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Journal articles on the topic 'Art practice'

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Published: 4 June 2021
Last updated: 9 March 2023

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1

Brenifier, Oscar. "The Art of Philosophical Practice: Philosophical Attitudes." Socium i vlast, no. 1 (2018): 73–79. http://dx.doi.org/10.22394/1996-0522-2018-1-73-79.

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2

Broom, Kate. "Art Practice, Anyone?" Probation Journal 44, no. 2 (June 1997): 119. http://dx.doi.org/10.1177/026455059704400219.

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3

Rushforth, Bruno. "Art: British Art Show 8." British Journal of General Practice 66, no. 644 (February 25, 2016): 152. http://dx.doi.org/10.3399/bjgp16x684109.

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4

Lütticken, Sven. "Autonomy as Aesthetic Practice." Theory, Culture & Society 31, no. 7-8 (February 6, 2014): 81–95. http://dx.doi.org/10.1177/0263276413496853.

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This essay examines various conceptions of autonomy in relation to recent artistic practices. Starting from the apparent opposition between modernist notions of the autonomy of art and theorizations of political autonomy, the text problematizes the notion of the autonomy of art by using Jacques Rancière’s notion of the aesthetic regime. Focusing on the importance of the act and performance in the art of the last decades, it is argued that while political and artistic autonomy may never quite converge, aesthetic acts can under certain circumstances function in both the political and the artistic register, simultaneously or successively. The aesthetic act thus stages a passage from the artistic to the political, and vice versa.
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5

Turner, Trevor. "Art: The Art of Bedlam: Richard Dadd." British Journal of General Practice 66, no. 643 (January 28, 2016): 96. http://dx.doi.org/10.3399/bjgp16x683701.

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6

Carroll, Noël. "Art, Practice, and Narrative." Monist 71, no. 2 (1988): 140–56. http://dx.doi.org/10.5840/monist198871212.

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7

Roseman-Halsband, Janet Lynn, Pradnya Brijmohan Bhattad, Michael Durkin, Lauren Fine, Vijay Rajput, Jia Jennifer Ding, Frederick DiCarlo, et al. "Art in Clinical Practice." Alternative and Complementary Therapies 27, no. 3 (June 1, 2021): 124–33. http://dx.doi.org/10.1089/act.2021.29332.jlr.

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8

Gawthrop, Rob. "Politics Practice Pedagogy Art." Performance Research 21, no. 6 (November 2016): 37–43. http://dx.doi.org/10.1080/13528165.2016.1240925.

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9

Knowles, Alison, Eleanor Heartney, Meredith Monk, Linda Montano, Erik Ehn, and Bonnie Marranca. "Art as Spiritual Practice." PAJ: A Journal of Performance and Art 24, no. 3 (September 2002): 18–34. http://dx.doi.org/10.1162/15202810260186620.

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10

Philip, Kavita. "Art and Environmentalist Practice." Capitalism Nature Socialism 19, no. 2 (June 2008): 69–74. http://dx.doi.org/10.1080/10455750802091560.

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11

Lillepuu, Saskia. "Anthropology and Art Practice." Asia Pacific Journal of Anthropology 15, no. 5 (September 19, 2014): 493–95. http://dx.doi.org/10.1080/14442213.2014.925792.

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12

Ng, S. C., S. Emmanuel, A. Bongso, C. L. K. Chan, J. Kumar, and S. S. Ratnam. "ART practice in Singapore." Journal of Assisted Reproduction and Genetics 13, no. 7 (August 1996): 527–35. http://dx.doi.org/10.1007/bf02066603.

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13

Loughran, Cate. "Art therapy in practice." Arts in Psychotherapy 19, no. 5 (January 1992): 395–96. http://dx.doi.org/10.1016/0197-4556(92)90036-n.

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14

Fogleman, Corey. "Healing Art." Family Medicine 54, no. 8 (September 6, 2022): 644. http://dx.doi.org/10.22454/fammed.2022.934557.

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15

McDonald, Tein. "Restoration practice: Art, toil and focal practice." Ecological Management and Restoration 4, no. 3 (December 2003): 160. http://dx.doi.org/10.1046/j.1442-8903.2003.00150.x.

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16

Nekhaeva, Iraida N. "THE TERRITORY OF CONTEMPORARY ART: ART CRITICISM VERSUS ART PRACTICE." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 38 (2020): 99–106. http://dx.doi.org/10.17223/22220836/38/10.

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17

Murwanti, Aprina. "Mapping Strategy of Practicing Visual Art for Academic Purpose: a Perspective from Indonesia." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 28, 2017): 291–96. http://dx.doi.org/10.18844/prosoc.v4i11.2884.

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Practice-based research was formally introduced in western academic institutions after the emergence of PhD visual art practice in early 1980 in Australia. This practice-based research approach became an alternative for artists to claim equality of art practice as research for academic purposes. Utilising Graeme Sullivan’s framework, ‘Art Practice as Research’, this paper maps visual art practice perceived as research in Indonesia. Interviews and focus group discussions from a total of 27 participants were analysed to map the symptoms of practice-based research approach in Indonesian visual art practice. This paper gives the strengths and weaknesses in the way participants (artists, curator, lecturer, undergraduate and postgraduate students as well as art manager) in Indonesia approach the practice of visual art in the academic context. Through this research, traces on how visual art is practiced in the academic context reveal the distinct Indonesian visual art practice at the higher education institution level. Keywords: Practice-based research, visual art practice, academic.
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18

Wehbi, Samantha. "ETHICS, ART, AND SOCIAL WORK." Canadian Social Work Review 34, no. 1 (August 29, 2017): 47–59. http://dx.doi.org/10.7202/1040994ar.

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There has been a growing interest in bringing creative arts as methods and processes into social work education and practice to enhance student learning and contribute to practices tackling issues of social justice and anti-oppression. This paper builds on the current conversation about the intersection of art and social work to propose the need for engagement with ethical considerations to guide our practice. Relying on examples of arts-informed and arts-based projects that tackle issues of ableism and racism, the discussion focuses on the need to consider issues of consent, representation, appropriation and agency of participants in these projects. Borrowing from the metaphor of photographic practice, the article concludes by proposing three ethical principles to guide arts-informed and arts-based practices in social work.
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19

Grant, James. "Medicine and art." Family Practice 20, no. 4 (August 2003): 495. http://dx.doi.org/10.1093/fampra/cmg433.

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20

Li, Qi. "Data visualization as creative art practice." Visual Communication 17, no. 3 (April 17, 2018): 299–312. http://dx.doi.org/10.1177/1470357218768202.

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This article begins by tracing the evolution of data visualization from the fields of aesthetics to areas of creative practice, arguing that the emergence of big data presents creative potential for digital artists. Whereas conventional information visualization emphasizes the effective understanding of data, aesthetics considers the possibility that visualization can enhance the experience of data and support the acquisition of knowledge. In expressing an artistic intent or form, data-based creative practices synthesize and build upon techniques in communications and aesthetics. The article provides a review of recent digital art projects involving big data and suggests further directions for creative practice in an era of data proliferation.
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21

Clark, Vanessa. "ART PRACTICE AS POSSIBLE WORLDS." International Journal of Child, Youth and Family Studies 3, no. 2-3 (April 16, 2012): 198. http://dx.doi.org/10.18357/ijcyfs32-3201210866.

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This paper explores the possibilities of arts practice in early childhood education. Building on her master’s thesis, the author presents both a doing – her experimentation with arts practice in two early childhood centres – and an argument: that art may present an opening onto possible worlds. The author builds these worlds in relation to her theoretical framework: an immanent relational materialist onto-epistemology. Viewed through this lens, art’s possible worlds have the potential to traverse, mix, and disrupt binaries that maintain marginalized positions. Art practice from this intersection of rupture is both intensely creative and deeply political.
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22

Md Arif, Mohd Fuad. "Art Practice-Based Research Paradigm." Environment-Behaviour Proceedings Journal 7, SI9 (October 10, 2022): 31–35. http://dx.doi.org/10.21834/ebpj.v7isi9.3934.

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A research paradigm is a blueprint that lay out the many roles of how the development of knowledge can be place within a particular discipline in research. As artistic research is still in its infancy, this paper attempts to proposed a schematic foundation for art practice-based research paradigm by referencing to an existing structure proposed by Gray and Malins. The research takes a interpretative method in developing definition and basic argument, providing the future researcher with a fundamental comprehension of the research paradigm by focusing on its three components—namely, ontology, epistemology, and methodology—as outlined in their suggested scheme. Keywords: art, visual art, art practice-based research, art practice-based paradigm eISSN: 2398-4287© 2022. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians/Africans/Arabians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI9.3934
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23

Junghaus, Tímea. "Roma art: Theory and practice." Acta Ethnographica Hungarica 59, no. 1 (June 2014): 25–42. http://dx.doi.org/10.1556/aethn.59.2014.1.3.

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24

Allsopp, Gail. "The art in general practice." British Journal of General Practice 63, no. 617 (December 2013): 650. http://dx.doi.org/10.3399/bjgp13x675485.

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25

Novitz, David. "Participatory Art and Appreciative Practice." Journal of Aesthetics and Art Criticism 59, no. 2 (May 2001): 153–65. http://dx.doi.org/10.1111/0021-8529.00015.

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26

Anglin, Carlita, Carolyn Halpin-Healy, and Peri Rosenfeld. "Reflecting Art in Nursing Practice." JONA: The Journal of Nursing Administration 50, no. 5 (May 2020): 274–80. http://dx.doi.org/10.1097/nna.0000000000000883.

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27

Chmielarz, Sharon. "On the Art of Practice." Iowa Review 27, no. 3 (December 1997): 125. http://dx.doi.org/10.17077/0021-065x.4848.

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28

Constantian, Mark B. "Nasal Reconstruction: Art and Practice." Plastic and Reconstructive Surgery 124, no. 4 (October 2009): 1359. http://dx.doi.org/10.1097/prs.0b013e3181bad93c.

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29

Gordon, Eric, Catherine D'Ignazio, Gabriel Mugar, and Paul Mihailidis. "Civic media art and practice." Interactions 24, no. 2 (February 21, 2017): 66–69. http://dx.doi.org/10.1145/3041764.

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30

Anzinger, Deborah, Laura Anderson Barbata, Nadia Huggins, Kendra Frorup, Keisha Scarville, and Sheena Rose. "ART as Caribbean Feminist Practice." Small Axe 21, no. 1 52 (March 2017): 151–62. http://dx.doi.org/10.1215/07990537-3844307.

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31

Dunkley, Wayne. "Creating Space: Web Art Practice." Leonardo 38, no. 4 (August 2005): 276. http://dx.doi.org/10.1162/leon.2005.38.4.276.

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32

Edmonds, Ernest, and Linda Candy. "Creativity, art practice, and knowledge." Communications of the ACM 45, no. 10 (October 2002): 91–95. http://dx.doi.org/10.1145/570907.570939.

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33

Sullivan, Graeme. "Research Acts in Art Practice." Studies in Art Education 48, no. 1 (October 2006): 19–35. http://dx.doi.org/10.1080/00393541.2006.11650497.

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34

Chu, Jian, Hongye Su, Feng Gao, and Jun Wu. "Process control: Art or practice." Annual Reviews in Control 22 (January 1998): 59–72. http://dx.doi.org/10.1016/s1367-5788(98)00005-4.

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35

Chu, Jian, Hongye Su, Feng Gao, and Jun Wu. "Process Control: Art or Practice." IFAC Proceedings Volumes 28, no. 16 (August 1995): 31–44. http://dx.doi.org/10.1016/s1474-6670(17)45150-0.

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36

MONSEN, ELAINER. "The Art of Dietetics Practice." Journal of the American Dietetic Association 95, no. 3 (March 1995): 288. http://dx.doi.org/10.1016/s0002-8223(95)00067-4.

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37

Wolfe, S. Anthony. "Nasal Reconstruction: Art and Practice." Plastic and Reconstructive Surgery 124, no. 4 (October 2009): 1360. http://dx.doi.org/10.1097/01.prs.0000358862.74753.d0.

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38

Levin, G. Roy. "Art Education as Cultural Practice." Art Journal 58, no. 1 (1999): 16. http://dx.doi.org/10.2307/777875.

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39

Sharma, Priya. "The art of reflective practice." Dental Nursing 15, no. 3 (March 2, 2019): 134–35. http://dx.doi.org/10.12968/denn.2019.15.3.134.

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40

Penny, Simon. "The Virtualization of Art Practice." Art Journal 56, no. 3 (September 1997): 30–38. http://dx.doi.org/10.1080/00043249.1997.10791830.

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41

Levin, G. Roy. "Art Education as Cultural Practice." Art Journal 58, no. 1 (March 1999): 16–20. http://dx.doi.org/10.1080/00043249.1999.10791913.

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42

Staszkop, Urszula. "OCCUPY BIENNALE? SOCIALLY-ENGAGED ART PRACTICE AND ART INSTITUTION." ARTis ON, no. 7 (December 24, 2018): 171–77. http://dx.doi.org/10.37935/aion.v0i7.203.

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The political phenomenon of Occupy Wall Street obtained the global attention in the fall of 2011 with its encampment in the Zuccotti Park (New York). As the movement grew, there also seemed to be an aesthetic component to it revealed in socially-engaged, participatory practices. Those presuppositions provoked the debate focused on the emerging issue of activist art and on the art’s capability to transmit the aims of political protest. Consequently, curators and art institutions attempted to endorse the Occupy movement, while incorporating it into various art events. This text seeks to explore those issues through the analyses of emerging discourse on socially-engaged practices and its existence within art institution on the example of Berlin Biennale 7.
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43

Klāsone, Inta. "Interactions of Art and Art Pedagogy : Theory and Practice." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (July 24, 2015): 456. http://dx.doi.org/10.17770/sie2014vol2.640.

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The article raises the issue of the link between art and its variet expressions of form with pedegaogy of art. A number of important directions of scientific research in art pedagogy are highlighted on the basis of the scientific knowledge base in the world and Latvian Education Area, guidelines of National Strategic Guidance, trends in art and art education, and summary of survey data. Object of the research is the interaction process between art and art education for improvement of pedagogical work performance; the objective of the study is: to identify major research issues in the process of interaction of art and art pedagogy in today's context, providing the basis for a balanced, cognitive, emotional, aesthetic and social development of a personality.
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44

Marinescu, Adina. "The Art of Healing, More than Science, More than Practice." Postmodern Openings 13, no. 3 (August 8, 2022): 251–66. http://dx.doi.org/10.18662/po/13.3/488.

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Traditionally, medicine has been considered a practical art. It seeks the patient’s well-being through technical means and specific skills in healing. On the other hand, healing means are connected to the life sciences, through which knowledge has developed systematically. Due to research and technological development, we can easily reveal the true meaning of medicine as science. Hippocratic practice and Aristotelian ethics have offered us a humanitarian approach, oriented to the sick person, which set the virtuous human character of each person who practices the virtues. The medicine people approached to the medicine preserving an ancient picture of the practice. They have know-how of the practice, recognize the characteristics of each field of art or science appreciating its utility and benefits, but often they don’t know why or where the boundary between the two fields, science and art, falls. They are scientists and artists, too. In this article I intend to fix what science means and what art means, based on Aristotelian arguments, which lead to a perspective of a virtuous professional life. Also, it is relevant to find its common issues. No physicians can successfully practice their profession without respecting the rigor of science and training their creativity. I plead for a moral practice, for the understanding of humanity's state in any medical act. Medicine is the moral community where practice meets science and arts merge both. Medicine is not between practice and science; it is the art itself of medical practice and science.
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45

Papadaki, Elena. "Between the Art Canon and the Margins: Historicizing Technology-Reliant Art via Curatorial Practice." Arts 8, no. 3 (September 18, 2019): 121. http://dx.doi.org/10.3390/arts8030121.

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This article explores curatorial practice that has technology-reliant works at its epicentre, arguing that for an efficient methodology to historicize the latter there needs to be a reconfiguration of the curatorial scope and a holistic approach to viewing and documenting exhibitions. Based on theoretical research and install decisions of recent years, the ways in which curatorial practice can be reconfigured within the art canon to inform art history, as well as to accommodate developments in exhibition practices are examined.
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46

AJADI, Michael Olaniyi. "Eclecticism Style in Ceramic Art Practices of Ife Art School." Journal of Education and Practice 5, no. 2 (August 2, 2021): 45–58. http://dx.doi.org/10.47941/jep.630.

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Purpose: The study discusses Ife ceramic wares in tandem with the historical approach of the decorative patterns. It equally determines the origin of each style and how it moved and spread across the phases. The sequences of creative impulse and stylistic trends of ceramic practices in the art school from inception have not received scholarly attention in terms of the examination of the approaches towards the conceptions. The specific objective is to investigate the inception of eclecticism in the art school and circumstances behind the conceptions in order to reveal the contextual definitions of used designs and factors influence the innovation. Methodology: Descriptive and analytical approaches were used to trace decorative trends of each phase and the integration of the various motifs and styles of the previous phases in the new phases that sprung up. Samples of ceramic wares in the art school exhibition brochures, galleries and ceramic studios were collected for analysis and photographs were also taken for evidence. Findings: In concept, the praxis reveals traditional ideology at inception and desegregation of different themes, ideas, and styles in the recent phase of the practice. The practices are eclectic inclined as of late with reflection of traditional ideology, contemporary issues and customs of Western societies. Notwithstanding, the ceramic art tradition of the art school is aesthetically inclined both in principle and practice. Unique contribution to theory, policy and practice: No doubt, the sculptural creativeness of Ife wares has preserved cultural heritage for public awareness. This is largely evident in the proliferation of her ingenious adaptation of indigenous deco-stylistic techniques with Western influence that portrayed Nigerian traditional culture by themes, forms and styles in concepts and renditions.
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47

Katz, Jeffrey N., Karen Costenbader, Daniel H. Solomon, and Elena Losina. "Does practice make perfect?" Arthritis & Rheumatism 52, no. 6 (2005): 1628–31. http://dx.doi.org/10.1002/art.21052.

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48

董維琇, 董維琇. "臺灣環境美學復興：社會參與式藝術實踐與地方藝術祭的啟示." 藝術評論 43, no. 43 (July 2022): 219–54. http://dx.doi.org/10.53106/101562402022070043006.

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<p>自1990年代後期以來，臺灣當代藝術發展出社會參與式藝術實踐的趨勢，亦即走出美術館展覽的藩籬並企求與公眾面對面、與社群連結的藝術創作。此一歷程發展適逢後解嚴時代，在地文化認同與本土意識抬頭，反映在文化政策上的則是1990年代的社區總體營造運動乃至於近年來倡議的地方創生。此後，各地的藝術祭更是持續不斷地帶來參與者對地方人文與環境的新感受，發展出在獨特的臺灣文化脈絡與社會變遷的背景下所帶動的「環境美學」復興&mdash;&mdash;對自然與人文環境的重新發現，以及對地方文化歷史脈絡的重思與再建構。對環境與地方的自然和人文關懷是目前亞洲地區正歷時與共的境況，本文以臺灣的社會參與式藝術和地方藝術祭為主要探討對象，自其所帶來的環境美學復興，延伸思考社會參與式藝術暨地方藝術祭的亞洲觀點所帶來的啟示，並以更全觀的視角來思辨藝術的社會實踐，啟發藝術工作者，面對此一全球共同的環境議題。</p> <p>&nbsp;</p><p>Since the late 1990s, Taiwanese contemporary art has developed a trend of socially-engaged art practice that goes beyond the usual framework of museum exhibition and with the aim of reaching public audiences. Moreover, such progress involves a degree of community engagement. The post-Martial law era saw the emergence of issues of local cultural identity and the rise of ideologies of the vernacular. Equally, socially-engaged art practice in Taiwan addressed throughout the 1990s issues of cultural policies for community reconstruction and ideas of &ldquo;creative placemaking&rdquo;. The result of such trend has also brought the prevalence of local art festivals. Such a socially art practice and local art festival has since developed into a genuine environmental aesthetics that has led to the rediscovery of human landscape, the natural environment, and to the reconstruction of local culture and history. This latter specificity, though, differs from its Western counterpart model of social art practice.This paper will explore the socially-engaged art and local art festival in Taiwan, their process of development, content and approach through surveys and fieldwork. Their relations to each other, differences, similarities, and sustainability will be also discussed in this research. However, the impacts that they triggered for the revival of environmental aesthetics, has significances to what are related to ecological and environmental issues in the whole world. Attending for local environment, people, history and culture is currently experienced in the Asia is also a common issue. This research takes socially-engaged art practice and local art festivals as a subject, as well as addressing their implications on revival of environmental aesthetics in Taiwan. Moreover, this research not only intends to expound socially-engaged art practice and local art festival from the local perspectives of Taiwan; it also seeks to enrich how we understand such practice in a broader Asian and even global contexts. </p> <p>&nbsp;</p>
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49

Krilov, I. A. "SITE-SPECIFIC ART-PRACTICE AS AN ALTERNATIVE FORMAT OF THEATRE ART." Arts education and science 1, no. 4 (2021): 47–56. http://dx.doi.org/10.36871/hon.202104006.

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The author of the article attempts to identify and distinguish traditional and alternative formats of theatre art established by the early 20s in the space of home theatre. The author considers the determinants of the emergence and spread of art practices in the domestic theatre art and refers them to the alternative formats of theatre art. The culture of complicity (participation), producer strategies of postdramatism and digitalization of daily occurrence are presented as fundamental grounds for the emergence of such a non-classical creative model as a site-specific art practice in the landscape of Russian theatre art of the XXIst century. The unstable dynamics of the attractiveness of the non-classical creative model in the Russian theatre space is caused by a number of reasons explicitly presented in the article. The accumulated home theatre experience is developing and being realized by the early 20s in traditional and alternative formats of theatre art, which simultaneously influence each other. The actualization of site-specific art practice is evaluated by the author as a positive phenomenon that allows to update and to expand the arsenal of producer strategies, to discover an innovative approach to creating an aesthetic event, to transform the audience participation within the framework of home theatre art and the culture of participation.
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50

Bunt, Brogan. "Media Art, Mediality and Art Generally." Leonardo 45, no. 1 (February 2012): 94–95. http://dx.doi.org/10.1162/leon_a_00348.

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The wide ranging, trans-disciplinary interest in technological media suggests the possibility of a new discipline concerned with the history, implications and practice of mediation. Within this context, the field of media art gains a new sense of coherence and identity. Given the lingering tension between media art and mainstream contemporary art, this may lead the latter to assert its disciplinary autonomy. This paper argues against such a move. Media art is better positioned as an integral strand within contemporary art and, more particularly, as a key space of creative enquiry and practice within a generally conceived contemporary art education.
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