Field Of Visual Arts Research Articles

The Virtual Applications in Support of the Studying in the Field of Visual Arts

Art education is based upon learning about cultural heritage and art masterpieces mostly through reproductions. The development of virtual and mixed reality platforms leads to variety of more and more learning apps that allow the students and pupils to explore different museum collections, antic cities and treasures from all around the world without leaving their classroom. This leads to a better quality of education for those who can’t afford to see the originals or have some disabilities. Those apps can help understanding complicated conceptions and display facts in more attractive ways. But their implementation in learning process should be supervised from teachers and professors because it can also lead to misunderstanding, if they are not chosen wisely for the purpose of the lesson or audience.

Evolution of the territorial field of art in a post-socialist city. Distribution patterns of private contemporary art galleries in Krakow, Poland, between 1989 and 2019

Private art galleries, due to their often short-lived nature stemming from the uncertainties inherent in the art world, constitute a good indicator of changes taking place within the urban space. The spatial patterns of their locations are the outcome of an interplay between the spatial choices of individual entities that respond to opportunities and constraints in different parts of the city. Such spatial patterns also reflect artistic hierarchies and oppositions within the field of visual arts, where artist-oriented and market-oriented art galleries represent different artistic communities (local, non-local) and generations (younger and aspiring, older and recognized). As a result, distinct art gallery clusters (market-oriented and artist-oriented) emerge and shape into spatial structures, which might be conceptualised as the territorial field of art. This concept is used here in a broad survey of the art gallery landscape of Krakow, a large city in southern Poland. This offers a unique opportunity to follow the development of an art gallery scene in a city widely associated with art and from the very moment when, in 1989, the newly introduced political and economic freedoms replaced the strict control of the communist regime removing barriers preventing the operation of commercial galleries and non-profit art spaces. The study involved building of a detailed database that enabled tracing the spatial choices (locations and relocations) of art galleries as far back as in the 1980s and then from 1989 to 2019. Along the detailed data review a qualitative analysis of reports in the press and on the internet provided an insight into the spatial contexts and motivations behind spatial decisions during different time periods. Four primary art gallery clusters were identified and their phases of emergence, growth and decline observed over the three decades were found to have been mutually interconnected, as well as linked with the broader functional changes developing in different parts of the inner city and with distinct artistic and spatial preferences of the successive generations of young artists and gallery owners representing them. • Private art galleries constitute a good indicator of urban change. • Territorial field of art is a representation of artistic oppositions and hierarchies within the field of art in the urban space. • Four art gallery clusters, two market-oriented and two artist-oriented, emerged in Krakow after 1989. • Development of art gallery clusters was driven by a combination of economic and non-economic factors.

A Study on the Perception of the Artistic Labor and Artist Occupation of Three Active Artists

이 연구는 3인의 시각예술분야의 작가를 대상으로 예술가 직업정체성과 예술노동에 대한 인식을 고찰하였다. 연구 결과 이들은 사회적으로 직업을 밝혀야 할 때 예술가 대신 작가, ‘강사’라고 하거나 적당히 둘러대는 것으로 나타났다. 그 이유는 예술가가 사회적으로 직업으로 받아들이지 않기 때문이며, 대학에서 취업도 잡히지 않는‘무직’으로 취급받기 때문이다. 또한 참여자들은 각기 예술노동에 대해 인식이 달랐다. 예술노동이 노동처럼 보상받아야 한다는 생각은 C가 가장 강했고 현실적으로 자신의 독자성과 시장수요를 맞춰가며 작품 판매에 적극적으로 노력하고 있다. 전업작가인 A는 작품을 적게 팔아도 그 액수에 맞게 간소하게 살고 있다. B는 예술노동을 사회적으로 ‘지원’받는 방식을 비판하고 예술가가 예술의 가치로 사회에 기여함으로써 ‘존중’을 받아야 한다고 생각한다. 이를 위해 예술가들이 예술의 공공성을 실현하고자 노력해야 한다고 보았다.In this study, I examined the perception of artist occupational identity and art labor for threewriters in the field of visual arts. As results of the study, they were found to be “creator” or “instructor” instead of identifyingthemselves as “artist” when they had to reveal their jobs socially. The reason is that artists arenot socially accepted as jobs, and they are treated as “unemployed” who do not get a job incollege. In addition, each participant had a different perception of art labor. The idea that artlabor should be compensated like labor was the strongest in C, and in reality, C is activelystriving to sell works by matching her own uniqueness and market demands. Full-time creator Alives simply according to the amount even if she sells a small number of works. B criticizes theway art labor is socially “supported” and believes that artists should be “respectful” by contributingto society as the value of art. B saw that to this end, artists should try to realize the publicity ofart.

Борьба с формализмом в изобразительном искусстве Татарии 1930-1940-х гг.

The paper aims to consider the role of the Artists’ Union of Tatarstan in the fight against formalism in the visual arts of the Tatar Autonomous Soviet Socialist Republic (TASSR) in the 1930s-40s. Scientific novelty of the work lies in presenting relatively unknown aspects of the fight against formalism in the Tatar art of the considered period, as well as in making sense of already known facts in their light. As a result of the study, it has been found that accusations of formalism were one of the main ways of fighting within the Union, which concerned entire groups and individuals alike. Such an organisational form as the Artists’ Union was a convenient tool for pursuing state policies in the field of visual arts.

The impact of visual thinking in medical education

Abstract Background Considering medical humanities, medicine and art are two areas that resemble each other at several features. Clinical diagnosis involves the observation, description and interpretation of information of which visual ones take an important one. The skills described are important skills in the field of visual arts, as well. Underlying a good clinical practice; clinical examination and observation skills constitute an important place. Although in several studies, these skills are shown to be improved by analyzing visual art pieces, courses intended to improve visual thinking skills are not that much common in medical faculty curriculums. Methods In this article, we share our opinion about the use of visual thinking in medical education by providing preliminary reflection results of learners from the second year of medical education about the visual thinking course that we have recently started to apply in Faculty of Medicine in collaboration with Faculty of Fine Arts in Izmir University of Economics in order to improve the observational skills of learners. Results Reflection results of the learners support the view that training art-viewing skill is helpful to improve observational and descriptive skills. Conclusions Increasing interdisciplinary programs on visual thinking in medical curriculums have the potential to overcome several professional development challenges in clinics.

The Tree of Life Today and Tomorrow in the Artworks at the Virtual Exhibition of the Same Name

This article examines the interpretations of the ancient symbol the tree of life in contemporary artworks in the field of visual art, presented at the virtual exhibition “The Tree of Life Today and Tomorrow”, the exhibition was opened on the website of the project with international participation “Art Initiatives 2020”.

Art scholarship: An instrument for ‘Making’ and ‘Selling’ creative young Ghanaian artists who engage in ‘proper Ghana art’

Ghana is a country with great talents, especially in the field of visual arts. Unfortunately, many of the enterprising artists are swept under the carpet because of no or poor scholarship on their art practice. In this 21st century, many of these young Ghanaian artists constantly exhibit the spirit of innovation, experimentation, and exploration in their artistic productions using conventional and non-conventional materials

Faithful to the Wor(l)d. Visual Texts, Responsibility and the Issue of Translation

Abstract My work here focuses on translation and migration, with specific reference to the field of visual arts, exploiting the kind of approach suggested by Loredana Polezzi – and mostly applied to linguistic translation – in her “Translation and Migration”. My contention is that, though apparently mimetic and universally understandable, images are culture-bound and they need being translated when crossing a border. The process of translation becomes more and more complex when the represented object/events/person is framed within a much-debated and politically overloaded issue. Focusing on a definite time (today) and a specific space (the Mediterranean Sea), I select some artistic projects by both Western and non-Western artists, pursuing a twofold objective. I want to show how the selected works raise the issue of responsibility and I want to reflect on the “language” they use to “translate” an untranslatable experience into an understandable message.

Research on the Class Origins of Modern Painting Audiences in Iran between 1940-1970 A.D.

Modern Iranian painting emerged and developed between 1940 and 1970 A.D. and became the dominant current in the field of visual arts of Iran. The Khorus Jangi Society which consisted of a group of pioneering artists had an important role to establish this new current.The continuity and authority of this current is not only owed to the producers and distributors of modern works of art but also to the consumers-audiences of them. Although the emergence and continuation of Modern paintiongs was understandable along the policy of modernization, and cultural developments in Iran, it was not understandable for all urban classes. At the same time, the efforts of artists and the government to reduce the distance between people in general and these works of art were not very successful. Main question is about the origin and social class dependency of these audiences .Collecting information from the mentioned texts, and comparing them with the result of sociological studies about classes and social strata in Iran, has not only been effective in determining the accuracy and validity of this scattered information but also to some extent has clarified the class origin of Modern painting audiences. As a result, it can be said that most of the audience of Modern painting, not all of them, was from the upper class and elite, and the urban middle class, including intellectuals and students in genral. Due to some cultural factors such as religious and customary beliefs, and fashionism resulting from the modernization in Pahlavid era, it can not be inferred that all of mentioned classes had been consumers of Modern paintings or at least the most sincere fans of it.

Two Paradigms – Two Art Worlds: On Constructing the Difference as a Strategy for Validating the Concept of the Artist and Art

The subject of the article is two art worlds in the field of visual arts which currently exist side by side in Poland. These worlds operate as part of two different paradigms of art, which is why two different definitions of the art and artist apply to them, and, in consequence, also different models of operation. What is important in the case of both communities is the process of constructing the difference and separating out their own communities of meanings, being a strategy to lend credence to their own concept of the art and artist, as well as their position in the art world. The aim of the article is to describe the process of constructing internal boundaries in the Polish art world and its division into two separate worlds, what means have been used in that process, as well as what are the consequences of belonging to the two separate art worlds for their participants.

История взаимоотношений Российского Алтая и Монголии ХХ века в сфере изобразительного искусства: хронология событий

The purpose of the research is to create a chronology of events in the history of relations between Russia Altai and Mongolia in the XX century in the field of visual arts. The article is the first to pay attention to creation of a chronology of this historical phenomenon; to identify previously unknown events and facts; to shed light on the activities undertaken by representatives of Russia and Mongolia who left a significant mark in the intercultural dialogue. Scientific novelty of the research lies in using the historical and chronological approach to studying the history of relations between Russia Altai and Mongolia in the XX century in the field of visual arts. As a result of the work, the researcher has identified the main events in the history of the relations, determined the time frame of the historical phenomenon and created a chronology of the events.

Way Beyond Art

AbstractOn the private and independent art scene, the male and female artist and curator addressing socio-political issues are recurring presences, explained by the art historian Beti Zerovc through the spreading of curating accompanied by a politicized discourse on how art and its institutions can contribute to building a better, more democratic, more egalitarian and freer world1. In this article, I will focus on male and female artists who address sensitive issues in society either to make them visible or to offer possible alternatives, using performance as a means of artistic expression due to its immaterial character and specific immediacy it implies.I propose a brief account of the history of performance in the field of visual arts, to review the role given to art in a close relationship with society, in a transversal and close relationship with the viewer, in a relationship with artistic institutions which is often critical. Finally, I will present a series of artistic projects carried out in the past ten years in Romania, to explore the dynamics of art - society - artist - spectator - institution and to identify the sensitive issues involved and the forms, values, lifestyles that art performance projects that I propose.

Taking speed seriously: motion, simultaneity, and context in map-making for historical analysis

ABSTRACT This article discusses ways of representing motion and simultaneity in cartography regarding historical processes. The main goal is to debate the visual language necessary for representing speed, rhythm, stops, as well as continuous and discontinuous movements in space. The analysis starts with an assessment of how the idea of motion has been represented in cartography in general, followed by an investigation into how historians have used these visual resources to represent historical processes. A panoramic analysis of studies focuses on the representation of motion in cartography leading to the second part of the article, with an exploratory approach on a venture in search of inspiration into the field of visual arts. Ideas were sought from a panoramic collection of traditional painting and comics, in which some essential concepts were found, especially the concept of transition between frames. In addition, some techniques from visual arts, such as sharpness densities, displacement effects, as well as shorten and lengthen effects, were considered to be relevant features in cartography. The conclusion highlights a great diversity of possible manners for representing motion and speed in maps of historical studies.

Meta-relativist agenda in contemporary visual arts theory and practice

The borders of visual art on the eve of the 20th-21st centuries are being extremely expanded both at the empirical and theoretical levels and so is the agenda of contemporary philosophy of art. Is the unprecedented polyphony of discourses a methodological drawback or is it a heuristic opportunity that can help to broaden our knowledge about the essence of art and the notion of a work of art? What is visual art and what is artwork speaking the 21st century language? The study examines the current trends and innovations in the visual arts field and how they can be interpreted. Authors come to conclusion that the times of normative or negativist approaches are over. The plethora of transformations is a value-in-itself and can be seen as a legitimate methodological situation, namely, as a meta-relativist turn. Examples that are presented in the paper deal with different sides of “a work of art formula”: span of discourse, artist, audience, art space, art market, new technologies, etc. Those cases demonstrate the ambivalence of current visual art practices that can be interpreted either as complete negation of the preceding standards or as new discourses that are equally legitimate with the older ones. Meta-relativist approach treats all existing discourses and practices as equally legitimate and thus provides the method to broaden our understanding of the essence of art and definition of an artwork. The study suggests that it is a contemporary tool for further intra- and inter-disciplinary dialogue.

Covid-19: Disadvantages Of Online Learning Towards Visual Arts Practiced-based Nature

Purpose: This paper discusses the disadvantages of online learning in the context of studio practice -based that focuses on practical skills. Discussions are made by looking at various angles of teaching and learning toward the online method and its implications for the field of Visual Arts. Among the aspects discussed are social isolation, limited feedback, focus on theory rather on practice, lack of flexibility, and lack of transformational power. In general, online learning can only serve as a supporting method to the field of Visual Arts that focuses on the construction of practical skills, where conventional learning method which is characterized by practice-based learning is more appropriate and effective.
 Design/methodology/approach: Review approach.
 Findings: The best practices for online learning courses are still evolving and are much more difficult to implement especially in terms of learning methods that would be suitable and effective for all areas. Direct training, standard methods, approaches and processes through practice-based are the best practices and are much more established, well understood and more effective for teaching and learning in Visual Arts.
 Practical implications: Developing a truly effective online learning course requires time, money, and a huge amount of expertise. Good online learning courses involve multimedia, specialized web development, technical support, and strong user interaction design. If done incorrectly, it will disrupt and negatively impact the learning process because of the lack of time concentrations and space limitations.
 Originality/value: This paper is original.
 Paper type: This paper can be categorized as a viewpoint

Exhibited, Recorded, Collected: Performance Art and Documentation in documenta 5 and 6

Using case studies of documenta 5 (1972) and documenta 6 (1977) in Kassel, this article investigates the role of documentation (photographs, videotapes, films, and relics) in introducing performance art at large international exhibitions during the 1970s. The analysis, conducted by scrutinizing archival sources at the documenta archive, examines the roles of documentation as a medium of performance re-presentation, as a means of distribution and dissemination of this art form, and as a vehicle for marketing and collecting works of performance art. On the basis of this analysis, the article argues that, regardless of the various ways in which artists conceive the relationship between live act and its subsequent re-presentations, documentation has emerged, since the early 1970s, as a constitutive element for the establishment and acknowledgment of performance art as an autonomous genre within the field of visual arts.

Hydro-sztuka w Polsce z perspektywy błękitnej humanistyki jako tratwy ratunkowej wobec katastrofy ekologicznej

Hydro-art in Poland from the Perspective of the Blue Humanities as a Life Raft in the Face of Ecological Catastrophe The aim of my article is to analyze the contemporary diversified notion of practices in the field of visual arts, performative arts, and artivism as related to the care of the aquatic ecosystems. I also intend to introduce the hydro-art in Poland as the category of the blue humanities – relatively recent branch of the new humanities, conceptualized in the Western academies and still little know in the Polish context of Central-Eastern Europe. I apply the navigating tools offered by the blue humanities are to argue for a visually non-obvious and discoursively experimental narrative, sensitive to the areas of ignorance and embarrassing truths hidden behind colors. The following examples of artistic or artivist projects form Poland are included to broaden the narrative of the blue humanities: Ewa Ciepielewska’s artistic and ethnographic drift on the Vistula River, the artistic residency FLOW/Przepływ; the hydrofeminist collectives such as Cecylia Malik and Sister Rives, and Bojka Diving Collective, the paintings of hydro-ecotopia by Małgorzata Wielek, and Justyna Górowska’s WetMeWild. The article also announces the transnational cooperation – the hydrofeminist artistic research project, Anti-Monument to a Shrimp, which I intend to implement together with Górowska, and the American ecosexual artists, Annie Sprinkle and Beth Stephens.

The History of Artistic Freedom as a Legal Standard in Western Culture: An Attempt at Periodization of the Process of Its Formation

This article focuses the historical process of a radical reformulation of the mechanisms of legal regulation of creative activity in the field of visual arts on the European continent, beginning from the second commandment in the Old Testament (the prohibition of imaging) to the contemporary constitutional protection rules in place in Europe and the United States (freedom of artistic expression). The study assumes that the transition from the ban on imaging to the freedom of artistic expression was a result of the long-term evolution of social relations, which involved a gradual liberalization of cultural life and the liberation of the sphere of art from the dictates of religion, politics (the State), professional associations, and the rules of the art market. It characterizes specific historical periods which changed the model of regulating culture and art by the State (or religious communities), and proposes a model of periodization of the history of the formation of artistic freedom as a legal standard.

Exhibited, Recorded, Collected: Performance Art and Documentation in documenta 5 and 6

Using case studies of documenta 5 (1972) and documenta 6 (1977) in Kassel, this article investigates the role of documentation (photographs, videotapes, films, and relics) in introducing performance art at large international exhibitions during the 1970s. The analysis, conducted by scrutinizing archival sources at the documenta archive, examines the roles of documentation as a medium of performance re-presentation, as a means of distribution and dissemination of this art form, and as a vehicle for marketing and collecting works of performance art. On the basis of this analysis, the article argues that, regardless of the various ways in which artists conceive the relationship between live act and its subsequent re-presentations, documentation has emerged, since the early 1970s, as a constitutive element for the establishment and acknowledgment of performance art as an autonomous genre within the field of visual arts.

Intermediality and the City Text: Towards an Analysis of a “City Picture”

This paper attempts to examine a specific type of text, called the “city picture”, by use of intermedial methodology. Firstly, it distinguishes between the “city text” and the “city picture”: the latter is understood as a particular type of urban text, which structural and semantic element is represented in a text, or its fragment, by the image of the city. The urban text is defined as both a system of signs (“the city as text”, in a semiotic perspective) and as a semantically connected group of texts about the city. Then follows an analysis of the main approaches to the intermedial study to identify the tools for further work. The prerequisites for the study of the urban text in the perspective of intermedial approach are the interdisciplinary nature of the urban text and the inclusion of the visual component both in the concept of the “city picture” itself and in the selected texts. On the example of the works Ch. Baudelaire, A. Bertrand, L.-S. Mercier, É. Verhaeren, G. Rodenbach the author tries to analyze different types of intermedial connections that the “city picture” can create. This includes an analysis of the relationships between literature and painting in selected works, then in the illustrated editions, as well as a “reverse” medial transition into the field of visual art. In the end it concludes that the described approach is applicable for the analysis of urban texts.