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”.

scholarly journals Art of the second half of XX — early XXI centuries as visual philosophy

2021 ◽  
Vol 4 ◽  
pp. 95-106
Author(s):  
Natalia Dyadyk ◽  
Keyword(s):  
20Th Century ◽  
Contemporary Art ◽  
21St Century ◽  
Visual Art ◽  
Conceptual Art ◽  
Early 21St Century ◽  
The World ◽  
Analysis And Synthesis ◽  
Death Of The Author ◽  
Contemporary Artists

Introduction. The article is focused on studying the area of intersection of contemporary art and philosophy, it is a continuation of the research project on conceptual art and its intersection with philosophy, which we started earlier. By conceptual art, we mean art aimed at intellectual comprehension of what has been seen, art that appeals to thinking and generates philosophical meanings. But if earlier we explored conceptual cinema and mainly visual art of the early 20th century, then in this article we want to turn to the visual art of the second half of the 20th century — the beginning of the 21st century, which is also called contemporary art by art critics. The empirical material of the study was the works of such contemporary artists as E. Warhol, D. Koons, D. Hirst, J. Ono, F. Bacon, I. Kabakov, D. Kossuth, the movement of “new realists” and photorealists, the movement of Moscow conceptualists and etc. Contemporary art is one of the ways of understanding the world, visual philosophy, which is of interest for philosophical understanding. The purpose of the article is to conduct a philosophical analysis of visual art of the second half of the 20th — early 21st I centuries in order to identify its philosophical sources and content. Methods. The author uses the following general scientific methods: analysis and synthesis, induction, deduction, abstraction. When analyzing works of conceptual art, we use hermeneutic and phenomenological methods, a semiotic approach. We also use the symbolic-contextual method of analyzing exhibition concepts, which is based on identifying the philosophical meanings and ideas of exhibitions of contemporary art. Scientific novelty of the study. We regard contemporary art as a visual philosophy. Philosophizing, in our opinion, can exist in various forms and forms from everyday practical (the so-called naive philosophizing) to artistic-figurative, that is, visual. Philosophical ideas or concepts are born not only from professional thinkers, but also from artists. The artistic concepts of contemporary artists are similar to the concepts of philosophers, since the goal of both is to cognize the world and grasp being. We find and describe the area of intersection of modern philosophy and contemporary art, each of which is in a situation of crisis separately and continuous dialogue together. Results. In the course of our research, we identify and describe the philosophical origins of visual art in the second half of the twentieth century - early twenty-first century: postmodern philosophical consciousness, conceptualism, the idea of “death of the author” and “death of art”, simulacrum, kitsch and camp, the method of deconstruction and its application in modern art. Conclusions. Visual art of the second half of the 20th century — early 21st century is a visual form of philosophical questioning about the essence of art itself, about the existence of a person and being in general. The works of contemporary artists are based on philosophical problems: meaning, speech and meaning, the ratio of the rational and the irrational, the problem of abandonment and loneliness of a person, the problem of the “death of the author” and the alienation of the creator from his work, the idea of the impossibility of objective knowledge of reality.

scholarly journals Land art u dječjem vrtiću – studije slučaja

2021 ◽  
Vol 15 (2) ◽  
pp. 135-150
Author(s):  
Marija Brajčić
Keyword(s):  
20Th Century ◽  
Contemporary Art ◽  
Negative Impact ◽  
Good Effect ◽  
Land Art ◽  
Creative Work ◽  
Traditional Art ◽  
Art Works ◽  
The Sixties

Land Art is a principle in contemporary art that developed in the sixties and seventies of the 20th century, as a reaction to commercialization in art. The art of Land Art abandoned museums and galleries and develops monumental projects in free space and landscapes, which in an artistic way are changing and adapting without having any negative impact on the environment. Knowing and evaluating contemporary art in practice is as important as observing and evaluating traditional art works, which is also based on the development of subtle perception of art. For this reason, this case study examines the possibility of implementing contemporary art in this case Land Arta in pedagogical work with children in Kindergarten. Land Art is, in its essence, quite suitable as an incentive for creative work for interaction with nature, the use of natural materials that are close to children, has a good effect on the psyche of the child and contains an educational ecological component. The results showed that the children who participated in this research were creatively responsive and created interesting artworks inspired by land art.

Digital Resources: Documents of 20th-Century Latin American and Latino Art

2017 ◽  
Author(s):  
María C. Gaztambide
Keyword(s):  
20Th Century ◽  
Contemporary Art ◽  
Latin American ◽  
Social Issues ◽  
Fine Arts ◽  
Primary Source ◽  
Digital Archive ◽  
The Arts ◽  
Central Argument ◽  
Latino Artists

Documents of 20th-Century Latin American and Latino Art: A Digital Archive and Publications Project is a multiyear initiative at the International Center for the Arts of the Americas (ICAA) of the Museum of Fine Arts, Houston that seeks to consolidate Latin American and Latino art as a field of study and to place it on equal footing with other established aesthetic traditions. It encompasses the recovery, translation into English, and publication of primary texts by Latin American and Latino artists, critics, and curators who have played a fundamental role in the development of modern and contemporary art in countries or communities throughout the Americas. The ICAA makes these essential bibliographic materials available free of charge through a digital archive and a series of fully annotated book anthologies published in English. It is facilitating new historical scholarship on 20th-century Latin American and Latino art through a framework of thirteen open-ended editorial categories that center on thematic rather than more traditional chronological guidelines. This approach broadens the discourse on the modern and contemporary art produced along this cultural axis. A discussion and contextualization of a selection of recovered documents that relate to the editorial category of “Resisting Categories: Latin American and/or Latino?” supports this central argument. These and other little-known or previously inaccessible primary source and critical materials will ultimately encourage interdisciplinary and transnational (re)readings of how aesthetics, social issues, and artistic tendencies have been contested and developed in the region.

Gender and Its Representation in Contemporary Arts

2017 ◽  
Vol 6 (2) ◽  
pp. 11 ◽  
Author(s):  
Nihan Akdemir
Keyword(s):  
20Th Century ◽  
Contemporary Art ◽  
Social Function ◽  
Conscious Awareness ◽  
Aesthetic Appreciation ◽  
Human Beings ◽  
The Social ◽  
Art Practices ◽  
Art Works ◽  
The Aesthetic

The concept of gender is an important issue that has been over-emphasized in recent years with an increasing rate of violence against human beings, is perhaps an important issue that needs to be addressed much more. The similarity of the terms, gender and sex, suggests that these two concepts are the same. The elimination of this mistake and the transformation of the position into a conscious awareness are carried out with the awareness of social responsibility with contributions in different disciplines. At this point, an evaluation can be made on art and the social function of art can be mentioned because the art is an important way of communicating collective messages through the artists by their works. In the 20th century, and especially since the second half of the century, the content of art is as important as the aesthetic appreciation and this point can be seen at the art practices which multidisciplinary approaches get to the forefront. In this paper, the way of expression of the concept of gender in contemporary art has been researched through the social function of art. The methods of this work depend on literature and artwork sample researches. And the concept of gender has been primarily addressed. This concept has been studied in terms of art works, disciplines, forms of expression, and works of artists who find meaning and overlap. And the results show that the concept of gender has found its place in contemporary arts.

scholarly journals El dosier del artista = The artist’s dossier

2017 ◽  
pp. 63
Author(s):  
Virginia Ayerbe Mafla
Keyword(s):  
Case Studies ◽  
Fine Arts ◽  
Daily Basis ◽  
Doctoral Thesis ◽  
Art Works ◽  
Artistic Work

ResumenSe quiere revelar en este artículo una serie de resultados gracias al estudio y análisis de datoslogradosenla tesis doctoral defendida por la autora en febrero de 2016 en la Facultad de Bellas Artes, de la Universidad Complutense de Madrid, dirigida por el Doctor Raúl Díaz-ObregónCruzado. La cual recoge una serie de estudios de casos llevados a cabo acerca del uso y desarrollo del dosier artístico en lasBellas Artes.Se expondrá esta información, debido a la importancia que se le atribuye al dosier como uno de los recursos de carácter perceptible que existe y se utiliza, para dar a conocer y valorar en una primera instancia el trabajo de los artistas en situaciones vinculadas con el Arte, donde no es posible presentar obras o proyectos artísticos reales.La tesis se planteó considerando las necesidades de los distintos individuos que participan tanto en los procedimientos de desarrollo del dosier, como en su utilización y en la posible valoración de sus contenidos,ya que no fue posible encontrar material especializado en su construcción y uso,que reuniera información sobre experiencias y conocimientos de aquellos que de forma cotidiana trabajancon el dosier del artista.AbstractThe purpose of this article is to reveal a series of results obtained from thestudy and analysis of data acquired from the doctoral thesis defended by the author in February 2016, in the Faculty of Fine Arts of the Universidad Complutense de Madrid, directed by Dr. RaúlDíaz-ObregónCruzado. It includes a series of case studies carried out on the use and development of the artistic dossier.This information will be exposed, due to the importance attributed to thedossier as one of the perceptible resources, used to support and allow others to know the value of the artistic work as first instance, in situations related to Art, where It is not possible to present real art works or projects.The thesis was planned considering the needs of different individuals involved in the procedures for developing the artistic document, as well as its use and in the possible appreciation of its content due to the inability to find specialized material referring to its construction and use, which could gather information about experiences and knowledge from those who work with it on a daily basis.

scholarly journals The Wound in Visual Art

Monitor ISH ◽  
2015 ◽  
Vol 17 (2) ◽  
pp. 73-94
Author(s):  
Slađana Mitrović
Keyword(s):  
20Th Century ◽  
Contemporary Art ◽  
Visual Art ◽  
Fine Arts ◽  
Body Art ◽  
History Of ◽  
Historical Periods

The fine arts abound in images of the pierced, wounded, tortured, dismembered, crippled or decapitated body in all historical periods. The iconography of the wound is of long standing, and the passion for depicting open bodies can only be compared to the enthusiasm for the nude. In the history of painting and sculpture, the wounded body is most often represented in renditions of Christ’s Passion and Christian martyrs, as well as of Biblical stories about decapitation and slaughter. The topic of the wound has proved relevant to modern and contemporary art as well. In the second half of the 20th century, around 1965, when the Viennese Actionism appeared, as well as between 1968 and 1974, the two milestone dates of body art, artists engaged in performative practices, shattering the notions of the wounded or penetrable body which dominated at the time. What they exposed was the anxious image of the artist’s body. By analysing the art photos by Rudolf Schwarzkogler, the paper shows how the wound is materialised as a topic of visual art.

From the history of manufacturing Romanian nai at the turn of 20–21 centuries

2018 ◽  
pp. 71-74
Author(s):  
A. Drutsé
Keyword(s):  
20Th Century ◽  
Fine Arts ◽  
Research Interest ◽  
Modern World ◽  
Music Theater ◽  
Technical Improvement ◽  
Performance Skills ◽  
Doctoral Candidate ◽  
History Of ◽  
And Performance

The modern world popularity of the nai — a traditional Romanian instrument — has identified interest in writing this article. This problematic constitutes the circle of our research interest as a doctoral candidate, but also as a concert performer, a graduate of the Academy of Music, Theater and Fine Arts. One of the most interesting aspects of the study of nai is its technical improvement since 60s of the 20th century, which led to the acquisition of a number of new, innovative skills and performance skills. In this article we have identified some pages of the modern history of the manufacture of this ancient instrument associated with these processes.

Bottles of Art, Works of Alcohol

2018 ◽  
Vol 18 (4) ◽  
pp. 54-70
Author(s):  
Jim Drobnick
Keyword(s):  
Contemporary Art ◽  
Art Works ◽  
Art And Society

Alcohol has gained a notable prominence in contemporary art, particularly in artists’ bars and other convivial situations at biennials and art fairs. What happens, though, when an artwork features alcohol that cannot or is not meant to be drunk? If the point of drink in contemporary art involves engaging spectators in sensorial, embodied encounters, what remains of the specialness of alcohol when it stays in the bottle? This article examines artists’ multiples and distillation projects where drinking is teasingly possible but downplayed. In these works, partaking is less important than the inebriating affect, in which drunkenness is experienced at a remove, and so infuses the imagination to instigate thought beyond the act of drinking. Even when contained, the intoxicating potential of alcohol has the ability to disrupt norms and aesthetic conventions, as well as to make compelling comments on art and society.

scholarly journals Urban Policies and Large Projects in Central City Areas: The Example of Madrid (Spain)

Urban Science ◽  
2021 ◽  
Vol 5 (2) ◽  
pp. 42
Author(s):  
Dolores Brandis García
Keyword(s):  
Urban Planning ◽  
20Th Century ◽  
Large Scale ◽  
Central City ◽  
Global Market ◽  
Late 20Th Century ◽  
Public And Private ◽  
Urban Policies ◽  
Starting Point ◽  
The City

Since the late 20th century major, European cities have exhibited large projects driven by neoliberal urban planning policies whose aim is to enhance their position on the global market. By locating these projects in central city areas, they also heighten and reinforce their privileged situation within the city as a whole, thus contributing to deepening the centre–periphery rift. The starting point for this study is the significance and scope of large projects in metropolitan cities’ urban planning agendas since the final decade of the 20th century. The aim of this article is to demonstrate the correlation between the various opposing conservative and progressive urban policies, and the projects put forward, for the city of Madrid. A study of documentary sources and the strategies deployed by public and private agents are interpreted in the light of a process during which the city has had a succession of alternating governments defending opposing urban development models. This analysis allows us to conclude that the predominant large-scale projects proposed under conservative policies have contributed to deepening the centre–periphery rift appreciated in the city.

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.

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