Field Of Visual Arts Research Articles

국내 시각예술계열 일반대와 전문대 교육과정의 정합성 연구

Objectives In this study, I explored the consistency of the curricula of Universities and Colleges in the field of visu-al arts in Korea based on the educational goals of the Higher Education Act. Methods The analysis framework of the consistency study is composed of three areas: ‘suitability, interpenetration, and dynamics’. For suitability, the educational goals of cases were analyzed, for interpenetration, the interdiscipli-nary system was analyzed, and for dynamics, the trend of the times such as institutional change and major form of cases was analyzed. The scope of the study was limited to the field of visual arts, and 13 universities and 13 Colleges were selected and analyzed. Results As the results, all educational goals of cultivating ‘artists’ for Universities and ‘professional workers’ for Colleges were comprehensively suitable. However, the interdisciplinary system showed interoperability with Universities due to the ‘upgrade of degrees’ of Junior Colleges, and most Universities showed graduate school uplift by opening practical doctoral courses. And it was very dynamic in that both Cases actively reflected the con-temporary demand of fierce competition. In particular, all Cases are characterized by the revitalization of con-vergence majors and the reinforcement of multilateral support systems and systems conscious of employment rates. Conclusions Overall, the curricula of Colleges and Universities has some problems of ‘suitability’ and ‘interpenetration’. However, in terms of dynamics, this is an inevitable change in the response of both Cases to a highly educated society, social change and on-site demand, and intensifying competition. Therefore, this problem is a problem of the times that goes beyond simply diagnosing superficial consistency, and the issue of identity as a higher educa-tion institution remains a task in the future.

Portrait of the Artist as a Non-Artist. Matryoshka Roles and the Heteronomization of the Italian Art Field

AbstractThis paper examines how Italian visual artists are now structurally encouraged to be proficient in performing activities unrelated to field-specific criteria, or – to use the words of one respondent – why they are supposed to “be good at being incredibly good at doing stuff they don’t know how to do.” Drawing on qualitative data (N = 135), four dimensions of unartistic yet binding concerns are explored: networking relationality, bureaucratic “callification,” systemic politics, and outward visibility. To analyze this dynamic, the concept of “Matryoshka roles” is introduced. Although uncharacteristic of artists’ work and nested inside its surface depiction (Matryoshka), each dimension entails a set of injunctions and sanctioned behavior (roles) that reconfigure the reality of contemporary visual artists and vitiate the separation between internal vs. external principles of hierarchization. Reflecting on the autonomy of the field of visual art as a transitory historical phase, mechanisms of fields’ heteronomization are addressed. By considering a series of factors (e.g., differences among early- and late-career artists, presence on social media, perception of heteronomous practices, most distinctive accomplishments, career junctions), the increasing pressure of meta-fields of economics, power, and state is detailed.

1980 SONRASI ÇAĞDAŞ TÜRK SANATINDA DİSİPLİNLERARASILIK VE DİSİPLİNLERAŞIRILIK

The coup of 1980 in Turkey was considered a negative impact of effective and long-term changes. Everything, including the historical process, political, economic, social and cultural phenomena, as well as street and art concepts, has been shaped before and after the 80s. The first half of the 80s became a period for Turkish art when works were published and bought and sold as commodities. After 1980, there was a major break in the field of visual arts, both in reviewing the subjects discussed and in the forms of creation. Artists who worked on the distribution of arbitrary border lines between political, economic, social or cultural products until the 80s gained a freer understanding of art in the 80s. With these understandings, after the 1990s, Turkish artists have signed practices that are open to diversity in art and are increasingly appreciated as interdisciplinary and interdisciplinary. This diversity has been provided with opportunities in the interdisciplinary and interdisciplinary period in which the art environment has been cultivated along social and cultural mobility such as global production, freedom, technological developments and international markets. Expanding the interdisciplinary and extreme expressions of disciplines within the scope of the research and examining the selected examples in a more comprehensive manner, revealing the results that Bitcoin has created in the last period and afterwards. Keywords: Turkish Art, Interdisciplinary, Transdisciplinary

Common Backgrounds of Students in the Field of Visual Arts at Science and Art Centers (SAC)

Introduction: Gifted and talented students in visual arts are known for their abilities such as keen observation, imagination, and fine motor skills. There are numerous studies highlighting the drawing characteristics, behavioral patterns in visual arts, and differences from typical children exhibited by these students. However, research on the factors influencing their artistic development and the underlying elements remains limited. Therefore, this study aims to investigate the common backgrounds of artistically gifted and talented students in their immediate surroundings, including family and social environments. Method: This research, utilizing qualitative research methodology, is designed as an embedded single-case study. The study involved 10 students, eight girls and two boys, who qualified for art education in the field of painting at the Science and Art Center (SAC) in İzmit., a support center for gifted and talented students, during the 2022-2023 academic year. Both students and their parents participated in the study. Data obtained through semi-structured interview questions were descriptively analyzed in alignment with the research questions. Findings: Four main themes emerged from the research, namely “Roles,” “Approval,” “Firsts,” and “Differences.” The study indicates that family plays a crucial role as the most critical component in the talent development and success of artistically gifted and talented students. The demographic structure of families and their attitudes toward art are considered significant factors in the artistic development of their gifted children. Discussion: Discovering the talents of gifted and talented students, supporting them accurately, and utilizing their skills in appropriate fields would contribute to the national interest. Therefore, closely monitoring and discovering the interests of gifted children, along with providing support in those areas, are crucial factors in developing their talents.

Creativity as a means of shaping human subjectivity according to Wiesław Karolak

The aim of this article is to present creativity as a means of shaping human subjectivity based on the art therapy practice of Wiesław Karolak. The author identifies art therapy with therapy through creativity (resp. artistic expression). Its basis is the belief in the creative nature of man. Creativity is a universal feature that constitutes every human being, therefore it is not reserved exclusively for artists. However, modern scientific and technological civilization, as well as consumerism, do not encourage creative attitudes in everyday life. Man has two ways of functioning to choose from - automatic implementation of imposed patterns of existence or conscious living of life involving independent setting of goals. In order to become a subject, that is, the source of one's actions, it is necessary to actualize the creative nature, including the dispositions responsible for creation. The program titled "Creativity supporting development", co-authored by W. Karolak, is undoubtedly helpful in this process. The author implements its assumptions during art therapy workshops, the aim of which is to form human subjectivity. He assigns a special role to expression in the field of visual arts due to his own artistic education. He often uses drawing, which he equates with thinking. By taking up creative activity - by drawing, workshop participants become aware of what was previously incomprehensible to them, and gain insight into their own emotions, which ultimately leads to self-knowledge. By discovering their own creativity in the field of art, they want to use it in their everyday experience. In this way, they transform into a conscious entity that responsibly manages its own life according to the knowledge acquired through creative exploration. Artistic expression activates creative attitudes whose distinguishing feature is "novelty". Hence, human subjectivity is expressed in productive thinking as defined by Otto Selz, which acquires a creative character in a specific social context. The publication was created based on the content analysis method.

Design Potential of Technical Hemp and PLA Nonwovens

ABSTRACT The main purpose of the article is to present the potential use of hemp fibers as reinforcement in composites, but from a design perspective. The authors ask whether sustainable nonwovens, produced based on natural fibers, have the potential as a material for designers and artists and not only as a technical textile. Technical production of nonwovens like carding, punching and laser cutting was used to achieve not just functional, but also aesthetic quality of the samples. The possibilities of utilizing natural materials for design endeavors were presented. The production process of these items was described, along with the main design concept. Research was carried out through a series of interdisciplinary activities, using the knowledge and tools typical for textile and materials engineering, as well as the methodology and strategies derived from the fields of visual art and design. It has been shown that during the development of a new sustainable material significant attention should be paid to design aspects, so it shows its full potential, as not just being eco-friendly, but also functional and aesthetic. While technical hemp and PLA composites have been produced and studied before, the design aspect is unique in the current study.

Re-Imagining Artistic Research

This special issue explores contemporary efforts in rethinking artistic research, especially in relation to its boundaries, methods, formats, and collaborations across fields of knowledge and practice. As artistic research sets itself firmly on its own scientific grounds, its relational and affective potential expands beyond the fields of visual arts. This potential is explored in this special issue as artist-researchers engage in re-imagining research in arts, architecture, photography, design, craft, and education. Through these collective efforts, we expect to contribute to understanding the impacts of artistic research and emphasize its importance in shaping research in a broader sense.

The Venice Biennale, French porcelain and historical retrospective on marketing and expertise in the field of fine arts

The relevance of this article is based on shaping new modern world’s market relations one of which is the art market. The aim of the research is the analysis of the marketing interrelations and tendencies in the market of the 20th-21st centuries together with the previous historical periods. In order to hit the goal of the research, theoretical, empirical and comparative researching methods have been used. It sets theoretical foundations of the visual arts marketing and the ways of their practical application. Already before the modern art market as an element of a total capitalistic market came to exist, the movement of visual art works, in the ancient epoch, included elements of marketing approaches and technologies caused by the then-existing processes of sale and purchase of art works, their exchange and collecting. The article is about the expertise of their quality and originality; definition of the already existing methods of promoting art works in the society. It is worth paying a particular attention to ceramic products like porcelain (china) that, in its turn, occupies an important place among art works, together with paintings and sculptures. In the beginning of the 18th century, the porcelain arrived to Europe from China. Collectors have for three centuries admired porcelain products. It should be admitted, there is a particular category of the Venice Biennale visitors. They are porcelain collectors. The practical value of this research stays in the analysis of the marketing instruments in the modern art market for the benefit of not only modern artists but also of the managers of all levels who work in the field of visual arts, at exhibitions, for companies producing collection ceramics tableware, at auctions and in the world’s museums

Visual Exegesis of Herodias and Salome from Feminist Rhetorical Criticism: The Construction of a Myth

The biblical account of Salome has been marked throughout history by two main themes: on the one hand, the princess’s dance in front of the main rulers of Galilee, and on the other hand, the request for the head of John the Baptist to King Herod, instigated by his mother Herodias. The reading of this passage has been strongly marked by the different patriarchal exegetical approaches, which have modulated the reception of both female characters being traceable through the visual and literary arts, to the point of taking on the concept of femme fatale. Really, in both moments Salome is the executor of the actions, not as a result of her capacity for agency, but due to her influenceable character. Through a critical–historical analysis of the biblical passage, Herodias and Salome emerge with characteristics quite different from what 19th-century Art History inherited. The methodology of feminist rhetorical criticism allows for an approach to the visual re-imaginings of this biblical passage that have shaped the iconography of these two figures. The field of visual arts, particularly the production of the late 19th and early 20th centuries, will be the great receptacle for the genesis of the fatality and assimilation of these female biblical figures.

MOTIVATION, ATTITUDES AND HABITS IN CULTURAL PARTICIPATION AMONG VISITORS TO VISUAL ARTS INSTITUTIONS

In this paper we analyze culture as integral aspect of everyday life and the ways culture is actualized through cultural participation. The research presented in this paper is part of the Center for Designing the Everyday project, which aims to explore the current state and possibilities for establishing a new model of participatory governance in culture based on the model of participatory democracy. In this research, designed and conducted to assess the state of cultural participation at two intervals over a two-year period, the aim was to determine whether there are differences in the types of participation and motivations for participation in cultural events and activities before and after initiatives aimed at reinforcing the model of participatory governance. The paper draws on three conceptual turns, namely postmodern, cultural, and participatory, to examine the repositioning of cultural participation in everyday life. Two surveys were undertaken in 2018 and 2020, targeting an intentional sample of visitors to cultural institutions and associations operating in the field of visual arts. Given the specific timeframe, the results are interpreted in the context of the pandemic. Results imply strengthening of cultural participation connected to cultural consumption, while participation connected to cultural production is decaling. Furthermore, interactive cultural participation in digital and virtual environment indicates inequalities among different social groups especially when it comes to elderly population that has proven to be vulnerable in terms of frequency and availability of interactive cultural participation. Keywords: cultural participation; participatory culture; visitors; visual art institutions; Croatia

Kinship w ujęciu posthumanistycznym. Międzygatunkowe rodziny przyszłości

The author analyzes the works of Patricia Piccinini (sculpture), Shaun Tan (literature) and Joon-ho Bong (film) in terms of the post-humanist idea of interspecies familiarity. The text begins with an explanation of the term Kinship, and then indicates to what extent post-humanism extends its scope and describes the emotional ties between human and other-than-human members of the household. The author presents this kind of post-humanist, multi-genre family life in three different versions: in the field of visual arts, these will be works from the Welcome Guest, and Families of the Future by Piccinini, in the field of the literature – Tan’s Tales from the Inner City, and the film representation – Okja by Bong. Although each of these works brings out slightly different aspects and contexts of the post-humanist vision of the concept of Kinship, they share an openness to what is other-than-human, combined with care and tenderness.

Interactive Narratives and Immersive Experiences -- A Brief Discussion on the Creative Logic of Interactive Film and Television Works

With the rapid development of the internet and the media industry's drastic changes, interactive film and television have emerged. Interactive narrative art refers to a narrative expression with specific characteristics of a particular medium, which can directly extend and manifest in the fields of visual arts and media. As the era progresses, the field of narrative studies increasingly emphasizes thinking from the reader's perspective, recognizing that a complete narrative and interactive process are jointly constituted by the author's thoughts and the reader's understanding. The rise of interactive film and television has prompted profound reflections in the film and television industry. This paper focuses on exploring how to enhance the audience's visual experience through interactive means and deepen their understanding and reflection. Through case analysis, the paper identifies current issues in interactive film and television and suggests better improvement methods, aiming to provide insights into the narrative experience of interactive film and television works.

التواصل الفني من خلال تقنية الرسم الضوئي :عروض جوليان بروتون نموذجًا

With technological and technical advancements, the field of visual arts has become a vast space for both artistic and technical interaction. New creative expressions have emerged, and artistic practices have opened up to each other, breaking down barriers. The exhibition space is no longer just a collector of arts; rather, other arts showcase their creativity using the latest technological mechanisms, which create images capable of raising various intellectual questions. Through this simplified definition, we shed light on the presentations of the French artist Julien Breton, who has imposed a distinctive dynamic between choreography and illuminated calligraphy, or what can be termed as linear marks drawn with light painting technique, a form of current technical imaging that has become an artistic phenomenon dominating spaces of various sizes and types. In light of this, we pose a series of questions: To what extent has technological progress contributed to delivering a comprehensive visual scene? Can harnessing light painting technology contribute to presenting the Arab heritage in the best possible way? To what extent has technological advancement become a necessity in our current era? Its impact in the field of education and learning

Artificial Intelligence Application In Telling Stories Without Words The Effectiveness Of Visual Rhetoric On Comprehension Of The Novel

This period has witnessed an increasing increase in the speed of means of communication, methods, and rules of design, so the transition from the search for workmanship to creativity as well as employing many other sciences, a technological development that occurred in the field of visual arts, especially graphic design, such as the emergence of computers and programs (the digital medium) and entering a field Graphic design, with its capabilities to develop the aesthetic and creative side, including these technical programs and the designer’s impressive capabilities. The image occupied a large part of human history, starting with cave drawings and pictorial languages. The image is an important part of the creative worlds, and the novel as part of literary creativity has its pictures, colors are wavy, so the writer draws his image in his narration by showing part of it, to allow the imagination to complete the other part. Therefore, literature and graphic design technology are two closely related worlds that depend on the image and make them the backbone. The writer has his image, the designer has his image, and each of these pictures has points of encounter and points of difference. Therefore, designers resort to Visual Rhetoric shapes as a medium of expression with the aim of increasing the effectiveness of the process of mutual meaning, adding implicit values to the visual image, and enhancing the communication process. So The study deals with the use of digital technology in the production of a graphic vision of the novel "maktub" for the international writer Paulo Coelho, in an attempt to display the novel in a modern graphic graphical way, by analyzing the novel and drawing it with a philosophical vision to integrate Arab history, novel, and art with technology, by integrating digital art techniques with Traditional Arabic graphic arts techniques with their visual elements. It monitors the relationship between graphic design technology and its new technical techniques to reveal the ability of Graphic Design and Visual Rhetoric to comprehend literary works. To form a step in the approach between graphic design and novel art, making use of theories of formation, design, gestalt, and their tools that coordinate the scene and its paintings so that the visual vision arises with its implications.

Theme of Flowers as a Sign of Impressionism on the Example of the Work of Ivan Trush (1869-1941)

The end of the 19th and the beginning of the 20th century in art are associated with light and color in Europe, which were characteristic of the artistic philosophy of Impressionism. Prominent representatives of this movement created artworks based on a new approach to color choices and subject matter, including the depiction of real landscapes and floral compositions. The relevance of this research is driven by the need to study the artistic representation of floral compositions by the Ukrainian artist I. Trush through the prism of Impressionist stylistic elements. The research aims to identify the features of Impressionist philosophy in the works of I. Trush through a comparison of the artist's body of work with that of Impressionist contemporaries in the field of visual arts. In this research, scientific methods such as description, systematization, analysis, comparison, cultural-historical analysis, and generalization were employed. As a result of this scientific investigation, the fundamental characteristic traits of Impressionism as an art style in visual arts were studied, as well as the particular features that distinguish this artistic movement from previous artistic philosophies. The research also analyzed the conceptual framework of the term "Impressionism" and its origins. Furthermore, it examined the characteristic traits and features of the works of the Ukrainian painter I. Trush and Impressionist artists, allowing for the integration of the distinctive traits and features of Impressionism in the artist's work through comparison. Through the comparative analysis conducted in this scientific work between Impressionists and the artistic output of I. Trush, the involvement of the Ukrainian artist in the broader Impressionist movement was highlighted. This research can be utilized by scholars and art historians for further exploration of Impressionism as an artistic movement and its influence on the development of Ukrainian art.

Art in protest discourses – on the example of the Belarusian anti-government protest movement

In protest discourses the problem of using aesthetic and artistic elements lies in the centre of attention. The authors draw empirical material from the Belarusian protest movement, especially the anti-government protests of 2020. In the current study the problem of the use of aesthetic elements in protest discourses is considered in two aspects: 1) in the aspect of artistic activism, i.e. the involvement of artists in resistance activities; 2) in terms of the use of aesthetic speech acts in various forms of protest activity, i.e. as a special rhetorical tool with emphatic and persuasive function, but also as a means of expression with the satisfying function. As a result of this dichotomy, the article is divided into two parts. The authors point out that even though public art is not developed in Belarus (e.g. in the field of visual arts), aesthetic creativity is a very characteristic feature of both street poster discourses and forms of protest in the Internet.

Symbolic Connotations in the Works of the Artist Eugene Delacroix

The use of symbols is considered an important part of visual expression since ancient civilizations till the present time, and detecting the significance of these symbols is a communication means between the artwork and the recipient. The current study aims to detect the clarification of the concept of symbolic connotations, and to detect their importance in the works of the artist Eugene Delacroix, through description and technical analysis, and trying to monitor the technical aspects of these connotations and using them in forming the artwork; This shows the importance of the study in trying to benefit the scholars in the field of visual arts and the analysis of artworks in particular. The study used the descriptive analytical approach for detecting and analyzing these connotations to reach results related to the research objectives. The research sample consisted of paintings of the artist's works during the period (1822-1837 AD), where the works were sorted according to the specified time period, taking into account the stages and transformations in the artistic style. The artworks were chosen as a purposive sample; The number of artworks reached (4), they represent two important stages for the artist: the European stage, and the Arab Maghreb stage. The study reached several results, the most prominent of which are: the association of formative formulations in Delacroix's works according to the two artistic stages that he lived in Europe and Morocco. Also, the artist used in some of his works various symbolic connotations; the most important of which are: the conventional, explanatory and aesthetic connotations, which are among the direct symbolic connotations; The artist also used indirect symbolic connotations such as suggestive and probable connotations, and all these connotations have implicit meanings. Following the results of the study, the current study reached a set of recommendations, the most important of which are supporting the studies and researches associated to analyzing symbolic connotations in the local artworks

Editorial: Arts in Action: Urgencies in Art and Art Education

How do artists, art educators and researchers relate their practices to the urgencies of the world? How can art make a difference in a contemporary world dominated by com plex and intense political, economic, and environmental challenges and conflicts? Are there right and wrong ways of address ing urgencies through art, research, and education? Should the arts in education be justified because of its usefulness for something else? This special issue provides insight into some responses to these ques tions. The contributions, ranging from short texts to longer texts, as well as artistic submissions, represent a rich ness and diversity that cover the fields of visual art, music, and theatre. They all relate to the questions in various ways by addressing how and why art matters, while exploring possible connections between art and societal challenges. This special issue originates from contributions from the international symposium titled 'Arts in Action—Urgencies in Art and Art Education' that was held in Kristiansand, Norway, from 8 to 10 June 2022.

Designing assessment funds for the bachelor's degree program «art education in visual arts»: problems and solutions

Introduction. The research of tools for assessing the achieved educational results and the effectiveness of the educational process is a necessary mechanism for improving the quality of education and educational systems. Despite the accumulated experience in the formation of funds of assessment tools, the problem of assessing the formation of general professional and professional competencies of students, taking into account the specifics of the educational programme, remains relevant. The aim of the research: the search for procedures, types of tasks and the development of a model of complex FOS, allowing to assess the formation of all levels of competences of professional training of an art-pedagogue, including those reflecting the formation of competence in the field of visual arts. Materials and methods. The research materials were normative documents regulating the design and implementation of higher education programmes; Russian and foreign studies; survey data of 187 teachers of the Herzen State Pedagogical University. Methods: analysis of sources and regulatory documents, survey, quantitative assessment of data (percentages), typical selection. Results. The analysis of normative documents and theoretical sources revealed a contradiction between the need to standardise assessment procedures and the specifics of assessing the competences of an art-pedagogue. The results of the survey of teachers confirm this contradiction: the most acceptable form of objective assessment of competences is an oral test/exam (75.4%), practical assignment (70.1%). Among the main problems of designing assessment funds, teachers highlight the assessment of validity and reliability of the Funds of Assessment Tools (57.2%) and the possibility of assessing the competence as a whole (54%). The analysis of the research materials allowed the authors to propose a comprehensive model of assessment funds, including structural, content and assessment components. The proposed structure, logic of organisation and types of tasks (tests, professional tasks of artistic and creative disciplines, etc.), including invariant and variant parts of tasks for independent work, are the basis for valid assessment of the formation of all levels of competences, including professional ones, reflecting the specificity of training of art-pedagogues. Conclusion. The results of the analysis, the proposed model, procedures, types of assignments, and the described recommendations can be used in the design of funds of assessment tools for educational programmes of higher education in the context of training an art-pedagogue.

Tarsila do Amaral

Abstract In the field of visual arts, painter Tarsila do Amaral was a pioneer in her revindication of ‘peripheral’ areas, as well as in her opposition to an exclusive Eurocentric vision of the world. The article highlights how her contribution was crucial to an early approach to decolonization that used the notion of antropofagia to present the colonized in an act of ‘devouring’ the colonizer, assimilating certain aspects and discarding others to process and build new, independent identities. Considering her white, upper-class and cosmopolitan background, the article also explores the limits of her colonial-related art practices and the common trap of exoticism in the arts. Using the history of Tarsila do Amaral as a case study, this study will question how artists from ‘peripheral’ areas were making use of their access to native cultures in order to be part of the established European art scene and hegemonic discourse.