Piece Of Art Research Articles

“I'm not the best at art”: An exploration of children's growing sense of artistry within an outdoor, arts-based intervention

This paper uses a case study approach informed by ethnography to explore children's engagement with an outdoor, arts-based intervention run by Urban Wilderness. Over the course of three two-and-a-half-hour sessions, 10 children (aged between 9-10 years old) worked with two Urban Wilderness facilitators and a professional artist to create a piece of art which was exhibited at a locally based family arts festival. Each session was recorded using audio and video equipment. These recordings, along with photographs, field notes and interviews were collated and analysed using interpretive ethnography. Analysis centres on three themes – drawing inspiration from the outdoor environment, developing the design, and choosing the design. Within the analysis, particular consideration is given to the experiences and artistic journeys of two boys who participated in the intervention; specifically, their lack of artistic confidence, their attempts to adopt differing approaches, and the support mechanisms utilised by adult facilitators. It is argued that in a time when art is being increasingly squeezed out of the English National Curriculum, community run art interventions can play a valuable role in supporting artistry in children and developing their identity as artists.

DENTIST RESPONSIBILITIES USING DENTAL PHOTOGRAPHY IN SOCIAL MEDIA

Background: Information and communication technology develops very rapidly along with the development of the globalization era. Photography is a mixture of art and technology that is not merely a record of the real world but is a complex piece of art that gives meaning. In the world of dentistry, dental photography is one of the tools that can facilitate the imaging process of the patient. Dental photography can be a tool for legal documentation, enforcing diagnosis, determining treatment plans, facilitating the communications between dentists and laboratories, educational facilities, and consulting equipment with laboratories. Natural, beautiful, and interesting have a subjective meaning for every human being. The dentist’s obligation is to understand what each patient wants and can lead the ideal thing for the patient. Nowadays many dentists are uploading the results of work to social media. Purpose: The purposes of this writing are to provide explanation about the legality of dental photography and dentist reasonability in using dental photography in social media. Method: The research method used is normative juridical. Results: The dentist must keep the confidentially of the document or the patient’s data, thereby avoiding document leakage that may be denied by the person who has no right. Conclusion: In Indonesia, we must comply with the law of dental photography, which is subject to the ITE laws, Health Law, Medical Practice Act, and other legal regulations.

New Findings about the History of the Church of Riešė

The present church of St Stanislaus the Bishop in Riešė (Pol., Rzesza) was built in the first half of the twentieth century, but its history reaches the fifteenth century. In those years, there were several wooden Catholic churches or chapels in the area of Riešė. The article describes the history of the Church of the Name of the Blessed Virgin Mary, which was built in 1790 in the territory of the manor of Didžioji Riešė. Only some details have been mentioned in scholarly literature so far. The church, which was built on private property, actually belonged to the parish of the Dominicans of Verkiai. Between 1868 and 1906, the small church of Riešė was unable to provide services because of the tsarist colonial policy. At the beginning of the twentieth century, it became a filial church of Verkiai, and in 1919 the parish of Riešė was established. Early in the twentieth century, the church was renovated and extended, but it was burnt to ashes by the Wehrmacht in 1944. Thus, the photographs by Jan Bulhak, which are kept at the Lithuanian State History Archives, is all that can give us a picture of the past. These photographs depict the painting The Vision of St Stanislaus Kostka by Szymon Czechowicz (1689–1775) from the high altar of the old church, which is actually a copy of the altarpiece painted for the church of Sant’Andrea al Quirinale in Rome by Carlo Maratta in about 1686. This piece of art has never been mentioned in any article on Czechowicz. The presumption made in the article is that the piece of art could have arrived to Riešė some time between the eighteenth century and the first decades of the nineteenth century, when the manors of Didžioji Riešė and Gulbinų Raudondvaris belonged to Jan Kazimierz Zyberk (Sieberg zu Wischling, 1742–1820), a general lieutenant of the Grand Duchy of Lithuania, and his wife Jadwiga Plater (c. 1780–1833).

Investigation on the deterioration of lead artifacts. A case study on piano keys and their degradation products

Abstract Among musical instruments, Piano is one of the most important and fascinating ones of all years for its completeness from a harmonic point of view and for the importance it has held in the world of classical music of the great composers. In this context, old pianos can be considered as real pieces of art thus their conservation is included in the preservation of cultural heritage. The aim of this work is to study the deterioration of some lead weights of piano keys from an important, luxury and one of the best grand pianos for its characteristics such as construction materials, sound, and craftsmanship. Analytic techniques such as X-ray Diffraction, Fourier Transform-Infrared spectroscopy and Ionic chromatography were employed to characterize the superficial layer of deteriorated lead weights, comparing it with the non-deteriorated ones. Knowing the nature of degradation products is fundamental to evaluate the degradation phenomena occurring over time due to the environmental conditions at which they are exposed and consequently identify the proper conservation strategy of such piece of art and history of music, in order to preserve its original sound and resonance.

8. Methods of Formation of Personal Qualities and Skills of Social Pedagogues’ Communicative Interaction by Means of Information System of Piece of Art

Abstract The issue of communicative interaction of future social pedagogues is one of the crucial problems of higher education as it is the basic condition for effective realization of their professional activity in the social sphere.The aim of the article is to describe the methods of using a piece of art with its information content in order to form future social pedagogues’ personal qualities and skills of their communication. Thissubject was on the focus in the second half of the last century and then the scientific interest in the problem almost disappeared. But it has been proposed in the article that information system of art can be usedas a means of forming communication skills by developing students’ abilities to solve psychological problems of the client and their own ones through the analysis and forecasting of complex social and psychological situations depicted in the works. Artistic and aesthetic information is presented in the pocess of future specialists’ training as didactic material to develop the skillsof active listeningand abilities to penetrate into client’s inner world, stimulate his/her emotional state through certain types of information in the piece of art.This methodology was implemented in the educational process of Zaporizhzhya National University and its content and results have been presented in the article.

Disassembling and Re-membering Self: Opaquing an Enlightened Taxonomy

Abstract For some, “You bring the spices” may be an innocent statement. For me, it was not. Triggered by this racialized and sexualized statement, I created Taxonomía of a Spicy Espécimen, a performance art piece as well as public pedagogy that utilizes a multimodal reflection accompanied by aesthetic moving actions. Since taxonomy has been a Eurocentric enactment through which Otherness has been constructed, this public art pedagogy cooperates with its spect-actors to challenge the learned habits of hierarchizing, categorizing, and naming Otherness. As a critical self-reflective commentary for this journal, I intend to write a textual and visual description that at moments becomes storytelling vignettes about Taxonomía. At the same time, this autoethnographic account examines Taxonomía as an intersection between performance art and public pedagogy—a decolonial tactic to denounce and disrupt capitalist commodities of Black, Brown, and Caribbean Otherness for marketable consumption.

After agency: The queer posthumanism of video games that cannot be played

This article offers a queer reading of Brent Watanabe’s 2016 video game–based art piece San Andreas Deer Cam, a mod of Grand Theft Auto V in which a computer-controlled deer wanders the game’s extensive open world. During the time that San Andreas Deer Cam was streamed live on Twitch, it became something of an internet sensation, drawing attention for its comedic elements and the deer’s seeming invisibility. I argue here that Watanabe’s piece can read in an alternative way: as a work of queer posthumanism. Drawing from game studies scholars whose research explores the non-human (such as Alenda Chang and Paolo Ruffino), as well as queer studies scholars who have theorized how posthumanism challenges norms of gender, sexuality, and intimacy (such as Dana Luciano and Mel Chen), I analyze video recordings of San Andreas Deer Cam. Through these videos, I articulate the piece’s posthumanist elements, with a focus on the implications of Watanabe’s choice to make the game unplayable and the powerful yet ambivalent picture the piece offers of queerness ‘beyond the human’. In San Andreas Deer Cam, queerness manifests in many forms, all of them wrapped up with the messy divide between peoples, animals, and machines: the visual erotics of the deer sensuously rendered backside, moments of sexual misrecognition as non-player characters appear to catcall the deer, even a prolonged scene in which the deer becomes the object of homophobic violence. Ultimately, I conclude, San Andreas Deer Cam offers a model for how video games themselves can be used to rethink the centrality of human agency, which has long been considered the defining feature of the medium. Watanabe’s piece serves as a provocation to consider the queer potential of games that are unplayable and of refusing – rather than doggedly pursuing – the supposed capacity of video games to place human players in control.

On art authentication and the Rijksmuseum challenge: A residual neural network approach

The popularity of machine learning algorithms produced numerous applications in the past ten years. One application is that of art authentication which assures that a piece of art is created by an artist. A certificate of authenticity created from proper art authentication significantly increases the value of a piece of art which impacts all parties in an art transaction. The models produced by machine learning algorithms provide an objective measure to authenticate an artist to their artwork collection. In the past ten years numerous machine learning algorithms have been used to address art authentication on a variety of datasets. Our work extends art authentication with residual neural networks and the Rijksmuseum data set. Our results show contributions is four key areas: A performance increase of 21% over the baseline for 958 artists; A new baseline for 1,199 artists; A standard methods for recreating the Rijksmuseum data set; and A standard method for measuring results from imbalanced data for the Rijksmuseum data set.

Using Digital Arts Engagement to Combat Loneliness Amongst Older Adults Living in Long-Term Care

<h3>Introduction</h3> Around 43% of Americans aged 60 and older, report experiencing loneliness on a regular basis. The prevalence of loneliness is even higher amongst those living in long term care facilities, with approximately 61% of residents experiencing loneliness regularly. Loneliness is associated with an increased risk for developing a variety of physical and mental illnesses. Prior research has found that older adults who engage with receptive arts, such as museum trips, more frequently are less likely to report feelings of loneliness. During the COVID-19 pandemic, typical in-person art activities with long-term care residents, such as field trips to museums or visits from community members, could not take place. Therefore, the student-run Harvard ARTZ (HARTZ) organization developed the Interactive Virtual Museum (IVM), which is a diverse collection of online art exhibits curated for older adults, as an innovative method to meaningfully connect residents with community members and to combat loneliness digitally, through art. The goal of the IVM is to reduce feelings of loneliness in older residents by engaging them with art and facilitating conversations about the exhibits in a way that does not put them at risk during the ongoing pandemic. <h3>Methods</h3> The IVM was created in collaboration with the Harvard Art Museums between September and December of 2020. HARTZ volunteers worked with the Harvard Art Museums staff members to curate an online exhibit of art pieces from their digital collection. Each exhibit was also paired with a prompt to encourage discussion about the artwork. From January 2021 to November 2021, the IVM was piloted in two long term care facilities in the Greater Boston Area. For the pilot, student volunteers from the HARTZ organization would schedule virtual trips to the IVM with the residents, which consisted of an hour-long phone or video call where volunteers and residents could go through the IVM together and discuss the different exhibits. Six student volunteers and 47 residents participated in the pilot. The residents included 35 females and 12 males, all between the ages of 62 and 91. In order to participate, residents needed a device with internet access, a device to call or video chat, and the ability to operate the devices independently or with assistance from someone else. For residents unable to access the IVM on their own, volunteers could instead use screen share to show the residents the IVM and navigate it on the resident's behalf. Residents and volunteers used the artwork and prompts in the exhibits as starting points for conversation. At the conclusion of the trip, all 47 residents were asked how they liked the virtual trip to the IVM and how they would compare this trip to a traditional in-person art museum trip. Feedback was voluntary and informal. Volunteers recorded and anonymized the responses. <h3>Results</h3> All 47 residents who participated in the IVM pilot provided feedback. Four main recurring themes were identified from these reflections. First, 39 residents said the trip to the IVM was an engaging social activity and that they enjoyed spending time with the volunteer. Second, 32 residents reported a more immersive art viewing experience, because the digital format allowed them to manipulate and ‘touch' the art on their screens, which is not possible in a traditional museum. Third, 27 residents experienced a greater sense of agency over their IVM experience than a traditional art museum trip. Specifically, residents mentioned that the IVM reduced viewing restrictions and enabled them to conveniently revisit and zoom into pieces at will. Finally, conversing about the pieces in the IVM encouraged the recall of personal memories. <h3>Conclusions</h3> The IVM is an effective way to harness the benefits of in-person art activities in a virtual format during this ongoing pandemic. The IVM is also a more accessible art space for residents who have physical and other health limitations that prevent them from travelling to museums. Additionally, the IVM could play a role in reminiscence therapy since the IVM encouraged the recall of personal memories. The virtual format also opens the possibility for forging meaningful connections between community members and residents in difficult to reach regions (e.g., rural areas) to help reduce potential feelings of loneliness. Future studies should expand the IVM to long term care residents and community-dwelling older adults who live in rural regions or are unable to leave their home due to medical reasons. Also, since the pilot trips found the IVM to be a feasible activity with positive feedback overall, future studies should directly study the impact of the IVM on loneliness by administering more structured surveys which assess loneliness and mood after participating in the IVM. With internet usage amongst older adults steadily increasing, the IVM is a promising avenue for utilizing the digital world to combat loneliness amongst older adults. <h3>Secondary Rationale</h3> Not applicable. <h3>This research was funded by</h3> Not applicable.

ANALYSIS OF THE ROOTS OF DUALISM SEMANTICS EXISTING IN ZOOMORPHIC AND ANTHROPOMORPHIC IMAGES BELONGING TO ANCIENT TURKIC ART

The analysis of the processes of creation and development of material and spiritual values of the ancient Turkic peoples leading a nomadic lifestyle before our era is possible only when studying the subject world that has come down to us from the ancient Turks. The correct disclosure of the content of the mythological philosophical system and its symbols, images belonging to the ancient Turks, who left behind a rather small number of written samples and almost exclusively kurgan-type monuments, is based on a thorough, serious study of the hidden semantics of various zoomorphic or therioanthropomorphic compositions created by ancient masters on materials such as metal, bone and wood. The samples of decorative and applied art created by ancient Turkic masters differ not only in the plasticity of the forms themselves, compositional constructions and intense internal rhythmics, strict observance of the canons of the image. On each piece of art created by the ancient Turks, we can see an iconographic image of the harmony of the universe, which arose from the struggle of two basic life principles, one of the first philosophical systems of human civilization – dualism. The ancient Turkic art with its content was able to enrich the mythological thinking created by archaic times with new artistic forms and with new ethical and aesthetic elements. Compositions and images created by ancient Turkic masters could often fully express both artistic and philosophical, religious and ritual, and ethical content at the same time. This gave a powerful impetus to the appearance of art samples that could act as visual carriers of the mythological system inherent in the ancient Turkic world, and had a special language of description peculiar only to it. The research of the article is aimed at studying the influence of the aesthetic principles of dualism on ancient Turkic art.

The Nature of Art

Can pieces of art be related to each other in the way that biological species can? In living things, phylogenic links are forged by the inheritance of genetic material; in culture, by influential ideas. Artworks may not have genomes, but they do contain information. Basic phylogenetic methodology may be applied to create a more scientific study of art history.

Beyond pretty: The evocative and respective work of Michael-Birch Pierce seen through a collaboration with Levi Strauss

Michael-Birch Pierce’s unique artistry and ability to create portraits with a sewing machine has afforded them opportunities to create portraiture all over the world. Likewise, their adeptness with hand and machine embroidery has enthralled many, including the 3D Art Director of Global Brand Creative Services at Levi’s who enlisted Pierce in a collaboration. Using the iconic Levi’s trucker jacket as the canvas, Pierce created one-of-a-kind art pieces, which were sold on the Levi’s website.

The Frontal of Sant' Marti de Puigbo and the Saint Martin of Tours Iconography in the Catalan Altar Painting Tradition

The subject of research in this article is the iconography and cult of St. Martin of Tours in the Catalan altar painting tradition. The object of the study is a unique monument of the first half of the 12th century – the frontal of Sant Marti de Puigbo, once considered one of the most ancient works of Catalan Romanesque panel painting. The author made an attempt to dispel the historiographical myth about the antiquity of piece of art and embed it into the historical, cultural and political context. It was the method of iconographic analysis that made it possible to link the creation of the frontal of Sant' Marti de Puigbo with the special cult of Saint Martin of Tours in the Catalan Comarques, as well as with his patronage of the counts of Barcelona. In the course of the study, the author concluded that the creation of the Frontal Sant' Marti de Puigbo is connected with the reign of Count Ramon Berenguer III of Barcelona, whose patron saint was Saint Martin. This conclusion made it possible to more accurately date the frontal from the church of Sant'marti de Puigbo. The connection between the veneration of the cult of St. Martin and the activities of Ramon Berenguer is evidenced by archival documents, as well as some monuments dedicated to St. Martin located in the territories controlled by the Count of Barcelona. The analysis made it possible to link the iconography of St. Martin on the frontal from Puigbo with the iconography of Ramon Berenguer III on the tombstone of the count from the monastery of Santa Maria de Ripoll, which also allowed the author to conclude that the frontal and the sculptural tombstone could have been made in the same workshop. The novelty of the research lies in the fact that no attempt has yet been made to completely reconstruct the context of commission of this example of the Catalan altarpiece painting and determine the exact time and place of its creation.

Review: Culture Strike: Art and Museums in an Age of Protest, by Laura Raicovich

Review: <i>Culture Strike: Art and Museums in an Age of Protest</i>, by Laura Raicovich

RITUAL BUILDINGS AND THEIR DEVELOPMENT IN BILAD AL-SHAM FROM THE PALEOLITHIC PERIOD TO THE END OF THE PRE-POTTERY NEOLITHIC “B” PERIOD: SELECTED SITES

This article examines the types of excavated buildings and areas with ideological and religious features in Bilad al-Sham from the Paleolithic Period until the Pre-Pottery Neolithic “B” Period. Religion played an important role in reducing people’s fear and weakness towards other creatures, as they practiced religious rituals in a variety of forms, beginning in the Paleolithic Period with some caches of ritual objects made of various materials such as pieces of stone or bone, or in the form of architectural structures containing stones in human and animal form, representing what can be called ritual buildings. With further development of people’s religious thoughts and beliefs, religious features became more apparent, and their numbers and variety increased. In the Neolithic Period, ritual buildings became more rooted and show further development and cohesion of people’s thoughts and religious beliefs. As a result, the types of ritual buildings included independent buildings containing artistic and architectural religious elements; rooms within the residential buildings containing caches for flint, stone, bone or animal tools and art pieces and plastered skulls; or colorful drawings on the walls or floors of buildings, all connected to religious thought, which means that the buildings can be called ritual buildings.

Symbolic characters and class struggles in Ngugi’s wa Thiongo’s Petals of Blood

Abstract Purpose: Every piece of art must, without a doubt, make a statement about itself. This is due to the fact that the more attractive something is, the more symbolic it becomes. Almost all works of art have multiple interpretations. Every great work of literature contains symbols, which add depth, meaning, strength, and dexterity to the work. Research methodology: Two theoretical frameworks, postcolonial and Marxist literary theories, guided the analysis. And this is a qualitative study. Results: The results of this investigation demonstrate that colonial injustice and unmodified colonial institutions and policies are the most enduring issue of Ngugi Wa Thiong’o’s literary exploitation. Limitations: The study is limited to one novel and which is Petals of Blood of Ngugi Wa Thiong’o, written after the post-independence of Kenya. Contribution: Finally, the study found that people are aware of their rulers' actions and are plotting a revolt to break free from the elite's grasp. And it proposes viable answers to their political and socioeconomic problems, such as revolution, not just in Kenya but throughout Africa.

On-site spectroradiometric analysis of Palaeolithic cave art: Investigating colour variability in the red rock art of Points cave (France)

The colour of Palaeolithic cave art is an important parameter to consider when examining possible links between different pieces of rock art. Recent developments in portable, non-invasive spectroradiometry have given researchers the ability to carry out in-situ colorimetric analyses of rock art, even in deep-cave environments. Although these methods provide quantitative data that can be used to compare the colours of different paintings, differences in chromaticity values can be difficult to interpret from an archaeological point of view.We investigated factors that may contribute to this colour variability by combining a series of visible spectroradiometric analyses of the Palaeolithic red rock art in Points Cave (Aiguèze, France) with macrophotography of the surfaces analysed. This fieldwork was supplemented by laboratory experiments to produce reference data we could use to assess the impact of environmental factors on the results of the in-situ spectroradiometric analyses.The variability in the chromaticity values we obtained can be explained almost entirely by colour differences in the underlying cave wall and by the extent to which the pigment layer masks the substrate. These results suggest that the rock art in Points Cave is homogenous in colour and support the hypothesis suggested by archaeological analyses that the rock art belongs to a single prehistoric iconographic project.

Contribution of Thermal Inertia to the Interior Climate of Girona Cathedral: Feasibility Analysis for the Preservation of Pieces of Art through the Monitoring of Thermal Conditions for 6 Years

The purpose of this study is to determine Girona Cathedral’s thermal performance and to verify that it is suitable for containing historical pieces of art. We present the results of our analysis of the indoor thermal conditions during the period from January 2011 to December 2016. Real data were collected from strategically located probes inside the cathedral and from an outside weather station. The results were compared with an EnergyPlus computer model to verify the calculations and improve decision making. The model considers the envelope’s thermal inertia, the characteristics of the enclosure, and the passive systems for performing thermal analysis. The cathedral’s indoor environment is very stable. Because of a high capability of thermal-energy accumulation, a one-month thermal lag between indoor and outdoor temperatures exists. Furthermore, the maximum and minimum temperatures are dampened, with a two-degree variation above or below the outdoor average, depending on the season. The outdoor humidity can vary from 40% to 100% daily, whereas the indoor humidity variation is around 5%. This indoor stable condition protects the artistic objects in the building. This six-year monitoring and analysis allows for the determination that high-inertia buildings are suitable for displaying and preserving pieces of art and antique furniture, protecting them from deterioration.

The “Black Art” Renaissance:African Sculpture and Modernism Across Continents

The “Black Art” Renaissance:African Sculpture and Modernism Across Continents

Augmented Reality (AR) as a Tool for Engaging Museum Experience: A Case Study on Chinese Art Pieces

The research explores the efficiency of augmented reality (AR) technology as a tool for the positive triggering museum experience. This article shows the design, development, and evaluation of an AR prototype for information visualization based on a famous Chinese art piece named Along the River During the Qingming Festival. In total, 58 participants were invited to evaluate the prototype. Results suggest that AR technology can trigger users’ engagement, learning, meaningful experience, and emotional connection, and hence arouse their interest and learning process. These findings may interest researchers and designers to develop a broader range of innovative AR applications to prompt a digital learning experience.