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Gotowe bibliografie tematyczne / Nature in art / Artykuły w czasopismach

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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, no. 44 (2009): 27–35. http://dx.doi.org/10.5840/tpm200944104.

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2

Dominique, Marie-Charles, and Jocelyne Pion. "Art et nature." Ligeia N°11-12, no. 4 (1992): 47. http://dx.doi.org/10.3917/lige.011.0047.

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3

Goodwin, L. G. "Art and nature." Parasitology Today 3, no. 8 (August 1987): 252. http://dx.doi.org/10.1016/0169-4758(87)90154-2.

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4

ÖZCAN, Berna Özlem. "Nature Art and Artists Who Create Art in Nature with What Nature Offers." Gaziantep University Journal of Social Sciences 21, no. 3 (July 31, 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

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5

Yagmur, Onder. "ART OF THE NATURE SHAPING LAND ART." Idil Journal of Art and Language 5, no. 27 (November 30, 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, no. 6 (May 20, 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, et al. "The Nature of Art." Philosophical Quarterly 42, no. 167 (April 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, no. 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, no. 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, no. 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, no. 790 (June 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, no. 1 (February 12, 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, no. 11 (November 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, no. 1 (January 2005): 1–17. http://dx.doi.org/10.1191/1474474005eu320oa.

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15

Murray, Dale. "The Nature of Art." Teaching Philosophy 31, no. 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, no. 3 (August 1, 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, no. 2 (May 5, 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, no. 3 (September 2000): 81–86. http://dx.doi.org/10.1080/10455750009358933.

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19

Shiff, Richard, and John House. "Monet: Nature into Art." Art Bulletin 73, no. 1 (March 1991): 149. http://dx.doi.org/10.2307/3045784.

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20

Appleton, Jay. "Nature as Honorary Art." Environmental Values 7, no. 3 (August 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 symb

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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, no. 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, no. 26 (September 1, 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 us

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23

Al Yahya, Fakhriya, and Khaled Alsebani. "Land art: the art of merging with nature." International Journal of Multidisciplinary Studies in Art and Technology 4, no. 1 (June 1, 2021): 244–63. http://dx.doi.org/10.21608/ijmsat.2021.189072.

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24

MacCormack, Patricia. "Art, Nature, Ethics: Nonhuman Queerings." Somatechnics 5, no. 2 (September 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/

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25

Haldane, John. "Transforming Nature: Art and Landscape." Art Book 10, no. 3 (June 2003): 10–12. http://dx.doi.org/10.1111/1467-8357.00342.

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26

Povey, Deborah. "The pleasurable art of nature." Art History 26, no. 1 (February 2003): 111–18. http://dx.doi.org/10.1111/1467-8365.d01-6.

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27

Prigogine, Ilya. "Creativity in Art and Nature." New Perspectives Quarterly 21, no. 1 (January 2004): 12–15. http://dx.doi.org/10.1111/j..2004.00634.x.

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28

Solly, Kathryn. "The transient art of nature." Early Years Educator 19, no. 12 (April 2, 2018): viii—ix. http://dx.doi.org/10.12968/eyed.2018.19.12.viii.

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29

Pomian, Krzysztof. "Musée archéologique : art, nature, histoire." Le Débat 49, no. 2 (1988): 57. http://dx.doi.org/10.3917/deba.049.0057.

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30

Gee, M. "Review: Art, Nature and Nostalgia." Oxford Art Journal 27, no. 3 (March 1, 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, no. 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, no. 161 (2018): 305–16. http://dx.doi.org/10.5937/kultura1861305z.

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33

Gross, Michael. "Cave art reveals human nature." Current Biology 30, no. 3 (February 2020): R95—R98. http://dx.doi.org/10.1016/j.cub.2020.01.042.

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34

Khurana, Thomas. "The Art of Second Nature." Graduate Faculty Philosophy Journal 43, no. 1 (2022): 33–69. http://dx.doi.org/10.5840/gfpj20224312.

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35

Isanović, Nusret. "Semiotic nature of islamic art." Zbornik radova Islamskog pedagoškog fakulteta u Zenici (Online), no. 5 (December 15, 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

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36

Setyawan, A. Purwasito, Warto, and M. Wijaya. "Art activist: nature, culture, and art-based environmental movement." IOP Conference Series: Earth and Environmental Science 905, no. 1 (November 1, 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 material

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37

Heyvaert, Anne, and Antía Iglesias Fernández. "Subjective Nature." IMPACT Printmaking Journal 3 (May 14, 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

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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, no. 25 (September 15, 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 Bloo

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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, no. 2 (June 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, no. 1 (May 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

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41

Balmages, Amanda, Lucille Schiffman, Adam Lyle, Elijah Lustig, Kavya Narendra-Babu, and Tamira Elul. "Quantifying patterns in art and nature." Journal of Mathematics and the Arts 15, no. 2 (April 3, 2021): 188–97. http://dx.doi.org/10.1080/17513472.2021.1922238.

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42

Deutsch, Eliot. "Essays on the Nature of Art." Journal of Aesthetics and Art Criticism 56, no. 3 (1998): 318. http://dx.doi.org/10.2307/432378.

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43

Meynell, Hugo A. "On the Nature of Art Criticism." Journal of Aesthetic Education 20, no. 4 (1986): 94. http://dx.doi.org/10.2307/3332609.

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44

Walhout, Donald. "THE NATURE AND FUNCTION OF ART." British Journal of Aesthetics 26, no. 1 (1986): 16–25. http://dx.doi.org/10.1093/bjaesthetics/26.1.16.

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45

Janaway, Christopher. "BEAUTY IN NATURE, BEAUTY IN ART." British Journal of Aesthetics 33, no. 4 (1993): 321–32. http://dx.doi.org/10.1093/bjaesthetics/33.4.321.

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46

Matthews, P. M. "Aesthetic Appreciation of Art and Nature." British Journal of Aesthetics 41, no. 4 (October 1, 2001): 395–410. http://dx.doi.org/10.1093/bjaesthetics/41.4.395.

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47

Schmidt-Przewozna, Katarzyna. "The Nature as Inspiration for Art." Journal of Natural Fibers 5, no. 1 (April 18, 2008): 88–93. http://dx.doi.org/10.1080/15440470801901555.

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48

Fernandez, Dominic, and Arnold J. Wilkins. "Uncomfortable Images in Art and Nature." Perception 37, no. 7 (January 2008): 1098–113. http://dx.doi.org/10.1068/p5814.

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49

Gerity, Lani Alaine. "The Healing Garden; Art and Nature." Canadian Art Therapy Association Journal 12, no. 1 (March 1998): 2–10. http://dx.doi.org/10.1080/08322473.1998.11432232.

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50

Ash, C. ""Nature and Art Beneath One Roof"." Science 344, no. 6180 (April 10, 2014): 154. http://dx.doi.org/10.1126/science.1253427.

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