scholarly journals On the Artistic Value of Literary Ekphrasis

2021 ◽  
Vol 2 (2) ◽  
Author(s):  
Zhangfan Shangguan ◽  
Dong Wang
Keyword(s):  
Visual Arts ◽  
Art History ◽  
Visual Art ◽  
Narrative Style ◽  
Cross Media ◽  
Artistic Value ◽  
Cross Border ◽  
Language Style ◽  
Writing Paradigm ◽  
Literary Narrative

As a language attribute that exists for visual arts, ekphrasis is not only a bridge to communicate poetry and painting, but also an important category in the cross-media and cross-disciplinary research of literature and art. Through the process of recreating paintings by using language as a medium, ekphrasis realizes the conversion from visual art to auditory art, and explores the richness of cognitive creation on the basis of the reproduction of visual art. In this process, the literary narrative diagram shows significant differences from the artistic doctrinal diagram, which are mainly reflected in the three levels of academic guiding ideology, narrative style difference, classic deconstruction and reconstruction, and language style writing paradigm. In addition, literary storytelling plays an important role in the writing of art history and the dissemination of artworks. It provides reference and inspiration for the current cross-border and in-depth integration of literature and art from the perspective of practical creation.

Art, History, and Postwar Fiction

2018 ◽  
Author(s):  
Kevin Brazil
Keyword(s):  
Visual Arts ◽  
Art History ◽  
Visual Art ◽  
New Left ◽  
Doris Lessing ◽  
William Gaddis ◽  
Continuity And Change ◽  
Historical Developments ◽  
The Cold War ◽  
The Relationship

Art, History, and Postwar Fiction explores the ways in which novelists responded to the visual arts from the aftermath of the Second World War up to the present day. If art had long served as a foil to enable novelists to reflect on their craft, this book argues that in the postwar period, novelists turned to the visual arts to develop new ways of conceptualizing the relationship between literature and history. The sense that the novel was becalmed in the end of history was pervasive in the postwar decades. In seeming to bring modernism to a climax whilst repeating its foundational gestures, visual art also raised questions about the relationship between continuity and change in the development of art. In chapters on Samuel Beckett, William Gaddis, John Berger, and W. G. Sebald, and shorter discussions of writers like Doris Lessing, Kathy Acker, and Teju Cole, this book shows that writing about art was often a means of commenting on historical developments of the period: the Cold War, the New Left, the legacy of the Holocaust. Furthermore, it argues that forms of postwar visual art, from abstraction to the readymade, offered novelists ways of thinking about the relationship between form and history that went beyond models of reflection or determination. By doing so, this book also argues that attention to interactions between literature and art can provide critics with new ways to think about the relationship between literature and history beyond reductive oppositions between formalism and historicism, autonomy and context.

scholarly journals THE USE OF TRIZ (TIPS) METHODS FOR THE PERCEPTION OF THE MODERN VISUAL ART

2021 ◽  
pp. 29-40
Author(s):  
T. I. Lagaeva ◽  
A. I. Simak
Keyword(s):  
Problem Solving ◽  
Visual Arts ◽  
Art History ◽  
Visual Information ◽  
Visual Art ◽  
Research Abstract ◽  
Practical Significance ◽  
Communication Effectiveness ◽  
Conscious Perception

The purpose of this investigation is the search and development of the methodological tools for the use of the Theory of Inventive Problem Solving (TRIZ/TIPS) for a deep and conscious perception of the modern visual arts by future artists and by professional painters in general. Methodology. The theoretical fundamentals of the research became the works of the researchers in the field of social-humanitarian sciences: culturology, art history, philosophy, semiotics. One can refer to the methodological basics the use of systemic, structural-semiotic and post-structural approaches. Results. In the process of the research, the differentiation, systematization and classification of methods of shaping in visual arts by adapting TRIZ methods was realized. The visual information for every TRIZ method was collected. As an example, we suggested a research abstract for the «Mediator» method, including a selection and the interpretation of the images, the analysis of method’s functions and their peculiarities, their specifics and resource possibilities. Scientific novelty. The scientific novelty consists in the fact that the authors have investigated the artistic works on the basis of adapted TRIZ methods, identified the variants of use of these methods and their functional meaning. Practical significance. The practical significance of the research consists in a deep analysis of semantic and esthetic components of the works of art, which can promote the enhancement of the artistic communication effectiveness and higher realization of the artists.

The words about us

1983 ◽  
Vol 8 (4) ◽  
pp. 14-22 ◽  
Author(s):  
Gavin Jantjes
Keyword(s):  
South African ◽  
Visual Arts ◽  
Art History ◽  
Visual Art ◽  
African History ◽  
African Art ◽  
Black Artists ◽  
British Art ◽  
Cultural Life ◽  
Commonwealth Institute

This article challenges the history and interpretation of the visual arts of Africa promulgated by much of the documentation on African art found in British art libraries — both that based on the colonial archaeological, ethnographic and anthropological approach, and that stemming from the influence of African arts on early twentieth century European art. Drawing parallels between the false picture of African history produced by colonial historians, and the perception of African art history by non-African art historians, the author draws attention to the need for Africans to document their own art, and to the lack of documentation on the contribution of Black artists to British cultural life.The author is a South African artist and writer living in Britain, who will be exhibiting with the Midlands Art Group, Nottingham, January – February 1984. The article is a revised version of a paper delivered at the ARLIS/UK course ‘Visual art documentation for a multi-cultural society’, held on 11 November 1983 at the Commonwealth Institute, London.

The problem of the artefact: subject limits of the art library

1979 ◽  
Vol 4 (4) ◽  
pp. 11-22 ◽  
Author(s):  
Trevor Fawcett
Keyword(s):  
Material Culture ◽  
Visual Arts ◽  
Art History ◽  
Visual Art ◽  
Round Table ◽  
History Of Technology ◽  
Social Anthropology ◽  
Value Judgment ◽  
A Value ◽  
History Of

The traditional subject category ‘visual arts’ is based on a value judgment, but aesthetic criteria no longer suffice to define this category. Art is increasingly permissive in its range. The subjects of art history, archaeology, social anthropology, and history of technology tend more and more to overlap. Almost any material artefact can now be viewed aesthetically, and any work of visual art may be considered as an artefact. Libraries should aim to bring together all the material culture of human societies, whether tools or works of art, in their bibliographic classifications instead of scattering it as at present.(Slightly revised version of a paper given at the Art Libraries Round Table, 45th IFLA Congress, Copenhagen, 1979.)

Resonance in Dhvani Aesthetics and the Deleuzian Logic of Sensation

2018 ◽  
Vol 12 (1) ◽  
pp. 29-44
Author(s):  
Srajana Kaikini
Keyword(s):  
Art History ◽  
Visual Art ◽  
Normative Theory ◽  
Close Reading ◽  
Literary Interpretation ◽  
Sanskrit Poetics ◽  
Comparative Framework ◽  
Time Image

This paper undertakes an intersectional reading of visual art through theories of literary interpretation in Sanskrit poetics in close reading with Deleuze's notions of sensation. The concept of Dhvani – the Indian theory of suggestion which can be translated as resonance, as explored in the Rasa – Dhvani aesthetics offers key insights into understanding the mode in which sensation as discussed by Deleuze operates throughout his reflections on Francis Bacon's and Cézanne's works. The paper constructs a comparative framework to review modern and classical art history, mainly in the medium of painting, through an understanding of the concept of Dhvani, and charts a course of reinterpreting and examining possible points of concurrence and departure with respect to the Deleuzian logic of sensation and his notions of time-image and perception. The author thereby aims to move art interpretation's paradigm towards a non-linguistic sensory paradigm of experience. The focus of the paper is to break the moulds of normative theory-making which guide ideal conditions of ‘understanding art’ and look into alternative modes of experiencing the ‘vocabulary’ of art through trans-disciplinary intersections, in this case the disciplines being those of visual art, literature and phenomenology.

Conditions of Visibility

2019 ◽  
Keyword(s):  
Art History ◽  
Visual Art ◽  
Fundamental Question ◽  
Ancient World ◽  
Work Of Art ◽  
History Of Art ◽  
Shared Objects ◽  
History Of ◽  
Modern Prejudice ◽  
Historical Past

We often assume that works of visual art are meant to be seen. Yet that assumption may be a modern prejudice. The ancient world - from China to Greece, Rome to Mexico - provides many examples of statues, paintings, and other images that were not intended to be visible. Instead of being displayed, they were hidden, buried, or otherwise obscured. In this third volume in the Visual Conversations in Art & Archaeology series, leading scholars working at the intersection of archaeology and the history of art address the fundamental question of art's visibility. What conditions must be met, what has to be in place, for a work of art to be seen at all? The answer is both historical and methodological; it concerns ancient societies and modern disciplines, and encompasses material circumstances, perceptual capacities, technologies of visualization, protocols of classification, and a great deal more. The emerging field of archaeological art history is uniquely suited to address such questions. Intrinsically comparative, this approach cuts across traditional ethnic, religious, and chronological categories to confront the academic present with the historical past. The goal is to produce a new art history that is at once cosmopolitan in method and global in scope, and in doing so establish new ways of seeing - new conditions of visibility - for shared objects of study.

Mutable Views

2019 ◽  
pp. 52-70
Author(s):  
Johanne Sloan
Keyword(s):  
Visual Culture ◽  
Collective Memory ◽  
Visual Arts ◽  
Visual Art ◽  
Natural World ◽  
Landscape Art ◽  
Experimental Films ◽  
Contemporary Artists

This chapter addresses the contemporary renewal of landscape art in Canada, arising at the intersection of visual art and cinema. Artworks, installations, and experimental films are discussed according to four categories: figure/ground, spatial illusions, the historicity of landscape, and digital scenery. Landscape—as a distinct art historical genre, conventional cinematic background, and ideological ground—has historically played a key role in Canadian visual culture. The contemporary artists and filmmakers in question have remade landscape in pictorial terms by remixing legacies from the visual arts and cinema and also in political terms, by calling attention to the damaged natural world of the Anthropocene, confronting Indigenous claims to the land, and foregrounding struggles over nationhood, identity, and collective memory.

Toward an international art library: the growth of the Research Library at the Getty Research Institute, 1979-2002

2002 ◽  
Vol 27 (4) ◽  
pp. 25-32 ◽  
Author(s):  
Susan M. Allen
Keyword(s):  
Visual Arts ◽  
Research Program ◽  
Art History ◽  
General Public ◽  
The Other ◽  
Research Library ◽  
Grant Program ◽  
Research Institute

The Getty Research Institute (GRI) is one of four programs of the J. Paul Getty Trust, an international cultural and philanthropic institution devoted to the visual arts, all of which reside at the Getty Center situated high on a beautiful hilltop in Brentwood, California. (The other programs of the Getty Trust are the J. Paul Getty Museum, the Getty Conservation Institute, and the Getty Grant Program.) From the beginning it was understood that the GRI would develop a research program in the discipline of art history and more generally the humanities, and that a library would support its work. Since its founding the GRI has, in fact, developed a major library as one of its programs alongside those for scholars, publications, exhibitions and a multitude of lectures, workshops and symposia for scholars, students and the general public. What is now known as the Research Library at the GRI has grown to be a significant resource and this article focuses on its history, the building that houses it, its collections and databases, and access to them all.

scholarly journals Medialness and the Perception of Visual Art

2017 ◽  
Vol 5 (2) ◽  
pp. 169-232 ◽  
Author(s):  
Frederic Fol Leymarie ◽  
Prashant Aparajeya
Keyword(s):  
Visual Arts ◽  
Visual Art ◽  
Medial Axis ◽  
The Other ◽  
Mathematical Representation ◽  
Creative Performance ◽  
Core Feature ◽  
Art Analysis ◽  
The One ◽  
Cartoon Animation

In this article we explore the practical use of medialness informed by perception studies as a representation and processing layer for describing a class of works of visual art. Our focus is towards the description of 2D objects in visual art, such as found in drawings, paintings, calligraphy, graffiti writing, where approximate boundaries or lines delimit regions associated to recognizable objects or their constitutive parts. We motivate this exploration on the one hand by considering how ideas emerging from the visual arts, cartoon animation and general drawing practice point towards the likely importance of medialness in guiding the interaction of the traditionally trained artist with the artifact. On the other hand, we also consider recent studies and results in cognitive science which point in similar directions in emphasizing the likely importance of medialness, an extension of the abstract mathematical representation known as ‘medial axis’ or ‘Voronoi graphs’, as a core feature used by humans in perceiving shapes in static or dynamic scenarios. We illustrate the use of medialness in computations performed with finished artworks as well as artworks in the process of being created, modified, or evolved through iterations. Such computations may be used to guide an artificial arm in duplicating the human creative performance or used to study in greater depth the finished artworks. Our implementations represent a prototyping of such applications of computing to art analysis and creation and remain exploratory. Our method also provides a possible framework to compare similar artworks or to study iterations in the process of producing a final preferred depiction, as selected by the artist.

Sign in / Sign up

Export Citation Format

Share Document