Art Movement Research Articles

SOCIAL COGNITION, COLLECTIVE IMAGINATION, ARTS AND ZEITGEIST

Cognition and imagination are human faculties that are often thought as individual processes. In recent decades, however, they have been studied as one collective experience. Cognition and imagination are so strongly linked to both mind and body that they characterize what it means to be human. Body, brain, cognition and imagination are, in turn, related to culture; culture is manifested by the Arts. We propose that community art reflects its own zeitgeist and changes when collective cognition changes. Thus, humans continuously modify their understanding of themselves and the world. Here, we describe the changing of Arts from the Middle Ages to the Renaissance, when Arts became known by their authors and each work individualized. Concomitantly, advances in Medicine lead to the developing of a detailed human Anatomy as Perspective became increasingly visual. Shifting trends from the Renaissance to the Baroque also accompanied the manifestation of body movement in Arts as Physiology emerged in Medicine, altogether with collective cognition and imagination changing.

Female chamber vocal cycle of the 1960s–1970s and the “new folk wave”. Part 1. In search of intonational authenticity

The subject of the study is the chamber and vocal work of Soviet composers of the 1960s–1970s, the works of the undisputed leaders of the young post-war generation of musicians from the “sixties”. The author of the article studies the neo-folklore searches and experiments of R. Shchedrin, B. Tishchenko, S. Slonimsky, V. Gavrilin, E. Denisov, which became the most important component of the significant artistic movement “new folklore wave”. During these years, there was a peculiar accumulation of outstanding sample compositions, striking in their originality and brightness, new recording techniques, and the authors’ extremely conscientious attitude towards original materials collected in conservatory folklore expeditions. At the turn of the 1960s, the chamber-vocal cycle took leading roles in the work of many Soviet composers and Russian music in general. Vocal compositions, with their inherent versatility, capable of flexible modifications, turned out to be a fertile area for the creative efforts of musicians of different generations. The article uses the following scientific research methods: comparative analytical, structural and functional, as well as cultural method. The author of the article uses literary-textual and musical-textual methods for research, and also relies on the fundamental provisions of general historical methodology, in particular, sociocultural, historical-chronological, and biographical. The main conclusion of the study is the idea that the chamber-vocal works of the “new folklore wave” have a “female face”, since most of them were written for performance by female voices. Folk melody and rhythm, a lively intonation environment, the direct emotionality of folklore became not only a kind of “counterweight” to sophisticated avant-garde techniques in the music of the second half of the twentieth century, but the most important component of the composer’s language and even thinking, and sometimes the main support of creative expression. The author for the first time deeply and fully explores the “female” vocal cycle of the 1960s–1970s, those works that are associated with the unique and powerful artistic movement “new folk wave,” a phenomenon that was at the forefront of the radical renewal of Russian music in the second half of the twentieth century.

‘The International Style’ multilingual three-dimensional grammar and hybrid designs

The present paper describes a multilingual shape grammar to recreate the work of three designers that preconized the ‘International Style’. This is a top-down three-dimensional formulation. Whilst most grammars are monolingual and univocal, this work creates a multilingual formulation within the same artistic movement. Typically, a grammar describes a family of design solutions. These are helpful mechanisms to describe patterns that can be used for analysis or design exploration. This multilingual three-dimensional parametric grammar allows the independent recreation of original designs from three designers and hybrid solutions. Shape grammar's difficult application can be linked to its evaluation process. The original contribution of the study lies in the use of quantitative and qualitative methods for grammar evaluation, using Principal Components Analysis and user questionnaires. The PCA provides a pragmatic analysis, and the questionnaires an intuitive reading. Together they corroborate the results which are discussed using hybrids that assist in delineating parametric spaces.

Study of Pan-Sensualism as a Cross-Cultural Form: An Artwork by Jim Supangkat; Ken Dedes (1975)

This study examined the use of the term ‘Pan-Sensualism’ in the discourse on contemporary Indonesian new art and how this manifested itself in artworks created at the beginning of the Indonesian New Order era (1966-1998). Jim Supangkat was one of the artists and initiators in forming the artist group Gerakan Seni Rupa Baru Indonesia (Indonesian New Art Movement), which then organized the first Seni Rupa Baru 75 exhibition in 1975. Jim Supangkat presented six installation works with different narratives, but Ken Dedes was the only one that presented the dialectic of traditional and modern culture. The Prajnaparamita, or Ken Dedes statue is presented with a drawing of the body of a woman wearing jeans with the buttons open. In looking at the formal, social-historical, cultural, feministic, and other elements in the work of Ken Dedes (1975-1996), we used the iconographic research method. This method helps to see several aspects of Supangkat’s visual works related to the aesthetic paradigm of Pan-Sensualism and the intersection of two cultural elements, i.e., high and low art, which may be distinguished based on social class appreciation.

Artfusion: A Diffusion Model-Based Style Synthesis Framework for Portraits

We present a diffusion model-based approach that applies the artistic style of an artist or an art movement to a portrait photograph. Learning the style from the artworks of an artist or an art movement requires a training dataset composed of a lot of samples. We resolve this limitation by combining Contrastive Language Image Pretraining (CLIP) encoder and diffusion model, since the CLIP encoder extracts the features from an input portrait in a very effective way. Our framework includes three independent CLIP encoders that extract the text features, color features and Canny edge features from an input portrait, respectively. These features are incorporated to the style information extracted through a diffusion model to complete the stylization on an input portrait. The diffusion model extracts the style information from the sample images in the training dataset using an image encoder. The denoising steps in the diffusion model applies the style information from the training dataset to the CLIP-based features from an input portrait. Finally, our framework produces an artistic portrait that presents both the identity of the input portrait and the artistic style from the training dataset. The most important contribution of our framework is that our framework requires less than a hundred sample images for an artistic style. Therefore, our framework can successfully extract styles from an artist who has drawn less than a hundred artworks. We sample three artists and three art movements and apply these styles to the portraits of various identities and produce visually pleasing results. We evaluate our results using various metrics, including Frechet Inception Distance (FID), ArtFID and Language-Image Quality Evaluator (LIQE) to prove the excellence of our results.

Gesture and Their Meaning of Artistic Movements in Welcoming Guest in Indonesia

This research explores the gestures and meanings embedded in traditional regional dances of Indonesia, particularly those associated with welcoming guests. Recognizing the diminishing interest in these cultural practices among the younger generation. The study aims to provide insights into the significance of movements in dances from various Indonesian regions. The analysis draws on semiotic theory (Charles Sanders Peirce, 1857-1914), categorizing dance gestures into iconic, deictic, metaphoric, and beat forms. The researcher are interested in exploring gesture and their meaning of artistic movements in welcoming guest in Indonesia. Examining 10 regional dance videos, the researchers found that iconic gestures, visually depicting objects or concepts, dominate the welcoming dances, comprising 48% of the observed movements. Metaphoric gestures, conveying abstract concepts, follow at 32%, while deictic gestures, pointing to specific objects or people, constitute 12%. Beat gestures, synchronized with the rhythm of music or dance, account for 8%. This study contributes to preserving and understanding the cultural richness encapsulated in the gestures of traditional Indonesian dances, emphasizing the need to safeguard this heritage for future generations

The grotesque as a literary issue

Abstract Grotesque imagery is widely used by all genres and movements of art and literature without exception, but its historical development and theoretical aspects have not been sufficiently studied. This study seeks to define and diagnose the main aspects of the development of the grotesque as a literary problem. The leading methods of researching this problem are methods of analysis, deduction, induction, and comparison of approaches. The research covers the approaches to the study of the grotesque phenomenon; the interpretation of this trope is provided, its origin is described, in whose works it is widely used; the forms of grotesque and its specific features are described; various theoretical concepts of the question are demonstrated; the codes of grotesque poetics and their levels of display in the artistic system of works are identified; the qualities and features of Poe’s literary activity are diagnosed, and the components of the grotesque aesthetics are defined. The material in this study is of practical and theoretical value to students and literary scholars who study literature and its artistic features.

Interactivity on Participatory Artworks. A Case Study of Long Life Laboratory

Contemporary art is a signifier for the occurance of the melting back aspect of melting back aspects of the arts with other non art disciplinesn in the art world as well as the creative industry. The collapse of hierarchies between high art and low art is the discourse in the West also influenced the development of art in Indonesia. This allows also many works popping up to a hybrid combination between pure art and design as applied art. Nowadays people believe the participatory art can be developed as the styled identity of Indonesia contemporary arts because of the collective spirit of commonly called ‘paguyuban’ it ussualy bring. There is a place called Jatiwangi Art Factory who developed an art movements by running a kind of community based methods to build their village out of economical bankruptcy. A similar approach was elaborated by a couple of Jakarta urban artist namely Irwan Ahmett and Tita Salina. They often work with the society in daily basis to criticize the Jakarta social problems. Departing from the above observation, this paper made to dissect the authos’s works entitled “Long Life Laboratory” which had been exhibited at the Bazaar Art Jakarta 2016 in Pacific Place Mall by measuring the level of interactivity on this kind work of participatory art. A Qualitative method is used also to read this visual form associated with the theory of relational aesthetic, a thinking of a French art critic Nicolas Bourriard

#MeToo movement in Korean arts & culture sector and gender mainstreaming strategies in cultural policy

ABSTRACT This study examines how the #MeToo movement in the Korean arts and culture world has changed the Korean government’s cultural and gender equality policies. First, I discuss the gendered power structure of the Korean arts and culture sector, focusing on the issues raised by this movement in terms of the specificity of the sector, which is a dominant discourse of cultural policy. Second, by exploring that newly organized activist groups through the movement played a significant role as gender governance, I examined how this gender governance overcame the limitations of government gender mainstreaming strategies and reconciled the specificity of the arts and culture sector with gender mainstreaming strategies under the conflicted political circumstances and government policy-making process. It resulted in the ‘mainstreaming of gender equality as an inalienable right of artists’ in the new Artist’ Status and Rights Guarantee Act, beyond the mere reliance on the existing gender mainstreaming tools.

The Influence of Post-Internet on the Aesthetics of Vaporwave

While the cultural phenomenon known as vaporwave is commonly traced back to 2009, its defining characteristics remain a subject of ongoing debate within both popular culture and academic circles. Various perspectives categorize it as a microgenre of electronic music, a meme, an art movement, a critique of capitalism, or even a manifestation of pure aesthetics. As such, vaporwave remains a complex and multifaceted topic for research. In this paper, I explore the influence of post-internet culture on the formation of vaporwave and its aesthetics by analyzing the methods and strategies used to create what is recognized as vaporwave, rather than attempting to label or define it precisely. As a further step in this inquiry, I document an attempt to apply these methods and strategies, resulting in the publication of four music albums. This practice-based approach to analyzing vaporwave through creation and publication helps to better understand some core qualities and aesthetics of this art movement.

Exhibiting Nation: A Brief History of Palestinian Exhibition Making in the Twentieth Century

ABSTRACT This article presents an overview of Palestinian exhibition making in the twentieth century. It addresses an absence of academic engagement with how, starting in the 1920s, a repertoire of Palestinian pedagogical and representational materials, temporary and makeshift spaces, and multiple protodiplomatic and unionized efforts under the Palestinian Liberation Organization informed a culture of exhibition making that created critical sites for: cultivating and critiquing taste within art movements and among Palestinians; operationalizing national sentiment and political consciousness; and mobilizing international support around the legitimacy of the Palestinian cause. Specifically, the article accounts for the Palestinian mobilization of exhibitions in response to European and Zionist expansionism (1917–48), as a social praxis of community building and resilience (1948–64), and as a form of political resistance through the radical internationalization of Palestinian cultural affairs (1964–87). It culminates with a discussion of the first intifada and the morphing of exhibition culture into the Palestinian Authority’s state-building project following the Oslo Accords (1987–93).

Aesthetic of Light and Time: An Intellectual History of Pictorialism from India

Pictorialism emerged in the last quarter of the nineteenth century as a global aesthetic movement that argued for photography’s artistic status on par with other plastic arts more powerfully than ever. Archives from South Asia demonstrate the movement’s thriving life in the subcontinent with Calcutta emerging as a centre and its bilingual amateur photographer-writers as major participants simultaneously engaging in globally circulating specialist discourses on pictorialism and popular discussions of their practice aimed at public pedagogy. By looking into Bangla periodical press this paper investigates how Bengali pictorialists used popular Bangla magazines in the early twentieth century to establish their distinct voice regarding what counted as artistic photography as they engaged with a non-specialist mass readership. Mass-circulated Bangla articles were not vernacular translations of knowledge and practices produced in metropolitan locations and disseminated in transregional languages like English. Vernacular was an extension of Bengali amateur photographers’ participation in global photography, as they remained grounded in their historical specificity. These amateur photographers were bilingual intellectuals who wrote in English for a global public and in Bangla for a Bangla-reading publics and refraining from translating culture as they moved across languages. Indeed, articulations in vernacular didn’t mean a venularization of practice; they indicate plurality of belonging and affiliation that crafted the pictorialist aesthetic of the Bengali amateurs. By unpacking this intellectual history, this paper decenters the Euro-US-centric history of pictorialism towards writing an interconnected history of the artistic movement, while also complicating the category of modern Indian art.

Influence of the ‘The Studio’ on Kanae Yamamoto

Kanae Yamamoto is regarded as one of the pioneers of the Taisho Democracy, the modernisation movement in Japan.
 Taisho Democracy refers to the movements and historical context in which Japan became more democratic and liberal across many areas, including politics, society and culture, during the Taisho period (1912-1926). The Free Drawing Education Movement and the Peasant Art Movement are considered to be part of the Taisho Democracy.

AI and Creativity: Exploring the Intersection of Machine Learning and Artistic Creation

Over the course of the past few years, the convergence of artificial intelligence (AI) and creativity has emerged as a central focus of study and innovation. An investigation into the dynamic interaction that exists between machine learning algorithms and the sphere of artistic production is presented in this study. This article investigates the ways in which artificial intelligence systems are being utilised to enhance and augment human creativity across a variety of artistic domains, such as the visual arts, music composition, literature, and other areas. Recurrent neural networks and Generative Adversarial Networks (GANs) are two examples of generative algorithms that can be used to generate artistic content. This type of content blurs the lines between human and machine creation. This paper analyses the concept of style transfer, which is the process by which artificial intelligence systems can imbue artworks with the aesthetics of well-known artists or artistic movements, thereby enabling newly developed forms of expression.

Relationships. Art-affined physicians, gifted artist patients and the debate on art from a psychiatric context after 1945

In 1945 the artist and art collector J.Dubuffet coined the term Art brut for original works by psychiatric inmates that had been created outside of traditions and art movements. In the following decades these works were at the center of negotiation processes in which not only psychiatrists but also exhibition organizers, gallery owners etc. increasingly became involved. Based on the evaluation of four exemplary pairs of psychiatrists and artist patients (H.Müller-Suur-P.Goesch; M.in der Beeck-E.Spießbach; J.Porret-Forel-A.Corbaz; L.Navratil-R.Limberger), this study explores the field of tension between art and psychiatry after 1945. The results of the subproject "Normal#Crazy Art. Works from aPsychiatric Context between Diagnostics and Aesthetics after 1945" of the German Research Foundation (DFG) research group "Normal#Crazy" (FOR 3031) are based on the evaluation of archival material, estates, interviews with contemporary witnesses and contemporary media. It is shown that different attitudes of the psychiatrists towards "their" artist patients strongly influenced their entry into the art world. In this context, impulses from beyond psychiatry were important in order to expand purely diagnostic views of the works with other approaches. The renewed interest in the individual creativity of patients after 1945 can be understood as areaction to their dehumanization under fascism and National Socialism; however, the focus on the pathologized personality of artist patients could obscure alternative perspectives on their art, just as the disposal of their works by psychiatrists could hinder their dissemination.

Romanticism Revisited: Exploring the Intersection of Romanticism with Enlightenment and Transcendentalism Through the Lens of the Neoclassicism

Romanticism originated in the last decades of the 18th century and peaked in the first half of the 19th century. Besides adoration for nature, the most significant aspect of the movement was the emphasis that it laid on profound emotion as the genuine source of aesthetic experience with remarkable inclination towards apprehension, terror, horror and awe with respect to sublimity. Romanticism spotlighted the exemplary achievements of “Heroic” individuals who were capable of setting up high standards for emulation. Although Romanticism mainly dealt with visual arts, music and literature, it heavily influenced historiography, socialism, naturalism, liberalism, conservatism and nationalism. Derivative art was highly disregarded by Romantics who believed that influence of works of other artists stood in the way of creativity. They held that “Romantic originality” was to be achieved through the process of creation from nothingness. Like any other Art movement, Romanticism was on the wane after a few decades, but it has always had an expansive influence not only on different branches of art but on life itself.

On universality of perception of movement and time in the artworks

The article examines the issue of perception of movement and time in works of fine art. The perception of works of art is not only related to perceptual processes and the cognitive sphere of a person, but is a personal and worldview issue, as it is related to the system of personality stereotypes - cognitive phenotypes formed in the process of life and professional experience. The conventional view on the perception of movement and its intensity in visual arts, which was considered as universal for a long time, was that the perception of movement from left to right is more natural and fast, and movement from right to left, respectively, is complicated, slow and less intense. These provisions became the basis for an experimental study of the perception of movement and time in works of art, in which two groups of respondents participated. The experimental group (N=38) consisted of people who are not closely familiar with the art and rules of composition arrangement. The control group (N=30) consisted of students professionally studying art history and visual arts. Both groups only included people whose first language had left to right writing. As experimental material, the subjects were offered to answer how they see the intensity of movement in paintings by famous artists. Each picture was presented in an original and a flipped image, where the movement was reflected in the opposite direction. The results of the study analyzes using the Kolmogorov-Smirnov λ statistical test, which demonstrates the presence or absence of regularities in the subjects' choice of picture numbers that correspond to forward or reverse movement in the picture. With the help of this test, a gender comparison of the features of perception of movement and time in works of art was also carried out. The results of the experimental study question the universality of the perception of movement and time in fine art and require verification in further research.

Twórczość Wanga Guangyi i jej wpływ na rozwój pop-artu w Chinach

Since the late 1970s, profound changes have been underway across all spheres of Chinese society, encompassing the arts, thereby giving rise to new artistic trends and transformative shifts within the entire artistic tradition. Chinese artists have increasingly asserted themselves on the international stage. Concurrently, as the West became intrigued by Chinese art, two prominent trends – political pop art and cynical realism – were notably burgeoning. Notably, political pop art emerged as a foremost artistic movement in China during the early 1990s. Central to this trend is a predilection for symbolism, serving as a conduit for artists to articulate their sentiments and societal perspectives. Wang Guangyi is widely acknowledged as the seminal figure behind this movement in China. This article delves into Wang Guangyi’s creative evolution and the genesis of political pop art, exploring the antecedents of this novel artistic trajectory, its conceptual underpinnings, and stylistic hallmarks.

Avant-Garde Europe in War: Wyndham Lewis, the Vorticist Shakespeare and the Timon of Athens Portfolio

This article examines the relationship between Wyndham Lewis’s Vorticism movement and Shakespeare, focusing on Lewis’s appropriation of Shakespeare’s play Timon of Athens and its impact on Vorticism’s visual aesthetics. In analysing Wyndham Lewis’s avant-garde approach, this article contrasts it with other artistic movements of the time —namely, Futurism and Cubism— and explores Lewis’s interest in the “automaton” and the “machine”, and how this fascination is linked to his reading of Shakespeare and his views on World War I. Overall, the paper demonstrates how Shakespeare’s work played a significant role in the development of Vorticism’s unique aesthetic vision during a time of great social and political upheaval.

Kresba nebo fotomontáž pro děti? Příklady inovativních přístupů ilustrace dětské knihy v meziválečném Československu

The aim of the paper has been to show the plethora of innovative approaches to the illustration of books for children in the interwar period in Czechoslovakia (1918–1938). In a journal focused on education and literature (Úhor [Fallow]), the first synthetic text devoted to the aesthetics of children’s books was published as late as 1935, written by Josef Novák. His text perceives the illustrations of children’s books as an important and distinctive artistic expression dependent on the drawing conception of a form. It highlights the most modern examples in the form of the book of Zdenka Marčanová and Toyen, Náš svět [Our World], but not without reservations; it provides another modern example in Karel Čapek’s Dášeňka, on whose typography Karel Teige worked in 1933. The artistic potential of illustration is thus dominated by the individual approaches of particular authors. As early as 1918, the anthology Nůše pohádek [A Basketful of Fairy Tales] brought some unconventional illustrations, adopting elements from progressive art movements. Jeníkovy pohádky [Jack’s Fairy Tales], written and illustrated by Jan Zrzavý in 1920, enriched the visual appearance of children’s books with variations of dream imagery and with the interconnection of image and text according to the author’s concept with the involvement of a visually dominant and aesthetically modified typeface. In particular in Milada Marešová’s drawings published at the turn of the 1930s, it is possible to observe a new way of working with traditional means of expression. Her drawings were a reaction to the contemporary foreign approaches of the New Objectivity. In the early 1930s, Josef Čapek’s book graphics and illustrations were characterised by a shift towards multimedia. The involvement of the avant-garde painter Toyen in children’s book illustration proceeds from Civilism to Surrealism. A distinctly avant-garde form was given to the experimentally conceived popular-educational book by J. V. Pleva Kapka vody [A Drop of Water] in the graphic design of Zdeňek Rossmann, who creatively combined typography with photomontage. Photomontage was used by Augustin Tschinkel in his popular-educational books, either together with Ladislav Sutnar, for instance in Malá vlastivěda [A Little Civics Reader]), or on his own in the book Zeměpisné rebusy [Geographical Rebuses]. The works of the last three mentioned avant-garde artists are typical examples of the progressive graphic design where graphic symbols have been replaced by illustrations. These publications were created within a new model of cooperation – collaboration between a typographer, designer and illustrator in an authorial whole. Significantly radical experiments applying constructivist aesthetics and involving photography were unique in children’s literature in Czechoslovakia.