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.

scholarly journals Image spaces. Digital visual media in the context of baroque mural painting in architecture

2021 ◽  
Vol 29 (38) ◽  
pp. 249-254
Author(s):  
Piotr P. Drozdowicz
Keyword(s):  
Digital Media ◽  
20Th Century ◽  
Contemporary Art ◽  
Visual Media ◽  
Basic Material ◽  
Mural Painting ◽  
Total Work ◽  
Work Of Art ◽  
Spatial Turn ◽  
Avant Garde

In the art of the 20th century, space became the basic material. Today, digital media and VR and AR technologies are used to cross the visual and space barriers, but always at the expense of experiencing reality. The spatial turn in culture results from the post-avant-garde ideas of art that cuts itself off from ancient art. Using the example of the fresco by Andrea del Pozzo from the Sant’Ignazio church in Rome, we will show analogies between baroque illusionist painting and digital visual media. It turns out that contemporary art arrives at the space issues that have been practiced in architecture and art since antiquity. The space created by painting illusion as a total work of art exhibits many features of contemporary art and the phenomena of VR and AR such as intermediality, immersion, interactivity. Spatial turn arguments can be used to enhance the potential of classic painting language in architecture.

scholarly journals Identity of the work of art

2010 ◽  
Vol 21 (2) ◽  
pp. 293-308
Author(s):  
Stefan Ristic
Keyword(s):  
Visual Arts ◽  
Physical Object ◽  
Ontological Status ◽  
Symbolic System ◽  
Work Of Art ◽  
Music And Literature ◽  
Works Of Art ◽  
The Arts ◽  
Art Forms ◽  
Definition Of

The paper intends to determine the identity of the work of art in visual arts, music and literature. The discussion is of ontological nature. Particular attention is given to the problem of imitation of works of art in different arts, making a distinction between two types of imitation: fakes and forgeries. The first type is found only within the arts where the work of art is a singular physical object, i.e. with the so called autographic arts, whereas the second type can also be found in other, allographic arts, although less commonly. The problem of the imitation of works of art is closely related with the issue concerning the possibility of reducing the work of art to a formal symbolic system which would serve as a definition of the work of art. The discussion shows that a consistent analysis of the ontological status of the work of art in different art forms provides results that may seem at the first glance unintuitive and surprising.

scholarly journals Movements and Remediation: Lack of Site-Specificity in Modern ArtWorks

2020 ◽  
Author(s):  
Kristina Okhvat
Keyword(s):  
Contemporary Art ◽  
Modern Art ◽  
Site Specificity ◽  
Work Of Art ◽  
Works Of Art ◽  
Contemporary Artists

The article analyzes the works of contemporary art, taking into account the features of their functioning. The main goal is to determine what changes have taken place in the basis of a work of art, which allows us to designate this object as an object of contemporary art. The results obtained lead to the conclusion that one of the features of a work of art is the lack of site-specificity. The specificity of the site is the affiliation of the work to a specific place and time: when the affiliation changes, the relations of the object, context and viewer also change. The level of site-specificity of works of art relates to their cultural circulation. Works of modern art are the result of a strategy of figurative saturation defined by a series of constant movements and remediation. The works of contemporary artists are marked with the transition from individual or serial discrete objects to manipulating populations of images using various methods of selection and "reframing”. Keywords: work of art, contemporary art, site-specificity, remediation, figurative saturation

Shikinen Sengu

2018 ◽  
Author(s):  
Dominic McIver Lopes
Keyword(s):  
Cultural Context ◽  
Empirical Studies ◽  
Art Appreciation ◽  
Works Of Art ◽  
Art Forms ◽  
Ontology Of Art

An ontology of art specifies the category of being to which works of art belong. Most philosophers accept that works in different art forms belong to different categories of being—e.g. sculptures are objects but symphonies are events. Some go further: also ontology varies by cultural context because practices of art appreciation vary enough from one culture to the next that they imply different ontologies. This chapter examines the continuous plan of architectural renovation and restoration in the Shinto shrine complex of Ise Jingu in Japan as a case study in Japanese traditional architectural aesthetics. In doing so, it illustrates how empirical studies of culture can be used to construct an ontology of art.

scholarly journals Tra il foglio vuoto e lo schermo Type e token alla prova dell’arte post-mediale

2020 ◽  
Author(s):  
Francesco Ragazzi
Keyword(s):  
Contemporary Art ◽  
Analytic Philosophy ◽  
Point Of View ◽  
Works Of Art ◽  
Art Forms

What kind of entities are works of art from an ontological point of view? This question has become canonical in the framework of analytic philosophy. One way of answering the puzzle seemed to be conclusive. It is the hypothesis that all, or the majority of artworks can be identified with types embedded into tokens. To begin with, I will survey how the type-token distinction transitioned from semiotics to ontology. Secondly, I will consider how some contemporary art forms contributed to questioning this approach to the ontology of artworks. Lastly, I will suggest how the nature of types and tokens should be reassessed in order to properly describe artworks in their historical and socially construed nature.

scholarly journals Između proizvoda i dela: estetski fetišizam i finansijalizacija umetnosti

2019 ◽  
pp. 86-99
Author(s):  
Marko Đorđević
Keyword(s):  
Contemporary Art ◽  
Work Of Art ◽  
Aesthetic Evaluation ◽  
Artistic Production ◽  
Works Of Art ◽  
Fictitious Capital ◽  
Contemporary Work ◽  
Ideological Transformation

This paper focuses on the ideological transformation of modernistic aesthetic fetishism into what Professor Rastko Močnik has termed “aesthetic imperialism” in contemporary art. Our hypothesis is that this transformation is an effect of the overdetermination of artistic production to fictitious capital. In order to examine this hypothesis, we shall explore the transformation of the simple, modernist work of art into the twofold, contemporary work of art (which must first be a claim to aesthetic evaluation and only then a work of art). We do not suggest that modernism did not know the term “artwork,” as applying to those art products that were not recognized as works of art, but rather that there was a change in the very process of aesthetic evaluation. We believe that, unlike the unitary modernist recognition of products as works by the institution of art, there is twofold recognition in the contemporary age. Here the claim to aesthetic evaluation is allowed to every product, but confirmed only to those that successfully reproduce the ruling “aesthetic imperialism.” Even though ideologists of contemporary art present this change as a result of progressivism that is inherent to the institution of art, we would like to argue that it is an effect of the abovementioned overdetermination of artistic production by fictitious capital, that is, its effects in aesthetic and legal fetishism. This hypothesis will be examined in two relatively autonomous instances: economic and ideological (artistic).

scholarly journals Sztuka performansu po "The Artist Is Present". Kontynuacja działań Mariny Abramović w twórczości jej uczniów

Panoptikum ◽  
2019 ◽  
pp. 149-162
Author(s):  
Weronika Metlenga
Keyword(s):  
Qualitative Research ◽  
20Th Century ◽  
Contemporary Art ◽  
Performance Art ◽  
Turning Point ◽  
Work Of Art ◽  
Marina Abramovic ◽  
The Subject ◽  
The Difference ◽  
The Way

Performance art, recognized in the second half of the 20th century as niche and alternative, is currently perceived as one of the most popular genres of contemporary art. The difference that has raised due to the development of performance art is evident not only in the way a performance is created, but mainly in changing the perception of the work of art. The opening of the Marina Abramović Institute and the performance The Artist Is Present, became the main turning point showing this change. The aim of this article is to present how the art of Marina Abramović, which she consistently created for more than four decades, evolves in the works of the new generations of performers. Qualitative research based on film, interviews, exhibitions and publications related to the subject is the base for these considerations.

scholarly journals A. N. BENOIS ON ART IN THE GERMAN COLLECTION OF THE EARLY 20TH CENTURY “RUSSIANS ABOUT RUSSIA”

2020 ◽  
Vol 58 ◽  
pp. 268-277
Author(s):  
Tatiana A. Parkhomenko ◽  
Keyword(s):  
Cultural Heritage ◽  
20Th Century ◽  
Contemporary Art ◽  
Cultural Context ◽  
Cultural Practice ◽  
Early 20Th Century ◽  
High Demand ◽  
Frankfurt Am Main ◽  
Silver Age ◽  
Russian Art

The paper explores the work of A. N. Benois “Contemporary Art”, which was published in 1906 in German in Frankfurt-am-Main in the collection of articles “Russians about Russia”. It focused on the analysis of artistic situation in Russia at the beginning of the 20th century, consideration of the work of Russian masters of the older, middle and new generations, and assessment of their contribution to the culture and cultural heritage of the country. Acting as a historian of art, critic and artist, Benois provided foreign readers with a rich tapestry of Russian art life with all its participants and auxiliary commentaries according to his vision of their talent, originality and value. In his lifetime his judgments about art were often subjected to accusations in bias and subjectivity, however over the course of a century they acquired exceptional significance for understanding complex historical and cultural context of the era, called the Silver Age of Russian culture. Currently the works of Alexandre Benois are included in the golden fund of the national cultural heritage, highly valued and studied all over the world. Their unique, extremely wide and diverse creative content has retained its relevance and continues to be in high demand in modern art, educational and socio-cultural practice.

scholarly journals A MUSEOGRAFIA CONTEMPORÂNEA E A EXIBIÇÃO DE INSTALAÇÕES

2019 ◽  
Vol 4 (1) ◽  
pp. 4-8
Author(s):  
Luciana Bosco e Silva
Keyword(s):  
20Th Century ◽  
Contemporary Art ◽  
Installation Art ◽  
Work Of Art ◽  
Modern Age ◽  
The Look ◽  
Special Space ◽  
The Way

The spectacularity of museography appears in the contemporary as an antagonísm of the white cube of modern age, creating special/space worlds for the exhibition of art. From that point, the curator puts himself, in a way, as co-author of the piece of art, regarding the presentation of the work of art, specially on contemporary art, being on many cases the essence of the work itself. The exhibition put itself on the categoty of an event, as the International Expos on 20th century. The exhibition as event/show appears on the end of 20th century, in special in the 90, bringing with it a severa! numbers of adepts and critics."lt's bom a new esthetics of exhibition, in witch assemble the curator take cver the rol! that is beyond the assemble of canvas, sculptures, objects or installation art. The curator conceives the exhibition as a criticai project that is shared with the artist himself (if he is still alive)". (GONÇALVES, L., 2004, p. 41). The curator puts himself on a very important roll in the way of how the visitor will interact with the art piece, he becomes responsible for this relationship, creating with this a new reality in witch the work of art will be, in a way, rediscover allowing news forms of reading of the same work of art, depending on the look or the intention of the curator.Besides the manner of the theatricality and the others effects proponent by the curator, ín the specific case of Installation Art, there is still the question of how the piece is assemble, in witch case it could actually change its expression, own essence depending on how it is exhibit. 

scholarly journals The Wound in Visual Art

Monitor ISH ◽  
2015 ◽  
Vol 17 (2) ◽  
pp. 73-94
Author(s):  
Slađana Mitrović
Keyword(s):  
20Th Century ◽  
Contemporary Art ◽  
Visual Art ◽  
Fine Arts ◽  
Body Art ◽  
History Of ◽  
Historical Periods

The fine arts abound in images of the pierced, wounded, tortured, dismembered, crippled or decapitated body in all historical periods. The iconography of the wound is of long standing, and the passion for depicting open bodies can only be compared to the enthusiasm for the nude. In the history of painting and sculpture, the wounded body is most often represented in renditions of Christ’s Passion and Christian martyrs, as well as of Biblical stories about decapitation and slaughter. The topic of the wound has proved relevant to modern and contemporary art as well. In the second half of the 20th century, around 1965, when the Viennese Actionism appeared, as well as between 1968 and 1974, the two milestone dates of body art, artists engaged in performative practices, shattering the notions of the wounded or penetrable body which dominated at the time. What they exposed was the anxious image of the artist’s body. By analysing the art photos by Rudolf Schwarzkogler, the paper shows how the wound is materialised as a topic of visual art.

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