High-Cost Art

2021 ◽  
Vol 1 ◽  
pp. 26-33
Author(s):  
Frank Boardman ◽  
Keyword(s):  
Artistic Value ◽  
Art Forms

Certain artworks are––whatever else they are––statements about the value of art. A particularly striking form of such a statement is made by a class of artworks we can call “high-cost art.” High-cost artworks are those with greater costs relative to benefits for their artists or displayers. I will argue here that those art forms that are most likely to include high-cost works are particularly effective at communicating artistic value-claims, and suggest that by so championing the value of art, these artworks themselves increase in artistic value.

Two Definitions of Artistic Value

2019 ◽  
pp. 58-68
Author(s):  
Robert Stecker
Keyword(s):  
Second Order ◽  
Multiple Resources ◽  
Artistic Value ◽  
Art Forms ◽  
Pluralistic Approach ◽  
Main Message ◽  
Buck Passing

This chapter compares two definitions of artistic value that accommodate its second order, pluralistic nature. The first, the composite view, defines this value in terms of the evolving functions of central art forms. The second, the buck-passing view, defines artistic value in terms of art forms (‘arts’) but instead of doing so by appealing the functions of artworks, it does so more directly in terms of ‘value of work as a k,’ for example, value of a work as a painting. The chapter argues that the chief objections to each definition can be answered. It concludes by assessing the comparative strengths and liabilities of each approach, but the main message is that there are multiple resources for sustaining a pluralistic approach to artistic value.

La Traviata Affair

2018 ◽  
Author(s):  
Hilde Roos
Keyword(s):  
South Africa ◽  
Racial Boundaries ◽  
Cultural Organization ◽  
Colored People ◽  
Art Forms ◽  
Group A ◽  
La Traviata ◽  
Apartheid Regime ◽  
Opera Production ◽  
The Way

Opera, race, and politics during apartheid South Africa form the foundation of this historiographic work on the Eoan Group, a so-called colored cultural organization that performed opera in the Cape. The La Traviata Affair: Opera in the Time of Apartheid charts Eoan’s opera activities from its inception in 1933 until the cessation of its work by 1980. By accepting funding from the apartheid government and adhering to apartheid conditions, the group, in time, became politically compromised, resulting in the rejection of the group by their own community and the cessation of opera production. However, their unquestioned acceptance of and commitment to the art of opera lead to the most extraordinary of performance trajectories. During apartheid, the Eoan Group provided a space for colored people to perform Western classical art forms in an environment that potentially transgressed racial boundaries and challenged perceptions of racial exclusivity in the genre of opera. This highly significant endeavor and the way it was thwarted at the hands of the apartheid regime is the story that unfolds in this book.

Klangteppiche. Transmediale Verhältnisse zwischen Weberei und Musik

2015 ◽  
Vol 6 (1) ◽  
pp. 133-158
Author(s):  
Birgit Schneider
Keyword(s):  
Multiple Relationships ◽  
Greek Mythology ◽  
Creative Potential ◽  
Art Forms ◽  
The Relationship

Ausgehend von der griechischen Mythologie werden die vielfältigen Beziehungen zwischen Singen und Weben, dem Flechttanz und den strukturellen Ähnlichkeiten von Notationsformen und Steuerungsprinzipien in Musik und Weberei ausgelotet. Es zeigt sich, dass das Verhältnis der Zeitkunst Musik und der Raumkunst Weberei weit über das hinausweist, was sich im bloß metaphorischen Sprechen von >Klanggeweben< abzeichnet. Die Beziehung zwischen Kunstformen und Medien bringt vielmehr mythischspirituelle Ebenen zum Ausdruck. Die Umwandlung von Geweben in Musik respektive Musik in Weberei wiederum macht das kreative Potential der Transposition fruchtbar. </br></br>Based on Greek mythology, the multiple relationships between singing and weaving, »Flechttanz« (»weaving dance«) and the structural similarities of forms of notation and principles of control in music and weaving are explored. It is found that the relationship between music (as a temporal art) and weaving (as a spatial art) goes far beyond that which the metaphor of »sound tissues« points at. Rather, the relationship between art forms and media expresses mythical and spiritual levels. The transformation of tissues in music or, respectively, music in tissues, makes the creative potential of transposition productive.

Graphic design practice of an image for the Chinese character for "鼓 Drum"

2019 ◽  
Author(s):  
POHSUN WANG
Keyword(s):  
Design Thinking ◽  
Chinese Character ◽  
Science And Technology ◽  
Point Of View ◽  
Learning Design ◽  
Design Practice ◽  
Cultural Issues ◽  
Artistic Value ◽  
The Status ◽  
The Times

Basic shape is one of the most important components of the learning design process. Using Western design thinking to understand shape, color and composition layout and attempting to reinterpret the application of traditional calligraphy from a design point of view—whether it is the expression of form or the meaning of content—are both important aspects of design thinking. The writing patterns of traditional calligraphy and the design creation of modern experiments may have different biases. If the artistic value of "the brush and ink of the time" is compared to the science and technology of innovation as the main appeal, the expressiveness of the traditional writing mode is obviously difficult to achieve. Using science and technology as an option for design creation is a difficult way to proceed; however, technology, ideas and thinking can still be in sync with the cultural issues of an entire era. This is also the test of the times to which contemporary creations are subjected. There are infinite possibilities for development, and it is worthwhile to explore these possibilities together with artistic aspirants. On the other hand, if we follow the well-beaten path of the status quo, the creativity of traditional calligraphic art will wither, it will deviate from the larger environment of the era in which it operates, and it will inevitably be neglected and pushed out by other art categories. The design and creation process uses the traditional calligraphy characters and drums as the theme, assisted by digital tools in the creation, and finally transforms the traditional calligraphy visual form into an expression of the art of science and technology.

Capturing the Art of Public Service: The Government’s Perspective

Public Voices ◽  
2017 ◽  
Vol 14 (2) ◽  
pp. 55
Author(s):  
Tony Carrizales
Keyword(s):  
United States ◽  
Content Analysis ◽  
Popular Culture ◽  
Public Service ◽  
Public Art ◽  
The United States ◽  
Virtual Museum ◽  
Film And Television ◽  
Government Institutions ◽  
Art Forms

Public Service, in popular culture, can be viewed through many artistic lenses. Although there has been a consistent negative portrayal of government through art forms such as film and television, this research looks to review how government institutions in the United States have used art to provide a positive portrayal of public service. Eight forms of public service art are outlined through a content analysis of the holdings at the Virtual Museum of Public Service. The findings show that government and public entities have historically and continually engaged in promoting public service through art. Many of these public art examples are accessible year round, without limitations, such as buildings, statues, and public structures.

Artistic Creation and Ethical Criticism

2020 ◽  
Author(s):  
Ted Nannicelli
Keyword(s):  
Ethical Criticism ◽  
New Production ◽  
Artistic Creation ◽  
Art Forms ◽  
Oriented Approach ◽  
Made In

Artistic Creation and Ethical Criticism advances a new, production-oriented approach to the ethical criticism of art. Its overarching arguments are these: (1) Judgments of an artwork’s ethical value are often made in terms of how it was created, and, furthermore, this is in part because some art forms more readily lend themselves to this form of ethical appraisal. (2) Among the ways in which art is ethically criticized, this production-oriented approach more often leads to practical consequences (censure, dismissal, prosecution, shifts in policy, legislation) because its claim to objectivity is less contested than that of other sorts of ethical criticism. (3) Together, (1) and (2) constitute an approach to the ethical criticism of art that is not only tacit in many art appreciative practices, but which is rationally warranted and defensible. In short, there are many cases in which one should ethically critique artworks in terms of how they are created because this approach encompasses cases that other approaches cannot and results in plausible judgments about the works’ ethical merits and flaws.

Early Theories of the Sound Film

2018 ◽  
Author(s):  
James Buhler
Keyword(s):  
Silent Film ◽  
Sergei Eisenstein ◽  
Sound Film ◽  
Art Forms ◽  
Transition To Sound ◽  
Definition Of

Chapter 2 examines several major theories that emerged during the transition to sound film, when even the definition of the sound film was contested. The theories of sound film that arose during the transitional decade from 1926 to 1935 focused on the closely related forms of recorded theater and silent film and worked to articulate how sound film differed from them. They also gave considerable attention to asynchronous sound in part because it was a figure specific to sound film (or in any event more difficult to produce in other art forms) and in part because asynchronous sound had affinities with montage. The chapter focuses on five important theorists who wrote prolifically during the transition years: Sergei Eisenstein, Vsevolod Pudovkin, Béla Balázs, Rudolf Arnheim, and Harry Potamkin.

Creating with Constraints

2020 ◽  
Author(s):  
Robert Hasegawa
Keyword(s):  
Visual Art ◽  
Creative Activity ◽  
Georges Perec ◽  
Gyorgy Ligeti ◽  
Raymond Queneau ◽  
Art Forms ◽  
Musical Creativity ◽  
Process Constraints

Musicians have long framed their creative activity within constraints, whether imposed externally or consciously chosen. As noted by Leonard Meyer, any style can be viewed as an ensemble of constraints, requiring the features of the artwork to conform with accepted norms. Such received stylistic constraints may be complemented by additional, voluntary limitations: for example, using only a limited palette of pitches or sounds, setting rules to govern repetition or transformation, controlling the formal layout and proportions of the work, or limiting the variety of operations involved in its creation. This chapter proposes a fourfold classification of the limits most often encountered in music creation into material (absolute and relative), formal, style/genre, and process constraints. The role of constraints as a spur and guide to musical creativity is explored in the domains of composition, improvisation, performance, and even listening, with examples drawn from contemporary composers including György Ligeti, George Aperghis, and James Tenney. Such musical constraints are comparable to self-imposed limitations in other art forms, from film (the Dogme 95 Manifesto) and visual art (Robert Morris’s Blind Time Drawings) to the writings of authors associated with the Oulipo (Ouvroir de littérature potentielle) such as Georges Perec and Raymond Queneau.

scholarly journals EGYPTIAN COMICS AND THE CHALLENGE TO PATRIARCHAL AUTHORITARIANISM

2017 ◽  
Vol 49 (1) ◽  
pp. 111-131 ◽  
Author(s):  
Jacob Høigilt
Keyword(s):  
Arab World ◽  
Political Cartoons ◽  
Gender Dynamics ◽  
Art Forms ◽  
Depth Study ◽  
Arab Societies ◽  
Cultural Movement

AbstractAdult comics are a new medium in the Arab world. This article is the first in-depth study of their emergence and role within Arab societies. Focused on Egypt, it shows how adult comics have boldly addressed political and social questions. Seeing them as part of a broader cultural efflorescence in Egypt, I argue that, against patriarchal authoritarianism, adult comics have expressed an alternative ideology of tolerance, civic rights and duties, individualism, creativity, and criticism of power. Specifically, they present a damning critique of Egypt's authoritarian order, as well as of the marginalization of women and broader gender dynamics in Egyptian society. Through frank humor, a playful style, and explicit graphics, they give voice to the concerns of young Egyptians. Connecting comics to other art forms such as music, graffiti, and political cartoons, I situate them within a critical cultural movement that came to the fore with the Egyptian uprising of 2011.

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