Art Studio Research Articles

Eksistensi CV. Satampang Baniah Di Kota Padang Tahun 1985-2020

Abstract
 This article discusses the development of the Satampang Baniah art studio to become CV Satampang Baniah in Padang City in 1985-2020. The problem raised is how the development of the Satampang Baniah studio to become CV Satampang Baniah in Padang City in 1985-2020. The purpose of this study is to explain the development of the Satampang Baniah studio to become CV Satampang Baniah in Padang City in 1985-2020. This study uses historical research methods with sereval stages, the first stage is heuristic seeking and gathering information, the second stege is source criticism, the third stage is interpretation and analysis, and the last stage is historiography. The results showed that the Satampang Baniah studio was founded by Sulastri Andras studio on August 17, 1985 which at time was under the auspices of the Padang SMKI school. In 2005 Sulastri Andras created a legal entity for Satampang Baniah studio so that in 2005 Satampang Baniah studio became CV Satampang Baniah and Sulastri Andras gave the leadership of the studio to her son Marya Danche. This studio from 1985-2020 experienced development in aspects of dance movements, the clothes used, and the number of members of the studio. The performances that initially only filled the arts at the school level and then filled the events at weddings developed into wedding organizer and event organizer, and participated in international art events. The apprearance of the West Sumatra level, nationally, and participated in international art events. The appearance of the studio that always develops according to the times and often wins Minangkabau art competitions, because CV Satampang Baniah is always consistent in presenting Minangkabau arts. The activities of the studio that are increasingly crowded and the various activities that are followed have caused this studio to be able to provide job opportunities to its members with the number of studio members increasing from 25 people in 1985 to 85 people in 2020.
 Keywords: Development, Art Studio, Art

Mathematics in the informal setting of an art studio: students’ visuospatial thinking processes in a studio thinking-based environment

Mathematics in the informal setting of an art studio: students’ visuospatial thinking processes in a studio thinking-based environment

Pengembangan Usaha Kerajinan Alat Musik Tradisional Batak Berbasis Digital Marketing Melalui Pejuang Muda

Pejuang Muda is a program for students to come down to the community who need helpby making social change through various activities. From designing to execution of relevant social programs for the area. Through this Pejuang Muda Program, students will be given the opportunity to directly apply their knowledge and provide social impact for the community, and play an active role as an agent of social change. Young Fighter Programfocusing on social entrepreneurship, which will give students the opportunity to gain experience infield and placed in priority areas including post-disaster areas, poverty areas, regional Remote Indigenous Community (RIC). The Pejuang Muda Program is an opportunity for students to implement the knowledge gained in college and actualize himself by plunging directly in the community. In addition, there is natural potential as well as human resources that can be extracted from underprivileged communities in the midst of their limitations. In this Pejuang Muda program,The Dalloid Art Studio community is the target group for the empowerment program.By analyzing existing resources and potential, the Pejuang Muda Humbang Hasundutan strives to increase productivity and work motivation of the Dalloid Art Studio community in making musikal instruments Batak tradition through developing, mentoring and training.

Straw Paper for Art Applications – A Paper Development Study

Each paper grade, especially art papers have their own unique requirements by the artist using the paper in regard to mechanical integrity, surface topography, optical appearance and printability based on the unique artistic process applied during printing.
 Wheat straw fiber, a left over product from agricultural operations, can be used in many papermaking grades if properly processed prior to papermaking.
 A wheat straw containing art paper for artistic water color, oil, and encaustic (wax) painting applications was development and produced with a 10% and 15% northern bleached softwood content using a 12-inch (304 mm) wide laboratory scale paper machine, operated at a speed of 3.76 ft/min (1.14 m/min) with and without operating a calendar. The basis weight of the paper product was 350 g/m² with a caliper of 1050 μm to 1640 μm,
 The paper products burst load in psi ranged between 2.49 and 4.71. Tensile peak load measured in kilogram-force (kgf) per 15mm wide testing strip ranged from 4.08 to 9.32 for the machine direction and 1.96 to 4.74 for the cross machine direction.
 The roughness range of the wheat straw art paper was 2909 ml to 2963 ml for the top side and 2880 ml to 2954 ml for the bottom side of the paper.
 The ISO brightness and opacity of the yellowish wheat straw art paper was at 22.74% and 100.00%, The ISO color value was for the L*, a*, b* Hunter color scale 69.46%, 02.02, and 15.47 respectively.
 The finished art paper product met the expectations by the artists. The paper was used for several encaustic art studio projects.

Feeling ‘Pretty Porky & Pissed Off’: a photo essay on fatness, affect, art, and archives

ABSTRACT This photo essay is about the process of creating a digital archive dedicated to Pretty Porky and Pissed Off, a Toronto-based fat activist and performance art collective active in the late 1990s and early 2000s. As a leading member of the collective and the project’s principal investigator (Allyson Mitchell) and the project’s researcher archivist (Allison Taylor) we explore the affective potential of the visual archival fat representations produced through Pretty Porky and Pissed Off’s artistic practice. We first provide an overview of the Pretty Porky and Pissed Off archive project. Second, we contextualize our photo essay within queer and fat studies scholarship on affect, archives, and the visual. Third, we present a set of stills from archival video footage of a Pretty Porky and Pissed Off clothing swap in Allyson Mitchell’s art studio. Using these stills, we consider the affectively rich nature of visual archival representations of fatness. We suggest that feelings are a central component of visual archival fat representations; feelings offer important insights about the potential of visual artistic and archival practices to represent, embody, and imagine fatness otherwise.

Imagined Histories

Imagined Histories

A Dialogue with Guo Haiping: The Concept of Universe in the Nanjing Outsider Art

Creative Arts Educ Ther (2021) 7(2):128–137 DOI: 10.15212/CAET/2021/7/11 A Dialogue with Guo Haiping: The Concept of Universe in the Nanjing Outsider Art Abstract Native artists in Nanjing Outsider Art Studio are individuals who have been medically diagnosed with different types of mental illness who have been socially isolated for a long time and without a high school diploma. Half of them spent only a few years in special schools for various mental and intellectual disabilities. Why are the native artists with less education who experience mental illness so interested in the study of the universe? In an in-depth interview with Guo Haiping and Aimee T. Liu, Guo shared his explanations of this phenomenon in the sphere of transpersonal psychology. Keywords: China outsider art, Universe, Haiping Guo, transpersonal psychology 摘要 南京原生艺术工作室的艺术家都是被医学诊断为患有不同类型精神疾病的人，他们长期脱离社会，而且都没有读完高中，甚至有一半只是在为精神和智力障碍者服务的特殊学校上过几年学。对于这些文化水平普遍不高，而且还患有不同类型精神疾病的人而言，他们为什么会对宇宙产生如此的兴趣呢？在中，郭老师在超个人心理学中发现了对于这一现象的更多阐释。 关键词： 中国原生艺术，宇宙，郭海平，超个人心理学

Tinjauan Aspek Motif dan Bentuk pada Kriya Tas Batik Sumatera Utara di Sanggar Seni Pendopo

This article or writing aims to find out the motifs and shapes applied to the North Sumatran batik bag craft produced by the Pendopo art studio, by conducting a review of the bag product. The review is carried out so that later it will be more flexible in conducting an analysis of the product to be studied. This study uses a qualitative descriptive method with a population of 10 batik craft products. The problem is focused on motifs and forms. In order to approach this problem, a total sampling theory reference is used to collect data in the field starting from April to June, and begins through the process of observation, documentation interviews, data processing, data analysis, to drafting the thesis. The data were collected through direct observation and analyzed by qualitative descriptive method. This study concludes that several additional elements in the developed motifs are in the form of circle points and lines. However there is one pattern found in the form of a motif resembling a jasmine flower.

I Am the Glory

I Am the Glory Stephen Towns (bio) Click for larger view View full resolution Acrylic, oil, and metal leaf on panel. Courtesy of the Artist and De Buck Gallery. 48 × 36 in. 2020 This piece references Stephen Towns’s two art practices—quilting and painting. The title is a play on the term “Old Glory,” used to reference the American flag. The figure in the painting represents the creativity and ingenuity of formerly enslaved Black Americans. This painting is part of the exhibition Stephen Towns: Declaration & Resistance, which examines the American dream through the lives of Black Americans from the late 18th century to the present time. Using labor as a backdrop, Towns highlights the role African Americans have played in shaping the economy, and explores their resilience, resistance, and endurance, which have challenged the United States to truly embrace the tenets of its Declaration of Independence. This exhibition is on display at The Westmoreland Museum of American Art in Greensburg, PA through May 8th, 2022. Learn more about Volume 15’s Featured Artist at HopkinsReview.com [End Page 1] Stephen Towns stephen towns was born in 1980 in Lincolnville, South Carolina and lives and works in Baltimore. He trained as a painter with a bfa in studio art from the University of South Carolina and has also developed a rigorous, self-taught quilting practice. In 2018, the Baltimore Museum of Art presented his first museum exhibition, Stephen Towns: Rumination and a Reckoning. Copyright © 2022 Stephen Towns

Strategic shifts: How studio teachers use direction and support to build learner agency in the figured world of visual art

ABSTRACT Background In studio art, students are expected to be highly agentive—to engage in creative processes to form personalized representations of ideas, yet we lack knowledge on how teachers support their agency. Approaching agency as co-constructed practices across temporal dimensions, we examine how teachers shift between autonomy-supportive and directive approaches, building students’ artistic agency. Methods Secondary qualitative analysis of video-recordings (49 hours) of four teachers’ studio art classes in two arts-intensive high schools used observational frameworks on autonomy-support, theoretical constructs of spaces of authoring and temporal orientations to agency, and functional linguistic agency markers. Findings Studio teaching is primarily autonomy-supportive, but teachers strategically shift their enacted and linguistic practices to directive approaches, such as commands and constraints, taking control over parts of the creative process to build students’ artistic agency. Contribution Our work on teachers co-constructing artistic agency with students adds nuance to accounts of how teachers support agency, particularly forms of direction on open-ended problems. Our theoretical lens of the temporal process of agency and methodological approach of attending to enacted and linguistic practices and to when teachers shift to and away from directiveness, could be used in other learning settings to examine how agency is co-constructed.

Sowa bohaterką albumu Kuba Lecha Wilczka

The subject of the description in the article is a book, or rather an album, published 50 years ago, in which the author of the text and photos is Lech Wilczek. I give basic information about the charismatic writer, photographer and naturalist. I discuss the contents of the book, the protagonist of which is an owl raised for some time in the author’s Warsaw art studio. I pay attention to the stages of the story, descriptions of the bird’s appearance and its relationship with other animals, especially with the raccoon Balbinka. I write about the author’s expeditions to nature reserves and his other books, whose protagonists include such animals as hamsters, badgers and a raven.

A Framework for Urban Parks

Jessica Fernandez, Yang Song, Mary Padua and Pai Liu Dr. Jessica Fernandez is an assistant professor at the University of Georgia. Her research and teaching incorporate contemporary approaches to the creation and assessment of place through emerging applications such as big data and VR/AR. As a licensed landscape architect, she has over a decade of experience working on a variety of nationwide awardwinning projects. She owns ALPHA Design Studio, where she applies her teaching and research in the design and building industry. Dr. Yang Song is assistant professor of landscape architecture at Texas A & M University and works at the intersection of landscape architecture, community planning, and urban design. His teaching and research activities have a strong focus on the role of public placemaking to community health and resiliency. He has a long-standing interest in the application of digital technology in research and design, especially in the area of social media and the built environment. His research examines the usage of urban parks and streets through the engagement patterns depicted in Instagram, Tripadvisor, and Twitter. Dr. Mary Padua is a licensed landscape architect with decades of experience in the public and private sectors, including running her practice, MGP Studio ART DESIGN RESEARCH. Simultaneously, she is a design educator and professor at Clemson University, where she served four years as chair of the Department of Landscape Architecture. Her practice and research activities focus on human-centered outdoor restorative environments that also intersect with technology. She is internationally recognized as a thought leader, visual artist, and writer who has authored works on China’s vast urban experiment, sociocultural theory, and the meaning of place. Dr. Pai Liu is a lecturer at Dalian University of Technology who taught previously at the University of Oklahoma and Clemson University. Dr. Liu obtained her PhD in Planning, Design, and the Built Environment from Clemson University. Her primary research interests are in health care environments, with an emphasis on design for the aging. Her current research projects include comparing elder care environments in the United States and China, investigating the application of cultural design in health care environments, and developing analytical tools for behavior mapping.

Street art as a cultural and educational project

The necessity of discovering ways to form and develop value orientations of the younger generation makes the research topical. Value orientations are formed under the influence of various sociocultural factors, but there is also a regulated factor – upbringing. In upbringing and education, we can use communication through art. The purpose of this study was to determine the possibilities of a street art project as a means of forming and developing value orientations of the younger generation. The study was conducted in 2015-2021 within the framework of the projects: “Odessa Street Art Festival”, “Travel of the TIS robot in time”, “Along the paths of the Jewish history”, “Flying over Odessa”. The idea of creating a street art object as a cultural and educational project belongs to Aleksey Shkurat, the head of the Peach art studio. The survey method (questioning and conversation) was used to analyze the value orientations of children and adolescents who took part in the experiment (387 participants). The experimental work was divided into three stages. At the first stage, we conducted a pre-experimental research, which was to identify the initial value orientations of children and adolescents from 7 to 15 years old. The respondents filled in the questionnaire with the measured value categories “education as a value”, “art as a value”, “culture as a value”. The second stage of the experiment was direct involvement in the projects. The third stage of our experimental work was the formative experiment. We made a questionnaire and sent it by e-mail to all the respondents. The results of processing the data obtained indicate the positive dynamics of the respondents’ value orientations development. Compared with the results of the pre-experimental research, the level of the value orientations development (measured value categories “education as value”, “art as value”, “culture as value”) increased by 38%. The results of the experiment proved that the use of a street art project has a positive effect on the children and adolescents’ value orientations development.

Original Research Article Paper for Screen Printing Applications – A Paper Development Study

Screen printing originated in China during the Song dynasty (960-1279 CE) and is used today in commercial and artistic applications. The presented research project describes the development of a screen-printing product for studio art applications. The improvement of the paper properties from laboratory and small 12-inch laboratory paper machine art paper development, followed by a semi commercial production at a speed of 128 ft/min on a 48-inch semi commercial paper machine for the final art paper, showed an improvement throughout the development process for mechanical and optical paper properties. The finished art paper product exceeded the expectations by the artist using the art paper in the studio. The produced art paper with a basis weight of 63 g/m² and a thickness of 94 µm is produced from a mixture of 70% northern bleached hardwood Kraft pulp and 30% northern bleached softwood Kraft pulp. The ISO brightness and opacity of the art paper bluish gray colour was at 35.6% and 100%, The ISO color value was for the L*, a*, b* Hunter color scale 65.8%, 0.9, and 1-0.7 respectively. As a parameter for attachment of water-based inks, surface roughness was for the top side 1703 ml/min and bottom side (wire side) 1336 ml/min. The Cobb number indicating water penetration of the art paper is 28.9 g/m².Bending stiffness in machine direction and cross machine direction resulted in 22 mN and 12 mN respectively. The tensile index was measured at 52.9 N·m/g for the machine direction and 31.6 N·m/g for de cross-machine direction.

Design and Build Electrical Gamelan as a Cultural Tourism Supporting Object

Widarapayung Wetan, Binangun District, Cilacap Regency is an innovation village entrusted by the Regional Planning, Development, Research and Development Agency (BAPPEDA) of Cilacap Regency to the Cilacap State Polytechnic. The current partner's problem is the difficulty in introducing cultural tourism to tourists visiting Widarapayung Wetan Village. One of the cultural tourism potentials in Widarapayung Wetan Village is a traditional Javanese musical instrument, namely the gamelan. Currently, gamelan cultural activities in Widarapayung Wetan Village have been actively carried out on a regular basis based on the existing schedule of activities. Therefore, in order for gamelan to become a unique attraction, it is combined with electronic technology to become an electric gamelan. The electric gamelan can be used by visitors freely to learn to play the gamelan, while the existing original gamelan can be well preserved for rehearsals and performances. The electric gamelan made are saron and demung instruments. The saron and demung blades use acrylic material. When the acrylic blade is hit/beaten with a hammer, the piezoelectric sensor will receive vibrations when the blade is hit. The vibrations will be converted into electrical energy. The electrical energy will go through the Zener diode and 1 M? resistor, and will enter into IC 4051. IC 4051 in the system functions as a multiplexer that will take only one input according to the tone of the saron or demung instrument blades that are hit. The input will be passed to Arduino for processing. Arduino will issue a sound output in the form of a tone according to the blade that is hit. The electric gamelan tone is the original tone recorded by the saron and demung instruments. The two electric gamelan instruments, saron and demung, were tested together with wiyaga and the head of the Padhang Bulan Widarapayung Wetan art studio. The next activity was socialization with members of the Padhang Bulan art studio and the village apparatus of Widarapayung Wetan.

Editorial

I am excited to join G. James Daichendt and Jason Swift as a co-editor of Visual Inquiry: Learning and Teaching Art. I have served as a reviewer on the editorial board of this journal since its first issue in 2012. Over the past ten years, authors have delivered a breadth of issues in education, studio art, art history, criticism and much more. I am thankful for this dedication to research and even pushing boundaries in the visual arts.

A “Brilliant Talk” and a “Stirring Appeal”: How Women of Grand Rapids, Michigan, Built an Audience for the Ballets Russes in 1917

A “Brilliant Talk” and a “Stirring Appeal”: How Women of Grand Rapids, Michigan, Built an Audience for the Ballets Russes in 1917

Back to "normal" accessibility?

The author works at a nonprofit art studio for people with disabilities in Austin, Texas. The studio is having its first drawing class since the studio closed due to COVID-19 last spring. The author describes the struggles with accessibility of Susan, her first student to attend the studio in person since the pandemic. The author's initial thrill about in-person classes dulled, dissipated after hearing Susan's story and seeing her distress. She concludes that in the rush and excitement of this (hopefully) postpandemic world, we must take the opportunity to rethink what "back to normal" means. Perhaps we can replace our idea of normal with something more inclusive. (PsycInfo Database Record (c) 2021 APA, all rights reserved).

What is left of the studio, in the absence of a room to share?

This article builds on previous work exploring the essential relational experiences of risk, rupture and change that are possible for students and teachers who learn in an open studio setting. In response to the isolation that accompanied the COVID-19 pandemic this article considers how the relational dynamics of the studio are translated into an online environment. The authors use artmaking to explore their experience of working alongside each other in this way, engaging their material knowing in an online learning environment. The findings reveal that just as the constructed physical space of an art studio is a dynamic container for social interaction and expression, an online space can act as a container for these transformative experiences. The article considers what elements of the studio remain in the absence of a room to share and in doing so is pertinent for art therapists and educators working across face-to-face and online environments.

Virtual reality and augmented reality technologies for art education: The perceptions and responses of undergraduate students

The emergent culture of COVID-19 underscored a gap among generations with regard to their responses to new innovations in the education field. This article explores the educational potential of virtual reality (VR) and augmented reality (AR) for the secondary art curriculum through the perspectives and responses of undergraduate art students. The article examines the writing outcomes of a discussion board forum activity that I created to invite the students to share their responses to and reflections on the use of VR/AR technologies in visual art and art education. I share the students’ perspectives on VR/AR use for studio art making under the following three themes: (1) excitement about the new art medium, (2) strengths and risks and (3) educational potential for K–12 curriculum integration. In discussing the students’ reflections, contemporary artists’ use of VR/AR is also explored as a resource for art educators. I end the article by providing suggestions for art educators interested in incorporating VA/AR into their art lessons.