Artistic Innovation Research Articles

FINIS: Objects of the End of Time, Afterlife Writing and Situation of Graves

Focusing on Hogarth’s last graphic work, The Bathos, this essay examines the ways in which the vanitas themes it represents are bound up with events that occurred towards the end of the artist’s life. Drawing on life writing (including elements of Hogarth’s autobiographical notes) that accompanied the cataloguing of his works in the years following his death, it discusses a number of controversies that drew scathing criticism of his work, his character, his politics, his ideas about English art and his standing as an artist, during his final years. Focusing on textual and visual images employed by Hogarth’s detractors to belittle him, it explores how these metaphors may be connected with the iconography he employed in The Bathos, and the extent to which the work may be ‘read’ as a representation of the artist himself, and his view of his reputation at the end of his career. Contrasting the pessimistic image Hogarth presents in his final work with the afterlife writing of his achievements by his contemporaries, it concludes with reflection on the role that his grave continues to play in celebrating his life and his status as one of the most talented and innovative artists of the eighteenth century.

Terminus 1900: The Métro and the Universal Expositions in Fin-de-siècle Paris

ABSTRACT In 1900, two spectacles of technological progress, artistic invention, and political ambition were unveiled in Paris: The universal exposition and Line 1 of the Paris Métro. This essay considers schemes for underground and elevated Métro systems that were published from 1870 to 1900 and argues that these speculative designs map new configurations of technology, urban space, and cultural identity onto fin-de-siècle Paris. Ultimately, Métro projects function as showcases of the modern city, and they draw on and participate in the promotional logic and narrative of national pride on display at the contemporary expositions.

The Aesthetic of Islamic Calligraphy and Ornamentation in Prophet Mosque Interior of the Calligrapher Abdullah Zuhdi (Al-Masjid An-Nabawi)

Islamic Calligraphy and ornamentation are using to decorate mosques as well as other sacred places all over the Islamic world. This paper provides some sources of information for understanding and studying Islamic calligraphy and ornamentation in the Prophet Mosque interior (Al-Masjid An-Nabawi). Indeed, this paper aimed to highlight the formation aesthetics of calligraphy and Islamic decorations in which the aesthetic values. There are many aesthetic values of the Islamic calligraphy and ornamentation that portrayed in the Prophet Mosque interior. The Prophet Mosque has been selected in the present research due to the uniqueness in its calligraphy and ornamentation. Abdullah Zuhdi a calligrapher who was known as the calligrapher of the two holy sanctuaries (katib al-haramayn). The calligraphy and ornamentation in the Prophet Mosques are testifying to the skill of the master calligrapher. The principles of aesthetics in calligraphy and ornamentation based precisely on the principles of the beauty of Islam. After Islam, calligraphy was one of the most important kinds of art in Islamic world as well as one of the essential features of Islamic civilization. This study aims to show the necessity of studying Islamic calligraphy used in the Prophet Mosque interior as well as to display some Quranic verses that been written above the tomb of the Prophet Muhammad. The Prophet Mosque located in Medina city in Saudi Arabia as a model simply because it was one of the first mosques built by Prophet Muhammad and it has the fantastic and historical calligraphy and ornamentation that have a long history. The study has revealed that the calligraphy and ornamentation in the Prophet Muhmmad Mosque considered as an innovative art through its dependence unique Thuluth script and intricate pattern of Islamic motifs, the Muslim artist creativity expressed about the sacred calligraphy and highlighted the global nature of the decoration.

Pablo Picasso and Gertrude Stein. Correspondence

Fragmentation, dissection, explosion: how to characterize the most influentially innovative art—be it theatre, music, literature or painting—of the twentieth century’s first half depends on which artistic formation one has in view and how violent or deliberate one takes that formation to have been. Regardless, a splitting open, dismantling or weakening of the bonds between its constituent parts marked that moment’s culture, with Gertrude Stein and Pablo Picasso as two of that disintegrative impulse’s most influential proponents. Such history might well lead a reader to anticipate scintillating exchanges, crackling with imagination, throughout this collection.

THE PLASTIC POTENTIAL OF CERAMICS AND METALS AS AN ENTRY POINT FOR THE DEVELOPMENT OF CONTEMPORARY JEWELLERY CRAFTS

The idea of the research is based on making use of the plastic and metal potentials as raw materials that have a functional and aesthetic role to produce innovative jewelry crafts in their well-known functional framework and inspired by the Islamic heritage by relying on the vocabulary of Islamic decoration as a starting point for the formation and expression of its intellectual content and expressive connotations. In this context, the research aims to produce innovative designs for metal ceramic ornaments with a contemporary vision while preserving the Islamic character by employing the vocabulary of Islamic decoration, as well as strengthening the principle of synthesis between materials and fields as an entry point for innovation in plastic art, and the research followed the descriptive, analytical and applied approach among the most important results that the Islamic identity can be preserved by making metal ceramic jewelry with aesthetic character and formal features inspired by the decorative vocabulary of Islamic art.

The Arch Meets the Line: Geometries of Innovation and Conveyance

Teaching mathematical and geometric concepts through art forms that are a part of indigenous knowledge systems (IKSs) has become a key aspect of pedagogical transformation in many national arts and sciences curricula. This article delves into the nuances of artistic innovation, marketing, and mathematical process in contemporary Zulu, South Sotho, and Venda ceramic practices in both individual studio and workshop settings. The work of Azolina MaMncube Ngema, Lenky Nhlapo, and the Mukondeni Pottery Village are discussed in relation to expanding fields of ceramic consumption. Ceramic artists’ first-hand engagement in classroom workshops, portrayal in pedagogical writings, and strategic engagement with touristic venues are framed in the context of geometric reasoning, visual innovation, and potential classroom innovation.

'A Tale of Two Launches’: an arts-based, autoethnographic inquiry into decolonising art therapy in the context of (post)colonial Australia

This article is an arts-based, autoethnographic account of the deep learning experience of launching an innovative art therapy text, Art Therapy in Australia: Taking a Postcolonial, Aesthetic Turn, for two different Australian contexts and audiences: Indigenous colleagues on Wathaurong country at the Institute of Koorie Education (IKE), Deakin University, and the art therapy community on Darug country at Western Sydney University. This article extends the (post)colonial and aesthetic concerns of the book as we reflect on and respond with artmaking and writing to an immersive ten-day retreat with Indigenous colleagues at IKE and seek to respectfully engage with First Nation ways and knowledges. The accounts offered here become a microcosm of the problematics of ethically encountering difference, in a landscape still shadowed by colonial violence.

Emerging Technologies and the Future of Assisted Reproductive Technology

Emerging technologies such as artificial intelligence are rapidly making their way into fertility clinics around the world. Clinicians, patients, and their families may potentially benefit from rapid advances in the AI field through applications including AI-based embryo selection. Yet, regulation to encourage benefits and diminish risks in AI tools for ART remains underdeveloped, which is unsurprising given its recent entry into the market. Fertility practitioners can play an active role in the regulatory environment for innovative ARTs including AI-based embryo selection — complementing federal regulatory agencies, state medical licensing boards, professional organizations, and civil society entities.

Article Review: Creative Thoughts Associated with Environmental Art From the 1960s Onwards

All arts can serve as an inspiration of innovation ideas for landscape architectural design as well as other built environmental design disciplines. In 1960s, environmental art originated with aiming to rebel against the art gallery or museum by creating innovative art using natural elements setting on an outdoor location. The art is taken in various forms such as large sculptural artworks and, also, the installation art for a specific site, etc. Several artist scholars such as Rosalind Krauss (1979) and Spyros Papapetros & Julian Rose (2014) marked that there are no specific principles or general agreement or specific theory in terms of the approaches to exploring landscapes entangled with the art. However, within broad terrain of practice of the environmental art, this research attempted to provide core creative thoughts applied to the art, which can be divided into 6 themes including 1) Modernism 2) Postmodernism, 3) Genius loci or spirit of place, 4) concepts of eighteenth-century aesthetics, 5) environmentalism and 6) passage of time. Accordingly, the study explores possibilities in convergences in design expression between landscape architecture and environmental art. Summarization of the study includes with current approach of the environmental art.

Stage in the Spotlight and Paradoxes of the Profession Artist, Light, Theatre

Nowadays, the lighting designer is becoming one of the leading figures in forming of the concept of theatrical scene design. Lighting technologies with great potential of illumination, colour and graphic capabilities allowed the profession to occupy the leading positions in the space of any object. Today’s orientation of the whole visual culture to staginess alongside with avant-garde inventions of stage designers in the early 20th century have formed the main artistic trends of this art. Nowadays, the modernistic findings of the past are supplemented by innovative multimedia technologies. Visual techniques worked out in stage shows have seriously affected the people’s attitude towards the stage space. They have made theatrical performance very dynamic by using lighting and media effects, sufficiently widened the scope of visual and expressive abilities of an artist. The new paradigm of light as an active tool of form-making allowed modelling the space by means of lighting technologies. Stage light has become a form possessing great emotional power inseparably associated with the dramatic composition of performance. At the same time, the goal of a lighting designer cooperating with theatre designers and costume designers should permanently lead the audience to catharsis and innovative light engineering techniques play a great role in it. Naturally, such innovations in theatre art made it necessary to correct the programmes of training of universal specialists required in this area. Professional education of a theatre lighting designer, apart from knowledge of technology and basics of scenography, requires serious artistic training. The methodological experience obtained in scenography training of future designers in the Environment Design sub-department of S.G. Stroganov MGHPA may provide an example of new design approaches to solving of comprehensive problems of scenography. Design training techniques used in the sub-department include the method of environmental approach, the method of script modelling using a virtual design model and the method of conceptual design.

Եվրոպական մոդեռնիզմի արձագանքները XX դարի Իրանի նկարչության մեջ (1920-1980 թվականներ)

The paper studies the impact of various stylistic trends of the European innovative art of the XX century, 1920s-1980s in particular, on visual arts of Iran. The objective of the study is a) to examine the activity of masters Hossein Behzad, Andre Sevryugin and Hasanali Vaziri, who taught at the School of Painting and Sculpture, founded on the initiative of Kyamal al Molq in Tehran; b) to assess the contribution to Iranian visual arts of the pioneers of innovative movement in Iran Kalal Ziapuri, Ahmad Esfandiari, Markos Grigoryan and Sohrab Sepehri, as well as the pioneers of the Saggahane movement Hossein Zenderudi and Parviz Tanavoli. To conduct the investigation, the widely applied in art criticism descriptive, graphical and analytic-comparative methods were employed. As a result of the analysis, it has been established that the European influence on the art of Iranian artists is predominantly to be found in the outward appearance and technical execution. While adhering in their creation to this or that trend of European modernism, such as impressionism, post-impressionism, cubism, abstractionism and surrealism, they, however, in order to preserve their cultural identity, draw upon the centuries-old national traditions.

Death as Cataclysm or Catharsis: Yves Bonnefoy’s Douve

One of Bonnefoy’s best known poetic works, the 1953 Du mouvement et de l’immobilité de Douve, is also one of his most elusive, a complex piece presenting subtle juxtapositions of metaphysical inquiry, linguistic experimentation, and artistic innovation. Of the many engaging aspects of this substantial poem, the motif of the human body represents a central tenet. Intricately related to Bonnefoy’s subtle notion of présence—the interiorization of external reality though the infinite dynamics of art—the human body emerges as a living incarnation of that exquisite, unnamable state to which Bonnefoy’s poetry aspires. The systems continually at work in a biological organism—and its constant movement towards the definitive gesture of death—present the writer’s holistic view of the complex human form.

Beckett lu par Adorno : La Catastrophe du langage comme réponse à la catastrophe historique

In this article, the notion of catastrophe is first treated as a metaphor for what happens to literary production when it is disrupted by twentieth-century art innovations. I address this issue by looking at the exemplary case of Adorno’s reading of Samuel Beckett, whose writing renders traditional æsthetic processes obsolete, thus breaking the continuity between language and the meaning that it is supposed to convey. According to Adorno, the catastrophe operating in Beckett in terms of language is a response to the historical catastrophe of the Second World War and the way in which it broke the continuity between human suffering and the possibility to articulate it with language. By presenting the opposition between Adorno’s and Sartre’s approaches to literature, I will show that, while Sartre responds to the catastrophe of the Second World War with committed literature, Adorno, from his reading of Beckett, responds with what will be called the catastrophe of language.

«La Traviata» remastered. G. Verdi’s opera in the stage interpretation by V. Nemirovich-Danchenko

«La Traviata» remastered. G. Verdi’s opera in the stage interpretation by V. Nemirovich-Danchenko

Melting-Pain Therapy for difficult mental health patients

The nurses in the unit for difficult patients at Cadillac hospital have developed an innovative art therapy concept: Melting-Pain Therapy. In this workshop patients produce a collective piece of art created through participants' individual sessions with a nurse. These patients are exclusively men, suffering mainly from schizophrenia, who have been or who are potentially dangerous. The photographs accompanying this article show some examples of these art brut creations.

Study on Tony Oursler’s Techno-Image “Eyes” from E.H. Gombrich"s Perspective of Iconography

Tony Oursler is a media artist although his artworks are not wholly confined by the techniques of this digital age. Unlike many of his peers, his artistic practice is still connected to the development of art. His works inherit many features of modernism, especially the styles of pop art and surrealism. In the realm of contemporary media art, he is also representative in the use of symbolic and metaphorical images. Oursler"s artistic practice plays a significant role in reviving the use of symbolic images, which has been on the wane of late. Inspired by the necessity of techno-images and the text explanation that was proposed by Vilém Flusser, this study, based on E.H. Gombrich"s iconography theory, analyzes the subject. E.H. Gombrich played an essential role in the discipline of iconography. He analyzed and interpreted images following the convention of and from the perspective of multi-angle thinking. His theory involves the reproduction, symbolism, metaphors, personification, and other functions of images. This paper discusses Tony Oursler"s quintessential representative techno-image "eyes" from Gombrich"s theoretical perspective of iconography. This paper explores how his artistic innovations are deeply rooted in classical culture and art, and demonstrates the functions, values, and practical significance of such a unique image using methods from the digital age. Additionally, this paper also explores the technoimage "eyes" in the contexts of its form and implication, demonstrating the psychological effects and aesthetic appeal brought by the application of particular images based on psychological theories.

The Economics of Renaissance Art

I analyze the Renaissance art market in Italy through a unique dataset on primary commissions between 1285 and 1550. Hedonic regressions on the real price of paintings allow me to advance evidence that the art market was to a large extent competitive, and that an important determinant of artistic innovation during Renaissance was related to economic incentives. Price differentials reflected quality differentials as perceived at the time (whose proxy is the length of the biography of Vasari, in the 1568 Edition of his Vite) and did not depend on the regional destination of the commissions, as expected under monopolistic competition with free entry. I show an inverse-U relation between prices and age of execution, which is consistent with a reputational theory of artistic effort, and a substantial increase of the real price of paintings since the 1420s. The latter suggests that artistic differentiation, deeper realism and innovations (as linear perspective) may have been driven by increasing profitability of the profession.

‘Berlin Does You Good’: Experimental Art, Place Marketing and the Urban Public Sphere in 1980s West Berlin

This article analyses the relationship of mutual benefit that formed between West Berlin's local government and experimental artists in the 1980s. In 1978 the West Berlin parliament established a grant programme to support independent artists operating in what was referred to as the ‘free scene’. The grants were intended to support the goal of restoring the city's status as a capital of artistic innovation. Soon after, the local tourism office also featured these independent artists within a new place marketing strategy focused on raising the ‘experiential value’ of the city's cultural offerings. But as this article shows, experimental artists were also using city grants to pursue alternative agendas focused on engaging with local populations in urban space. Through these projects, experimental artists extended the spirit of participatory democracy flourishing within the city's counter-cultural enclaves to broader areas of the city.

Adopter’s Involvement in Innovation Drumblek Development as Special Art of Salatiga City, Indonesia

Every region needs its regional identity to be known by many people from other regions. The identitycan be like culture same as Salatiga city culture what called Drumblek as an innovative art. Drumblek is an art which is a modification of Drumband by using the ussed items as its tools. The adoption cultural decision especially with the innovation there is influenced by the involvement of the adopters according to their respective categories. Through diffusion of innovation theory (DoI), this study want to know about the involvement of each adopter category in the expansion of Drumblek in Salatiga city. This research is a qualitative research with a case study approach that collects data through in-depth interview techniques and collect many document about Drumblek . The results showed that each adopter in each category has different characteristics between one and another and it affects their behavior, involvement, and way of taking a involvment in the expansion of Drumblek in Salatiga city. The involvement is as a trendsetter, follower, opinion leader and change agent but has the same goal, which is to introduce Drumblek to many people outside Salatiga city and continue to oversee the expansion of Drumblek in the future generations.

Alternative Narrative Forms, Exposure, and the Limits of Formalized Truth-Telling: Giving Accounts Though New Methods in Indigenous Art

This paper examines how individual truths concerning the atrocities and ruptures in Indigenous history, and ongoing cultural continuity in Indigenous society (despite these occurrences) can be located in current movements in Indigenous artwork. It draws upon both Judith Butler’s work on giving an account of oneself and Foucault’s notion of parrhesia to provide a frame for this engagement, and to argue for innovations in Indigenous art as indicative of methods of giving personal accounts and truth-telling that exceed the containable narratives of formal documentation. Through examining new interventions by Indigenous artists—the performance art work of Anishinaabe Canadian artist Rebecca Belmore, and the multimedia work of Kevin Lee Burton, who is Swampy-Cree—it identifies their works as exemplary of how Indigenous artistic interventions continue to formulate new methods of speaking truth to power grounded in cultural-specific forms of narrating personal truths by incorporating a variety of media and emphasize interactivity in their work. This paper ultimately argues that in the creation of art that shares personal truths and give these accounts while also acknowledging narrative absences and gaps, these artists convey the possibility of Indigenous art to share truths that might not otherwise be acknowledged by official historical record.