Criticizing and Evaluating the Visual Arts in India: Preliminary Example

1988 ◽  
Vol 47 (1) ◽  
pp. 3-28 ◽  
Author(s):  
Joanna Williams
Keyword(s):  
Visual Arts ◽  
Work Of Art ◽  
Works Of Art ◽  
The Way

By what standards should we judge works of art from another culture or era? We are generally used to the idea that understanding the meaning of an image requires consideration of its distinctive context—literary, religious, social, and so on. Evaluating the quality of a work of art is another specific case of this broad dilemma of understanding. Do we evaluate good and bad images by the “proper” criteria and in the way that is appropriate to them?

Given the Tino Sehgal Case: How to Save the Future of a Work of Art that Materializes Only Temporarily

2009 ◽  
Vol 34 (2) ◽  
pp. 194-199 ◽  
Author(s):  
SANDRA UMATHUM
Keyword(s):  
Visual Arts ◽  
Performance Art ◽  
Work Of Art ◽  
Unique Position ◽  
Works Of Art ◽  
History Of Art ◽  
The Future ◽  
History Of ◽  
The Way

This article focuses on German artist Tino Sehgal (born in 1976), whose works of art materialize only temporarily, while they fulfill, at the same time, all the requirements that any work of the visual arts must fulfill if it is to have a lasting existence. In this regard Sehgal's artistic approach not only takes a unique position within the history of art; it also departs fundamentally from the tradition of performance art. This article deals with the way Sehgal tries to save the future of the ephemeral situations his art puts forth, and shows, furthermore, how he thereby confronts questions and problems that performance art has neglected or even generated.

Essay. Cultural property: a museum director's perspective

1998 ◽  
Vol 7 (2) ◽  
pp. 438-445 ◽  
Author(s):  
GD Lowry
Keyword(s):  
Cultural Property ◽  
Property A ◽  
Work Of Art ◽  
Works Of Art ◽  
The Relationship ◽  
The Way

This essay explores a number of issues concerning the relationship between works of art and cultural property. From the perspective of a museum director, it posits an ontological distinction between the idea of a work of art and the concept of cultural property. The essay concludes by arguing that to the extent that nations place restrictions on the export of their art, they inevitably affect the way their culture is understood and perceived abroad and so alter the larger metanarrative of culture.

scholarly journals ANALISIS FORMALISTIK DALAM MEMAKNAI SIMBOL BUDAYA MELAYU ABSTRAK

2015 ◽  
Vol 3 (2) ◽  
pp. 49-72
Author(s):  
LIZA MARZIANA MOHAMMAD NOH ◽  
HAMDZUN HARON ◽  
JASNI DOLAH
Keyword(s):  
Visual Arts ◽  
General Public ◽  
Modern Art ◽  
Fundamental Question ◽  
Work Of Art ◽  
Physical Data ◽  
Works Of Art ◽  
National Heritage ◽  
Analyze Data

Untuk menghayati sesebuah karya seni pokok persoalan yang hendak dikaji bukanlah keindahan sematamata tetapi unsur yang menyebabkan sesuatu simbol itu terjelma. Subjek, bentuk dan makna adalahtiga aspek dalam simbol yang menjadi asas kepada penghayatan sesebuah seni. Ketiga-tiganya salingberhubungan dan tidak boleh di pisahkan kerana daripadanya kesatuan karya terbentuk seterusnyamenjelaskan gagasan seniman. Demikian dalam memaknai karya, unsur seni adalah penting untuk dikajisebagai data fizikal yang bertindak dalam menghubungkan konteks sesuatu karya itu. Kertas kerja inimenerangkan penggunaan unsur-unsur formalistik untuk menganalisa data bagi memaknai simbol budayaMelayu dalam karya seni catan moden Malaysia. Dengan menjadikan Balai Seni Visual Negara sebagailokasi kajian, kertas kerja ini merujuk buku himpunan warisan tampak negara 1958-2003 terbitan BalaiSeni Visual Negara. Sebanyak empat karya di tahun 1970an sehingga 2000 dipilih bagi menyiasat bentukdan maknanya. Sebagai kesimpulan, kertas kerja ini diharapkan dapat mendedahkan kepada masyarakatumum dan peminat seni khususnya mengenai analisis formalistik sebagai satu cara menganalisa karyaseni. In appreciate of a work of art the fundamental question to be examined is not the sheer beauty but anelement that causes a transformed symbol. Subject, form and meaning in symbols are three aspects thatare fundamental to the appreciation of art. All three are interconnected and cannot be separated to formthe whole aert work and subsequently to define the notion of artistism. Thus in defining an art work, artis an important element to be studied as the physical data in relating the context of the piece of artwork.This paper describes the use of formalistic elements to analyze data to interpret the symbol of Malayculture in Malaysian modern art paintings. By making the National Visual Arts Gallery as the locationfor research, this paper refers to the compilation books of national heritage published in 1958-2003 byNational Visual Arts Gallery. A total of four works from 1970s up to 2000 are selected to investigatethe forms and meanings. In conclusion, this paper is expected to disclose to the general public and artenthusiasts in particular on formalistic analysis as a means of analyzing works of art.

scholarly journals Morning, Paramin

2018 ◽  
Vol 92 (3-4) ◽  
pp. 245-273
Author(s):  
Maria Cristina Fumagalli
Keyword(s):  
Visual Arts ◽  
Derek Walcott ◽  
Works Of Art ◽  
The Right ◽  
The Way

Abstract In Morning, Paramin (2016), 51 new poems by Derek Walcott are in dialogue with 51 paintings by Peter Doig. Walcott, also an accomplished painter, has often engaged with the visual arts, but this is the first volume in which every poem “cor-responds” to a painting, offering unique opportunities to examine Walcott’s ekphrastic practices and the way in which they might offer alternatives to current paradigms. Rejecting the paradigm of a paragonal struggle for dominance, I will argue that Morning, Paramin is shaped by an ekphrasis of Relation (resonating with Glissant’s poetics of Relation) in which the verbal and the visual interact in complex ways, exercising mutual reclaimings of agency and transformative dialogues that engender new composite works of art governed by a noncompetitive, nonexploitative approach; as otherness is reconfigured, the right to “opacity” is upheld, and each image and word contribute to a whole bigger than the sum of its parts.

scholarly journals Virtual Cleaning of Works of Art Using Deep Convolutional Neural Networks

2021 ◽  
Author(s):  
Morteza Maali Amiri ◽  
David W Messinger
Keyword(s):  
Leonardo Da Vinci ◽  
Deep Convolutional Neural Networks ◽  
Work Of Art ◽  
Black Paint ◽  
Black And White ◽  
Works Of Art ◽  
Before And After ◽  
Rgb Images ◽  
Yellow Tint

Abstract Virtual cleaning of art is a key process that conservators apply to see the likely appearance of the work of art they have aimed to clean, before the process of cleaning. It is also of public interest, allowing people to see their favorite work of art without the yellow tint of the varnish which has covered the work. There have been many different approaches to virtually clean artwork, all of which need to physically clean the work in at least a few spots, an impediment in some cases. Another issue regarding the methods devised until now is that some of them need samples of pure white or black paint on the painting which might be, again, an obstacle as there are certainly works without any pure black and white paint. To overcome these shortcomings, a Convolutional Neural Network is trained on representative RGB images; the images are first artificially yellowed using a physics based model and the network is trained to go from the yellowed images to the original colored images. The results show improvement over a proposed method using a physical model to remove the impacts of age. The CNN is then applied to images of the Mona Lisa and The Virgin and Child with Saint Anne, both painted by Leonardo da Vinci, and works for which we have images from both before and after physical cleaning. Results show both a qualitative and quantitative improvement in the color quality of the resulting image. The novelty of the work proposed herein lies in two premises. First is the accuracy of the method, which is demonstrated through comparing the method with the only physical approach derived until now. Second is the generalizability of the method which is shown through blindly applying the method to two famous works of art for which no information but an RGB image of the uncleaned artwork is known.

scholarly journals Identity of the work of art

2010 ◽  
Vol 21 (2) ◽  
pp. 293-308
Author(s):  
Stefan Ristic
Keyword(s):  
Visual Arts ◽  
Physical Object ◽  
Ontological Status ◽  
Symbolic System ◽  
Work Of Art ◽  
Music And Literature ◽  
Works Of Art ◽  
The Arts ◽  
Art Forms ◽  
Definition Of

The paper intends to determine the identity of the work of art in visual arts, music and literature. The discussion is of ontological nature. Particular attention is given to the problem of imitation of works of art in different arts, making a distinction between two types of imitation: fakes and forgeries. The first type is found only within the arts where the work of art is a singular physical object, i.e. with the so called autographic arts, whereas the second type can also be found in other, allographic arts, although less commonly. The problem of the imitation of works of art is closely related with the issue concerning the possibility of reducing the work of art to a formal symbolic system which would serve as a definition of the work of art. The discussion shows that a consistent analysis of the ontological status of the work of art in different art forms provides results that may seem at the first glance unintuitive and surprising.

scholarly journals The Dialogue of Arts in Romanian Contemporary Drama

2017 ◽  
Vol 7 (1) ◽  
pp. 207-213
Author(s):  
Laura Bilic
Keyword(s):  
Visual Arts ◽  
21St Century ◽  
Modern Society ◽  
Music Technology ◽  
Dance Music ◽  
Work Of Art ◽  
The World ◽  
Continuous Work ◽  
New Generation ◽  
The Way

Abstract The beginning of the 21st century is characterized in Romania by the emerging of a new generation of playwrights. Numerous actors or people coming “off the stage” begin to write drama, so that the playwrights become authors of the texts played on the stage. Thus, the playwrights join a trend that is common in Europe, being part of a category named by Bruno Tackels “les écrivains de plateau” - the writers of the stage. Nowadays, we witness a change in the way the young artists view drama - they do not only want to change the way of writing and performing drama, but they also want to change the world they live in. The contemporary performance has gradually lost its specificity by blending itself with visual arts, dance, music, technology, becoming a project. In our modern society the artists do not look for something meant to last forever, so the work of art becomes a continuous work in progress. Therefore, a bridge is being shattered - the bridge between nowadays and posterity.

Piano Fantasy

Tempo ◽  
1958 ◽  
pp. 12-14
Author(s):  
Aaron Copland
Keyword(s):  
Large Scale ◽  
Work Of Art ◽  
Paul Valery ◽  
Sequence Of Events ◽  
Structural Principles ◽  
Paul Valéry ◽  
Loss Of Coherence ◽  
The Ideal ◽  
The Way

My Piano Fantasy, completed in January of this year, is a large-scale work in one movement, lasting half an hour in performance. A long and continuous one-movement form has always seemed to me one of the most taxing assignments a composer can undertake. The word assignment is perhaps ill-chosen, since this particular task was self-imposed. My idea was to attempt a composition that would suggest the quality of fantasy, that is, a spontaneous and unpremeditated sequence of “events” that would carry the listener irresistibly (if possible) from first note to last, while at the same time exemplifying clear if somewhat unconventional structural principles. “The spontaneous,” says Paul Valéry, “is the fruit of conquest.” It implies a creator who can “keep the unity of a work's ensemble while realizing the separate parts and without losing its spirit or nature on the way.” To give free rein to the imagination without loss of coherence, to be “fantastic” without losing one's bearings, is venturesome, to say the least. And yet a work of art seems to me the ideal proving ground for just such a venture. At any rate, my Piano Fantasy is such a venture.

Divine or Human Images? Neoplatonic and Christian Views on Works of Art and Aesthetics

Numen ◽  
2016 ◽  
Vol 63 (2-3) ◽  
pp. 196-209
Author(s):  
Arja Karivieri
Keyword(s):  
Work Of Art ◽  
Greco Roman ◽  
Roman Literature ◽  
Christian Art ◽  
Works Of Art ◽  
Christian View ◽  
And Function ◽  
The Relationship ◽  
The Ideal ◽  
The Way

This paper explores how Neoplatonists and Christians experienced and interpreted works of art, and how views on artists and individual works of art, such as Pheidias’ Zeus in Olympia, were expressed by the representatives of traditional Greco-Roman religions and Christians. The way the value of a work of art was expressed in Greco-Roman literature is compared with the comments and opinions of Neoplatonists and Christian authors, which show that art and its appreciation and function are closely connected to the relationship to God in ancient sources. The ideal of beauty took its place to enrich also the Christian view of aesthetics and enhanced the development of both Greco-Roman and Christian art.

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