Journal articles on the topic 'Painting and installation'
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Authors, Collective. "Painting Trail in Installation." ti< 3, no. 1 (March 29, 2014): 45–53. http://dx.doi.org/10.26522/ti.v3i1.901.
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Shapovalov, Yu N., and I. E. Shabanov. "Installation for painting flat objects." Chemical and Petroleum Engineering 33, no. 2 (March 1997): 238–39. http://dx.doi.org/10.1007/bf02396054.
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Feller, C., E. R. Landa, A. Toland, and G. Wessolek. "Case studies of soil in art." SOIL 1, no. 2 (August 13, 2015): 543–59. http://dx.doi.org/10.5194/soil-1-543-2015.
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Abstract. The material and symbolic appropriations of soil in artworks are numerous and diverse, spanning many centuries and artistic traditions, from prehistoric painting and ceramics to early Renaissance works in Western literature, poetry, paintings, and sculpture, to recent developments in film, architecture, and contemporary art. Case studies focused on painting, installation, and film are presented with the view of encouraging further exploration of art about, in, and with soil as a contribution to raising soil awareness.
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Feller, C., E. R. Landa, A. Toland, and G. Wessolek. "From soil in art towards Soil Art." SOIL Discussions 2, no. 1 (February 9, 2015): 85–132. http://dx.doi.org/10.5194/soild-2-85-2015.
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Abstract. The range of art forms and genres dealing with soil is wide and diverse, spanning many centuries and artistic traditions, from prehistoric painting and ceramics to early Renaissance works in Western literature, poetry, paintings, and sculpture, to recent developments in cinema, architecture and contemporary art. Case studies focused on painting, installation, and cinema are presented with the view of encouraging further exploration of art about, in, with, or featuring soil or soil conservation issues, created by artists, and occasionally scientists, educators or collaborative efforts thereof.
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He, Yifei. "Contemporary painting, the ‘loop’ and the Chinese context." Journal of Contemporary Painting 7, no. 1 (October 1, 2021): 199–223. http://dx.doi.org/10.1386/jcp_00026_1.
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This article explores my own painting practice in relation to my pedagogical experience in both China and the United Kingdom, in order to see how traditional painting and the pedagogy of painting can be repurposed in forms of contemporary painting. Discussion in this article will be based on three examples of my expanded painting practice that engage with the notion of ‘the apparatus’ (Foucault) of painting in relation to the studio, as well as through different materials and mediums: painting, installation, performance, video and so on. The apparatus is, of course, not just about media but about the whole process of painting and its encounter. In these examples of practice, aspects of the apparatus of painting are revisited and re-visioned. Also, these examples demonstrate my thinking around the apparatus of painting’s relation to the loop. Importantly, as a painter, this article offers my practice’s response to the question: how does a contemporary (Chinese) painter go forward in the teaching and making of art? This question is vital, especially when there are (Chinese) traditions and histories that should be acknowledged and drawn on, in order to avoid simply repeating or adopting western modes of art practice.
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Sušanj Protić, Tea. "Tabulae pictae u palači Petris-Moise u Cresu." Ars Adriatica 8, no. 1 (December 28, 2018): 81–104. http://dx.doi.org/10.15291/ars.2756.
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This paper presents the new finds of Renaissance wooden ceilings at the Petris-Moise Palace in Cres, decorated with painted panels and mural paintings. The construction elements, such as the composite massive beam known as trave leonardesca, are technically sophisticated and constructed in accordance with the Renaissance treatises on architecture. The painted ceiling panels are still a unique find in Croatia as to their installation and painting method, but are related to numerous painting cycles in the noble residences of southern France, Spain, Switzerland and northern Italy dating from the 14th until the mid-16th century. As for the dimensions, the pigments used, the installation and painting method, and the represented motifs, the closest analogy has been found in some Friulan examples. The difference, however, is that the Cres examples almost entirely belong to the visual language of grotesque, since they were produced somewhat later, at the time when this kind of decorative repertoire had already become highly appreciated. The constructions and decorative elements are a result of the Renaissance rebuilding in the second half of the 16th century, when the walls were painted as well. Based on an analysis of the heraldic symbols and motifs, and their comparison with the historical data on the Petris family, the commissioner has been identified as the Imperial Golden Knight Ivan Juraj Petris, a close relative of Franciscus Patricius (Petris). It has been assumed that the painting cycle was created under the influence of this renowned Renaissance philosopher.
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Rusdin, Rusdin, Merlyn Mangopo, and Ruslan R. Yarkuran. "Pelaksanaan Pekerjaan Finishing pada WC dan Tempat Whudu Masjid A-Ikhlas Thumburuni Kab. Fakfak Papua Barat." Community Engagement and Emergence Journal (CEEJ) 2, no. 3 (December 15, 2021): 84–90. http://dx.doi.org/10.37385/ceej.v2i3.317.
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Al-Iklas Mosque is one of the public mosques in Fakfak City which is still active and has a fairly large number of worshipers, namely 300 people. However, currently the mosque has supporting facilities for building facilities, namely toilets and ablution places whose floors and walls have not been tiled and painted. As well as the damage to water channels and faucets where wudu. Therefore, the PKM team provided solutions to carry out work on installing ceramic floors, repairing drains and painting the walls of the WC and the ablution area of ??the Al-Iklas Thumburuni Fakfak Mosque. The method used is the first method, the ceramic installation service method is by immersing ceramics, installing ceramics by applying cement to the floor to which ceramics will be affixed and applying ceramic grout. The second method, the method of painting the walls, is by cleaning the walls first, mixing the paint with a water base or solvent, and using the zigzag technique in painting. The third method, the method of repairing the water channel where the wudu is located, is by welding the iron pipe which is damaged and leaking. So in this finishing work, collaborating using 2 disciplines from the POLINEF institution, namely civil engineering, namely ceramic installation and painting work, while machine maintenance techniques, namely plumbing repair work.
Keywords: Ceramic Installation, Painting Work, Plumbing Welding Work. Al-Iklas Mosque, Fakfak
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Solina, Franc. "15 seconds of fame." Leonardo 37, no. 2 (April 2004): 105–10. http://dx.doi.org/10.1162/0024094041139274.
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15 seconds of fame is an interactive installation that every 15 seconds generates a new pop-art portrait of a randomly selected viewer. The installation was inspired by Andy Warhol's ironical statement that “in the future everybody will be famous for 15 minutes.” The installation detects human faces and crops them from the wide-angle view of people standing before the installation. Pop-art portraits are then generated by applying randomly selected filters to a randomly chosen face from the audience. These portraits are then shown in 15-second intervals on the flat-panel computer monitor, which is framed as a painting.
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Piovan, Valentina, Stefania Randazzo, and Melissa Conn. "Carpaccio’s Original Painting Installation in the Scuola Dalmata: Where and Why." Confraternitas 32, no. 1 (June 21, 2022): 6–25. http://dx.doi.org/10.33137/confrat.v32i1.38915.
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The original installation of Vittore Carpaccio’s narrative paintings in the Scuola Dalmata has long been assumed to have been in the upper chapter hall, following the practice used in other Venetian confraternities (Scuole). Studies and observations during the recent conservation campaign of the canvases have led to a new hypothesis that Carpaccio may very well have instead placed his paintings on the ground floor, as we see them today, due to a heated dispute with the Priory of the Order of Saint John of Jerusalem over the control of the upstairs premises.
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Chakravorty, Swagato. "Real Bodies in (Un)real Spaces: Space, Movement, and the Installation Sensibility in Lech Majewski’s The Mill and the Cross." Acta Universitatis Sapientiae, Film and Media Studies 11, no. 1 (December 1, 2015): 7–27. http://dx.doi.org/10.1515/ausfm-2015-0013.
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Abstract Live-action bodies traverse digitally-constructed and digitized spaces in Lech Majewski’s The Mill and the Cross (Młyn i krzyż, 2011). Majewski, a Polish artist who has worked across media, imagines his film as an animation of the world represented in Pieter Bruegel’s painting, The Procession to Calvary. His unprecedented blending of real and painted bodies, spaces, and worlds in The Mill and the Cross draws attention to the necessity of acknowledging space and movement in contemporary approaches to embodied spectatorial experience. This essay considers how the film imagines and treats its space(s) and the relations it establishes between the film-as-text, painting-as-text, and the museal space that traditionally contains painting-but also, with increasing frequency, cinema. It proposes a reframing of the terms of discussion in intermediality, shifting from painting/cinema to installation/cinema. Finally, it explores a long-neglected notion of art and its space (and the possibility of inhabiting that space) as they (re-)emerge in contemporary expanded cinema.
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Varsegova, Evgenia, Lilia Osipova, and Daniel Bugembe. "A study of flow characteristics in a low-pressure ejector installation." E3S Web of Conferences 274 (2021): 08006. http://dx.doi.org/10.1051/e3sconf/202127408006.
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Production processes sometimes are accompanied by the release of hazardous substances, the composition and volume of which is determined by the production technology. When designing ventilation systems for paint departments, special attention is paid to safety concerns, since all paint coatings are corrosive and flammable substances. Besides, solvent vapors are explosive. For local ventilation of painting chambers, it is rational to use safe exhaust systems with an ejector, which works sturdily, regardless of the release of flammable and explosive impurities. The ejector is simple in design and can operate in a wide range of changes in the parameters of the state of airflow. The model of the ejection unit is synthesized using the universal modeling package ChemCad, which contains a highly developed database of airflow parameters, which allows for solving various applied problems. Numerical modeling was carried out using the software package - FLUENT. In work, a calculation was carried out and a low-pressure ejector was designed for a typical painting booth. The calculation results are presented in the form of graphs and tables of pressures, velocities, flow rates in characteristic sections, pressure losses in the sections of the ejector installation.The ejection coefficient was also calculated.
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Branca, Ionut-Cristian. "Considerations Regarding the Solutions for Heating and Cooling of Cult Buildings." Bulletin of the Polytechnic Institute of Iași. Construction. Architecture Section 67, no. 2 (June 1, 2021): 45–53. http://dx.doi.org/10.2478/bipca-2021-0014.
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Abstract Religious art, expressed through the architecture and painting of churches, is subject to the action of time, requiring preservation of the architectural and artistic heritage throughout their existence by providing adequate microclimate parameters. Functional and constructive particularities of cult buildings – large volumes constructed, high thermal inertia of the envelope elements and periodically occupied spaces with variable occupant – influence the conditions of conformation and operation of the heating and air conditioning systems. The determination of the calculation parameters and the conformation of the installation systems must take into account these particularities and consequences leading to the necessity to provide some installations with low functional inertia. The report presents an adequate method of calculation based on the thermal balance of the air in the enclosure and the envelope space, under the conditions of cyclical operation and with limited duration of the installations. The paper is within the thematic context of the doctoral thesis “Energy efficiency solutions for heritage buildings”
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Beyaert-Geslin, Anne. "L'énonciation invisible. Un pas vers l'imaginaire." Semiotica 2020, no. 234 (October 25, 2020): 237–52. http://dx.doi.org/10.1515/sem-2018-0135.
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AbstractFocused on manifestation, semiotics has nevertheless constantly considered its surroundings, the imaginary that makes the image and gives it meaning. The article tries to problematize this relationship. It separates the picture from its imaginary share, the image, and seeks to support its general propositions on plastic analyzes, a painting by Francis Bacon, an installation by Abdelkader Benchamma and another installation by Adrien M and Claire B. It focuses on reductions and the tipping points of the picture, where the “opening” occurs, striving for a structuring of its proposals. It thus instructs both sides of the enunciation, an enunciation centered on the visible and an invisible enunciation still premeditated by the enunciation.
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Kosmala, Katarzyna, and J. Miguel Imas. "Favela is painting: an UrbansparkZ/art installation of social commitment and organisational change." Cadernos EBAPE.BR 10, no. 2 (June 2012): 466–69. http://dx.doi.org/10.1590/s1679-39512012000200013.
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Baroroh, Intan, I. Made Ariana, and AAB Dinariyana. "Risk Evaluation Concept of Engine Room Module Installation on Modular Construction Shipbuilding." IOP Conference Series: Earth and Environmental Science 1081, no. 1 (September 1, 2022): 012058. http://dx.doi.org/10.1088/1755-1315/1081/1/012058.
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Abstract The implementation of the construction of modular construction ships is able to accelerate ship production by up to 50%. However, in practice, delays in the production process can still be found in the engine room module of the modular ship building process. Production delays occur due to inappropriate block dimension accuracy, damaged machine conditions, loading blocks that are not on schedule, many revisions to drawings, delays in equipment and basic ship materials. The production process includes a series of activities carried out including: Hull construction, Painting & Protection, Outfitting Manufacture, Machinery Outfitting, Accommodation Outfitting, Electric, Electrical Outfitting. This research aims to evaluate the performance of engine room module installations in shipyards that apply a modular construction system. At an early stage, the research was conducted by identifying factors and constraints that affect the performance of the engine room installation in shipbuilding which has the potential to cause delays. The conceptual and technical approach are carried out by analyzing the causal relationship of the identification of factors at the production stage. The results of this research is expected to anticipate earlier delays in the engine room module installation with the concept of evaluation using Bayesian Network integration and System Dynamics.
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Sola, Mar Canet, and Varvara Guljajeva. "Dream Painter." Proceedings of the ACM on Computer Graphics and Interactive Techniques 5, no. 4 (September 6, 2022): 1–11. http://dx.doi.org/10.1145/3533386.
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This paper describes an interactive robotic art installation Dream Painter by the artistic duo Varvara & Mar that deploys artificial intelligence (AI), a KUKA industrial robot and interaction technology in order to offer the audience an artistic interpretation of their past dreams, which are then turned into a collective painting. The installation is composed of four larger parts: audience interaction design, AI-driven multicoloured drawing software, communication with an arm robot, and a kinetic part that is the automatic paper progression following each completed dream drawing. All these interconnected parts are orchestrated into an interactive and autonomous system in the form of an art installation that occupies two floors of a cultural centre. In the article, we document the technical and conceptual frameworks of the project, and the experience gained through the creation and exhibition of the interactive robotic art installation. In addition, the paper explores the creative potential of speech-to-AI-drawing transformation, which is a translation of different semiotic spaces performed by a robot as a method for audience interaction in the art exhibition context.
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Gurprasad, Tiffany. "Remembering Our Leaders." Caribbean Quilt 1 (November 18, 2012): 3. http://dx.doi.org/10.33137/caribbeanquilt.v1i0.19020.
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Tiffany Gurprasad is a practicing artist and a Dean'sList scholar at the University of Toronto majoring inVisual Studies and Caribbean Studies. Her work hasbeen featured in various exhibits such as"Deconstruction" at Hart House and the Visual Studiesannual show, "Eyeball". In 2010, Tiffany curated thegroup show "Tracing Sources" at the University ofToronto Art Centre. Focusing mainly on the Caribbeandiaspora, Tiffany has worked extensively with painting,installation and intaglio printmaking.
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Sviridova, N. "CONTEMPORARY ART CONCEPTS IN EXHIBITION DISPLAY “PROMZONA” BY PAVEL OTDELNOV." CULTURE AND SAFETY 3 (2021): 54–61. http://dx.doi.org/10.25257/kb.2021.3.54-61.
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The article provides the analysis of the exhibition “Promzona” by modern artist Pavel Otdelnov through the prism of chaos and structure concepts. Display techniques are considered, allowing the viewer to immerse in the space of closed chemical plants in the town of Dzerzhinsk. The combination of painting, photography, installation and text, placed in the “white cube” of the museum, takes on the character of a book narration, leading the viewer to realizing the consequences of industrialization.
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Chemberzhi, Daria. "The importance of installation art for the development of contemporary art in the world and Ukraine." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 278–87. http://dx.doi.org/10.37131/2524-0943-2019-39-19.
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Article is devoted to a research of a role and the place of art installation in the modern world. At the same time the retrospective analysis of a role of art installation in the past and comparative characteristic with the present is carried out. The Ukrainian context of development of art installation is also revealed. At the same time it is found out that installation is not only an important component of modern art, but also an integral part of historical discourse. Due to its visual functions, the installation actively influences the viewer. For the most part, installations are not just an object in space, it is what is the very space - how much the installation work has the ability to fill the space, integrate into it organically and holistically. At the same time, the main factor in the creation and existence of an installation in the exhibition space, as well as in other relevant arts, is its relationship with the viewer. In this study, the socio-cultural aspect of the installation is important, understanding of the significance of this form of contemporary artistic practices for a common worldview system. Such problems as the assimilation of new experience from the point of view of global processes, on the one hand, and the preservation of the national cultural identity in contemporary art, on the other – actualize the pattern of the process of perception of a new culture. In article it is found out that graphic schools are based on existence of certain art and educational institutions where graphic artists who carry out the teaching activity and own creativity a high mission of formation of new generation of masters create. Not less important factor is acceptance of experience of teachers and its further development in creativity of pupils and followers. Art of installation is an integral part of the modern fine arts of Ukraine. Emergence and development of this art form in the national cultural environment became possible under conditions of intensive creative activity of artists which reached the high level of mastery in connection with deeply philosophical judgment of problems of the present. At the end of XX – the beginning of ХХІ century, looking for new ways of development, the Ukrainian artists addressed installation which as it is possible better answered esthetic inquiries of an era and became a symbol of spiritual updating of the personality. Installation turns into a key factor of development of different spheres of culture, thereby playing a noticeable role in development of national culture. Installation in the modern art helps to be focused and inform of the idea and understanding of global problems to adherents of different genres of art, the audience of different age categories and social groups. Since declaration of independence development of the independent state and formation of own cultural policy aimed at providing free development of national culture and preservation of cultural inheritance begins. The state forms the legislative base which can provide cultural development and an open entry of all citizens to its achievements. In 1992 the Verkhovna Rada of Ukraine accepts "Principles of the legislation of Ukraine about culture" where the basic principles of public policy in the sphere of culture directed to revival and development of the Ukrainian national culture, ensuring freedom of creativity, free development of cultural and art processes, realization of the rights of citizens to access to cultural values, creation of material and financial conditions of cultural development were declared. It is found out that installation is an art equipment which uses the three-dimensional objects intended for change of perception of space by the person. The term "installation" in English appeared long ago – in the XV century. It means process of construction, collecting, drawing up something (now use it also for establishment definition, for example, of the software). With the advent of different technologies – videos, and later and the computer – arose also different types of installations which now peacefully coexist with other arts, for example, painting or a sculpture, without being inferior to them. Hardly somebody will be able to designate exact date of emergence of installations and their judgment as art form. Now installation represents the certain room according to the decision of the author transformed to art space. It is filled with a number of objects to which the symbolical value is often provided. Harmonious connection of things, their arrangement indoors is also art. Installations can be the constant objects exposed in the museums or be created temporarily in public and private spaces. The space of installation can include different types of the things and images circulating in our civilization: pictures, drawings, photos, texts, video, movies, tape recordings, virtual reality, Internet, etc. Installations are regularly presented at the international exhibitions of the modern art, such as Venetian the biennial. The most prestigious art museums and art galleries of the world give to installation art the best platforms from time to time. At the same time, the research of this form of art lags behind the progressing shaping a little. The phenomenon of installation is considered as a part of a performance that is entirely logical. But install processes, especially the last decades, proved what is absolutely self-sufficient the cultural phenomena which need serious scientific approach and judgment, require attention to a research of characteristics install the practician, activity of certain artists, a tipologization and the scientific analysis of modern processes
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Pethő, Ágnes. "Between Absorption, Abstraction and Exhibition: Inflections of the Cinematic Tableau in the Films of Corneliu Porumboiu, Roy Andersson and Joanna Hogg." Acta Universitatis Sapientiae, Film and Media Studies 11, no. 1 (December 1, 2015): 39–76. http://dx.doi.org/10.1515/ausfm-2015-0015.
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Abstract The paper proposes to focus on the multiple affordances and intermedial aesthetic of the cinematic tableau seen as a performative space resulting in the impression of watching a painting, a theatre stage, a shop window, a diorama, or a photo-filmic installation in which the play between stillness and motion is accompanied by a reflexive emphasis on media and the senses. Such images, described extensively by David Bordwell in his writings on the evolution of film style, are being re-evaluated through debates on the “tableau form,” “absorption and theatricality” in modern art and photography (e.g. Jean-François Chevrier, Michael Fried). In particular, the aim of this paper is to examine inflections of the cinematic tableau in the films of three contemporary European authors, Corneliu Porumboiu (Romania), Roy Andersson (Sweden) and Joanna Hogg (UK), and relate them to the paradigm of the Dutch interior established in seventeenth-century painting.
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Carnazza, Paola, Serena Francone, Philip Morelli, Rita Reale, and Maria Pia Sammartino. "Retouching matt contemporary paint layers: a new approach using natural polymers." Ge-conservacion 18, no. 1 (December 10, 2020): 384–93. http://dx.doi.org/10.37558/gec.v18i1.842.
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Different painting techniques, materials and application methods that characterise contemporary artworks, with predominantly matt surfaces and uniform tones, make retouching one of the most complicated conservation treatments, since sameness is the main target. The retouching intervention carried out at the Galleria Nazionale d’Arte Moderna e Contemporanea in Rome on Tempi prospettici (1969), an installation by the Italian artist Carlo Alfano, gave the opportunity to investigate a method to obtain different matt/glossy values through the use of natural polymers as binders. The binders chosen (different polysaccharides, cellulose derivatives and isinglass) were analysed, both individually and mixed, through colorimetric and glossmetric measurements. The pigment-binder ratio and the addition of silica to get a modulation of the matt appearance of paint formulations were also evaluated. The comparation of the colorimetric values of painting samples and those of the original paint led to the identification of the best solution for the retouching of the artwork
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UBERMORGEN, /. "Everything is always (the liquid protocol)." Finance and Society 2, no. 2 (December 19, 2016): 175–79. http://dx.doi.org/10.2218/finsoc.v2i2.1731.
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UBERMORGEN are lizvlx (AT, 1973) and Hans Bernhard (CH/USA, 1971), European artists and net.art pioneers. They tenaciously convert code & language and concept & aesthetics into digital objects, software art, net.art, installation, new painting, videos, press releases and actions. CNN described them as ‘maverick Austrian business people’ and the New York Times called Google Will Eat Itself ‘simply brilliant’. Their main influences are Rammstein, Samantha Fox, Guns N’ Roses & Duran Duran, Olanzapine, LSD & Kentucky Fried Chicken’s Coconut Shrimps Deluxe. Visit their website at http://ubermorgen.com
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Akhmad, Amir, Asdi, Muhammad Yunus Ali, and Anwar. "The Process of Making a Pinisi Boat in Bantobahari District, Bulukumba Regency, Indonesia." European Journal of Engineering and Technology Research 7, no. 5 (October 19, 2022): 70–75. http://dx.doi.org/10.24018/ejeng.2022.7.5.2837.
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Pinisi boats are made by expert hands called panrita lopi (experts in making boats). The pinisi boat has proven its worth by conquering the vast oceans and exploring various countries in the world. This study aims to identify the process of making pinisi boats in Bontobahari District, Bulukumba Regency. This research was conducted in Bontobahari District, Bulukumba Regency, South Sulawesi Province. Data were obtained through in-depth and structured interviews, using key informants who were determined purposively. Key informants consist of; the owner of a pinisi boat-making business, panrita lopi. The analytical technique used in this research is descriptive analysis. in this case, the researcher will describe the process or stages of making a pinisi boat in Bonto Bahari District, Bulukumba Regency. The results showed that the process of making a pinisi boat includes eight stages, namely, preparation, cutting the keel, working on the boat body which includes installation of boat walls, installation of frames, and making of decks, work on pinisi boat rooms, work on sails and sails for pinisi boats, painting of pinisi boats, installation of engines and rudders for pinisi boats, and launching of pinisi boat.
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Ho, I.-Lien. "Poem without Language: When a Writing Becomes Traceless." Leonardo 51, no. 1 (February 2018): 55–56. http://dx.doi.org/10.1162/leon_a_01551.
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What happens when a writing cannot perform its function of documentation and indication? In the installation performance Poem without Language, developed from the action score writing Chinese calligraphy on the surface of water, the multiple closed-circuit videos raise the question of “who” can occupy the position of the observer, challenging tunnel-vision perspectivism. Such an orchestra of gazes resonates with the spatial organization in Chinese ink landscape painting, which challenges the anthropocentric ordering of things; responds to Nam June Paik’s approach to media, which disrupts the habitual way of perceiving conditioned by the mass media; and resonates with the concept of Kongwu (空無, emptiness, nothingness) from Daoism and Buddhism.
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Bowlt, John E. "Sergei Diaghilev’s “Exhibition of Historic Russian Portraits”." Experiment 17, no. 1 (2011): 76–93. http://dx.doi.org/10.1163/221173011x611842.
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Abstract The article treats of the “Exhibition of Historic Russian Portraits” which Sergei Diaghilev organzed at the Tauride Palace, St. Petersburg, in 1905. Reference is made to the precedents to the event such as Nikolai Vrangel’s exhibition “Russian Portrait Painting of the Last 150 Years” of 1902 and to the primary supporters such as Tsar Nicholas II, Alexandre Benois, and the Grand Duke Nikolai Mikhailovich. Key works in the exhibition, especially the 18th century aristocratic portraits, promotiojnal materials, including the catalog, public and critical reaction, installation and design, and the practical role which the exhibiton played in Diaghilev’s professional life as impresaio are also described.
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Carrascoza, João Anzanello. "Um artista da fome, o consumo e a guerrilha publicitária." Significação: Revista de Cultura Audiovisual 47, no. 54 (July 9, 2020): 271–86. http://dx.doi.org/10.11606/issn.2316-7114.sig.2020.155478.
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A guerrilha publicitária é um conjunto de estratégias e táticas de comunicação a serviço da publicidade de marcas locais e globais. Entre elas, destaca-se o street marketing, a emboscada, a brand installation, o happening, a action painting. Com a expansão da www, e visando ampliar seu impacto junto a um público maior, as ações desse tipo passaram a ser filmadas e espalhadas pela internet em forma de videorrelato. Objetivamos investigar aspectos da produção e do consumo do discurso das marcas em ações contemporâneas de guerrilha publicitária, a partir do conto Um artista da fome, de Franz Kafka. Para isso, trabalharemos com conceitos da teoria literária e da retórica publicitária.
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Wood, Denis. "Map Art." Cartographic Perspectives, no. 53 (March 1, 2006): 5–14. http://dx.doi.org/10.14714/cp53.358.
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Artists make maps. Inspired by maps made by the Surrealists, by the Situationists, by Pop Artists, and especially by Conceptualists of every stripe, artists in increasing numbers have taken up the map as an expressive medium. In an age less and less enamored of traditional forms of representation – and increasingly critical – maps have numerous attractions for artists. Beyond their formal continuities, maps and paintings are both communicative, that is, constructs intended to affect behavior. As the energy of painting has been dispersed over the past half century into earth art, conceptual art, installation art, performance art, video art, cyber art, and so on, it has dispersed the map as a subject along with it. The irresistible tug maps exert on artists arises from the map’s mask of neutral objectivity, from its mask of unauthored dispassion. Artists either strip this mask off the map, or fail to put one on. In either case artists simultaneously point to the mask worn by the map, while they enter unmasked into the very discourse of the map. In so doing map artists are erasing the line cartographers have tried to draw between their form of graphic communication (maps) and others (drawings, paintings, and so on). In this way map artists are reclaiming the map as a discourse function for people in general. The flourishing of map art signals the imminent demise of the map as a privileged form of communication. The map is dead! Long live the map!
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Bouhet, Elise. "Alexis Peskine, Guillaume Bresson, and Adel Abdessemed as sculptors of history: a study of visual arts inspired by the riots of 2005 in France." Contemporary French Civilization 45, no. 3-4 (December 1, 2020): 285–303. http://dx.doi.org/10.3828/cfc.2020.17.
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What do the visual arts tell us about historical events happening in our societies? In this article, we will examine the case of the French riots of 2005. While anthropology, media, and cultural studies have investigated visual forms such as video games, YouTube videos, and graffiti that address the riots, there has been a blind spot in the study of the representation of the riots in the fine arts, such as painting and sculpture. This study will thereby identify and analyze the art works of three contemporary francophone, and transnationally recognized artists who visually represented the riots of 2005. Indeed, the art pieces by Alexis Peskine (La France “des” Français), Guillaume Bresson (Untitled), and Adel Abdessemed (Practice Zero Tolerance) could not be more different esthetically speaking. Peskine’s colorful painting offers a postcolonial reading of the riot, deconstructing stereotypes associated with race that the riot reinforced. Bresson’s imposing neoclassical painting stages the choreography of agitated rioters. Abdessemed comments on the violence provoked by the governmental management of the riots with a sculpture installation showing three burnt cars. Despite these differences, the three artists’ approaches indubitably converge insofar as they first react to the constant play between images of power and the power of images. In addition, this observation involves an intervention into the discourse and imaginative processes that are currently shaping the narrative and interpretation of the riots. In this sense, Peskine, Bresson, and Abdessemed operate as sculptors of history.
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Diao, C., Z. Li, Z. Zhang, B. Ning, and Y. He. "TO ACHIEVE REAL IMMERSION: THE 3D VIRTUAL AND PHYSICAL RECONSTRUCTION OF CAVE 3 AND CAVE 12 OF YUNGANG GROTTOES." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W9 (January 31, 2019): 297–303. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w9-297-2019.
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<p><strong>Abstract.</strong> As the 3D laser scanning and photogrammetry technologies continue to mature, more and more applications founded in numerous areas. The realistic 3D models are mainly adopted for digital display uses, such as the 3D game, web showcases, head-mounted display, etc. While we are enjoying the vivid digital sceneries through different kinds of digital display screens, there are still challenges exist for the 3D printing application, especially for large size objects. In this article, we will present an approach on digitizing and 3D replicating large grottoes. Unlike 3D rendering, 3D printing requires high detailed shape data for the fabrication. Such demands cause many technical difficulties including huge data amount, accurate dense point cloud, high-resolution texture mapping. We chose cascade SfM, grouped MVS, automatic texture mapping to prepare the high definition colored 3D model for printing and painting references. Meanwhile, we optimized 3D printing procedure as well as post-processing, installation, lacquer and painting. Two replicas of 10- meter sized grottoes have been manufactured after four years of efforts, which have earned some appreciations from audiences.</p>
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Fox, William L. "Terra Antarctica: a history of cognition and landscape." Archives of Natural History 32, no. 2 (October 2005): 192–206. http://dx.doi.org/10.3366/anh.2005.32.2.192.
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The evolution of our perception of the Antarctic from an unknown space to a comprehensible place can be traced through the evolution of its portrayal in visual art. Early expedition artists relied upon the topographically-based aesthetic traditions of northern European landscape painting as the polar region was first charted, and the continent's outlines were traced in coastal profiles during the late eighteenth through mid-nineteenth centuries. This pragmatic approach with its close ties to cartographic needs was later superseded by increasingly symbolic depictions of the environment. The artists accompanying Scott, Shackleton and Mawson, for example, often portrayed the Antarctic as an historic stage for heroic action. With the International Geophysical Year in 1957–1958, modernist aesthetics reached the continent. Visiting artists sponsored by national programs began to abstract the environment in photography and painting. By the turn of the century, sculptors and installation artists had helped bring the Antarctic more fully into the international cultural arena as a subject for contemporary art. This aesthetic shift is both a symptom of, and part of the process for, the transformation of a terra incognita into a terra Antarctica.
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Nardi, Isabella. "La miniatura come documento storico: le celebrazioni di Saptasvarupa Annakutotsava al Tempio di Śrī Nāthjī a Nathdwara nel 1822." Annali Sezione Orientale 77, no. 1-2 (June 21, 2017): 215–32. http://dx.doi.org/10.1163/24685631-12340031.
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This article highlights the importance of a prominent festival, the Saptasvarupa Annakutotsava celebrated in Nathdwara in 1822, through an iconographic analysis of a miniature painting dated to 1822–1850 in thelacmacollection. First, the essay delimits the area of investigation by briefly introducing the sect of Puṣṭi Mārg, its icons orsvarūps, and the installation of its most important deity, Śrī Nāthjī, at Nathdwara in 1672. Secondly, it analyzes the festival of 1822 as depicted in the painting. The final part of the study underlines the significance of the celebrations in the history of the sect by contextualizing the event with information drawn from secondary literature: it introduces some well-documented issues, such as the absence of thesvarūpof Bālkṛṣṇajī in the celebrations; it mentions some of the problems that Dauji, the head priest of the temple, had to overcome in the coordination of the festival, such as settling the disputes among thegosvāmīs of the sect; and it concludes with a comparative analysis of the Saptasvarupa Annakutotsava with two similar festivals held in Nathdwara in 1739–1740 and 1966 to emphasize the preeminence of the event of 1822 in the history of Puṣṭi Mārg.
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Becher, Angela. "Back to the future? Chinese artistic tradition and topologies of urban modernity." Journal of Contemporary Chinese Art 6, no. 2 (September 1, 2019): 285–304. http://dx.doi.org/10.1386/jcca_00008_1.
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Abstract The radical nature of China's urban transformation has become a key subject in contemporary Chinese art. The ruthless eradication of material remnants of the past, moreover, has reinvigorated an urgency in Chinese art to look to the past for inspiration in the envisioning of a better future. This article examines three works that combine these two important strands of artistic production in China as they negotiate contemporary urban transformation via a return to China´s artistic tradition. This article will look at the imaginary and fantastical topologies of modernity in both analogue and new media, including the installation and oil painting of Shen Yuan and Wang Mingxian, respectively, and the digital ink painting of Miao Xiaochun. In examining closely the artists' choices of medium and their representations of architecture and urban space, this article probes some of the key social, environmental and aesthetic predicaments that underlie China's developmental process. It will argue that responses in Chinese art counter the officially sanctioned grand narrative that equates urbanization, urban renewal and modernization with unequivocal social betterment. Instead, these works create in-between spaces that lie between the material and the idealistic.
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Sigley, Agnes. "Diving into the Human Psyche." Ata: Journal of Psychotherapy Aotearoa New Zealand 17, no. 1 (September 30, 2013): 109–13. http://dx.doi.org/10.9791/ajpanz.2013.09.
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As I regularly invite my clients to inhale and exhale and connect with their breath, their bodies’ sensations, their hearts, and deeper parts of themselves through the expressive arts, I find inspiration and resonance in Vincent Ward’s art works. Vincent Ward (b.1956) is one of the most original and acclaimed New Zealand artists, and some have called him a visionary. His latest exhibitions, Inhale/Exhale were held simultaneously at the Gus Fisher Gallery, in the University of Auckland and the Wallace Arts Centre at the Pah Homestead in July 2012. Inhale was a cinematic installation while Exhale showcased painting and photographic print. I visited both exhibitions and attended some of the talks.
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Sugiharto, Farid Dwi Bagus, and Satriana Didiek Isnanta. "REFLEKSI DIRI TERHADAP HUBUNGAN MANUSIA DAN ALAM SEBAGAI SUMBER INSPIRASI PENCIPTAAN KARYA SENI RUPA EKSPERIMENTAL." Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa 10, no. 2 (January 23, 2019): 134. http://dx.doi.org/10.33153/bri.v10i2.2327.
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<p><em>Creation of experimental art with the title "Self Reflection Against Human and Natural Relations" in the background of the writer's anxiety about the environmental damage caused by humans. From the source of the idea, the writer creates experimental fine arts that will be used as an awareness media on how important the role of nature is for the survival of living thing on earth.</em></p><p><em>The results of this creation are experimental installation with elements of painting, audio, video and motion installation to point a space. The processing of this final project refers to the method of creation of Henri Cholis which refers to Hawkins, namely that in the process of create there are three stages: exploration, imvising and forming.</em></p><p><em> </em></p><p><em>Keywords: self-reflection, experimental art, nature damage</em></p><p><em> </em></p>
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Cervone, Einor K. "Art | Adrift." Archives of Asian Art 69, no. 2 (October 1, 2019): 155–79. http://dx.doi.org/10.1215/00666637-7719404.
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Abstract A floating gallery, a drifting studio where sprawling waterscapes set off artwork on display and inspire original creation—the painting-and-calligraphy boat (shuhua chuan) may sound like a postmodern experimental installation. For its Ming patrons, however, it was nothing of the sort. Traceable to Mi Fu's floating gallery-cum-studio, the “art boat” was perceived as a beacon of cultural orthodoxy by generations of aesthetes like Mi Wanzhong, Dong Qichang, and Li Rihua. A nod to antiquity, it situated them in the continuum of long-standing tradition. The practice reached its acme in the mid- and late Ming, against currents of growing social mobility and dynamic imbalance that gave rise to a culture of connoisseurship as part of a fierce competition for social distinction. This paper examines the lure of waterborne art connoisseurship as cultural capital. Unique to the art boat is the act of collecting pieces for display and appraisal—an act akin to modern curatorial discernment. The selection of works that accompanied the patron onboard became an expressive medium. The painting-and-calligraphy boat also privileged a sense of fortuity. Chance encounters and spontaneous inspiration complemented the boats' movement along their free-form routes. Yet, the most prominent feature distinguishing the art boat was its visibility. Open panoramas of outstretched waterscape conjured a new creative avenue, a self-aestheticizing of both participant and vessel. This paper extricates the painting-and-calligraphy boat from its perception as a passing curiosity and shows it to be an enduring phenomenon that permeated premodern Jiangnan—the choice of the waterscape as a space of creation and recreation.
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Rozmarynowski, Łukasz. "Abstrakcji przestrzeń wieloraka. Kategoria przestrzenności w twórczości Wojciecha Fangora, Jerzego Grabowskiego i Ryszarda Winiarskiego - studium porównawcze." Artium Quaestiones 31, no. 1 (December 20, 2020): 401–36. http://dx.doi.org/10.14746/aq.2020.31.13.
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If one were to indicate some tendencies characteristic of the art of the 20th century, the pursuit of making artwork more spatial would certainly be one of them. This tendency manifests itself in the myriad of symptoms: an avant-garde redefinition of sculpture with its negative space; a proliferation of kinetic works enabling spectators to (re)shape artwork’s matter more actively; a dissemination of ephemeral forms, especially happening and performance; beginnings of installation art, to mention but a few. The present paper sets out to examine an artistic phenomenon which is not as spectacular as the aforementioned examples, but it could be somehow placed at the intersection of them. One can consider the particular type of abstract painting, embedded in a pictorial plane and slightly opening for surrounding space, but simultaneously reconceptualising the relation between the imagined and the physically present. The first part of the article deals with methodology. As far as research is concerned, the author assumes moderate scientism as the methodological perspective. It is based on the belief that mathematical sciences throughout history have developed notions and analytical methods allowing the observable and communicable features of things, including artworks and artistic phenomena, to be explained in an effective way, i.e. more faithfully and usefully. Because of the fact that mathematical truths are not absolute, the methodological perspective is called ‘moderate’. Taking into account these assumptions, the second part of the article defines the analytical category of spatiality, which expresses painting’s ability to evoke variously conceptualised spaces. The three subsequent sections of the article are devoted to some paintings by three Polish artists active in the second half of the 20th century, i.e. Wojciech Fangor, Jerzy Grabowski, Ryszard Winiarski. Each of them combined two differently understood spatial orders in their works: physical (related to phenomenological and sensual experience) and conceptual (related to notions and theories proposed by exact sciences). Having analysed a number of paintings by Fangor, Grabowski and Winiarski, one can define notions of cosmogonic, transcendence and probabilistic space, respectively. In summary, the specificity of works analysed in the context of ideas drawn from exact sciences is examined.
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Lodder, Christina. "Ivan Puni and the Flight of Forms." Experiment 23, no. 1 (October 11, 2017): 104–16. http://dx.doi.org/10.1163/2211730x-12341304.
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Abstract In February 1921, Ivan Puni organized an exhibition at the Galerie Der Sturm in Berlin. Orchestrating small-scale individual works with letters and numbers (cut from paper as if they were separate visual components in a painting), he used the wall as an enormous canvas in order to create a large pictorial composition, transforming the entire space into an avant-garde Gesamtkunstwerk. This paper examines this installation in terms of pre-revolutionary and post-revolutionary artistic theory and practice, including zaum, alogism, suprematism, Kazimir Malevich’s display at the Last Futurist Exhibition of Painting 0.10 (Zero-Ten), suprematist decorations for the revolutionary festivals, and Puni’s work in running the agit-prop department at the Vitebsk Art School in 1919. Above all, this essay will argue that the synthesis of the arts that Puni created in Berlin in 1921 was particularly indebted to his experience of the way in which the revolutionary decorations had created totally new, potentially socialist environments. Yet while assimilating and to some extent replicating this experience, Puni’s 1921 display could also be seen as a protest against communism—acting as a powerful declaration of individualism against the collective, as well as an emphatic statement concerning the importance of art, the enduring value of aesthetic values, and the crucial necessity of maintaining the freedom of art, and its independence from all external pressures.
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Farida, Farida Ariani, Tugiman Tugiman, Hariadi Susilo Hariadi, Dardanila Dardanila, Saib Suwilo Saib, Tulus Tulus, Eva Sartini Bayu Eva, Ma'ruf Tafsin Ma'ruf, and Amlys Syahputra Silalahi Amlys. "Arrangement of Beauty in the Sweembath Tourism Environment to Achieve Community Welfare." ABDIMAS TALENTA: Jurnal Pengabdian Kepada Masyarakat 5, no. 2 (December 2, 2020): 723–29. http://dx.doi.org/10.32734/abdimastalenta.v5i2.5223.
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Repair and construction of facilities and infrastructure for the tourist area of the Sweembath is aimed at increasing the attractiveness of tourists who will visit. This is one of the physical perceptions of what facilities there are in these attractions. Perceptions of the physical function of adequate beauty arrangement, such as the function of facilities and infrastructure, self-power (motivation) of the environment which are factors in tourism development to realize social welfare. Arrangement of beauty in the environment in the tourist area of the sweembath by Binaan Simalungun Village, USU's LPPM, namely (1) installing ceramics along the edge of the pool, (2) painting bridges, (3) making slides and speedboats (4) Installation of life guard chairs ), (4) painting of the outer wall at the entrance to the sweembath, (5) replacing the barrier zinc, (6) the place of purchase and ticket cutting. Improvements and making arrangements for beauty facilities form an impact in the form of responses from collective or individual subjects, such as 1) the presence of visitors who take advantage of the facilities, 2) parking attendants who regulate vehicle parking 3) merchants who sell types of merchandise, 3) Rental of premises, mats, life jackets and changing rooms. The arrangement of this beauty, affects the increase in the welfare of the community, managers and traders in the Sweembath environment.
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Joselit, David. "THE PROPERTY OF KNOWLEDGE." Nordic Journal of Aesthetics 28, no. 57-58 (June 21, 2019): 158–65. http://dx.doi.org/10.7146/nja.v28i57-58.114854.
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We can note three phases in the tradition of the readymade and appropriation since Duchamp’s Bicycle Wheel of 1913. First, they include early enactments in which the readymade posed an onto- logical challenge to artworks through the equation of commodity and art object. Second, practices in which readymades were de- ployed semantically as lexical elements within a sculpture, paint- ing, installation or projection. In a third phase, which most directly encompasses the global, the appropriation of objects, images, and other forms of content challenges sovereignty over the cultural and economic value linked to things that emerge from particular cultural properties ranging from Aboriginal painting in Australia to the ap- propriation of Mao’s cult of personality in 1990s China. This essay considers the most recent phase of the readymade in terms of its century-long history.
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Rizwan, T., M. Muhammad, M. Arif, I. Agustina, and R. Rahayu. "Development of fishing vessel shipyard in traditional Lampulo, Banda Aceh." IOP Conference Series: Earth and Environmental Science 869, no. 1 (November 1, 2021): 012031. http://dx.doi.org/10.1088/1755-1315/869/1/012031.
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Abstract The construction of ships at the Lampulo shipyard has not all used the rules according to naval architecture. But there may be ineffectiveness in the use of raw materials such as a lot of wasted wood volume. This research was conducted to know the types of wood and equipment used for traditional shipbuilding and know the process of traditional shipbuilding. This research used a survey method and data was collected by interviewing and observation. This research is located in the Kutaraja Ocean Fishery Port, Banda Aceh conducted from March to April 2021. The results showed that the types of wood commonly used as raw materials for shipbuilding in traditional shipyards were bangkirai wood (Shore Laevifolia Endert), laban wood (Vitex Punesceus Vahl), balau wood (Hopea Calebica Burck), meranti merah wood (Shorea Acuminata Dyer), tembusu wood (Fagraea Fragrans Roxb), bungur wood (Lagerstroemia Speciosa Pers), and merbau wood (Intsia Bijuga). The equipment used still uses non-electronic equipment, only drill work that uses electricity. Meanwhile, the traditional shipbuilding process generally begins with laying the keel and installing the crest. Next, continued by frames installation, hull plank then upper hull main frame. Hereinafter, deck floor installation, hatches manufacture, and superstructure construction. The final stage of shipbuilding process is machining, painting, installing engines, propellers, and steering. Thus it can be said that the construction of a fishing vessel in Lampulo still traditionally a hereditary habits.
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Maha Kazzaz and Ehssan Sattouf. "Building an Installation Artwork: Casting Light to Transform the Shapes of Printed Silk Screen to Be Part of the Space." Integrated Journal for Research in Arts and Humanities 2, no. 3 (May 31, 2022): 73–77. http://dx.doi.org/10.55544/ijrah.2.3.39.
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Printmaking often includes a two-dimensional frame whether it was printed out on paper or canvas. In the time when most artist strive to create new forms of art whether it was in sculpting, drawing, painting so on and so forth, printmaking is still considered a traditional form of art limited to its frame. In an attempt to make a quantum leap in the concept of artistic works’ dimensions this research aimed to investigate a method which aids extracting the work of art from its limited frame. where lighting helps to free the shapes of the artwork and make them part of the surrounding atmosphere, a part of space. This was achieved by three artworks which were printed on plates of hardened glass; thus, each artwork is a set of layers that when merged together would create the final form of the artwork. Also, a paper copy of each artwork was made. Light was added to these artworks allowing the receivers to walk through the artwork instead of rotating around it, thus, participating into the artwork itself.
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Florkovskaya, A. K. "The Fearlessness of Vitality: Transforming the Sublime in Painting of the 2000s." Art & Culture Studies, no. 1 (2021): 48–61. http://dx.doi.org/10.51678/2226-0072-2021-1-48-61.
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The article is devoted to vitality in the art of the twentieth century, interpreted as the Sublime. Vitality manifests itself in art in a very diverse way. The dramatic attitude of the world, suffering, and pain are often synonymous with “vitality” today. But the art of oblivion is also permeated with vitality, “intoxicating”, helping to overcome the horror of existence; as well as art, attaching to the metaphysical source of being. It can be defined as sacred optimism and the ancient art and the art of the avant-garde are especially vividly evidence of it. In this case vitality is in direct contact with the Sublime. Seeking out the “other world”, overcoming the limitations of the mortal and suffering world is carried out through the transformation of the Sublime. Today the subject of the Sublime in art is at the peak of research interest. This is evidenced by the project The Art of the Sublime, launched in 2008 by the Tate Modern gallery (London, UK), dedicated to the study of this phenomenon from the Baroque era to the present day. It touches upon all types of visual art from painting to installation. Research shows how evolution goes from the natural Sublime, realized in the depiction of rare and impressive natural phenomena, to the technological Sublime, which declared itself in the second half of the twentieth century, to the distinction between the Sublime and the beautiful. In modern Moscow painting, we meet the implementation of the principle of the Sublime in the work of the artist Vladimir Matveev. Relying on the sacred art of Russian icons, and the avant-garde, the color discoveries of post-impressionism and the energetic abstraction of neo-expressionism, he creates his version of the Sublime in contemporary painting. In his large-format canvases, the artist expresses the essence of the vital as the Sublime, metaphysical and mental principles with the help of rich color and sharp juxtaposi- tion of abstract and natural forms.
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Soltes, Ori Z. "Modern Jewish Art." Brill Research Perspectives in Religion and the Arts 2, no. 2 (December 26, 2018): 1–107. http://dx.doi.org/10.1163/24688878-12340004.
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AbstractIn Modern Jewish Art: Definitions, Problems, and Opportunities, Ori Z. Soltes considers both the emerging and evolving discussion on and the expanding array of practitioners of ‘Jewish art’ in the past two hundred years. He notes the developing problem of how to define ‘Judaism’ in the 19th century—as a religion, a culture, a race, a nation, a people—and thus the complications for placing ‘Jewish art’ under the extended umbrella of ‘religion and the arts.’ The fluidity with which one must engage the subject is reflected in the broadening conceptual and visual vocabulary, the extended range of subject foci and media, and the increasingly rich analytical approaches to the subject that have surfaced particularly in the past fifty years. Well-known and little-known artists are included in a far-ranging discussion of painting, sculpture, photography, video, installation art, ceremonial objects, and works that blur the boundaries between categories.
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Radujko, Milan. "Traces of the throne of grand zupan Stefan Nemanjic and the fresco decoration of the main church of the monastery of Studenica." Zograf, no. 36 (2012): 47–64. http://dx.doi.org/10.2298/zog1236047r.
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This paper deals with the bearings of the structure preserved in the floor beside the southwestern support of the dome in the Studenica katholikon, and on the dado rail of that pilaster. From the appearance of the bearings, their position in the space, and the writer Theodosius? account describing the place where the grand zupan Stefan Nemanjic stood during the liturgy, the author concludes that this refers to the bearings of the ruler?s throne, which had a loggia-like form. A series of features indicates that the installation was prepared before the painting of the main church and then installed afterwards. The text on the scroll of Saint Sabas the Sanctified testifies that it influenced the concept of the neighbouring fresco-ornament. Written sources (from the thirteenth and fourteenth century) maintain that the idea in the fresco painter?s mind was the role of the principle of ascetism in medieval images of the ideal monarch.
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Zhang, Yingjin. "Ways of Seeing China through Isaac Julien's Ten Thousand Waves." Prism 16, no. 1 (March 1, 2019): 174–96. http://dx.doi.org/10.1215/25783491-7480373.
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Abstract This article examines ways of seeing China in Isaac Julien's nine-screen film installation Ten Thousand Waves (2010), which represents a migratory aesthetic based on evocative translocality and mobile spectatorship. As Julien reconstructs the legend of compassionate Mazu (played by Maggie Cheung) and memories of Old and New Shanghai (both enacted by Zhao Tao), his screen images and sounds enter a constant circulation and form an intriguing multidirectional dialogue across a variety of media and genres: cinema, art photography, calligraphy, painting, poetry, and star performance. In addition to evaluating new concepts and new techniques at work in the cross-fertilization of cinema and other visual media in the new millennium, this article complicates Julien's celebrated political poetics by highlighting his problematic reception by ethnic Chinese spectators and by reckoning with the specter of orientalism that refuses to go away despite his previously audacious repudiation of stereotypes and clichés and his professed engagement with cosmopolitanism and globalization.
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Martišiūtė-Linartienė, Aušra. "Intertexts of Theatrical Experiments in the Plays of Kostas Ostrauskas." Colloquia 37 (December 30, 2016): 72–93. http://dx.doi.org/10.51554/col.2016.28904.
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During the past decade, the plays of Kostas Ostrauskas (1926–2012) have been studied in terms of their intertextuality, with researchers such as Irina Melnikova, Reda Pabarčienė and others highlighting the structural and semantic dialogue between the author’s own vs. borrowed words, and with literary texts, different art forms (literature, music, painting, cinema), and so on. However, theatre had yet to be included in the intertexts being studied, even though it is often referred to as one of the most important contexts (c.f. Jonas Lankutis, Jurgis Blekaitis, Ingrida Ruchlevičienė, etc). Drawing on the theatre performativity studies of Hans-Thies Lehmann and Erika Fischer-Lichte, the author of this article explores the question of context and how it becomes intertext in Ostrauskas’s dramas.In his first-wave avantgarde works Ostrauskas creates a relationship of parody (the intertext of the microdrama “Instaliacija” (Installation) is Marcel Duchamp’s sculpture “The Fountain”; the microdrama “Šauksmas” (The Cry) references Edvard Munch’s Expressionist painting). In secondwave avantgarde works – in “Fluxus” events and performances – Ostrauskas creates an imitative relationship, further extending the limits of experimentation (the “Fluxus” intertext – George Maciunas’s performance “Piano Activities” – is reduced to one performer, the action is complicated by the introduction of classical music; the text of “Paskutinis monologas” (Final Monologue) consists only of the title and the comment “silence,” extending John Cage’s idea of silent plays by eliminating the stage’s actor and object). The playwright reduced the extent of the verbal text to a minimum (referring to the play as a microdrama), focusing on the ideas of performance and action.
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Bernier, Celeste-Marie. "“The Slave Ship Imprint”: Representing the Body, Memory, and History in Contemporary African American and Black British Painting, Photography, and Installation Art." Callaloo 37, no. 4 (2014): 990–1022. http://dx.doi.org/10.1353/cal.2014.0181.
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Rusmilyansari, Rusmilyansari, Iriansyah Iriansyah, and Siti Aminah. "PEMBANGUNAN KAPAL PERIKANAN DI GALANGAN KAPAL TRADISIONAL KALIMANTAN SELATAN." Fish Scientiae 4, no. 8 (June 16, 2016): 95. http://dx.doi.org/10.20527/fs.v4i8.1122.
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Kapal perikanan merupakan salah satu unsur dalam menentukan keberhasilan operasi penangkapan ikan. Penelitian ini bertujuan untuk mengetahui ; (1) tingkat teknologi; (2) jenis kayu yang digunakan dan (3) tahapan pembangunan kapal kayu di galangan kapal tradisional. Penelitian dilakukan dengan metode Survey. Penelitian dilakukan galangan kapal rakyat Sewangi Kabupaten Barito Kuala dan desa Pagaruyung Kabupaten Tanah Bumbu Kalimantan Selatan. Penelitian dilakukan pada bulan Agustus sampai dengan Oktober 2013. Hasil Penelitian menunjukan bahwa: (1) Tingkat teknologi yang digunakan pada pembangunan kapal masih relatif rendah, peralatan yang digunakan masih menggunakan peralatan non elektronik yaitu kapak, gergaji, pahat, pasak, palu, golok, bacci, alat ukur dan ketam. Hanya pengerjaan bor yang menggunakan listrik. Tingkat keknologi dalam pembangunan kapal kayu belum dilengkapi oleh perhitungan arsitektur perkapalan serta gambar desain dan konstruksi kapal; (2) Jenis kayu yang digunakan adalah kayu ulin, kayu Alaban, Bengkirai, Bungur dan Meranti yang memiliki tingkat kekuatan yang tinggi dan tahan terhadap serangan organisme laut; (3) Tahapan pembangunan kapal tradisional untuk kapal besar dimulai dengan pembuatan lunas, perakitan lunas dengan balok dek dan transom. Sedangkan untuk kapal kecil dimulai dengan pembuatan bibit kapal dari sebatang pohon. Tahap selanjutnya baik untuk kapal besar maupun kapal kecil adalah pemasangan linggi haluan dan buritan, pemasangan kulit kapal hingga setengah tinggi kapal, Pemasangan gading-gading kiri dan kanan, pemasangan galar, pemasangan kulit kapal seluruhnya sampai sheer, pemasangan sheer, pemasangan lantai dek, pemakalan, pembuatan anjungan untuk kapal besar dan terakhir adalah pengecatan.Fishing vessel is one element in determining the success of fishing operations. This study aims to determine; (1) the level of technology; (2) the type of wood used, and (3) the stage of development of timber ships in the traditional shipyard. The study was conducted by Survey. Research conducted shipyard Sewangi Barito Kuala district and village Pagaruyung Tanah Bumbu Regency South Kalimantan. The study was conducted in August through October 2013. Results showed that: ( 1 ) The level of technology used in the construction of the ship is still relatively low , the equipment used is still using non- electronic equipment ie axes, saws, chisels, pegs, hammer, machetes, bacci, measuring instruments, planers. Only the use of an electric drill workmanship. The level of technology in the construction of timber ships has not been completed by the calculation of shipping architecture and ship design and construction drawings ; ( 2 ) type of wood used is Ulin wood, Alaban, Bengkirai, Bungur and Meranti which have a high degree of strength and resistant to attack by marine organisms; ( 3 ) Stages of development of traditional boats to large ships began with the manufacture of the hull, keel assembly to the deck and transom beam. As for the small boat begins with the manufacture of the vessel tree seedlings. The next stage is good for big ships and small ships are mounting Linggi bow and stern, leather installation vessel up to half the height of the ship, Installation joist left and right, galar installation, installation of ship skin entirely to sheer, sheer installation, flooring installation deck, pemakalan , rig manufacturing of large vessels and final are painting.
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Auchter, Jessica. "Displaying dead bodies: bones and human biomatter post-genocide." Human Remains and Violence: An Interdisciplinary Journal 4, no. 1 (2018): 41–55. http://dx.doi.org/10.7227/hrv.4.1.4.
Full textAbstract:
The after-effects of mass atrocity – bodies and bones – struggle to be defined within memorial projects. This article seeks to examine the politics at play in displaying dead bodies to interrogate the role of materiality in efforts to memorialise and raise awareness about on-going violences. It focusses on the nexus between evidence, dignity, humanity and memory to explore bone display in Rwanda. It then takes up two artistic projects that play on the materiality of human remains after atrocity: the art of Carl Michael von Hausswolff, who took ashes from an urn at the Majdanek concentration camp and used them as the material for his painting, and the One Million Bones Project, an installation that exhibits ceramic bones to raise awareness about global violence. In thinking about the intersections between human biomatter, art and politics, the article seeks to raise questions about both production and consumption: how bones and ashes of the dead are produced, and how they are consumed by viewers when placed on display in a variety of ways.
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Karpenko, Vladimir E., and Nikolay I. Shchepetkov. "Light Forms in Urban Environment." Light & Engineering, no. 04-2021 (August 2021): 6–15. http://dx.doi.org/10.33383/2021-033.
Full textAbstract:
The paper proposes a method for generalizing and understanding the achievements of modern lighting design by means of classifying light forms and their main features are specified. The variety of types and complexity of light forms are due to avant-garde experiments in the art of the early and mid 20th century and is consistent with the successive change in artistic styles. Advances in computer technology and programming have made it possible to combine lighting elements, visual, colour and optical effects in one form. The new lighting techniques were developed for illuminating the architectural environment, various buildings, structures and forms in the spaces of world exhibitions. In this paper, the following light forms of the urban environment are investigated: projection mapping, light-graphic, light-painting and installation, sculptural, media surfaces and media facades, structural and vertical, energy-saving and virtual. The classification of light forms makes it possible to identify their structure and image, their correspondence to different eras in art, to predict the possibility of their transformation in the perspective of modern visual creativity.