Field Of Visual Arts Research Articles

Turning a City Inside-Out.

Abstract The spatial dynamics were difficult to overlook during the 2011 movements of revolt in Tunisia, pushing the damned in the center of public attention in the concerted effort of turning prevailing authoritarian politics inside–out. Venturing in the spatial contestation central in these revolts, the mesmerizing occupation and re-appropriation of symbolic places, such as the Kasbah Square or Bourguiba Avenue takes center stage. These movements of occupation and re-appropriation of spatial power produced momentous heuristic enclaves of another order, projecting dreams of a renewed inclusive free and dignified body politic. Based on a long-term research in the field of visual arts in Tunisia between 2011 and 2017 and combining various postcolonial critiques, this article proposes to show how violent processes of destruction preceding these processes of re-appropriation and occupation are too often overlooked. Police stations, the presidential personality cult and the private estate of the authoritarian regime will be identified and treated as spatial nodes that maintain the compartmentalization and fragmentation of urban space in place. Moreover, by including in the analysis the often-omitted Islamist occupation and re-appropriation of mosques and public space contesting the ongoing constitutional political dynamics, this article hopes to elucidate why the revolutionary process failed in the production of a long aspired liberated and dignifying space, as the revolutionary re-appropriation of these symbolic nodes of power was not included in any political agenda.

Through Projects in Art Educatıon Establıshıng A Cultural Lınk Between The Past and The Future

Oyun, çocuğun iç dünyasını açığa çıkarmaktadır. Oyun yoluyla çocuk gelecek yaşantısında gerekli olacak her türlü bilgi ve beceriyi de kazanmaktadır. Aynı zamanda çocuk oyun yoluyla içinde yaşadığı toplumun kültürel değerlerini de öğrenmektedir. Sanatla oyun arasında da sıkı bir ilişki bulunmaktadır. Eğitim ortamlarında da çocuğa, oyun yoluyla çoğu şeyler kazandırılmaktadır. Oyunda oynanan oyuncaklar hangi ortamda olursa olsun öğrenmeye aracılık etmektedir. Bu araştırmada amaç; özellikle Görsel Sanatlar dersi öğretmen adaylarının öğretmenlik hayatında kullanacağı bir oyun ve bu oyuna aracılık edecek bir oyuncak tasarlayarak, bu deneyimlerini projeye dönüştürme becerisi kazandırmaktır. Bu amaca yönelik olarak 4. Sınıfta eğitim gören 17 görsel sanatlar öğretmen adayı için geliştirilen 5 haftalık bir program uygulanmıştır. Uygulanan program, öğretmen adaylarının kendi kültürel değerlerini oyun ve oyuncaklara aktarımı sürecini kapsamaktadır. Araştırma tek örnek grup üzerinde yürütülen eylem araştırmasıdır. Araştırma verileri, proje bilgi yaprağı ile proje değerlendirme formlarından oluşmaktadır. Araştırma verileri, öğrencilerin ödevlerinin bir parçası olan bu formlarına ait dokümanlarının uzman değerlendirmesi ile içerik analizinden oluşmaktadır. Öğrencilerin tasarladıkları oyun ve oyuncaklar ile kendi geçmişlerine ait kültürel değerlerinin farkına vardığı, proje oluşturma deneyimi ve görsel sanatlar alanına katkı sağladığı sonuçlarına ulaşılmıştır.

Black Cube: The Stage for Performance in Singapore, 1995–96

Abstract: This article proposes the term 'black cube' to describe some forms of performance art in Singapore in the mid-1990s. While Claire Bishop had persuasively theorised the "gray zone" for theatrically-influenced performance art being presented in American art institutions, her gray zone does not describe the situation in Singapore. The gray zone presupposed a history of suspicion between the fields of visual art and theatre, a history that existed in New York through the writings of Michael Fried. This lineage does not properly exist in Singapore, as there has been a close relationship between visual art and theatre. This relationship deepened especially after 1994, when an incident with the Singapore state threw practitioners of both art and theatre toward a united front. This article will discuss events such as THE CUTTING EDGE [no, not the arts festival …] (29 February–30 March 1996), an experimental theatre festival by TheatreWorks (renamed T:>Works in 2020), which presented work that hovered on the precipice of art while determinedly declaring themselves as theatre. Jailani "Zai" Kuning's Growing Madness: The Day After (7–9 March 1996), Lee Wen's Hand-Made Tales (14–16 March 1996) were two works from this festival that demonstrate the character of the black cube. By discussing these case studies, the article expands upon Bishop's theorisation of performance space from a Singaporean lens. Unlike gray zone works, which were habituated to the white cube, black cube works continued to antagonise the categories of visual art and theatre through denying objective distance in the work.

Opportunities of innovator technologies in the educational process

Digital generation and digital native concepts have become today’s terms. Along with technological developments, it is important to look at the changes with technological tools in the education process. Identifying innovator technologies used in the education process will contribute to future research. In this context, the aim of this study is to examine the documents related to the opportunities of innovator technologies in education scanned in the Web of Science database thematically and methodologically. In order to achieve this aim, a case study, one of the qualitative research methods, was adopted. In the selection of the articles included in the study, the sample was not determined and it was aimed to reach the whole universe. In this context, the documents in the Web of Science database were accessed through the library system of the university. While scanning the documents, the keywords ‘education’ and ‘technology’ were searched in all fields, and the keyword ‘innovator’ was searched within the title and all studies were found. The findings obtained from the research are explained in detail with the content analysis method. The research findings reached 505 documents. As a result of this research, it was concluded that the most work was carried out in 2016. It was concluded that the first study was carried out in 2004. With regard to the document type of the published studies, the most were proceedings papers (138). In the field of visual arts, the field in which the teachers’ work related to technology was mostly carried out was Education and Educational Research (119). The language most used was English (162).
 Keywords: Innovative approach, technology, education, educational opportunity;

Applied Art – A Prominent Choice of Next Generation Artists

Abstract: Applied Art has been prevalent for ages and is being used by the commercial artists in the everyday life to earn livelihood. Applied Art helps to give a look and feel to the product, which attracts customer towards it. Without attraction and beauty, even a very useful thing is not given its appropriate value. Whenever a customer purchases a product, first the customer goes through its packaging design and visual appeal. Once the customers are attracted towards a product, after that only they turn towards its utility and price. In the olden days, the works related to applied art were done manually, hence they were very difficult and challenging. After the introduction of Computer Graphic Software’s, designers can turn their visualization into reality in minutes. This has encouraged many youngsters to choose Applied Art as a profession in the field of visual art. This is directly related to their livelihood because there is huge existing demand for designs related to applied art like logo design, brand campaign, product catalogue design etc.

The narrative nature of early European landscape painting and its philosophical foundations

This study offers a scene-by-scene translation of the works of nineteenth-century experts Julius Maák, Frantiek Kaván, and Antonn Slavek. The mid-twentieth century photographs of the eskomoravská vrchovina (Bohemian-Moravian highlands) by Josef Jambor were used for a comprehensive comparative investigation at the territory level. The relationship between Landscape painting and national and cultural identity will be investigated. The artistic depiction of the landscape has profoundly impacted the establishment of cultural identities in both China and Europe. In China, landscape depiction has a thousand-year history, but in Europe, it has only lately emerged. Shan Shui (landscape art) has always existed. Style- and function-wise, it has changed little since the Song era. Landscape depictions have profoundly impacted the development of social and public character throughout Europe. Identities and informing consumers about their country of origin. Here, Holland, England, Norway, Finland, and China are analyzed to demonstrate how landscape depictions contributed to the formation of their respective nations. Advocates of a particular conception of Chinese culture have had a limited political impact in China, in contrast to the United States. In Europe, landscape art has been developed in several situations, including to express support for various causes, national identity determination, and nationalism. This study intends to use painting as an interpretative tool to demonstrate how our interpretation of a scene has evolved over time. Fine arts faculties require a greater emphasis on the quality and amount of philosophy training, as well as its methodology, under the scope of "art philosophy." In arts education, various procedures and strategies must be utilized, and students must be capable of analyzing and comprehending works of art through multiple lenses. This study examines the contemporary experience of the panorama from historical, political, social, cultural, and aesthetic viewpoints. It contains various levels of significance, as opposed to just referring to gardens and agricultural areas or the Kantian conception of landscape as a distinct category within the field of visual arts. As a result of industrialization, the discovery of new places, and advancements in science, botany, and geography, the landscape began to change in the nineteenth century. In addition to scientific, cultural, and social improvements, the 20th century saw the incorporation of immaterial components. It has become a social construct as an expression of thoughts, memories, imagination, and emotions. As opposed to a static and seen work, the panorama is today understood as an interdisciplinary and collaborative creation. Comparing maps and photographs of the same websites during different time intervals is a common way of determining landscape change. Landscape paintings, which have a lengthy and renowned history in the Czech Republic, can also be rented in this manner.

O Filme nas Práticas Artísticas Conceptuais. Entre a desmaterialização do objeto de arte e a especificidade do médium

O filme, um medium importado do cinema, fez parte das práticas artísticas mais experimentais dos movimentos das vanguardas das décadas de 1960 e 1970. A partir da análise de uma seleção de obras internacionais e portuguesas este artigo centra-se na utilização do filme no enquadramento do Conceptualismo propondo discutir como o medium – com a sua especificidade material, tecnológica e disciplinar – ocupou um lugar fundamental na desmaterialização e contingência do objeto artístico, abrindo para a redefinição e expansão do domínio das artes visuais.

Contribution of Mobile Design Applications to Creativity in Visual Arts Education

The unstoppable progress of technology affects all aspects of our lives, including education. Today, researchers are looking to include digital applications and virtual environments in education and instruction processes. This research concerns using digital tools called mobile design applications in visual arts education courses. This research aims to reveal the effect of mobile design applications in the visual arts education course on the creativity of secondary school students. Data were collected through Creativity Level Analytical Rubric (CLAR), which the researchers developed. The study sample consisted of 38 students studying in the 11th grade of a public school in Ankara and was selected randomly. The study lasted 14 weeks. The designs made by the participants using mobile design applications were evaluated using CLAR by three experts who had at least Ph.D. education in the field of visual arts. Obtained scores were interpreted, and as a result, it was concluded that mobile design applications positively affect the participants' creativity.

Art-therapy focused on stimulating the emotional and expressive skills of children with special educational needs

IntroductionThe link between school education and art therapy is supported by the fact that it comes to supplement the common school education activities of children with special educational requirements with a dual purpose: to complete and fix their specific content; to train and practice as much as possible the students’ minds and critical thinking through artistic means.ObjectivesPrevention of absenteeism and school dropout of the child with special educational requirements through art therapy.MethodsIn art therapy, the most used methods specific to the fields of visual arts are: drawing, painting, icon, modeling on the wheel, but other techniques can be used. Children are the ones who choose their work materials and activities from the offer that the art therapist makes.From the offer of materials, the beneficiary prefers to paint porcelain objects and letters. He was challenged to identify letters after which he painted them.ResultsIncreasing the feeling of social utility, self-confidence. Improving school situation. Reducing school dropout and literacy.The beneficiary has an interest in letters and numbers and their writing. Form words quickly, easily identifying letters. Create your own games by comparing numbers. Make puzzles with letters and numbers.Art education helps the beneficiary to more easily express their emotions, perceptions, desires and way of thinking. Learning numbers and letters becomes a fun activity when using colors.ConclusionsThe child needs education through art, because without it there is an imbalance in the fundamental purpose of man, that of developing harmoniously and multilaterally.DisclosureNo significant relationships.

The Art of Southern Arabian Daggers: An Emblem of Pride Masculinity and Identity

The long-held tradition of wearing daggers in southern Arabia is in decline. This research examines the rich history of the southern Arabian dagger, outlining its story over time, craftsmanship, and changing use, from a weapon to a ceremonial piece. A significant contribution in the field of visual art is offered, firstly by demonstrating the beauty of this metal artwork form, and secondly by examining the notions of pride, masculinity and identity with regard to southern Arabian dagger wearing. It is argued here that men in this region continue to attach meaning to the dagger. Additionally, existing critical studies, including the various efforts being made to respect and preserve the dagger’s cultural significance, are highlighted. It is contended here that for these reasons, the southern Arabian dagger will not be lost to history.

‘Constructing a Critical Situation’: A Data-Based Approach to the Study of Cultural Periodicals and Art Criticism

The article proposes a three-tier model for the analysis of cultural dynamics of the visual arts field, based on data extracted from cultural periodicals and art criticism. Originally developed on the case study of the visual arts scene in Croatia at the turn of the millennium, the model is flexible and can be applied to analyse the complexity of the art field in different (trans)national spaces and time periods. The article outlines the theoretical foundations of the model, developed at the intersection of (digital) art history, sociology of art, social network analysis and relational sociology, and gives a detailed description of the criteria that were used to define the network boundaries in the original research. The three-tier model foregrounds some of the central actors of the art field, such as cultural periodicals, art critics, artists and cultural institutions, who are approached using both quantitative and qualitative methods. It conceptualizes cultural periodicals and art critics that form part of their networks as sharing aesthetic and ideological values, and as producing specific cultural narratives within the structure of the scene. The analytic potential of the model is focused on determining the cohesiveness of different social circles present in an art scene, on identifying the changing cultural trends and narratives that permeate the field, and on revealing the contribution of different social circles to these network and cultural structures.

Statistical Model for the Quality of Panoramic Images of Mural Paintings

Panoramic image creation is crucial in area of digital imaging. It is developed by combining an overlapped image component series of a large image, which is difficult to be focused on using a normal camera due to a large field of view. Measuring the quality of panoramic images is a challenging task. Therefore, the objectives of this research are to find the attributes of visual quality of panoramic images and to propose predictor variables for a statistical model for the quality of panoramic images of mural paintings. Authors have used a proposed novel method for creating panoramic images of mural painting. In this study, authors researched on the quality attributes of digital images. Accordingly, color balance, noise and distortion were identified as the two most critical factors which affect the overall quality of the panoramic images. Authors visited three temples and captured digital images of mural paintings of large scale using a simple method. Then, panoramic images were created using three methods: the novel method with other two methods, Photoshop (available in the market) and Hugin (open source software). Subjective evaluation was applied through experts in the field of Visual Arts. Participants were asked to rate the quality using four-point Likert scale for color balance, noise and distortion as predictor variables and overall quality as the response variable of panoramic images. Ordinal logistic regression was fitted through Minitab statistical package and the results showed that color balance and noise and distortion are two important attributes for the quality of the panoramic images. Moreover, the collected data fit the model at a higher accuracy. Full paper submission of ICIET 2021

ABSTRACT ART IN GREECE: THE PIONEER ARCHITECTS

The early years of the 20th century is a period of deep intellectual reappraisal as well as social and intellectual change. The modern painters’ experiments have come right to the forefront of artistic attention. Modernism was the point when the idea of radical and innovating arts, the experimental, technical, aesthetic idea reached a formal crisis, leading to abstract art. Modernism predicates the origins of post-war art as Post-Modernism adds to the abundance of versions of Modernism. After World War II abstract expressionism achieved international influence.On the contrary, in Greece during the first half of the 20th century, abstract art was absent. It actually appeared in the 1950s but it became dominant in the 1960s. In the post-war period, there were many talented Greek architects such as, Marthas, Xenakis, Proveleggios, Tsingos, Fatouros who became interested in painting, following the contemporary art tendencies. This paper focuses on abstract painting in Greece both in the early years of the 20th century as well as in the 1950s and 1960s. In this context, the contribution of Greek architects as pioneer visual artists in the 1950s and 1960s to the gradual establishment of abstract painting in Greece is probed, using as a methodological tool mainly artworks and written sources of that period. It is argued that Greek architects with their artworks and their wide range of activities in the field of visual arts express the modern consciousness and pave the way for abstract art in Greece.

KAVRAM HARİTASI YÖNTEMİ İLE SANAT İLE İLGİLİ KAVRAMLARIN SINIFLANDIRILMASI

Concept maps are an alternative teaching technique used in many fields of science. It helps to learn by associating known concepts with newly learned concepts. As in most fields, it is important to learn the concepts specific to the field for the field of visual arts education. This research; It aims to reveal the effect of learning the basic concepts in the field of visual arts with the concept map technique on students. For this purpose, the research was carried out with 20 2nd year students (candidate visual arts teacher) studying at Giresun University, Department of Painting Education, who were selected as a deliberate (purposeful) sample. In the study, the action research model, one of the qualitative research methods, was used. The research was carried out in the form of the activity applied in three stages and the evaluation of these activities. 160 concepts related to Visual Arts were used in the activities. These concepts were arranged by the students by choosing one of the concept maps of spider web, fishbone, classification, chain of events. Research data consists of concept map evaluation forms. Findings were created by coding the data obtained from the answers of the forms with content analysis. According to the research findings; It was revealed that pre-service teachers provided gains about their fields, concept map technique and themselves. As a result, the concept map technique has been an experience that contributes to the learning of the concepts related to visual arts by pre-service teachers. It has been suggested to conduct different researches used in teaching the theoretical fields of the visual arts field of concept map technique and different techniques such as this.

Analysis of movie posters in terms of visual literacy

It is possible to list many important titles among the causes of social change. However, placing technology at the top of this list will be the situation that best defines the social structure today. For this reason, cinema, which is the oldest in the field of visual arts and includes all other components, has a special importance. Cinema films are introduced to the audience through posters. This is where graphic design comes into play. Visual communication language is created between the audience and the film with the visual elements used in the poster designs. Symbols, visual materials and signs used in this language, which will be included in poster designs, should be expressed more effectively and clearly than other means of communication, since they are universal. Posters should be more creative than any other poster in order to reflect the entirety of the plot covered in the script. Within the framework of the resources reached, the analysis of the posters of Medianeras, A Coffee In Berlin, Beyond the Line, Palace’s Favorite, Antebellum, which are drama movies, were made. In poster designs, the reason for conveying the desired message, reaching the audience through the poster of the film and making it preferable is the design studies carried out in the context of visual literacy.

Pavlo Movchan as an art researcher: word, image, sign

The subject of the research in the article is the peculiarities of theoretical-literary and art-scientific publications of the outstanding Ukrainian poet Pavlo Movchan, as well as his historical-literary and historical-artistic works. The main problem of the article was the need to reduce these features into a single concept, to determine the scientific basis of this concept. To do this, a large array of (more than fifty) articles, reviews, and essays of the research poet for the period from the mid-1970s to the second decade of the XXI century was collected from various sources and processed. The poet’s work has not been properly studied by scholars, and his theoretical-literary and historical-literary works have gone out of their attention if we do not take into account the cursory observations of O. Khomenko in one of the studies of poetry by P. Movchan. The aim of the article is to highlight the systemic nature of Pavlo Movchan’s literary views and apply them to the analysis of the works of classics and contemporary Ukrainian and foreign artists. To do this, we used the psychological method in determining the verbal and figurative essence of Movchan’s theoretical concept, historical and literary — in the analysis of his reviews and “portrait” publications, mythopoetic — in conceptualizing the oral and written word, the artistic word as a link between generations, author and recipients. The results of the research are 1. Conditionally literary and literary-critical research of Pavlo Movchan can be divided into several blocks: the theory of words, images, art; specifics of lyrics, literary translation; development of Ukrainian poetry in the second half of the XX–XXI centuries; analysis of works of Ukrainian classics (“A Word about Igor’s Regiment”, works by T. Shevchenko, M. Gogol, romantic poets, etc.), contemporary poets; evaluation of the works of foreign writers of the West and the East; reception of paintings and cinematographic works of Ukrainian contemporary artists. 2. The basis of the theoretical and literary concept of P. Movchan was the theory of O. Potebnja about the external and internal form of the word and its content, the constant need to restore or create specific sensory meaning of the word-image in art. The wide range of meanings of the word, accumulated over the centuries, is the basis of dialogue between the author and the recipients, the link between them. The artist’s skill level is interrelated with the ability to find and revive this wide range of meaning. 3. Pavlo Movchan considers the main task of literary translation to not just be an adequate mechanical transmission of words, but a reproduction of the spirit of words, works, and uniqueness of idiosyncrasies related to the creative intentions of authors, for which the translator must thoroughly study the biography and works of the original, literary and social context, the history of writing the work, the meaning and nuances of each word, excellent command of the native language and the specifics of the original language, the mentality of the people to which the author belongs and much more, up to flora and fauna, their symbols and more. 4. Pavlo Movchan sets the same principles and requirements as a literary critic in the study of specific works or works of certain authors. This gives him the opportunity not only to comprehensively and deeply characterize the creative work of various authors but also to dominant features, to make their own original and reasoned discoveries. 5. Pavlo Movchan’s art views in the field of visual arts are organically correlated with his literary concept, testify to a deep knowledge of this field and a subtle aesthetic sense in the evaluation of works of painting and cinema. The practical significance of the article lies in the possibility of its application in the study and teaching of literary theory and art theory, the basics of Potebnja theory, history of classical and modern Ukrainian and foreign literature, history of Ukrainian painting, and cinema of XX–XXI centuries, the uniqueness of Pavlo Movchan.

PREFIKS „META“ U TEORIJAMA UMETNOSTI

Since the 1950s, we have seen a steady increase in the usage of the prefix meta (gr. mετά - change of place, order, state, nature) in literary and theories of visual art. This paper revisits the terms containing this prefix in the theories of arts: metatext, metafiction, metapicture, metamedia, and metafilm. The paper also seeks to isolate the basic premises of these theo- ries in order to more closely determine the prefix meta in the field of visual arts. The point of departure of this examination is Gerard Genet’s definition of metatext, since it is most widely applied and, to a greater or lesser extent, included in the definitions of related terms. All these terms are generally used to denote those works where some kind of change of state or place has occurred, works that take a critical attitude towards other works, or which bear a distinct self-awareness or self-reference. The paper takes into account referential theorists and exam- ples of artwork that can be considered exemplary of the definitions. The examination of these terms shows that, despite their different interpretations, they always serve to denote the works characterized by the creation of another level of representation, which does not have to be included in the work itself, but can be the reality itself, thus consciously shifting the boundary between the artwork and reality.

Księgi kostiumów jako interpretacja i symboliczna wykładnia świata w XVI-wiecznej Europie

This article aims to present sixteenth-century costume books as a phenomenon that was one of the ways of getting to know the world in the modern era (both in micro and macro perspective), accompanied by emphasizing and even exaggerating features and elements of appearance considered to be characteristic of given societies. In order to characterize this phenomenon in detail, the genesis, function and reasons for the popularity of costume books are also given. The text also includes their interpretation in the broader context of socio-cultural changes taking place in 16th-century Europe – these collections of representations were the European visualization of time and space, however they did not reflect reality, but created the way the world was perceived by the use of non-obvious means. They made it possible to show in a compact collection a large number of images of representatives of various nations in clothes typical for a particular region of the world, in a way making it symbolically smaller and more accessible. For this reason, it is possible to point out analogies between the operation of costume books and Kunst- und Wunderkammer, which is emphasized in the article. Thus, these collections of representations can also be considered from the perspective of a specific kind of collecting – the collecting of human images (human types) through their appropriation. Therefore, one of the hypotheses presented in the article is to delineate the relationship between costume books and the centurieslong process of perpetuating the claim of colonialism in certain countries which took place not only in the political-economic sphere, but also in the field of visual arts.

Mirroring Practice: Poets Respond to Jasper Johns

Mirroring Practice: Poets Respond to Jasper Johns Brian Teare (bio) The first opportunity I had to see a Johns retrospective—at SFMOMA in 2013—I declined. Instead I spent several afternoons in the Jay Defeo retrospective hung in galleries opposite his. That I preferred Defeo had little to do with Johns, whose work I didn’t know. I associated his oeuvre with the male, white, monied bias of museums, and left it at that. I remain grateful I didn’t give his retrospective my time then—that Defeo show was life-changing! And because by the time I was first asked to consider writing about Johns, I had grown less dismissive, if not less wary. Researching Agnes Martin’s art and writing had introduced me to the art world and milieu of Johns’s early years in lower Manhattan, and had resulted in a book, The Empty Form Goes All the Way to Heaven. That might be why Carlos Basualdo, Senior Curator of Contemporary Art at the Philadelphia Museum of Art, and Sarah B. Vogelman, exhibition assistant, asked me to collaborate. We met in the PMA’s curatorial offices during the summer of 2019. Carlos envisioned something elaborate that would take place live in the PMA’s galleries during their half of Jasper Johns: Mind/Mirror, the other half of which the Whitney would host. He wanted poets to write Johns-inspired poems, since some of his most poignant work of the 1960s references either Modernist poet Hart Crane or New York School poet Frank O’Hara, MOMA curator, art critic, and friend. Carlos envisioned readings that would be performative and perhaps even governed by chance, in honor of John Cage, an early interlocutor and another friend. I was about to leave Philadelphia and couldn’t see how I’d pull anything together from a distance; and though I’d started to familiarize myself with Johns’s long career, I couldn’t yet see what his work might mean to me. I said no with some regret. Two years later I heard again from the PMA, this time from Linnea West, Manager of Adult Public Programs. COVID-19 had delayed the opening of Mind/Mirror, and the museum had decided to move online most of their programming around the retrospective. Would I be interested, Linnea asked, in writing Johns-inspired work, commissioning new poetry from three other poets, and organizing an online reading? This time I said yes, knowing already who I’d ask. Unlike me, Rick Barot, Khadijah Queen, and Cole Swensen have practiced ekphrastic art for most of their careers. I consider myself apprentice to their divergent approaches, the distinctive ways they place poetry in the expanded field of abstract visual art. In bringing us together to work under the sign of Johns, I hoped that our disparate ekphrastic strategies—meditative lyric, gestural collage, lyric essay—might mirror the heterogeneity of Johns’s own career. I was not disappointed. Mind/Mirror prompted some viewers [End Page 94] to ask how Johns, an avowedly apolitical establishment artist, could be relevant now. Our work highlights the fact that poetry at its root—poiein—means to make, and extends the long lively dialogue between painters and poets that includes Johns and O’Hara. Importantly, though, our work expands that dialogue beyond the white gay male coterie that fostered Johns’s early work and includes critical inquiry into the limits of poetic language that mirrors his paint and his canonization. We treat his paintings, biography, and milieu as subject matter, and also treat poetic language as a material with plastic properties like those of paint. Our poems mirror his painting sometimes through traditional representational means—description, figuration, narration—and at other times through radical abstracting tactics—processes of layering, cutting, and scraping—and at other times through their appearance on the page as visual icons. One kind of ekphrasis, Barot argues in “Cross-Hatch,” “is a catalyst for observation, association, and dream . . . like the flaneur’s arc of walking, seeing, and reverie.” Another kind of ekphrasis, Queen suggests in “Collage, unfinished,” “is to make / a mess—unpolished / or profane,” to engage with “the complex play of destruction.” Another kind of ekphrasis, offers...

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.