Creation Of Artworks Research Articles

Unique Construction of Evaluating Indicator in Children’s Art Works

It is a fact that children have feelings and comprehension on things differing from the adult. When they express their understanding and emotions to others, children usually show in a unique way that is also distinguished from adults. People should treat them with understanding and respect they deserves on their creating art works. It is the reason that in children’s world, the unique styles of drawing or writing, speaking and behaviors often contain a wealth of imagination and emotions. In terms of judgment standards, adults cannot construct individual evaluating indicators and evaluating strategy depending on own aesthetical standards to judge children. If we have less unique construction of evaluating indicators for children and pursuit results excessively, such as “truth” ,”great”, “good”, which is not conducive to the development of children’s physical and mental health. So, in order to know children’s paintings, we must see more paintings they drew constantly, listen their statement on their drawing, let them say more about paintings and talk with them about what it is in the painting and why.

Droping the Trowel: Three Discourses and One Creative Archaeology

Archaeology offers insight into the values of the contemporary world. From three separate discourses, which address different temporalities and sites, an overarching archaeological narrative has been established, which reflects the role of art and heritage in artistic destruction; education and archaeology as an educational and social tool; and materiality (in the present case, the Chinese pottery sherds in Al-Andalus) in the interpretations and acts of archaeologists. The visual values of archaeology and the role of the archaeological imagination to unify disparate archaeological practices will be explored here. The permeability of the spheres of archaeology and art allow us to explore both archaeological and artistic practices, as well as reflect on universal convictions and on the potentiality of archaeological practice to intervene in social contexts. With all this, archaeology acquires relevance insofar as it is a practice that is able to address the problems of the present day. In line with the so-called ‘creative archaeologies’, with their experimentation and creation of artistic works (in this case photographic), this paper aims to reflect on new ways to ‘see’ archaeology, which has never been more necessary.

Patient artwork created in an asylum: The making of an accidental artist

A discussion of the art work of Fernandes provides insight into the topic of the art of the mentally ill. Fernandes was a small crop farmer who began to create art works while a patient for over three decades in the Lisbon Miguel Bombarda Psychiatric Hospital. He started drawing in his 60s. His magnificent drawings, figures uniting men and beasts created with ballpoint pen on paper make him a stellar representative of patient artwork. The drawings were first revealed four years after his death in a film by director António Reis. More recently Fernandes’ drawings have been included in important international collections of Art Brut and outsider art.

Künstlerische Verdinglichung und die Widerständigkeit naturwüchsiger Dinge

Abstract. This paper deals with a paradoxon inherent to the concept of “reification”, commonly used with negative connotations only, as seen from the stance of phenomenological aesthetics. A positive understanding of the term is proposed in this pleading for a re-evaluation of our notion of a “thing” and its significance for the human access to the world. After an inquiry into Adorno’s ambiguous reflections on reification by creating art works, and reification of art itself, a discussion of the Japanese garden yields further elucidation concerning phenomena of artistic reification, as well as the ontological status of natural things.

'Festival in a Box': Development and qualitative evaluation of an outreach programme to engage socially isolated people with dementia.

We co-designed and piloted 'Festival in a Box', an outreach programme to enable socially isolated people with dementia to engage with and enjoy cultural activities in their homes. It comprised 3-4 weekly home visits, each led by a professional artist to create art works using materials brought in 'the box'. Activities included music, poetry, pottery, crafts and photography. We qualitatively interviewed 13 participants (6 people with dementia, 4 artists, 3 befrienders). Six participants with dementia completed, enjoyed and engaged with the planned visits. Main themes were: engagement, reflection on value of previous cultural activities, precariousness and isolation in current neighbourhood and the importance of a voice and being heard. Befrienders reported their preconceptions of what participants could do were challenged. Artists reported shifts in their preconceptions about dementia and the influence of the project on their professional practice. We propose that the 'Festival in a Box' pilot study suggests a means through which community arts festivals could work with socially isolated people with dementia to contribute to the creation of 'Dementia Friendly Communities'. A larger-scale pilot study is now needed to develop this hypothesis.

Collaborative art and the emergence and development of ethnographic knowledge and empathy

This article addresses the use of collaborative art in the creation of ethnographic knowledge and the development of empathy between the ethnographer – who is also a visual artist – and nine Chilean political exiles during the creation of artworks depicting the experience of exile for the art installation Geographies of the Imagination. Using the creation of the monoprint banner of one of the exiles, I show how the participatory method of making images made visible the development of empathy and the emergence of an embodied and dialogical form of ethnographic knowledge. The processes of collaborative art making and empathetic development had in common the involvement of emotional, imaginative and cognitive stages. The images themselves became checkpoints for the verification of the mutual understanding between ethnographer and informant. As the images were created and revised, they became the basis for sharing imagination and emotions – those of the exiles and my own – which led to a dialogical understanding of exile. Knowledge emerged in the interaction between the words, gestures, emotions, images and memories shared by the project participants. My unique position as anthropologist/ethnographer and visual artist allowed me to observe while participating in the creation of ethnographic knowledge.

The Multi-Scale Network Landscape of Collaboration.

Propelled by the increasing availability of large-scale high-quality data, advanced data modeling and analysis techniques are enabling many novel and significant scientific understanding of a wide range of complex social, natural, and technological systems. These developments also provide opportunities for studying cultural systems and phenomena—which can be said to refer to all products of human creativity and way of life. An important characteristic of a cultural product is that it does not exist in isolation from others, but forms an intricate web of connections on many levels. In the creation and dissemination of cultural products and artworks in particular, collaboration and communication of ideas play an essential role, which can be captured in the heterogeneous network of the creators and practitioners of art. In this paper we propose novel methods to analyze and uncover meaningful patterns from such a network using the network of western classical musicians constructed from a large-scale comprehensive Compact Disc recordings data. We characterize the complex patterns in the network landscape of collaboration between musicians across multiple scales ranging from the macroscopic to the mesoscopic and microscopic that represent the diversity of cultural styles and the individuality of the artists.

The Virtual Reality Art Installation Endocytosis: Evolving from a Flat Land into a Three-Dimensional World

Virtual reality systems are an ideal platform for exploring spatial effects because of their ability to combine stereo imaging techniques and interactive real-time graphics. They allow the creation of artworks that, on the one hand, exhibit a dynamic organization of the environment’s spatial depth and, on the other, create an interaction with the stereoscopic optic flow. In this article, the author discusses the advantages of horizontal stereoscopic displays and describes how she has used the Responsive Workbench to display the evolution of a flat land into a three-dimensional world in her artwork Endocytosis. She uses endocytosis—a fundamental cellular trafficking process that moves material into the intracellular space—as a metaphor for this evolutionary process.

It’s Not Easy Being Green: The Failure of Abstract Art in Gottfried Keller’s Der grüne Heinrich

This article revisits the art and artists of Gottfried Keller’s Der grune Heinrich , a novel concluding with a conservative stance against artistic innovation, in order to explore how pre–twentieth-century literary fiction advanced the development of unconventional modes of artistic expression such as abstract art. Through comparative analysis of two fictional artworks described in the novel, I argue that Keller’s nineteenth-century bildungsroman preconditions radical twentieth-century art forms by establishing the self-awareness of the artist as necessary for the creation of unorthodox artworks. This investigation of cross-medial exchange emphasizes the cultural work performed by literature in furthering and fostering innovative visual media.

Analytical Study of the Status of Myth in the Creation of Literary and Artistic Works

The prevalent question raised in literary theories has been the quiddity of literature. However, the question of “what is literature?” is a philosophical issue. On the other hand, the relationship between myth and literature has always been raised by most scholars and many have considered literature a subtype of myths. In this paper, while pointing transiently to the concepts and definitions of myth from the perspective of the great thinkers, with a different view, the role of myth in creation of artistic works is discussed. In this review, the critic attempts to interpret the literary work - or some sources in the text - to its prototype or archetype with its deep structure. With the help of this method, tracing the old or new mythology, distorted or worn, it is understood how they have passed over the whole cultural field and have found their specific formation. Keywords: Literature, Myth, Creation, Imagination, Demythologisation, Remythification, Gilbert Durand

OBJEKTIVITAS IMAJINASI DALAM SENI

In reality, art structure is dual and relational. A work of art can beviewed as a subjective and objective ‘structure’. Arts always appear ascontinuous acts in imagination. The artists exist in the material world (the worksof art) and in other life experiences. Besides, the objective understanding ofimagination in art is expected to enhance epistemological ways of thinking andunderstanding as a reaction against a tendency towards verbalism of reality andtruth. Finally, it is expected to motivate someone to be wiser, highly consciouswith his willingness to create art works, as well as to build a system or frameworkin the forms of unique and personal expression.Keywords: art structure, objectivity, imagination

Artworlds-and Scienceworlds?

The concept of the artworld (or artworlds) is fundamentally important in the arts because it relates to the very definition of art according to the now widely accepted institutional theory of art. Singular and plural forms of “artworld” are used, indicating that it is not a homogeneous entity but a mosaic of different groupings. The term was introduced by Arthur Danto (1924–2013), an American philosopher and art critic, and it meant the cultural context of art (1). According to Danto, the existence of artworld provides intellectual content that enriches individual artworks. The institutional theory of art was formulated by another American, George Dickie (1926–), and relates to the network of institutions that link artists, artworks, and the public (2, 3). Thus any work of art is presented to the public within the context of a particular artworld. In this perspective, the definition of what constitutes an art work goes beyond defining just the attributes, such as, in the case of a painting, its composition or color palette. The artistic quality can reside outside the art object, as is the case with conceptual art (4). A sociologist's view of the artworlds has been provided by Becker (4). He sees artworlds as collectives of people whose activities are necessary to create art works. …

Cuts to Beck’s novel Currency

This is an excerpt from Sarah Beck’s novel Currency. Created as a gift of thanks to the late Kurt Vonnegut, Currency is a humorous story about money, art, fakes and sea pirates. The novel is Sarah’s self-reflexive take on social economic exchanges both within and without the art world. Currency is an odd document – it seeks true interdisciplinarity not just between mediums but in the search for a plurality of possible ways to express and to approach artistic research. Chapter-by-chapter, the self-reflexive narrative guides the reader through musings on the experience of the creation of ephemeral artworks using colloquial language, illustrations, jokes and parables. Written as her master’s thesis, Sarah was obliged to attach an academic explanation, which she has maintained as the last part of her book. Art is a hell of a commodity, and Currency is a hell of a book. Visit sarahbeck.com for more information about Currency and her artistic practice.

Hardware‐Based Non‐Photorealistic Rendering Using a Painting Robot

AbstractWe describe a painting machine and associated algorithms. Our modified industrial robot works with visual feedback and applies acrylic paint from a repository to a canvas until the created painting resembles a given input image or scene. The color differences between canvas and input are used to direct the application of new strokes. We present two optimization‐based algorithms that place such strokes in relation to already existing ones. Using these methods we are able to create different painting styles, one that tries to match the input colors with almost transparent strokes and another one that creates dithering patterns of opaque strokes that approximate the input color. The machine produces paintings that mimic those created by human painters and allows us to study the painting process as well as the creation of artworks.

Scale to Size: An Introduction

Art HistoryVolume 38, Issue 2 p. 250-266 Original Article Scale to Size: An Introduction Joan Kee, Joan KeeSearch for more papers by this authorEmanuele Lugli, Emanuele LugliSearch for more papers by this author Joan Kee, Joan KeeSearch for more papers by this authorEmanuele Lugli, Emanuele LugliSearch for more papers by this author First published: 22 March 2015 https://doi.org/10.1111/1467-8365.12148Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat Volume38, Issue2Special Issue: To Scale. Edited by Joan Kee and Emanuele LugliApril 2015Pages 250-266 RelatedInformation

Visual art curricula, art teacher goals, and instructional time: Findings from an international survey

Abstract This article highlights selected responses from participants in twelve nations to an international survey of art educators posted on the International Society for Education through Art (InSEA) website from January to April 2013. Several themes emerging from this study are: 1) a shift in curricular emphasis from the creation of artworks to the goal of engaging students in creative and critical thinking; 2) problem-solving and design viewed as distinct areas of focus within the art curriculum 3) educational policies shifting some responsibilities from the states to the national level as assessments that promote international comparisons gain influence 4) in curricular groupings of art disciplines, there may be greater opportunities for student growth and teacher collaboration but also questions of time and resources to address and 5) art educators in this study are influenced by standards but are also influenced by the priorities of the educational context in which they teach.

Arts and Education for Underprivileged People: Community-based Art Projects Case Study

Many people lack opportunities to participate in art programs which connect their lives to a bigger community. Through the description of five case studies for underprivileged people, community-based art projects show the positive impact on people lives. All participants, as a group of individuals, realized the importance of connecting to other people, and developed the joy of accomplishment and the sense of responsibility for their community via the process of creation of artworks.

Changes of Statistical Properties During the Creation of Graphic Artworks

During the creation of graphic artworks, we studied the evolution of higher-order statistical image properties (complexity, self-similarity, anisotropy of oriented luminance gradients, the slope of log–log plots of radially averaged Fourier power, and the fractal dimension). First, we analyzed two series of lithographs by Pablo Picasso, which represent transformations of highly aesthetic artworks. Second, one of the authors generated a dataset of 20 grayscale drawings using the computer as a drawing tool. The dataset comprised also the unfinished state images that were saved throughout the production process. The final states of the drawings were compared to versions of the same drawings, in which the constituent pictorial elements were shuffled, thereby diminishing the overall compositional intent of the artist. Results show that self-similarity was a property closely associated with artistic merit in the different types of images analyzed. In a psychological experiment, 20 non-expert participants evaluated the original abstract drawings as more harmonious and ordered but less interesting than the shuffled versions. Our study demonstrates that statistical image properties can be studied during the creation of artworks, if artistic and analytical processes are closely coordinated in a computer-based approach, which offers the possibility to produce appropriate control stimuli.

Comparative Study of the Intuition in the Artist and the Psychological Process of Sublimation in the Creation of Artistic Work in Plato and Freud Viewpoints

Various approaches in the formation of artistic work has created a vast arena of highly key issues in philosophy and psychology areas; the two highly important intuition and sublimation categories are among those concerns. The main topic in this research is creating an artistic pieces and parallel viewpoint and compatibility of the two categories in it and the path it has adopted between the two areas of philosophy and psychology. In the present study, authors search the role of intuition based on Plato's viewpoints, especially in Ion epistle and sublimation in Freud's viewpoint in creation and formation of artistic work and then convergence and unity of these two theorists in two different media with single result in artistic creation. The present research provides an analytical description and data is collected in literature review.

Warna Dingin Si Pemberi Nyaman

Color is a form of non-verbal communication. It is not a static energy and its meaning can change from one day to the next with any individual. Human experiences color through vision. Color is not something that is fixed to an object or surface, but an event that is triggered only in the observer. Human’s eyes all work in the same way, what happens after that is another matter. A color and composition in color can mean something quite different to every person who looks at it. Different cultures endow color with different meanings depend on a lot of things. This research is all about Purple, Blue, and Green as an individual color as well as in composition can give different impacts to different audiences depending on their background or contexts. The research method is using literature by collecting data from some resources, observing, and analizing the colors’ meaning and their impacts to audience in Jakarta. The result of research can be used as a basic pattern to create art works based on color perception and culture.