of formalistic elements to analyze data to interpret the symbol of Malayculture in Malaysian modern art paintings. By making the National Visual Arts Gallery as the locationfor research, this paper refers to the compilation books of national heritage published in 1958-2003 byNational Visual Arts Gallery. A total of four works from 1970s up to 2000 are selected to investigatethe forms and meanings. In conclusion, this paper is expected to disclose to the general public and artenthusiasts in particular on formalistic analysis as a means of analyzing works of art.

scholarly journals Dylematy operacjonalizacji paradygmatu zrównoważonego rozwoju rolnictwa z wykorzystaniem pojęcia ekoefektywności

2018 ◽  
Vol 18(33) (2) ◽  
pp. 44-56 ◽  
Author(s):  
Andrzej Czyżewski ◽  
Jakub Staniszewski
Keyword(s):  
Sustainable Development ◽  
Literature Review ◽  
Reference Points ◽  
Agricultural Activity ◽  
Environmental Resources ◽  
Random Factor ◽  
Research Perspective ◽  
Dea Method ◽  
Over Exploitation ◽  
Selection Of

The article discusses the methodical problems of operationalization of the agriculture sustainable development with the use of the eco-efficiency concept and the DEA method. On the basis of the literature review, dilemmas faced by the researcher adopting this research perspective have been identified. Although the application of these methods allows to reduce the problems related to the selection of weights and reference points, as well as various units in which the inputs and effects of agricultural activity are expressed, at the same time it requires the assumption that: 1) the research will not take into account a random factor; 2) the analysed group of entities is homogenous; 3) exists interchangeability of capital and environmental inputs; 4) exist institutional limitations of over-exploitation of environmental resources.

scholarly journals Time Code in Modern Art: Discoursive Analysis of Temporal Art-Projects

2021 ◽  
Vol 11 (1) ◽  
pp. 150-166
Author(s):  
Galina N. Lola ◽  
◽  
Tatiana I. Aleksandrova ◽  
Keyword(s):  
Discourse Analysis ◽  
Digital Media ◽  
Social Action ◽  
Modern Art ◽  
Semantic Space ◽  
Present Moment ◽  
Work Of Art ◽  
The Future ◽  
Temporal Dimensions ◽  
The Impact

The article explores the influence of the concept of time on modern art practices, as well as the impact of digital media on the ability of art to anticipate the future. The methodology of discourse analysis is used as a tool to reveal temporal characteristics and the communicative potential of relevant art projects. The digital age creates a simultaneous world in which one can perceive the future by being deeply involved in the present moment. Contemporary artists have the ability to grasp changes hidden from the majority, and to formalize them in works of art. The simultaneous perception of time becomes the clue to the development of this ability, while the concept of time becomes the clue to understanding the message contained in the work of art. As a result, the task of the researcher is to discover the temporal dimensions of the relevant art projects and to examine the nature of interaction between the viewer and the work of art. Taking this into consideration, special attention should be given to the method of involving the viewer in the semantic space of the artwork. The subject of analysis is the communicative model of the artwork, which is presented as a flexible, mobile semantic structure that activates the viewer’s imagination and his ability to improvise. The methodological framework for understanding the communicative model was the neo‐pragmatism theory of social action and practice-oriented social semiotics. The interpretation of the work of art as a communicative event actualizes the discourse analysis that allows us to perceive the artwork in its dynamics and to explore its’ temporal dimensions. At the same time, the discourse analysis is represented not only as an effective research tool, but also as a resource that helps the artist, the researcher and the viewer to develop a flexible and conceptual mindset.

scholarly journals SAR by Space: Enriching Hit Sets from the Chemical Space

Molecules ◽  
2019 ◽  
Vol 24 (17) ◽  
pp. 3096 ◽  
Author(s):  
Franca-Maria Klingler ◽  
Marcus Gastreich ◽  
Oleksandr Grygorenko ◽  
Olena Savych ◽  
Petro Borysko ◽  
...  
Keyword(s):  
Chemical Space ◽  
Scoring Function ◽  
Building Blocks ◽  
Real Space ◽  
Computer Hardware ◽  
Space Navigation ◽  
Synthetic Accessibility ◽  
Ic50 Values ◽  
Crucial Part ◽  
Selection Of

We introduce SAR by Space, a concept to drastically accelerate structure-activity relationship (SAR) elucidation by synthesizing neighboring compounds that originate from vast chemical spaces. The space navigation is accomplished within minutes on affordable standard computer hardware using a tree-based molecule descriptor and dynamic programming. Maximizing the synthetic accessibility of the results from the computer is achieved by applying a careful selection of building blocks in combination with suitably chosen reactions; a decade of in-house quality control shows that this is a crucial part in the process. The REAL Space is the largest chemical space of commercially available compounds, counting 11 billion molecules as of today. It was used to mine actives against bromodomain 4 (BRD4). Before synthesis, compounds were docked into the binding site using a scoring function, which incorporates intrinsic desolvation terms, thus avoiding time-consuming simulations. Five micromolar hits have been identified and verified within less than six weeks, including the measurement of IC50 values. We conclude that this procedure is a substantial time-saver, accelerating both ligand and structure-based approaches in hit generation and lead optimization stages.

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