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Artykuły w czasopismach na temat „Nature in art”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 31 lipca 2024

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1

Cooper, David E. "Art, nature, significance". Philosophers' Magazine, nr 44 (2009): 27–35. http://dx.doi.org/10.5840/tpm200944104.

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Dominique, Marie-Charles, i Jocelyne Pion. "Art et nature". Ligeia N°11-12, nr 4 (1992): 47. http://dx.doi.org/10.3917/lige.011.0047.

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Goodwin, L. G. "Art and nature". Parasitology Today 3, nr 8 (sierpień 1987): 252. http://dx.doi.org/10.1016/0169-4758(87)90154-2.

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ÖZCAN, Berna Özlem. "Nature Art and Artists Who Create Art in Nature with What Nature Offers". Gaziantep University Journal of Social Sciences 21, nr 3 (31.07.2022): 1540–57. http://dx.doi.org/10.21547/jss.1065781.

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Land Art (Arazi Sanatı), Environmental Art (Çevresel Sanat) ve Nature Art (Doğa Sanatı) birbirleriyle kesin çizgilerle ayrılmadıklarından, çoğu zaman birbiri yerine adlandırılan ya da karıştırılan sanat anlayışları olarak karşımıza çıkarlar. Oldukça karmaşık ve iç içe geçmiş durumda olan bu tanımlamalar tam bir sınırlama yapılamamasına rağmen kullanılan malzeme ve amaç farkına göre incelenebilir. Arazi Sanatı ve Çevresel Sanat, 1960'ların sonunda Amerika'da ortaya çıkmış, 1970’ler boyunca 1980’ler sırasında tüm batı ülkelerini etkilemiş avangart sanat türleridir. Arazi Sanatı ve Çevresel Sanat, gerçekleştirildiği yere özel tasarlanmış çevreyi ve çevreye ait olmayan materyalleri birleştirerek yeni formlar oluşturan ve heykelsi özellikler gözeten yaklaşımlardır. Daha çok doğal ortamın içine doğal olmayan, benzer amaçlı objeleri yerleştiren projeler üretilir. Doğada yapılan zaman odaklı bireysel performanslar görülür; ortak gerçekleştirilen “sosyal bilinç projeleri” gibi çok çeşitli savaş sonrası sanatsal deneyimleri kapsarlar. Aynı zamanda yeni şekiller üretmek için doğanın materyallerini kullanan alana özgü projeleri; aynı amaçlarla doğal ortama yeni, doğal olmayan objeleri taşıyan ve doğada zamana duyarlı bireysel çalışmaları ve müdahaleleri içerirler. Ancak eserlerin çoğu, üretildiği çevrenin ekolojisine çok az önem verilerek veya hiç dikkate alınmadan ağır makinelerle yapılmıştır. Ancak bazı sanatçılar, insan ve doğa arasındaki ilişkiyi vurgulamak için nerdeyse tamamen bulundukları çevrenin sunduğu olanakları ve doğal malzemeleri kullanmaya başlamışladır. Doğa Sanatında ise; taş, toprak, buz, ağaç kütükleri, dallar, yapraklar gibi birçok doğal malzemenin kullanılmasıyla gerçekleştirilen çok çeşitli uygulama biçimleri vardır. Sanatçıların, doğada hendekler açtıkları, doğal ya da doğal olmayan materyalleri toprağa gömdükleri, galeri mekânı içinde; toprak, gübre, taş ya da insan ürünü çevresel nesneleri sıklıkla kullandıkları görülür. Doğa Sanatı, 1981 yılında Kore Doğa Sanatçıları Derneği’nin (YATOO) kurulmasıyla kurumsallaşmış, daha çok doğaya yönelmiş, her yerin kendine özgü doğasını keşfetmeye ve doğayla üretmeye odaklanmıştır. Doğa sanatı; ilhamını, tamamen doğadan ve bulunduğu arazinin sunduklarından alan bir sanat dalıdır. Doğa ile sanatçı arasındaki ilişkiyi önemser. Bu bağlamda doğa sanatı benzer sanat oluşumlarına göre önemli farklılıklar göstermektedir. Araştırmanın odağını oluşturan Doğa Sanatı incelenirken söz konusu sanat akımı üzerine aktif olarak etkinlikler düzenleyen uluslararası grup ve organizasyonlar ile ulusal ölçekte üreten gruplar ve örnek çalışmalar hakkında bilgi verilecektir. Doğa sanatı çalışmaları yürüten YATOO (Kore), ORANKI (Finlandiya), ART SELLA (İtalya), BAGGAT ART ASSOCIATION (Kore) uluslararası aktif gruplarken, İzmir merkezli PATİKA SANAT GRUBU ve Gaziantep merkezli TOPRAK ART GROUP, doğa Sanatı çalışmalarını Türkiye'de ilk kez uygulayan gruplar olarak öne çıkmaktadırlar. Bu çalışmanın amacı Doğa Sanatının genel özelliklerini ve Türkiye'de yapılan Doğa Sanatı gruplarını ve ilk Doğa Sanatı çalışmalarını tanıtmaktır. Doğa Sanatı çalışmalarının, gerek üretim olarak yaygınlaşması ve gerekse ortaya çıkan eserlerin daha çok insanla buluşturulmasının anlamlı olacağı düşünülmektedir.
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5

Yagmur, Onder. "ART OF THE NATURE SHAPING LAND ART". Idil Journal of Art and Language 5, nr 27 (30.11.2016): 1977–88. http://dx.doi.org/10.7816/idil-05-27-08.

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6

Yamaguchi, Tomohiko. "Art, Nature and “Shizen”". Seikei-Kakou 23, nr 6 (20.05.2011): 307. http://dx.doi.org/10.4325/seikeikakou.23.307.

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7

L.G.G., A. L. Cothey, L. Wittgenstein, J. R. Smythies, J. Beloff, R. Tallis, H. Robinson i in. "The Nature of Art." Philosophical Quarterly 42, nr 167 (kwiecień 1992): 261. http://dx.doi.org/10.2307/2220230.

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8

Cothey, A. L. "The Nature of Art". Journal of Aesthetics and Art Criticism 50, nr 3 (1992): 269. http://dx.doi.org/10.2307/431244.

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9

Ozaki, Makoto. "Nature, Eternity, and Art". Dialogue and Universalism 7, nr 3 (1997): 83–89. http://dx.doi.org/10.5840/du199773/49.

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10

Ostrowicki, Michał. "Immersive Nature of Art". Dialogue and Universalism 19, nr 1 (2009): 129–41. http://dx.doi.org/10.5840/du2009191/284.

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11

Omori, K. "ART THERAPY AND NATURE". Acta Horticulturae, nr 790 (czerwiec 2008): 29–37. http://dx.doi.org/10.17660/actahortic.2008.790.2.

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12

CARR, DAVID. "The Nature of Art". Philosophical Books 34, nr 1 (12.02.2009): 62–64. http://dx.doi.org/10.1111/j.1468-0149.1993.tb00764.x.

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13

Vidya, T. N. C. "Art Forms in Nature". Resonance 23, nr 11 (listopad 2018): 1283–311. http://dx.doi.org/10.1007/s12045-018-0736-6.

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14

Bartram, Rob. "Nature, art and indifference". cultural geographies 12, nr 1 (styczeń 2005): 1–17. http://dx.doi.org/10.1191/1474474005eu320oa.

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15

Murray, Dale. "The Nature of Art". Teaching Philosophy 31, nr 1 (2008): 101–4. http://dx.doi.org/10.5840/teachphil200831110.

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16

Appleton, J. "Nature as Honorary Art". Environmental Values 7, nr 3 (1.08.1998): 255–66. http://dx.doi.org/10.3197/096327198129341564.

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17

Carroll, Noël. "Art and Human Nature". Journal of Aesthetics and Art Criticism 62, nr 2 (5.05.2004): 95–107. http://dx.doi.org/10.1111/j.1540-594x.2004.00143.x.

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18

Soper, Kate. "Nature, art and artfulness". Capitalism Nature Socialism 11, nr 3 (wrzesień 2000): 81–86. http://dx.doi.org/10.1080/10455750009358933.

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19

Shiff, Richard, i John House. "Monet: Nature into Art". Art Bulletin 73, nr 1 (marzec 1991): 149. http://dx.doi.org/10.2307/3045784.

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Appleton, Jay. "Nature as Honorary Art". Environmental Values 7, nr 3 (sierpień 1998): 255–66. http://dx.doi.org/10.1177/096327199800700301.

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This paper addresses the apparent difficulty experienced by philosophers in applying the methodology of art criticism to the aesthetics of nature and uses the idea of ‘narrative’ to explore it. A short poem is chosen which recounts the ‘narrative’ of a simple natural process – the passage of day into night – and this is followed by a simplified critique illustrating how the poem invites questions relating to style, technique, subject, etc., leading to the query whether the art form (poem) can be dispensed with and the subject (nature) be left to tell its own story, using the ‘language’ of symbolism. The interface between art and science is reviewed particularly in the light of the ideas of John Dewey and what has happened since. The ‘symbolism of environmental opportunity’ is proposed as the key to crossing the arts/science boundary, and the question is raised whether the distinctiveness of nature is of paramount importance in this context. Various grounds for scepticism are examined, e.g. the danger of drawing inferences about human interaction with nature from the behaviour of other species.
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21

Obrist, Barbara. "Art et nature dans l'alchimie médiévale/Art and nature in medieval alchemy". Revue d'histoire des sciences 49, nr 2 (1996): 215–86. http://dx.doi.org/10.3406/rhs.1996.1256.

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22

Dziamski, Grzegorz. "Performative nature of aesthetics". DYSKURS. PISMO NAUKOWO-ARTYSTYCZNE ASP WE WROCŁAWIU 26, nr 26 (1.09.2019): 32–49. http://dx.doi.org/10.5604/01.3001.0012.9886.

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Many lecturers of aesthetics feel that the subject of their lectures is not necessarily aesthetics, but history of aesthetics, the aesthetic views of Plato and Aristotle, Kant and Hegel, Hume and Burke, the British philosophers of taste and German romanticists. Does that mean that aesthetics feeds on its own past, is nurtured by reinterpretations of its classics, defends concepts and categories that inspire no one and do not open new cognitive perspectives? Does it mean that aesthetics is dead today, like Latin or Sanskrit, while its vision of art and beauty is outdated, invalid and totally useless? Aesthetics is a polysemous concept, which has never been sufficiently defined. It can determine a way of perceiving and experiencing the world that is specific for a given community, in other words, taste, yet it can also mean certain countries’ or regions’ contribution to aesthetic thought, to the aesthetic self-knowledge of man. Thus its dimension is practical, cultural and philosophical. Today aesthetics faces new challenges that it has to live up to; its major tasks include the defence of popular art, polishing the concept of aesthetic experience, aestheticization of everyday life and de-aestheticization of art, transcultural aesthetics and its approach to national cultures. In the book “Aesthetics: the Big Questions” (1998) Carolyn Korsmeyer reduces the main issues of contemporary aesthetics to six questions. The first question, old but valid, is a question about the definition of art. What is art? Nowadays everything can be art because art has shed all limitations, even the limitations of its own definition, and has gained absolute freedom. It has become absolute, as Boris Groys says. It has become absolute, because it has made anti-art a full-fledged part of art, and it has not been possible either to question or negate art since, as even the negation of art is art, legitimized by a more than 100 year long tradition, going back to the first ready-made by Marcel Duchamp in 1913. Today making art can be art and not making art can be art, as well, art is art and anti-art is art. The old question: “What is art?” loses its sense, and so does Nelson Goodman’s question: “When art?”. When does something become art? These questions are substituted by new ones: “What is art for you?”, “What do you expect from art?”. There can be a lot of answers, because defining art has a performative character. Louise Bourgeois has expressed the performative character of defining art in an even better way: “Art is whatever we believe to be art”. And for some reasons, which we do not fully realize ourselves, we want to make others share our belief.
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23

Al Yahya, Fakhriya, i Khaled Alsebani. "Land art: the art of merging with nature". International Journal of Multidisciplinary Studies in Art and Technology 4, nr 1 (1.06.2021): 244–63. http://dx.doi.org/10.21608/ijmsat.2021.189072.

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MacCormack, Patricia. "Art, Nature, Ethics: Nonhuman Queerings". Somatechnics 5, nr 2 (wrzesień 2015): 120–34. http://dx.doi.org/10.3366/soma.2015.0157.

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The anthropocene has seen the human not only manipulate nonhuman forces but territorialise all forces so they may be understood or valued only via anthropocentric formal logic. This article explores the ethical urgency of the need to open up new spaces, primarily via the deformalised (or at least non-anthropomorphic) flesh where can be explored the concept of the nonhuman. In the context of the article the nonhuman does not only refer to nonhuman animals, but also the human's necessary becoming-nonhuman in order to liberate the Earth from the violent tendencies of anthropocentric ideology and/and as action. The article does address our human relations with nonhuman animals as part of the need to become-nonhuman without fetishizing other life forms or human minoritarians. This is suggested via three trajectories – nonhuman becomings via art, via nature and via radical abolitionist ethics. All three offer ways in which the subject can find escape routes and philosophical fissures through which new pathways may emerge to alter interactions between humans, humans and nonhuman animals and the world itself as a system of relation rather than human occupation.
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25

Haldane, John. "Transforming Nature: Art and Landscape". Art Book 10, nr 3 (czerwiec 2003): 10–12. http://dx.doi.org/10.1111/1467-8357.00342.

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Povey, Deborah. "The pleasurable art of nature". Art History 26, nr 1 (luty 2003): 111–18. http://dx.doi.org/10.1111/1467-8365.d01-6.

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Prigogine, Ilya. "Creativity in Art and Nature". New Perspectives Quarterly 21, nr 1 (styczeń 2004): 12–15. http://dx.doi.org/10.1111/j..2004.00634.x.

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Solly, Kathryn. "The transient art of nature". Early Years Educator 19, nr 12 (2.04.2018): viii—ix. http://dx.doi.org/10.12968/eyed.2018.19.12.viii.

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Pomian, Krzysztof. "Musée archéologique : art, nature, histoire". Le Débat 49, nr 2 (1988): 57. http://dx.doi.org/10.3917/deba.049.0057.

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Gee, M. "Review: Art, Nature and Nostalgia". Oxford Art Journal 27, nr 3 (1.03.2004): 428–31. http://dx.doi.org/10.1093/oaj/27.3.428.

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31

Novitz, David. "Art, Narrative, and Human Nature". Philosophy and Literature 13, nr 1 (1989): 57–74. http://dx.doi.org/10.1353/phl.1989.0056.

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32

Zurovac, Mirko. "Art, nature, science, craft, technique". Kultura, nr 161 (2018): 305–16. http://dx.doi.org/10.5937/kultura1861305z.

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Gross, Michael. "Cave art reveals human nature". Current Biology 30, nr 3 (luty 2020): R95—R98. http://dx.doi.org/10.1016/j.cub.2020.01.042.

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Khurana, Thomas. "The Art of Second Nature". Graduate Faculty Philosophy Journal 43, nr 1 (2022): 33–69. http://dx.doi.org/10.5840/gfpj20224312.

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Isanović, Nusret. "Semiotic nature of islamic art". Zbornik radova Islamskog pedagoškog fakulteta u Zenici (Online), nr 5 (15.12.2007): 115–26. http://dx.doi.org/10.51728/issn.2637-1480.2007.115.

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An art like Islamic, that emerges from the feelings of listening attentively to the persuasions of God’s signs all around present, from the ambiance of reading them, competent understanding and following, can be nothing but a sign. Like natural phenomena, which also are God’s ¨signs¨ or ¨symbols¨ in the world of images, the works of Islamic art do not aim for either absorbing all attention of a man or its permanent fixing onto itself. On the contrary, they direct his attention and pass it on to Something Behind, that in the end all sign phenomena direct to. Since they are a part of earthy and sky-semiotic universe, a part of sign order ¨in wide space expanses and in human souls¨ , the works of Islamic art are harbingers, conveyors and witnesses of Eternal God’s Beauty, Sublimity and Goodness. Signs in Islamic art appear as reflection of Muslim artist’s spirit whose enlightened soul constantly searches for inspiration at the wells of God’s wisdom. Hence it is a special way of intuitive reading and deciphering their meaning; it is one of the most peculiar verticals of Islamic spirit or rising voyage of a Muslim’s soul to God. Semiotic nature of Islamic art is directly defined by the credo: there is no divinity except God, and a principled view deduced from it that says that anything that could become an ¨idol¨ must not be put between a man and the invisible presence of God. As such it is considered one of the most efficient semiotic and symbolic powers in the world of Islamic culture.
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36

Setyawan, A. Purwasito, Warto i M. Wijaya. "Art activist: nature, culture, and art-based environmental movement". IOP Conference Series: Earth and Environmental Science 905, nr 1 (1.11.2021): 012094. http://dx.doi.org/10.1088/1755-1315/905/1/012094.

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Abstract This article aimed to discuss how the environmental movement is carried out by art activists. Environmental movement is essential given the increasingly massive and worrying ecological crisis. Environmental damage triggered by the pace of industry is increasingly eroding the natural ecosystem. Ecological spaces that should support life in general are turned into economic spaces on a large scale which in the process creates a lot of environmental degradation. Likewise, the ecological chain that is broken due to industry and the replacement of natural product use with synthetic materials have contributed to the destruction of nature. Without us realizing it, most environmental problems also stem from our lifestyle, our political choices, and our role as consumers. In this condition, art actors and designers take a cultural role to be involved in the environmental movement. This cultural role becomes important considering that environmental issues are close and, even at a certain point, intertwined with cultural issues. The cultural roles of these art activists can be the starting point for responding to environmental problems by offering creative solutions. Creative solutions can open up a space for joint discussion regarding the environmental movement.
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37

Heyvaert, Anne, i Antía Iglesias Fernández. "Subjective Nature". IMPACT Printmaking Journal 3 (14.05.2024): 13. http://dx.doi.org/10.54632/1305.impj3.

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Science, thought and art meet within the limits of reality, in how reality is understood and represented.. This is where the art-techne binomial materialises graphics, which in turn facilitate the faithful or fictionalised reproduction of our environment. The vocation of science is to advance explanations of the world through a supposedly objective gaze, and the vocation of art is to broaden this understanding by evoking other sensitive and unexpected perspectives. Given the historical relationship between printmaking and the dissemination of knowledge in all fields and the natural sciences in particular, we would like to present the graphic derivations of a collaborative experience between a printmaking artist-cum-researcher and a researcher in forestry science. The experience: A multidimensional approach to the plant: An art and science project started at the end of 2021 when the author, Antía Iglesias, an art student from the interdisciplinary PhD programme in Creativity, Social Innovation and Sustainability (Universidade de Vigo, Spain) (Fig. 1) collaborated with another student, Marion Boisseaux, a PhD student in Tropical Ecology (Université de Guyane) during a research stay in French Guyana. The two students began a joint project to analyse and represent tropical tree seedling species (that Marion had selected in her DRYER project, which observed the effect of drought due to climate change) using their respective technical, numerical and graphical languages, and to provide multiple representations of the plants. This paper aims to present this common experience through the description and analysis of the process that was followed, from a botanical illustration to obtaining graphic digressions from these plants. We will now focus on the derivations obtained from the digital biomimetic record, laser engraving, and printing experimentation.
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38

Dufresne, Kelsey Virginia. "Reframing Art with Nature: Flowers, People, and Art in Bloom". AM Journal of Art and Media Studies, nr 25 (15.09.2021): 67–80. http://dx.doi.org/10.25038/am.v0i25.448.

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In extending Bernard Stiegler’s conceptualizations of life as the economy of death and Alexander Marshack’s historical tracings of early-human artifacts in relation to flowers, I strive to situate and read flowers as media that they carry an embedded history and infrastructure that reflects and challenges the anthropocentrism that has cultivated, commodified, and curated blooms throughout time. In looking to theorists such as Donna Haraway and Jane Bennett, I study a specific event in which flowers are presented to the public as art: the North Carolina Museum of Art’s Art in Bloom. Art in Bloom offers and sustains a complex media ecology, where paintings and sculptures readily and more permanently adorn the gallery spaces, living blooms are used as accompanying pieces of floral art for four days a year, text embeds all signifying information through the museum, money gains admittance to the space, and visitors experience the collective forces of mediation – and contribute to it by documenting their experience through personal digital photography. Such a study of flowers as both media and art must simultaneously recognize the humanist structures blooms are cultivated and commodified within, emphasizing Art in Bloom as a prime instance in which the tensions surrounding nature, gender, art, and media collide – and where traditional perceptions and understandings of what constitutes art is deconstructed and reverted for the human-oriented benefit and economic gains. Article received: April 20, 2021; Article accepted: June 21, 2021; Published online: September 15, 2021; Original scholarly paper
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39

Joohee, Kang. "Understanding and Applying Nature Art in Art Education - Focused on Elementary Art Education -". Korean Journal of Culture and Arts Education Studies 7, nr 2 (czerwiec 2012): 137–59. http://dx.doi.org/10.15815/kjcaes.2012.7.2.137.

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40

Sharrock, A. R. "The art of deceit: Pseudolus and the nature of reading". Classical Quarterly 46, nr 1 (maj 1996): 152–74. http://dx.doi.org/10.1093/cq/46.1.152.

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Reading is delusion. In order to read, we have to suspend certain standards of reality and accept others; we have to offer ourselves to deceit, even if it is an act of deception of which we are acutely aware. One way of considering this paradoxical duality in the act of reading (being deceived while being aware of the deception) is more or less consciously to posit multiple levels of reading, whereby the deceived reader is watched by an aware reader, who is in turn watched by a super-reader; and so it continues. The ancient art critics, obsessed as they were with deceptive realism, provide in anecdotal form a good example of such multiplicity of perception when they tell stories of birds trying to peck at painted grapes, horses trying to mate with painted horses, even humans deceived by the lifelikeness of works of art. Such stories act as easy but potent signifiers of ‘realism’ in ancient art criticism, by showing the reactions of a ‘naive reader’ (the animals) whose deception the aware reader can enter into but also see exposed. In verbal or visual art parading itself as realistic, the artistic pretence of a pose of reality is, at some level, intended to be seen as deceptive; when it is non-realistic, or anti-realistic, or even stubbornly abstract (which it rarely is), art still demands that the reader suspend ordinary perception. But deception alone is not enough: ‘deceit’ only becomes artistic when a viewer sees through it, for a work of art which is so lifelike that no-one realizes it is not real has not entered the realm of art. The appreciation of deception happens at the moment when the deception is undone, or by the imaginative creation of a less sophisticated reader who has not seen through the deceit. That is what happens in comedy, more overtly than in other artforms, but in the same way.
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Balmages, Amanda, Lucille Schiffman, Adam Lyle, Elijah Lustig, Kavya Narendra-Babu i Tamira Elul. "Quantifying patterns in art and nature". Journal of Mathematics and the Arts 15, nr 2 (3.04.2021): 188–97. http://dx.doi.org/10.1080/17513472.2021.1922238.

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Deutsch, Eliot. "Essays on the Nature of Art". Journal of Aesthetics and Art Criticism 56, nr 3 (1998): 318. http://dx.doi.org/10.2307/432378.

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Meynell, Hugo A. "On the Nature of Art Criticism". Journal of Aesthetic Education 20, nr 4 (1986): 94. http://dx.doi.org/10.2307/3332609.

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Walhout, Donald. "THE NATURE AND FUNCTION OF ART". British Journal of Aesthetics 26, nr 1 (1986): 16–25. http://dx.doi.org/10.1093/bjaesthetics/26.1.16.

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Janaway, Christopher. "BEAUTY IN NATURE, BEAUTY IN ART". British Journal of Aesthetics 33, nr 4 (1993): 321–32. http://dx.doi.org/10.1093/bjaesthetics/33.4.321.

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Matthews, P. M. "Aesthetic Appreciation of Art and Nature". British Journal of Aesthetics 41, nr 4 (1.10.2001): 395–410. http://dx.doi.org/10.1093/bjaesthetics/41.4.395.

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Schmidt-Przewozna, Katarzyna. "The Nature as Inspiration for Art". Journal of Natural Fibers 5, nr 1 (18.04.2008): 88–93. http://dx.doi.org/10.1080/15440470801901555.

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Fernandez, Dominic, i Arnold J. Wilkins. "Uncomfortable Images in Art and Nature". Perception 37, nr 7 (styczeń 2008): 1098–113. http://dx.doi.org/10.1068/p5814.

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Gerity, Lani Alaine. "The Healing Garden; Art and Nature". Canadian Art Therapy Association Journal 12, nr 1 (marzec 1998): 2–10. http://dx.doi.org/10.1080/08322473.1998.11432232.

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Ash, C. ""Nature and Art Beneath One Roof"". Science 344, nr 6180 (10.04.2014): 154. http://dx.doi.org/10.1126/science.1253427.

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