Field Of Visual Arts Research Articles

Equipo Crónica. Su aportación a la divulgación del arte de Las Vanguardias Históricas en España a través de la apropiación (1969-1978)

La obra del grupo artístico valenciano Equipo Crónica (1964-1981), constituyó desde el campo de las artes plásticas, durante un breve espacio temporal (1969-1978 aprox.), una aportación a los debates por la recuperación de los estudios de las Vanguardias Históricas europeas en España, que durante el franquismo habían sido denostadas por su pluralidad ideológica y cosmopolitismo. Este valor divulgador ha sido hoy en día sustituido por los estudios científicos normalizados de la Historia del arte en España, pero en el período político convulso de la década de los setenta en España, constituyeron una aportación desde el campo de la imagen a las grandes lagunas culturales que lastraban al país.

Four Reasons: The Garden and Its Double: Case Study

Analysis of an experimental educational methodology aimed at professional development in the field of visual arts. For this, it is based on the experimental and expository proposal consisting of the use of site-specific sculpture as a creative and methodological strategy for the exploration of the line of own research of students of plastic arts degree and pre-doctoral postgraduates. The selection of the students/artists was made based on the creative research lines they develop, examples of works that start from considering the sculptural as intrinsically related to the environment, and more specifically with the natural environment from a phenomenological and structural point of view in terms of artistic experience; and also, from a point of view of sculptural linguistic research based on the Kraussian foundations of the expanded sculptural field that formally arise from a Piaget´s group.
 On the other hand, the exhibition proposal is intended as a framework for deepening production and artistic diffusion oriented to immersion in a professional experience in which all aspects of the creative process can be addressed, from the mere idea to dissemination through from different means of artistic work, so that the training obtained by the artists/students is holistic in terms of the professional field of visual arts.

Sacru și sacralitate în artele vizuale obiectuale contemporane. Studiu în arealul ceramicii, sticlei și instalației, din opera personală

"Sacred and sacredness in contemporary objectual visual arts Study in the area of ceramics, glass and installation, from personal works This article is an honest analysis of the personal artistic creation, over more than two decades, as seen by the author and at the same time by the arts teacher; an examination devoid of intermediaries, but also of predominantly presumptive external opinions. The series of arguments on the complexity and on the major advantage of studying the Ceramics, of the involved study of the university curriculum specific to this art, beneficially completed by arguments for the training and operation with the formalization technologies characteristic to glass, stained glass and tiffany techniques; all make a determining argumentation. Studying and operating in glass-ceramics requires a good command of the techniques and materials specific to all the other fields of visual arts. Our major argument is to demonstrate the unrestricted mobility that the ceramist creator has in operating very efficiently his complex creation, by using all these means. The variety of approaches: conceptual, plastic, expressive, dimensional and material, treated in our work, is argued beyond doubt by the series and cycles of works presented in the illustrations. The consistently sustained exposition of the personal convictions, justified and assumed, on the creator's relationship with the divinity, fully illustrates the personal approach of relating to our own objectual-artistic creation; thus, we unanimously find that all our representation models already exist in the surrounding world and we are only granted the great privilege and the relatively rare capacity to observe them and to try to understand them, in order to be able to use them later in our creation. The exposition continues by highlighting the constant presence of the formal or symbolic elements of sacredness, in each category, series or cycle of objects or by a brief analysis focused on the object. The fact that some elements of the sacred are present in the personal work is not at all due to a premeditation. Their appearance during the elaboration of each work, from our point of view, is due to the inspiration and revelations, of unexplainable origin, that came to influence our path towards completion. Among the elements presented there are well-known themes such as: The Reliquary, The Altar, The Portal, The Wreath, The Cup, The Cross, The Trinity, Man, The All-Seeing Eye, The Seed, The Fountain, The Window, The Book, The forbidden Fruit etc. Each of these works or cycles has a more or less obvious meaning with a sacred or religious content and resonance - beyond that expressed in its title - through the formal, chromatic, textural or the evocative symbolic elements. The final conclusion is that it is difficult to find in an already created world a subject that does not already bear the hand of its creator; and among the great graces with which we have been endowed by the same Only Creator, we have not been given: Creation - as a total invention, Judgment and Punishment. These three qualities remain the strict prerogative of the Divinity. Keywords: grace, divine, primordial, sacred, artistic creation, inspiration, symbol, message "

The impact of digital technologies on the plastic arts

From the momentum of scattered artistic currents and conflicting cultural ideologies, a new artistic style emerges that heralds a creative and visual revolution that establishes a diverse artistic present to build a renewed cultural future. It is the digital revolution that swept our reality and tampered with the details of our lives, so many of us became hostages to the magic of the digital and the power of the digital. The computer intervened in the simplest details of our daily lives and the laser discs tampered with our papers and records to turn them into digital information and the Internet hybridized our social lives to the extent that the living reality overlapped with the virtual reality in a mixture Unique and innovative. Today, no one can deny the important role of digital media and modern software in our daily reality. Digital technologies and specialized media programs have given our current reality an immediate character and given our needs an immediate color to the extent that it has become impossible to dispense with them. The pioneering role of digital technology in the field of visual arts is the contemporary plastic arts that embrace novelty and call for wit. Plastic art is classified among the most important artistic fields that keep pace with reality and meet the demands of the times. This type of art is based on the faculty of creation and alignment with every new and contemporary creative situation. Creativity can only be carried out by continuous renewal and keeping pace with the requirements of the times and the concerns of contemporary. Since the emergence of the first signs of digital technology, many plastic artists hastened to keep pace with this scientific trend, cleverly exploiting the unlimited and endless possibilities of artificial intelligence enjoyed by the computer, and employed these extraordinary digital capabilities in the service of their artistic creations from photographs, digital drawings, and even actual and virtual sculptures. Thus, they established a new artistic culture in keeping with the requirements of the present, based on technological media and based on the digital image.

O ciberespaço como lugar de produção artística

Relato do projeto de pesquisa sobre arte e internet que vem sendo desenvolvido desde 2005, no sentido de compreender as transformações que a penetração da internet na sociedade contemporânea vem ocasionando nas práticas artísticas e no sistema de arte. O afastamento social imposto pelo controle da Covid-19 desencadeou um intenso processo de uso da internet no campo das artes visuais que se mostrava, em muitos sentidos e até bem pouco tempo atrás, bastante resistente à penetração deste meio. Assim, este relato de pesquisa, ao colocar em evidência uma produção reflexiva sobre o uso da internet pelas artes visuais que aponta aspectos do trajeto que vem sendo feito na ocupação do ciberespaço como lugar de arte, traz contribuições para refletir sobre a situação atual.

Playing against the camera

In this essay I describe two projects within the field of visual art. Both works are examples of how the workflow techniques of digital photography can be modified in order to produce artworks that take on a distinct physicality and objecthood, and, as such, may form a spatial and/or haptic relation with the viewer. I discuss how such an approach relates to the ability of photography to point beyond the physical situation of viewing due to the particular virtuality of the photograph. By relating my work to the ideas of Vilém Flusser and Roland Barthes, recent theory on photography and photographic indexicality, as well as contemporary artistic work, I speculate here on how my own work illuminates perceptions of the photograph and understandings of the role of photography in today’s media culture and economy.

Voyage through childhood into the adult world: an overview of Chinese American children and youth in cinema

ABSTRACT Literature from various social science and humanities disciplines has pointed to the fear, stress, threats, and hardship frequently experienced by children of immigrants. In coping with the stereotyped images such as ‘the model minority’ and ‘the perpetual foreigner’, the subject of Chinese American children and youth has drawn much scholarly attention, although with little systematic focus in the field of visual arts – including films. Accordingly, this article explores how cinema has depicted and represented the role and experience of Chinese children and youth in the context of transnational migration, by focusing on a range of migration-related film examples made by transnational Chinese filmmakers from the 1980s onwards. These films show that while some children carry the burden of the adult world, some adults also carry the burdens of childhood into later life. Furthermore, the films also present the development of immigrant Chinese children’ subjectivity, while dealing with hardship, confusion, demanding parents, and ever-changing and challenging environments.

Complicity with Sign Systems. Postmodernism in the Field of Visual Arts

Complicity with Sign Systems. Postmodernism in the Field of Visual Arts

Complicity with Sign Systems. Postmodernism in the Field of Visual Arts

Complicity with Sign Systems. Postmodernism in the Field of Visual Arts

Poéticas da animalidade nas artes visuais e na literatura: potências estéticas para outras relações de alteridade na educação

Este artigo apresenta relações entre animalidade, artes visuais e literatura como potência para pensarmos outras relações de alteridade na educação, a partir de um diálogo entre os campos da arte e da literatura que desacomodam certas verdades sobre como relacionamo-nos com os outros, animais humanos ou não. Tais enlaces estão ligados ao conceito de Poéticas da Animalidade, que irá dar forma e vida a um diálogo entre as provocações ético-estéticas de certas obras da artista visual Ana Teresa Barboza e da escritora Clarice Lispector. Para desenvolver esta pesquisa em educação em conversa com o campo das artes visuais e da literatura, assumimos como parceiros teóricos Derrida (2002; 2004; 2016) e Skliar (2014).

Введение компьютерной графики в курс обучения студентов направления "декоративно- прикладное искусство"

The article discusses the issue of introducing computer graphics into the curriculum of students in the "Decorative and Applied Arts" direction and the role of computer technologies in the curriculum of art direction students. The author conducts an experimental research on the problem, during which the program developed for this discipline was tested. The aim of the study is to develop students' skills and abilities necessary for successful work in the field of visual arts in the realities of modern times. An analysis of the results of the experiment has been given, various aspects of its implementation have been disassembled, and the features of teaching computer graphics to students of artistic styles have been described.

THE ARTS AND HUMANITIES

The world of Visual Arts developed basically from the practice of art creation. From the practice of art creation, the method is increasingly advanced, revealed new concepts and approaches in art creation that are unique. Certainly from the work of the artists and designers, will later arise theories that support the process of new art creations. The studies of Arts appeared after the Art itself created. After there are works, a study of the works or the process of artwork is carried out. There is a need to introduce the arts to the wider community, bridging the gap between the expressions complexities of the artists and people's appreciation. There are also interests of the education field to pass on the knowledge to students or develop new approaches in art education. This understanding of the visual perspectives will also support other sociocultural research. Earlier studies on Visual Arts are generally carried out in the framework of History, and Art Criticism. As the sciences of humanities increasingly developed, the nature and form of art studies became more varied, becoming more interdisciplinary. The study of Visual Arts and Design may involve an analysis of contemporary culture, the media, and society. The cultural activities produce images that are important in understanding the dynamics of society. This special issue, "The Arts and Humanities" covering research topics in the field of Visual Arts and Design, encompasses a diverse range in Visual Art and Design study areas as well as different objectives of the writings. Written by scholars that also practitioners in the field of Visual Arts and Design from a variety of disciplines, the creative and critical research findings problematize critical issues based on art practices, policies, productions, and the aesthetic aspect of the art itself.Most of the topics discussed the fields of "science" which had formally been part of the discourse disciplines in Visual arts schools: Fine Arts, Design, and Crafts, while two of them explored issues in visual culture context that were part of the performing arts and culinary arts. These varied research topics and approaches show the many interests in Visual arts studies, especially in Indonesia.Madia Patra Ismar (2020) with Rayahu Pertiwi (2020) discussed the artistic gaze of two Papuan choreographers; Visual Perspectives Rooted in the Oral Traditions of the Kamoro and Asmat Tribe. Those choreographers based their work on their traditional roots and the choice of visuals and dramatic bodily expressions created by them was based on their deeply ingrained roots as indigenous Papuans. Sonya Indriati Sondakh (2020), realized that when food is served in high-end premises or special places for tourism purpose, the visual aspects become an interesting marker to read. She explores the visual perception in Indonesian food, discusses the negotiation of the visual and gustatory perception.The following three articles select topics around textiles and fashion works, with a gender perspective on the discussion. Lucky Wijayanti (2020) has done research on the resilience of Sasak women. This research concludes that art activities functioned as a 'liberation room' for Sasak women to express themselves. Adlien Fadlia (2020) researched the tradition of making batik in the Rifa’iyah community in the village of Kalipucang Wetan, Batang, Central Java. Batik with a characteristic motif of the Rifa’iyah can be sustainable until now because of the role of women in regenerating batik skills. Mangesti Rahayu (2020) also explored the clothing custom in Indonesia. She found that hijab is also part of the Muslim warriors identites in the era of Indonesia independence struggle. Hijab also had its role in fighting for the dignity of women at that time.

Particularity and Proliferation of Stroboscopic Elements in the Visual, Performing and Cinematographic Arts

Abstract In the work “Art and Visual Perception. A Psychology of the Author’s Creative Vision” by Rudolf Arnheim, following some researches/studies of Gestalt psychology applied in the field of visual arts and/or cinematography, the author states: “It is unlikely that any stroboscopic “short-circuit” will occur as long as objects appear on the screen at a sufficient distance from each other.” An observer-spectator only pays attention to what he/she receives. A speedy stream indicates unity. It is precisely for that reason that the vehement and effective ways are indispensable in order to render indisputably the intermittency-discontinuity. The stroboscopic dynamics overlooks the physical source of the visual tangible material. In that case, the visual identity does not start to be problematic as long as an element-object keeps staying in the same place without any inversion or transposition of its appearance - for example: the video camera that does not change its position but registers the building. For the same reason, we have the actor/actress who crosses the screen keeping his/her con-similarity (just walking down the path) without substantially changing his/her size or shape. The nature of the issues only appears under visual circumstances when they invoke/guide where it does not exist or vice versa. Alexander Archipenko (1887-1964): “In order to perform the movement, static painting must resort to symbols and conventions. It did not go beyond fixing a single “moment” in the sequence of moments that make up a movement; all other “moments” before and beyond the fixed movement are left to the imagination and fantasy of the spectator.”

Self-Reflections in a Personal Space: Investigating the Process of Self-Portrait Painting by Academic Research

The purpose of this practice-based paper is to investigate the artistic reflections and self-aesthetics into the process of artwork making. Every stage of this process represents a particular significance from the initial stage to the finishing stage. Furthermore, this exploration aims to develop the employment of practical research in the field of Visual Arts on personal, communal and institutional levels. In this exploration, the methodology is the vehicle that transforms the research into reality. Making the artwork itself is the methodology, and this process is the primary reference of the present research. Therefore, the author presents the synthesis of the artwork making rather than the analysis of its aftermath, the focus in this context is the construction of the artwork. This is the result of this research, the artwork itself. Regarding the employability aspects of this approach, it involves the practitioners and researchers in the fields of the visual arts toward further realizations of the actual creative process. This employability takes place into the signs of progress on different levels through academic and artistic practices in schools, universities as well as higher learning and teaching institutions. The present practical paper is significant because it investigates reflections of the cultural identity as well as the narratives of personal memory into academic research. In the multicultural present temporality, research-oriented artists highlight the diversity of their societies and represent significantly personal aesthetics as themes in their artworks. This approach would elevate the mutual understanding among people from different aesthetical backgrounds; people's trends enhance multicultural perceptions, harmony, and coexistence. In addition, artists in this regard illustrate such an approach in their visual art when they compose practice and research with the symbolic content, which reflects social motives. Artists practice such art to critique the violent content in communication media and educate people that media may fake reality to create more audience and viewers. This study focused on the significance of subjective representations in contemporary arts, and the impact of such representations on the mutual understanding among people of multicultural societies. Keywords: Contemporary Art Practice, Studio-Based Methodology, Practice-Based Research, Hybrid Painting Techniques, Multimedia, Mixed media, Photography. DOI: 10.7176/JEP/11-12-18 Publication date: April 30 th 2020

People’s Reflections in the City: Exploring the Painting Practices of Figurative Expressionism by Academic Research

This paper is a practical outcome of a multidisciplinary research project conducted by the authors on the contemporary and modern practices of the Improvisation in Arts. All the authors are research-oriented practitioners in the fields of visual arts, performance arts, multimedia, Information and communication technologies as well as vocational training. Furthermore, the drawings, paintings, and sketches are all made by the correspondent author Assistant Professor Dr. Mohammed Baker Mohammed Al-Abbas as part of his research-oriented artistic practice through the hybrid painting techniques. Abstract The present studio-based paper aims to explore the creative reflections of the aesthetics of otherness within the practical phases of the painting production. This paper represents an experimental endeavor to create a two-dimensional artwork, which is a hybrid painting technique on canvas with mixed media and acrylic paints. Within such a specific practice-based context, each phase of this practical approach outlines a critical significance from the first phase of creating that painting to the completing phase. The practical methodology is the tool that converts the researcher's/artist's vision into creative academic production. The process of creating the painting on the canvas is the methodology; such manner turns to be a primary reference for the present exploration. There is a significant paradigm in this approach, which focuses on the artwork as a morphological creature being created by the researcher/artist rather than a consequent result that only exists as a finished/complete/polished outcome. The outcome of this research is the record of the artwork production itself. This record presents visual references of the artwork progress as well as a textual reflective narrative to describe this process with written words. This research-oriented artistic attempt introduces the artists and researchers in the domains of the Fine Arts to integrate the process of art-making into the methodologies of academic research. It is an academic text, reflective text as well as sequential images recording the artwork making. This studio-based experimentation is significant because it examines the aesthetics of the otherness into the expressive figurative abstraction in painting. Furthermore, the impact of such a studio-based approach manifests on advancing applications of the artistic oriented research in the field of Fine Arts globally on curatorial and academic levels. Keywords: Contemporary Art Practice, Studio-Based Methodology, Practice-Based Research, Hybrid Painting Techniques, Multimedia, Mixed media, Photography DOI: 10.7176/JEP/11-10-08 Publication date: April 30 th 2020

Usage of Cooperative Teaching Method in Visual Arts Education

In this article, the usage of cooperative learning in visual arts education is handled and the works that have been done are scrutinized and the advantages and disadvantages of using this method in fine arts education are evaluated. The studies in the field of visual arts show that big-sized works, collage, wall pictures, museum works and other similar applications may be beneficial for applying cooperative teaching. However, there isn’t enough work for its use in different subject area. So, this may let us think that in visual arts lesson, not every subject is suitable for using cooperative teaching method. Hence, it is necessary that the teaching methods that are to be used in visual arts lesson should be structured according to the subject areas.

Expressões Plásticas e Comunicação Visual as Viagens – Condutores Referenciais Criativos Interculturais

In the global society we find nowadays a greater and easier mobility at all age levels regarding artistic production which result from multicultural and complex contexts, resulting from formal and non-formal contacts, travelling and exchanges which suggest and generate specific strategies in the current teaching-learning dynamics giving rise to contemporary artistic training and dissemination in the field of Visual Arts and Visual Communication. We find that travelling or exchanges of short or long durationdirectly or indirectly enhance artistic actions in local communities where artists are called to act. The hybrid artistic format spread fabulations assimilations and new appropriations of these places. This is the case of artistic residencies created integrating school universities and social communities. This research aims at highlighting the importance for basic education of the production of hybrid images as a result product of inter and multicultural artistic exchanges in different institutions and communities.

Otkrivanje hibridnog modela arhitektonskog crteža na početku XXI veka

Professional, as well as research framework of contemporary architectural design implies a field articulated by the development of information technologies. So far, it has represented an area of the most rapid exchange of opinions and ideas, being subjected to various interpretations and speculations in different phases of the architectural design process - from initial ideas to final architectural simulations and realisations. Radical changes in architectural thinking have directly reflected on the usage and ways of understanding architectural drawing in the architectural design process. Furthermore, this situation led to radical changes in the traditional process of designing the architectural space. In the context of understanding the relationship between the architect and the drawing as his/her only authorial work, this relationship is being usurped by the implementation of the computer software as an intermediary tool between the two. The introduction of software in the architectural design process influences the emerging forms of the architectural drawing, offering new possibilities such as direct, current and omnipresent manipulation, as well as a multitude of representational possibilities. This paper problematizes the position of architectural drawing by examining its manifestations at the beginning of the twenty-first century as a consequence of the paradigmatic changes brought about by the digital revolution. Architectural drawing at the beginning of the century is disappearing in its traditional sense and is being replaced by different forms and roles in the architectural design process. Since the conducted research is observed primarily through the discipline of architecture, and more closely, through the field of visual arts, it will examine the role of drawing in the area of architectural representation. Additionally, the research results emerging in the form of a hybrid model of architectural drawing, will be discussed in terms of its creative potential and further explorative applicability within the field of architectural education.

Why Are We All Too Familiar With Headphones Attached to a Wall? (Or, a Brief History of Sound-Art Curating)

From the 1960s through the 1980s, an ever-expanding exploration of sound occurred within the visual arts field, helping give birth to Sound Art (and its exhibition) as a unique genre. The sum of Sound Art shows has grown exponentially over time, reaching into major Western art institutions and beyond. Lending such space and resources to this category, and in such a focused manner, has invited possibilities for curators to develop more substantial investigations into a diverse range of rapidly emerging sonic practices. This essay focuses on the influence curators have had on the production, positioning and reception of Sound Art.

Iconografia musical na obra de Henri Rousseau

Número significativo de artistas, teóricos da música e historiadores da arte exploraram a diversidade e complexidade dos nexos entre pintura e música ao longo dos séculos. No domínio das artes visuais, as referências à música são abundantes, ganhando expressão tanto pelos temas iconográficos quanto pela reflexão sobre os fundamentos da linguagem musical (ritmo, harmonia, cromatismo). A partir das analogias e interferências entre as duas formas de expressão, propomos uma leitura crítica desse fenômeno na obra de Henri Rousseau, artista francês que desenvolveu uma iconografia particular inspirada no assunto, através da qual explora as possibilidades de representação pictórica da música, tendo em vista efeitos de sentido integrados às suas narrativas visuais.