Piece Of Art Research Articles

Harnessing the pedagogical power of art for learning about occupation in an entry-to-practice neurorehabilitation occupational therapy course

ABSTRACT Introduction Art can be a transformative pedagogical tool for teaching occupation. Research on arts-based pedagogies to teach occupation within educational programs is emergent and remains limited. Objectives To explore the use of art created by people with acquired brain injury to develop understandings of the lived experiences and occupational impacts of acquired brain injury for graduate students in an entry-to-practice occupational therapy graduate program. Methods First, development of the arts-based pedagogical tool was undertaken through an online review to select works of art that reflected acquired brain injury experience as depicted by people with lived experience. These art pieces were then used to develop a class that facilitated learning of the occupational impacts of acquired brain injury in an entry-to-practice occupational therapy graduate program. A descriptive qualitative approach was then used to explore the learning experiences of five graduate students who participated in a focus group. Reflexive thematic analysis was used to understand the data. Findings Art facilitated transformative learning experiences for students and was described by three themes: (1) captivating the learner, (2) “whole ‘nother layer”, and (3) inviting exploration and expansion. Conclusions Arts-based pedagogy holds potential to be an enriching teaching and learning tool for critically reflexive engagement, awareness, and deep understanding of the lived experiences and occupational impacts experienced by individuals with acquired brain injury.

Rust, Mold, and Cracks: Post-Dualist Approaches on Spaces and Images

Using the piece of video art “Rust, Mold, and Cracks”, created by the author, this paper addresses questions related to space, ruins, and different temporalities. Calling upon the authors Georg Simmel and Milton Santos, the text proposes an approach to ruins that goes further than dualist concepts such as abandoned/not abandoned, or modern/outdated. It also discusses the role of Nature in this scenario. In light of this situation, space and time are under mutable reorganisation, as pointed out by David Harvey. Different arrangements between them shall produce diverse modernities. Considering images as objects resulting from this spatiotemporal modification, this article comments on their accumulation.

Redistribute Toxicity

Redistribute Toxicity was a commissioned art piece created by visual artist Jonas Staal in close collaboration with environmental historian Jonas Stuck and curator and researcher Caroline Ektander, and later enriched by the knowledge and practices of seed librarian, artist, and activist Zayaan Khan for the exhibition The Long Term You Cannot Afford: On the Distribution of the Toxic at SAVVY Contemporary in Berlin in 2019. Informed by historical research on the trade of hazardous waste between the two Germanys during the Cold War—with a particular focus on the landfill Vorketzin, which served as West Berlin’s primary hazardous waste disposal site during the division—the art commission asked us to consider what an act of redistribution of a toxic past could look like. Similar to other waste practices premised on systems of externalization, the one that transpired between a divided Germany resulted in an asymmetrical impact on human, animal, and plant lives populating the former East—effects that are till this day hard to account for. The research process generated a series of designs that exposed the various practical and ethical issues entangled with acts of retribution and helped shape a project that became less concerned with correcting the past and more committed to reconfiguring toxic relations in the present. The final installation design propagated seeds from the wetland vegetation surrounding the landfill. This wild vegetation had not only become implicated in Germany’s toxic history as silent witnesses but had also helped remediate the soils over time.

Evincing

Witnessing some of the most horrific scenes of terror, hate, and harassment, this work is about “evincing” 1 —evincing in and with the stories, voices, screams, hurt, and pain of the victims, the racially and culturally marginalized scholars who are harassed for their research. My reflections, while they led to a poetic art piece, are about the critical “ongoingness” of continuously revealing the evidence and truth of the unsafe world of doing, being, and sitting with online research. In the evincing, we censure and condemn hate and harassment while vituperating and execrating the perpetrators, cyberspaces, systems, and institutions that target, abuse, mistreat, and malign women; Black, Indigenous, and people of colour (BIPOC); queer; disabled; and other marginalized scholars. Evincing is the ways in which their research work and lives remain present and alive through this art and those to come. In this evincing, their experiences of racism, misogyny, violence, isolation, powerlessness, helplessness, frustration, and fear are not simply spectacles for awareness. Rather, they are the grounds from which our methodologies for witnessing these scenes become our vocabularies in resistance, solidarities, and solutions. Evincing, then, is how we mobilize against these encounters of hate and harassment in celebration of safe, brave, healthy, and continuous academic journeys for all scholars.

Growth of Art Auction Houses in India in the Last Decade

Art Auction Houses are companies that allow the buying and selling of sought-after art pieces and collectibles. Today, the popularity of auction houses is growing at an extraordinary speed all over the world. There are a plethora of reasons for this fast growth. Some of these are access to popular and desired artworks, transparency in demand and pricing, and a simple purchasing process. In the last decade, India has seen unparalleled growth in art auction houses with a rise of about 265%. In addition to the boom in sales, the prices of the artworks have almost doubled.

Sound-vibration: Relations between bodies, low frequencies, and multisensory experiments

Multimodality research has enabled academics to propose and support new ideas in multiple modes for interpretation, communication, and as an important part of art education. In this piece, multimodal listening is situated as a transcendence of ear-centric approaches and the use of vibration as a poetic practice in contemporary art. As a result, sonic arts and sound experience principles are used to talk about everyday sounds in new and immersive ways, encouraging the audience to disrupt established sensorial boundaries. Subsequently, sound-vibration can be interrelated as a mode of multimodality and as a resource for meaning-making in possible contemporary practices. If perception is considered multifaceted, one could notice the world as an integration of conscious or unaware inputs. In the experience of sound installations, one may explore oscillations as a valuable channel for understanding multimodal approaches since, unlike visual or tactile interactions, the relationship between sound and the body hinges on fully embodied situations. The underlying thought in this piece will emerge from two recent art pieces, that produce atmospheres and blur the concrete division of senses, transversely representing the potential of the low frequencies.

Translating Virginia Woolf’s To the Lighthouse into Surrealist Art

Virginia Woolf often crosses the boundaries between literature and painting in her writing, masterfully combining these two realms. However, her novels are only ever read within a post-Impressionist framework. In this essay, I aim to challenge this well-established notion by translating To the Lighthouse into the terms of surrealist art. Firstly, I compare automatic writing used by surrealists and Woolf’s stream-of-consciousness technique and free indirect discourse, also reflecting on their significance in Lily Briscoe’s painting. Then, I explore the concept of the surreal house and space in both surrealism and To the Lighthouse. Lastly, I develop the notion of Mrs Ramsay as a ghost and her influence on Lily’s final piece of art. To justify my translation, I return to Freudian psychoanalysis, which was fundamental for surrealists and equally significant for Woolf, although in a less immediate way. It is essential to note that existing scholarship does not associate Woolf with surrealism at all, and, accordingly, I am not going to argue that Woolf considered herself a surrealist, nor that To the Lighthouse is representative of the movement. Instead, I plan to challenge the form of Woolf’s novel, redirecting our transfixed gaze towards new possible dimensions of this well-known, extensively interpreted text, and assist in merging the realms of literature and painting.

Post-Studio Tendencies of the World Glass Art: Role of Institutional Influence

The main objective of the study is to initiate a discussion in the art environment regarding actualizing stylistic features according to the gradual domination of conceptual art practices in the creative work of the active generation of glass artists. The question of assuming a significant era in the development of artistic glass – the International Studio Glass Movement – arises with the emergence of a world art discourse of a growing array of practices built on the principles of conceptual arts. The study reveals the role of the most influential institutions in stimulating young artists to use rather non-classical instruments of creative realization for the studio glass artistic expression. The exhibition and information activities of the leading institutions of three continents – America, Europe, and Asia: the Glass Art Society, the glass museums in Corning (USA), Ebeltoft (Denmark), and Shanghai (China) are taken into account. The brightest examples of art pieces by artists from different countries where the artistic idea and conceptual metaphor play a critical role despite aesthetics or unique design have been selected and analyzed. The recently realized projects of two Ukrainian artists of different generations – Professor Andriy Bokotey (Lviv) and his student Viktor Melnychuk (Uzhhorod) – are also considered in the article. Several installations, performances, and works with a multimedia or interactive component, exhibited as a final work by foreign artists and participants of the International Blown Glass Symposiums in Lviv, are described here. The performance by the famous world-known Czech glass artist Jiri Suhajek in the framework of the II International Blown Glass Symposium, 1992, is stressed as the first performative creative realization for the Ukrainian audience. His intuitive activity set a precedent for a new direction in artistic glassmaking. It is concluded that according to the broad set of features, a significant part of the 2010-2020 glass artists’ activities goes far beyond the accepted canons for studio glassmaking. Thus, summing up, it is stated that the significant stage in modern culture – the International Studio Movement, which brought the generally accepted artistic means for decorative art into the domain of fine arts – became the basis for the development of the next direction in the civilizational ladder.

Database of Expressionist, Impressionist, and Post-Impressionist paintings: Affective norms for 60 art pieces.

Modern painters' art is not only different from canvas created earlier, but also shows high internal variability. Being aware of the conditions arising from art history, we used paintings from three art movements-Impressionism, Post-Impressionism, and Expressionism, to see if we are able to respond to claims made by art theorists by using methods specific to social sciences, and validate the paintings as stimuli which might evoke different emotional reaction based on the movement they were created in. We wanted to conduct an exploratory analysis comparing the mean assessment of valence, arousal, and dominance among the three art movements. A total of 60 different paintings were selected (20 for each art movement) showing figurative works and visible human figures. They were assessed on five different affective scales: valence, arousal, dominance, origin, and subjective significance with use of Self-Assessment Manikins. The results showed expected differences in affective reactions to Expressionist paintings compared with those of Impressionist and Post-Impressionist ones. Therefore, we provided the very first dataset of emotional stimuli with validated affective norms, categorised by the art movement that they were created in and ready to be used in future experimental studies.

Black bodies and French colonial history: Beyoncé and Jay Z’s ‘Apeshit’ at the Louvre

In June of 2018, Beyoncé and Jay-Z (under the name The Carters) released the music video for their song ‘Apeshit’, from the album Everything Is Love, set in the Louvre Museum in Paris. Through an agreement with the Louvre, The Carters were given free rein to film in front of some of the most famous art pieces in the world. This article focuses on five instances, within the music video, where the juxtaposition between either The Carters and/or their dancers, and certain works of art, merits analysis within the French colonial and postcolonial context. Under consideration are the following scenes: first is the dance scene in front of David’s The Coronation of Napoléon (1807); the second is in front of the Great Sphinx of Tanis (2600 BCE); the third is in front of Géricault’s The Charging Chasseur (1812); the fourth is a scene in a locker room that pans to a bedroom (‘Apeshit’ 00:02:31–00:02:36); the fifth and final is ‘the hair-combing scene’ in front of DaVinci’s Mona Lisa. Each of these scenes speaks to pivotal moments in French colonial and postcolonial history, and through the analysis of the lyrics of the song and the historical context, I provide insight into the rich and deep meaning behind the specific art choices made by The Carters, within the Louvre, for their music video.

Visual Traces of Struggle for Dominance in The Western Mediterranean on Foreign Policy: Reflections of The Franco-Dutch War (1672-1678) in Sicily

The Mediterranean Basin has been the starting point of many civilizations since prehistoric times. The political, commercial, economic, and cultural activities carried out in this region for centuries have played an important role in the states trying to dominate this region. Especially, the Eastern and Western Mediterranean basins on both sides of the north-south transition, on which Sicily is located, have formed a strong field of struggle throughout history. Sicily, the largest island of the Mediterranean, has witnessed the wars of many states with its position as a crossroads. One of them is the Franco-Dutch Struggle between 1672-1678. The battles of Messina, Stromboli, Augusta, and Palermo, which formed the Sicilian front of the war between 1674 and 1676, reveal the richest visual data of the race for dominance in the Western Mediterranean. Because these encounters are highly significant for the future of the Mediterranean, especially following the Battle of Lepanto. The aim of the article is to present the established dominance at this point through visual evidence. What is important here is that painters, by creating a pictorial template from evolving images due to shifting power dynamics, have applied this to scenes of warfare. Moreover, a crucial aspect is that these works have been produced in a contemporary timeframe alongside the battles. Furthermore, these paintings have not only served as pieces of art but also as political tools. In this article, the identified war scenes are discussed in a chronological order, without emphasizing technical distinctions. This way, symbolic connotations that revive the prideful aspect of the achieved victory are attempted to be brought back to memory. To a certain extent, the visual representation of the sentiment of heroism directed towards the past is highlighted, focusing on pictorial indicators.

ТЕМПОРАЛЬНОСТЬ КАК ФУНКЦИЯ ПРОИЗВЕДЕНИЯ ИСКУССТВА В НЕ-ДИНАМИЧЕСКОЙ ФОРМЕ

The temporality issue within contemporary theory and practice is held under one persistent convention: time is a matter of dynamic species of art, such as theatre, cinema, and music. However, contemporary theoretical discourses in the expanded field of art-theory reveal a fundamentally different view on temporality’s function in a piece of art. In virtue of art's conceptual dematerialisation and the theoretical context of nonlinearity of time, the temporality, as a kind of correlation with time durality, may be concerned as feature for any piece of art – not excluding those which are expressed in static forms. We assume that temporality is not only conditional in case of art pieces expressed in static forms, but also functional as the matter and an potential instrument which can be used to create an expanded concept. In current article we take this hypothesis as a starting point to explore the way for temporality to be considerated as a constructive component of an artistic utterance expressed in a static form of art. It's necessary to notice that the current article contains only an outline of subsequent research, which still demands to be elaborated.

UnlockArt: Cultural Mediation at the Museum Through an Augmented Reality Escape Room

In the context of a museum, cultural mediation facilitates access to the works of art for the visitors which not always share the culture the pieces of art come from. Tools and resources such as catalogs, guided tours, or the work of the curators are all part of the museum's cultural mediation, which highlights and informs the visitors of the works on display. In this case study we present the game design process and results of UnlockArt, a project developed as a cultural mediation tool at the Museo delle Culture (MUSEC) in Lugano, Switzerland. The project studied and applied the educational escape room format to enhance the museum experience for visitors, and to encourage the younger ones to approach the collection through a ludic activity. By the means of the Star Model (Botturi and Babazadeh, 2020), the project designed an educational escape room for the "JAPAN. Arts and Life. The Montgomery Collection" exhibition, a collection of Japanese objects from the period between the 12th and the 20th century. Educational escape rooms are a format that works well in class, but may be burdensome to apply in a museum, which intrinsically imposes many constraints. Players should be silent, the escape room should always be ready to be played and easy to be rebooted, and it should not impact the exhibition for visitors that wish not to engage in the experience. For this reason, we opted for an augmented reality educational escape room (AR EER) which can be played on tablets. Such approach only requires QR codes placed around the exhibition, which hide puzzles and hints tied to the works exhibited in the museum, and does not need any rebooting phase as the puzzles are to be solved in augmented reality.

Body Utilization, Body Grief

This interactive poster involves a shawl that participants are encouraged to put on to explore how the body is lost to different systems, especially public-facing, capitalist, work systems. It is easy to lose oneself to the larger institution and those who are served. In this poster, viewers will be encouraged to engage with the piece and even take it and wear it for a period of time to reflect on the loss of self to the piece. This interactive art piece is tied to an ongoing exploratory study to look at library worker’s bodies at work, which can be built upon to study issues like trauma in the library workplace.
 The study asks participants to complete a draw and write prompt (Hartel, 2014; Hartel et al., 2018), which allows for explanation of the self beyond just the written or verbal. As the study focuses on the body both in drawing and words, the drawings will be added to this shawl to fully share the experiences and feelings that have been expressed. In having a tactile research output through the art of the shawl, readers and participants will be able to directly reckon with the drawings and the feeling of putting on the identities people assume while working at the library.

The Experience of Being Alive Through Poetry

It is viewed that poets and poetry readers mostly come to a disappointing idea from the community’s belief proclaiming poetry’s death and that poetry is in vain and it is a waste of time. Readers and poets keep wondering intensely that, if so, then how do their souls still recall the inspirational world of imagination? How do their souls travel into an imaginative world of thoughts creating a piece of art through some words that are of daily life experiences? William Wordsworth's poem "I Wandered Lonely as a Cloud”, for instance, connects humanity and nature to make life more meaningful. The natural world provides human beings bliss, enabling them to overcome life challenges such as loneliness. The poet obtains happiness from the dancing daffodils and overcomes his loneliness. This togetherness between humanity and the natural world aids the poet in overcoming the challenges. The poem uses poetic devices, especially figurative language, that demands the readers to recall their experiences to understand them better. Like Campbell, Wordsworth has a positive view of the natural world because it enables the speaker to deal with sadness. Therefore, artists should acknowledge the significance of discourses while writing poems. The community, in addition to that,is called to reconsider their beliefs and observe that it is through poetry that our souls get nourished and call our daily life experiences. This study examines former beliefs to prove that poetry is the experience that keeps our souls alive.

Mind ascribed to AI and the appreciation of AI-generated art

Creative artificial intelligence (AI) has received a lot of attention in recent years. Artworks that are introduced to be generated by AI (rather than a human artist) are, however, often evaluated negatively. Integrating extant research, we suggest that AI is ascribed less mind (i.e. agency and experience) which is responsible for this effect. In two experiments ( N = 176 and N = 381) we observed negative indirect effects of artist information (AI vs human artist) on the appreciation of visual artworks. The AI is consistently ascribed less agency and less experience than a human artist. Higher levels of experience and agency ascribed to an artist are, in turn, associated with higher appreciation of a piece of art. In both experiments the total effect of artist information on appreciation was not significant. Artist information did not predict whether the artwork deviated positively from viewers’ expectations developed before the actual artwork was encountered.

Context and Interference: Influences in the Perception, Aesthetic Experience, and Interpretation of Exhibitions

In this paper, I investigate questions related to the aesthetic interferences, as well as their implications, in the process of perception and appreciation of artworks and exhibitions. By ‘aesthetic interference’ however I mean something more than just actual visual interference, such as when other elements, pieces of art, or fellow visitors are ‘entering’ in the field of vision and thus obstructing the view while one is trying to focus on an individual piece. Instead of purely this, I also mean something that modifies the effect of the exhibited work of art on a further, aesthetic level too, hence not only as something that physically (optically) impedes sight, but something that interferes with the ‘working’ of the artwork. I survey the question on the level of the singular work, of an entire exhibition, and even the exhibition within the larger ‘frame’ and context of a city. What is important to see is that such interference is not always and not necessarily negative. The perception of and influence from other works, the modes of installation, the particularities of the venue, and the discovering of the broader environment can all bring out new aspects and considerations that point towards new potentials in the pieces, and that perhaps even the artist or the curator had not thought of before.

The Place and Importance of the Tughra Form In Turkish Calligraphy with the Example of Sultan Suleiman the Magnificent

The purpose of this study is to examine the tuğra form, an important element of Ottoman calligraphy, in terms of its place in Turkish calligraphy, historical development, usage areas, and design features. In this context, it is emphasized that the significance of the tuğra goes beyond its function in official documents, serving as an art piece reflecting the artistic sensibilities of its era. Tughras are typically designed in a curved form consisting of the sere, beyze, tuğ, and hançer parts, including the name of the sultan, his father's name, and the phrase "el muzaffer daima." The composition and ornamentation of this text depend on the skills of the artisans of the era and the opulence of the reign. The earliest curved tughra examples that can be found are seen in documents of the Great Seljuk Empire. Later, the use of tughras continued in the Anatolian Seljuks and the Ottoman Empire. Officially, the use of tughras ended on November 1, 1922, with the abolition of the monarchy. The tughra served as a title in official correspondence in the Ottoman state and represented the sultan's signature and the seal of the state. As such, tughras appeared on official documents such as orders, decrees, land deeds, diplomas, as well as on coins, stamps, registration books, dynastic emblems, flags, and official architectural monuments. Additionally, calligraphy works in the form of tughras were created with verses from the Quran, prayers, the Basmala, hadiths, aphorisms, and personal names. The tughra of Ottoman Sultan Orhan Bey, which included the names of "Orhan and his father Osman," laid the foundation for all Ottoman tughra designs. In this study, the tughra of Sultan Suleiman the Magnificent, produced in the Istanbul Palace Workshop during the 16th century, which is considered the brightest period of the Ottoman Empire, was examined. This tughra, currently on display at the New York Metropolitan Museum of Art, was analyzed in terms of its text, calligraphy design, composition features, and illumination patterns. The tughra's design features prominently include the use of gold and navy blue. Illumination patterns feature saz-style dagger leaves, double tahrir-style hatayi designs, stylized carnations, and cloud motifs. Due to these design characteristics, it is believed that the tughra was created in the style of Kara Memi, the chief illuminator of the era.As a result of the research, it was concluded that tughras were not limited to being merely official documents but also represented significant art pieces that reflected the artistic sensibilities of their time.

How Male Gaze Can Influence the Perception of Art Pieces from the Psychiatric Art Collection of the Hungarian Academy of Sciences? (Case Study)

The objective of this paper is to comprehend the environmental impact, specifically the influence of the psychiatric institution, on a work of art created within the context of psychiatric treatment. Additionally, the paper focuses on exploring the artwork’s impact on the viewer, and examining how we perceive these drawings – whether as neutral observers or through a sexualized lens. The intention is to present a collection of artworks produced by a female patient during her hospitalization in the 1950s and 1960s at the National Institute of Psychiatry and Neurology in Budapest. For the purposes of this study, the artist has been given the pseudonym “Antonia”, as her identity is only known within the institutional records through her marital status, identification by her husband’s name, and an approximate age at the time of admission. Antonia’s drawings depict women engaged in various everyday situations, such as enjoying an elegant dinner or dancing, and also include portraits of a young, attractive, and sexually appealing individual. When interpreting these drawings, it is impossible to avoid being influenced by the perspective from which the figures, seemingly vulnerable and exposed even in their elegant attire, offer their creator a glimpse into their emotions, anxieties, and fears. The aim of this study is to demonstrate that, even in contemporary times, decades after their creation, when approached from the perspectives of art history, psychology, and sociology, these drawings can only be accessed through the patriarchal lens that initially categorized them as part of the museum canon and included them in the collection during their respective era. Departing from this foundational standpoint proves to be a challenging endeavor.

Expanding the Microcolonial Black Fungi Aeminiaceae Family: Saxispiralis lemnorum gen. et sp. nov. (Mycosphaerellales), Isolated from Deteriorated Limestone in the Lemos Pantheon, Portugal.

With an impressive ability to survive in harsh environments, black fungi are an ecological group of melanized fungi that are widely recognized as a major contributor to the biodeterioration of stone cultural heritage materials. As part of the ongoing efforts to study the fungal diversity thriving in a deteriorated limestone funerary art piece at the Lemos Pantheon, a national monument located in Águeda, Portugal, two isolates of an unknown microcolonial black fungus were retrieved. These isolates were thoroughly studied through a comprehensive analysis based on a multi-locus phylogeny of a combined dataset of ITS rDNA, LSU, and rpb2, along with morphological, physiological, and ecological characteristics. Based on the data obtained from this integrative analysis, we propose a new genus, Saxispiralis gen. nov., and a new species, Saxispiralis lemnorum sp. nov., in the recently described Aeminiaceae family (order Mycosphaerellales). Prior to this discovery, this family only had one known genus and species, Aeminium ludgeri, also isolated from deteriorated limestone. Additionally, considering the isolation source of the fungus and to better understand its potential contribution to the overall stone monument biodeterioration, its in vitro biodeteriorative potential was also evaluated. This work represents a significant contribution to the understanding of the fungal diversity involved in the biodeterioration of limestone heritage.