Supplements to: The Aspect of “Time” in an Artistic Work (on Selected Examples of Polish Conceptual Art, Own Work and Student Works)

2020 ◽  
Vol 4 (2) ◽  
Author(s):  
Artur Chrzanowski ◽  
Keyword(s):  
Conceptual Art ◽  
Artistic Work

The Aspect of “Time” in an Artistic Work (on Selected Examples of Polish Conceptual Art, Own Work and Student Works)

2020 ◽  
Vol 4 (2) ◽  
Author(s):  
Artur Chrzanowski ◽  
Keyword(s):  
20Th Century ◽  
Contemporary Art ◽  
Fine Arts ◽  
Conceptual Art ◽  
Time Of Day ◽  
Starting Point ◽  
Art Works ◽  
Artistic Work ◽  
Great Tradition ◽  
Semantic Element

Attempting to visualize concept of “time” has a great tradition in contemporary art, in particular in conceptual art in the 20th century. The starting point for that consideration are conceptual activities in Polish contemporary art and their influence on the didactic program of teaching photography – the topics and selections taken for the visual structure of the work. Discussion on the example of selected works of Polish conceptual art of the 20th century, including the effects of the didactic process of the Photography and Multimedia Activities Studio that I run at the Academy of Fine Arts in Łódź. As a part of research and didactic observations, for many years students have been given the task of creating a visual work that shows the passage of time. The selection of photographic pictures and the method of working should be treated as an attempt to create a personal commentary on the surrounding reality. Students are choosing a theme, planning and recording over for a long period of time, for example a few weeks or months, the natural variability of the motif with particular emphasis on the type of light resulting from the time of day and the environment. The collections are presented in the form of a slide show, and the rhythm of the appearing photographs can be variable, consciously used as an additional artistic element. In the initial phase, the students discuss the selected issue and chosen artistic convention, while the technique and artistic form are free. In my own artistic work, too, the aspect of the “time” is an important factor. In many art works and art projects it is an important semantic element. Years later, I return to the same themes or places to reinterpret them and relate to the past. It concerns both the topic, issues and the composition of the visual implementation. Examples of artistic projects implemented over many years are cycles regarding the identity of the home city, for example “Postcards from Łódź”, “genius_lodzi” or “The Origin”.

Mobile Perception and the Automotive Prosthetic

Transfers ◽  
2011 ◽  
Vol 1 (1) ◽  
pp. 73-96 ◽  
Author(s):  
Charissa N. Terranova
Keyword(s):  
Urban Sprawl ◽  
Human Body ◽  
Conceptual Art ◽  
Robert Smithson ◽  
Martha Rosler ◽  
The World ◽  
1960S And 1970S ◽  
The 1960S ◽  
And Linguistics

This essay focuses on a body of photoconceptual works from the 1960s and 1970s in which the automobile functions as a prosthetic-like aperture through which to view the world in motion. I argue that the logic of the “automotive prosthetic“ in works by Paul McCarthy, Dennis Hopper, Ed Ruscha, Jeff Wall, John Baldessari, Richard Prince, Martha Rosler, Robert Smithson, Ed Kienholz, Julian Opie, and Cory Arcangel reveals a techno-genetic understanding of conceptual art, functioning in addition and alternatively to semiotics and various philosophies of language usually associated with conceptual art. These artworks show how the automobile, movement on roads and highways, and the automotive landscape of urban sprawl have transformed the human sensorium. I surmise that the car has become a prosthetic of the human body and is a technological force in the maieusis of the posthuman subject. I offer a reading of specific works of photoconceptual art based on experience, perception, and a posthumanist subjectivity in contrast to solely understanding them according to semiotics and linguistics.

The Soul of the Leningrad Blockade: Leonid Chupiatov’s Bogomater of the Protecting Veil

2019 ◽  
Author(s):  
Leslie O'Bell
Keyword(s):  
Present Essay ◽  
Religious Paintings ◽  
Artistic Work ◽  
Religious Image ◽  
Traditional Image

The present essay is the first article devoted to the religious paintings of the Soviet artist Leonid Chupiatov (1890–1941), with special attention to his Veil of the Mother of God over the Dying City, created during the desolate Leningrad siege winter of 1941-42. Dmitry Likhachev memorably called this work the “soul of the siege.” The article analyzes what it offers the viewer directly, as a modern version of the traditional image. It goes on to place the painting in the context of Chupiatov’s religious production, both during the siege and previous to it and to explore the circumstances which ensured its preservation against all odds. An apocalyptic context which challenges even divine compassion and saving grace, one which recapitulates the forty days of Christ in the desert—such is the immediate context of Chupiatov’s icon of the Protecting Veil in his artistic work from the winter of 1941–42. In the end, the survival of this powerful image becomes comprehensible through the connections of a fragmented religious-philosophical confraternity. The article thus represents a step towards finally acknowledging the presence of the religious image in the artistic response to the Leningrad siege.

An Author as Literature. (Visual) Autofiction of Dorota Masłowska

2016 ◽  
Author(s):  
Anna Michalak
Keyword(s):  
New Media ◽  
Cultural Practices ◽  
Conceptual Art ◽  
Visual Representations ◽  
The Creation

Using the promotional meeting of Dorota Masłowska’s book "More than you can eat" (16 April 2015 in the Bar Studio, Warsaw), as a case study, the article examines the role author plays in it and try to show how the author itself can become the literature. As a result of the transformation of cultural practices associated with the new media, the author’s figure has gained much greater visibility which consequently changed its meaning. In the article, Masłowska’s artistic strategy is compared to visual autofiction in conceptual art and interpreted through the role of the performance and visual representations in the creation of the image or author’s brand.

Contemporary Art and the Problem of Music: Towards a Musical Contemporary Art

2021 ◽  
pp. 1-26
Author(s):  
G. DOUGLAS BARRETT
Keyword(s):  
Contemporary Art ◽  
Contemporary Music ◽  
Conceptual Art ◽  
Social Process ◽  
Theoretical Concept ◽  
Sound Art ◽  
Art Theory ◽  
Avant Garde ◽  
Absolute Music ◽  
Art Form

Abstract This article elaborates the art-theoretical concept of ‘the contemporary’ along with formal differences between contemporary music and contemporary art. Contemporary art emerges from the radical transformations of the historical avant-garde and neo-avant-garde that have led to post-conceptual art – a generic art beyond specific mediums that prioritizes discursive meaning and social process – while contemporary music struggles with its status as a non-conceptual art form that inherits its concept from aesthetic modernism and absolute music. The article also considers the category of sound art and discusses some of the ways it, too, is at odds with contemporary art's generic and post-conceptual condition. I argue that, despite their respective claims to contemporaneity, neither sound art nor contemporary music is contemporary in the historical sense of the term articulated in art theory. As an alternative to these categories, I propose ‘musical contemporary art’ to describe practices that depart in consequential ways from new/contemporary music and sound art.

Antropologia teatrale e performance studies. Assonanze e tracce della ri(n)voluzione performativa postmoderna.

2017 ◽  
Vol 1 (1) ◽  
Author(s):  
Mabel Giraldo
Keyword(s):  
Performance Studies ◽  
Cultural Phenomenon ◽  
Artistic Work ◽  
And Performance

Starting from the finding of the performative drift that marked the theatrical research through the Seventies and Eighties, this essay aims to show how two of the main protagonists of the period – Theatre Anthropology and Performance Studies – have contributed in their affinities and specificities to marginalizing of the theatre as a cultural phenomenon and devaluating of the artistic work, inaugurated (and not yet rectified) by Postmodernity.

CREATING WORKS OF VISUAL ART: FEATURES, PROBLEMS AND CONCEPTS OF ARTISTIC ACTIVITY

2021 ◽  
Vol 1 (3) ◽  
pp. 6-15
Author(s):  
M. V. Boubnova ◽  
Keyword(s):  
Arts Education ◽  
Visual Art ◽  
Teaching Practice ◽  
Moscow Region ◽  
State University ◽  
Visual Activity ◽  
Artistic Activity ◽  
Artistic Work ◽  
Artistic Image ◽  
Teaching Professional

The goal of this paper is to identify the features of visual activity and conceptual approaches to the process of depiction. The research was carried out through observation of students’ work at the Moscow Region State University (MRSU) on the creation of paintings within the traditions of realistic depiction. The article analyzes the tendencies typical for visual activity, as well as the main problems arising in the process of artistic work, gives examples from practice, suggests ways to overcome such problems and to master the algorithms of “analytical depiction”. Author’s revisions of the following concepts are introduced: “depiction” as a method of “analytical painting”, when the result of the work is the realization of the conceived, and “copying” as drawing without comparing the qualities of the depicted, when the result of the activity is random and is not the artistic image that was intended to be created. The results of the research contribute to the theory of teaching professional art creativity, and to the understanding of theoretical problems of art and arts education. The materials can be used in teaching practice.

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