Experience Of Artwork Research Articles

Dijital Çağda Sanat Deneyimi: Yüzeyselleşme, Anlam Kaybı ve Instagram

New technologies in the digital age brought some transformations in the production, expression and experience of artwork. By integrating art and digitalization, artists and art galleries can use social media applications for promotion, marketing, interaction and participation purposes. Instagram is a prominent social network that art galleries and museums use so the audience experience art. Meanwhile, the audience can share their art experiences through photos and videos using the application. So, the user is focused on sharing on Instagram rather than having a real art experience in a physical environment, carrying the possibility of the superficialization of the art experience. This study focuses on examining the effect of social media on disrupting the art experience. To reveal the relationship between social media and the art experience, the perspectives of artists who are among the audience were consulted, and in-depth interviews were carried out with 10 artists. Although the art experience in the online environment is accepted, it has been concluded that the truly valuable experience is encountering the work in the physical environment.

Reflections on the genre of philosophical art installations

We organized our reply to the rich set of commentaries on Erik’s inaugural lecture—The affordance of art for making technologies—around the following five themes. (1) The experience of artworks and whether such experiences can be described in terms of the affordances of artworks. (2) The possibility that engagement with artworks offers for the transformation of ourselves and the sociomaterial practices we take part in. (3) The claim that artworks can serve as what Annemarie Mol describes as “material propositions” that can be used to engage philosophical reflection. (4) The temporality of making practices and how art installations can be thought of as places in which past, present, and future meet. (5) How art could potentially enable a better embedding of technologies in society.

The detail is more pleasant than the whole: Global and local prime affect esthetic appreciation of artworks showing whole-part ambiguity

Esthetic experience is the result of the coordination of different cognitive processes. It has been widely reported that top-down processes of orienting of attention interact with bottom-up perceptual facilitation occurring during esthetic experience of artworks. Here we use whole-part ambiguity as a tool to test the effect of global and local prime on esthetic appreciation of complex visual artworks. To this aim 139 healthy young individuals completed an esthetic judgment of Arcimboldo’s ambiguous artworks, which were preceded by a local or global prime. Their perceptual style was also assessed using a Navon task. We found that local prime significantly enhanced esthetic appreciation of ambiguous portraits. Also, we found that prime level interacted with individual’s perceptual style: participants showing local perceptual style liked less ambiguous portraits when they were preceded by global prime. Overall, the present findings shed some light on the processes involved in esthetic experience, pointing towards a pivotal role of re-direction of attention towards perceptual features of the artworks and its interaction with individual factors, such as perceptual style.

Effects of creativity on aesthetic experience7

It is often neglected that the experience of artwork is a creative act, and one which requires the audience to be creative. This exploratory study aimed to examine whether creative activity and measures of pe rson`s creativity are correlated with the aesthetic experience of paintings. Eighty-two participants rated 21 paintings, including 7 figural traditional paintings, 7 semi-abstract works, and 7 abstract works. Participants were randomly assigned to one of two experimental groups. One group first created collages and then rated the paintings on five aesthetic preference scales, while the other group first rated the paintings and then created collages. Multilevel regression analysis with two crossed random effects (participants and paintings) was used. Results showed that performing a creative activity prior to rating artwork positively influenced ratings of artwork creativity. In addition, collage creativity was positively correlated with ratings of (semi)abstract paintings as beautiful. It is hypothesized that people become more open to new, unusual experiences, are more flexible and act more freely in their decisions when performing a creative activity, which reflects positively on stronger preferences of paintings.

Timing the aesthetic experience

Even if we accept the arguments of those who argue against the very notion of “aesthetic experience”, there is still some latitude for questioning how the experience of artworks can affect or be affected by the duration of that experience. There is the issue, on the one hand, of the way aesthetic transactions manipulate our sense of time and, on the other hand, the issue of whether we can assess the proper duration of those experiences. The former looks for a kind of intra-chronology of the work involved, and is the topic of numerous investigations, for instance, as to the specific nature of fictional time. The latter inquires about the duration of the exposition to artworks and whether we can stipulate or otherwise evaluate the time needed for a relevant or rewarding aesthetic transaction to take place. To the best of my knowledge, this issue has been seldom and only indirectly addressed.

The Sober Joy of Thieving

THE SOBER JOY OF THIEVING Radical Prototypes: Allan Kaprow and the Invention of Happenings by Judith F. Rodenbeck. Cambridge, MA: MIT Press, 2011. Pp. 312, 47 illustrations. $34.95 cloth, $17.95 paper.The Museum gives us begins Judith F. Rodenbeck's excellent Radical Prototypes: Allan Kaprow and the Invention of Happenings (ii). The aphorism is from Indirect Language and the Voices of Silence, one of the central texts that mark phenomenologist Maurice Merleau-Ponty's engagement with aesthetic theory.1 Originally published in 1952 in Les Temps Modernes, the literary journal synonymous with left-leaning, postwar Continental intellectualism, Merleau-Ponty's essay takes issue with the way our perception of art is institutionalized.2 He critiques not only our conventional historical understanding of artistic style but also the conventional reception framework that museums offer us; both, he proclaims, deaden our experience of artworks and restrict their ability to truly extend our visible world. The museum in particular disappoints because it too often serves as meditative necropolis for artworks rather than contextual historicity of life for them.3 In their standard form, they compel us to appraise and consume art retrospectively as collection of objects, sculptures, and canvases in artificial communion. We as society have invented these museum environments, and therefore our art viewing is tainted by this act of stealing artworks from artists and from their naturally evolving context. Merleau-Ponty suggests that, paradoxically, the very museums we visit with a somewhat spurious reverence inevitably produce in us thieves' conscience.4Radical Prototypes turns Merleau-Ponty's dictum on its head. Rodenbeck evokes it conventionally in her first chapter, describing the guilty conscience that accompanies her own art history of an artistic practice as ephemeral, marginal, and resistant to institutional display as happenings. Conceived by artist Allan Kaprow in 1958, happenings were kind of performance art that resisted theatrical performativity and sought instead to blur the definitional boundaries between creator, performer, spectator, and participant. Carefully organized and scored, happenings were nevertheless nonnarrative events; throughout the 1960s, Kaprow and others depended increasingly on improvisation and the unexpected as key factors of this processoriented, open art form. Perhaps to spite this guilty conscience, Rodenbeck refashions the meaning of Merleau-Ponty's dictum in the six chapters that follow, using this appropriation to frame her discussion of an entirely different relationship between art and theft in the 1960s. The book positions artist Allan Kaprow and those who took up the artistic practice of happenings he pioneered as exemplars of an artistic conscience in action. Happenings arose out of keen interest in reconstituting some of the formal, artifactual evidence left by the 1920s avant-gardes. In its failure or its success, this figurative reconstitution was base from which artists like Kaprow, Jim Dine, Claes Oldenburg, Robert Whitman, and Red Grooms could depart in the elaboration of their own artistic projects. Stripped of Merleau-Ponty's moralizing overtone, the guiding conscience that Rodenbeck locates in happenings inflected this collageinspired performance paradigm with multiplicity instead of duplicity, subversion instead of guilt, and transparency instead of secrecy. Happenings are positioned as kind of transitional aesthetic thievery. They occupy the definitional boundary between modernist detournement (a politicized practice of appropriation) and neutral postmodernist pastiche.With her narrative, Rodenbeck deliberately sidesteps the dualism of formalism and the avant-garde that has dominated many of the art historical narratives of the 1960s. If happenings are best characterized as intermediary, open-ended, relational, and interdisciplinary, then their historicization would do well to reflect this, she reasons. …

Questioning the necessity of the aesthetic modes

I question both the necessity and the sufficiency of Bullot & Reber's (B&R's) aesthetic modes. I argue that they have not shown how the aesthetic modes are truly "aesthetic"-how they concern our experience of artworks as opposed to other kinds of experiences or why the modes are individually necessary for one. I suggest the causal dependence of the modes should be modified.

Drawing Involves Caring: Fostering Relationship Building Through Art Therapy for Social Change

The art therapist's ability to foster the creative process in service of relationship can be a foundation for infusing a social change paradigm into existing practice. For clients affected by discrimination and stigma, art therapy can promote empathy and understanding of the societal forces involved. In this qualitative study, 46 people participated in a guided viewing experience of artworks by individuals who were living with mental illnesses. After providing data on their familiarity with mental illnesses, their attitudes, and their level of empathy, viewers created an art image in response to an exhibiting artist and participated in a discussion. Results indicated that the facilitated experience helped to foster empathy, allowed viewers to relate to the exhibiting artists, and promoted attitudinal change. By facilitating meaningful art-viewing and art-making experiences art therapists can attend both to individuals in need and to community structures that hamper full participation in society.

Examining “response”: video‐based studies in museums and galleries

PurposeThis paper aims to use a video‐taped fragment of conduct and interaction in a museum to illustrate the analysis of visitors' interactionally produced response to works of art.Design/methodology/approachThe method draws on ethnomethodology and conversation analysis to investigate the social and sequential organisation of people's action and interaction. The fragment discussed as part of this paper sheds light on the social and interactional production of people's response to and experience of exhibits.FindingsThe detailed analysis of one video‐fragment illustrates how the analysis progresses from an inspection of the sequential organisation of talk to an examination of the sequential organisation of verbal, visual and bodily conduct. The analysis also makes a small substantive contribution to current debates on people's experience of artwork in museums. In particular, the findings suggest that the experience of works of art is not a subjective and cognitive response to the objects, but arises in and through socially organised, embodied practices at the exhibit‐face.Originality/valueThe paper discusses an innovative way to analyze video‐data, and makes a contribution to the growing body of research in arts marketing and museum marketing on the exhibition floor.

The Death of Art: On Kuspit's The Cult of the Avant-Garde Artist

The Cult of the Avant-Garde Artist, Donald Kuspit, 1993, New York: Cambridge University Press, 175 pages. which his reviews of hundreds of works of visual art have appeared in major art magazines and in Art Criticism, the journal he edits. Kuspit is an art historian, philosopher, and art critic who is trained in psychoanalysis and well-versed in postpsychoanalytic thought. He employs concepts from Freud, Fromm, Winnicott, and Kohut-along with his own contributions to psychobiography and psychodynamic personality theory-to explicate the shift that has taken place from avant-garde to postmodern art. His approach to criticism focuses the same kind of attention on visual art and artists that has long been given to literature and writers. The book brings together a cultural critique of capitalism and of postmodemism with a penetrating psychological analysis of the cult phenomena that pervade the contemporary art world. Kuspit is keenly aware of the narcissistic dangers that abound for artists who attempt to shape an identity while living in a culture that values celebrity over authenticity, and surface over substance. Kuspit's writing is rich and expressive. His method is more aligned with what Baudelaire called poetic as opposed to mathematical criticism (1846/1964, p. 38). It is criticism that attends to what the artist evokes-not just what the artist's work signifies. Because he is as comfortable in the art world of Soho as he is in the academic settings of Cornell University and The State University of New York at Stony Brook where he teaches, his style is both hip and scholarly. Kuspit begins with the assumption that most avantgarde art has a therapeutic intention. He further posits that As an artist and psychologist, I have certain expectations for the art criticism I read, expectations that are not easily fulfilled. I look for writing about art that enhances my experience of art works and that deepens my understanding of artists, without doing injustice to either. Unfortunately, it is all too easy to do injustice to both. At its worst, art criticism can unwittingly reduce the experience of the sublime and beautiful to mere perception, of creativity to ordinary behavior. It can also carry interpretation too far, committing deterministic reductions and intentional fallacies and risking either romanticizing or pathologizing the artist. (Positivism and Freudianism have both taken a toll on our understanding of modern art.) What I need, therefore, is balanced art criticism that is both sensitive to the subtle phenomenology of aesthetic perception and that leaves the psyche of the artist intact. Good art criticism also meets more general needs. It helps us understand why we like what we like. It gives meaning to our preferences and interests. Moreover, it puts things in context: It creates a historical and cultural backdrop for what we see. It also allows us to see more, or more clearly. It reveals a previously hidden order of perception or a new perspective, orienting us toward experiences in the world-and in ourselves-that we might otherwise miss. The Cult of the Avant-Garde Artist meets many of these needs. It does so because Kuspit has successfully integrated aesthetic and psychological perspectives. The book makes explicit Kuspit's theory of 20th-century art, a theory evolved over several decades during neo-avant-garde, or postmodem art at once mocks and denies the possibility of therapeutic change. As such, it accommodates the status quo of capitalist society, in which fame and

A phenomenologic research study of a client's experience in art therapy

A phenomenological research approach to a client’s experience in art therapy is described and illustrated here with a description and discussion of the findings of the artmaking phase. Research investigations in art therapy commonly focus on the potential usefulness of the art product for assessment purposes and the effectiveness of art therapy. Nevertheless, what art therapy is and how it occurs does not appear to be well understood or articulated. “Meaningful theoretical constructs have not yet been developed from the matrix of art therapy itself” (Rubin, 1984, p. 190). Instead, art therapy tends to be viewed and understood from the theory and language of other disciplines. Phenomenology calls for a return to the subjective-the experience as it is lived-to gain understanding. Previous studies in art therapy that have used phenomenological principles have tended to focus on the subjective experience of a particular psychological disturbance (i.e., schizophrenia and manic depression) (Wadeson, 1980) or the resolution of bereavement issues in children (McIntyre, 1987, 1988) and have used client’s art products and verbal descriptions to arrive at a greater understanding of these experiences. The purpose of the study described in this article is to gain understanding of a client’s experience in art therapy and to demonstrate a research approach that may be useful in gaining knowledge of phenomena that occur in art therapy. This research differs from previous research in that it attempts to overcome the tendency to focus on the art object apart from the person, to tease out the art therapy experience itself from the rich detail of the narrative and to describe what is given versus interpreting it from a particular theoretical perspective. This research study is grounded in a client’s verbal descriptions of her experience in art therapy versus an art therapist’s observations of a client’s nonverbal descriptions and focuses on the art therapy experience itself versus a particular issue or mode of art therapy. The study constitutes a contribution to art therapy research through a research design that uses the verbal descriptions of the client as the main source of data, subjects them to a systematic analysis and tries to stay close to the experience and meaning systems of the client. The research question was: What meaning is revealed in a client’s descriptions of her experience of artworks created in art therapy over time? Specifically: