![Duch z Książką](/api/image/getissuecoverimage?id=picture_2020_58072.jpg)
We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
This paper investigates the pragma-dialectic methodology of curatorial research and assembling contemporary art exhibitions. Due to the fact that (most of the times) art contains a non-verbal type of discourse that is being widely instrumented by the curatorial method of exhibiting, and considering that the art object has a diversified specter of manifestations, curatorship facilitates a wide array of display types which can be useful in interpreting and evaluating the aesthetic object. In this article I will investigate the argumentative status of the art object and its pragma-dialectic premises. Moreover, I will question the tensions between the artistic corpus and the prevalence of the curatorial textual argument. Finally, I will address a couple of notions from the linguistic and philosophical sciences, arguing for the reunification of the artistic language with its aesthetic practice, via pragma-dialectics. The aim of the article is to point out a different perspective on the curatorial discourse regarding the contemporary art corpuses. This shows the prevalence of the propositional arguments, therefore the “exile of the aesthetic object”, which can be counter balanced by using the aforementioned methodology.
More...
Organic fabrics, although they find their origins in the world of classic natural fibers (hemp, linen, wool, cotton, silk) can be seen as a new generation of durable textiles that is as beautiful to the eye as it is gentler to the earth . Textiles materials come from surprising processes, revealing the extent to which technology and disciplines, such as science, can come together. Thus we can talk about fibers surprisingly made from different fluids or non-specific plants such as corn, bamboo marrow, algae or soy, their properties being beneficial, anti-allergic, anti-inflammatory, remineralizing, moisturizing, protective.
More...
Artykuł poświęcony jest autoportretom współczesnego afroamerykańskiego artysty Paula Mpagi Sepuya, specjalizującego się w fotografii studyjnej. Sepuya w swoich autoportretach podnosi problem współczesnej reprezentacji czarnego queerowego podmiotu, uwikłanego w relacje międzyrasowe. Autorka analizuje, w jaki sposób fotograf zaciera granicę pomiędzy podmiotowym „ja”, a „my”, przedstawiając twórczy kolektyw, gdzie relacja model – artysta, artysta – model definiowana jest na fundamencie uczuć miłości oraz przyjaźni. Autorka omawia zagadnienia aktu homoerotycznego oraz hiper-widzialności i niewidzialności rasowo determinowanego podmiotu.
More...
This article focuses on the self-portraits of contemporary African American artist Paul Mpaga Sepuya, who specializes in studio photography. In his self-portraits, Sepuya raises the issue of the contemporary representation of the black queer subject caught up in interracial relations. The author analyzes how the photographer blurs the boundary between the subjective "I" and "we," presenting a creative collective where the model-artist, artist-model relationship is defined on the basis of feelings of love and friendship. The author discusses issues of the homoerotic act and the hyper-visibility and invisibility of the racially determined subject.
More...
This article argues that climate change prediction and projection of dystopic futures have affected processes of race re(con)figuration through the logic of development and disaster risk management. It argues for an epistemological shift in our understanding of race that passes through space, and most importantly, time, and situates the analysis of race within chronobiopolitics that is used as a framework to explain the rationales and mechanisms of evolution, development and adaptation. In this context, the article attempts to delineate the shift from endless progress to sustainability, and eventually adaptation. By analysing the rhetoric and images in specific reports, videos, action plans and frameworks related to climate change predictions and weather-related disasters in Africa, it attempts to show how the fictioning and preemption of predatory futures creates a fertile ground for resilience building through the production of a racial(ising) affect that favours the proliferation of market dystopias.
More...
Polski przekład rozdziału z książki Freda Moten'a i Stefano Harney'a "The Undercommons. Fugitive Planning & Black Study" (2013).
More...
Jordan Peele’s 2017 social thriller "Get Out" depicts a peculiar form of body swap resulting from the uncanny desires of the Armitage family to seize captured black bodies and use them as carriers of their white minds. This paper offers reading of the movie’s disturbing plot through the lens of the origins and cultural significance of blackface. For the sake of argument, in this article blackface is to be understood as a cultural phenomenon encompassing the symbolic role of black people basic to the US society, which articulates the ambiguity of celebration and exploitation of blackness in American popular culture. This article draws on the theoretical framework of blackface developed by Lott, Rogin, Ellison and Gubar, in order to explore the Get Out’s complex commentary on the twenty-first century race relations in the United States. In result, this paper turns the spotlight on the mechanisms of racist thinking in the United States, by showing the movie’s use of the apparatus underpinning blackface.
More...
The article analyzes development of a Black female superhero character in HBO’s Watchmen (2019) series. Inspired by Adilifu Nama’s “critically celebratory perspective” used to discuss Black superheroes, it focuses on how the show bridges the gender gap in representation of Black superheroes by introducing a strong female character in her thirties, how it deals with themes of racial discrimination, and how it offers a portent of racial utopia within the context of US history, culture, and politics. Furthermore, the analysis includes a reference to Alan Moore’s original comic of the same title and argues that through the Afrofuturistic aesthetic, the show transforms the disappointing white male superhero narrative into a potential story of success of the Black female superhero, making Angela a rightful heir to Doctor Manhattan’s superpower and perhaps someone who will be capable of making a change both in terms of a cultural and political change.
More...
In Antiquity, civilization meant the invasive intervention on nature and the environment through deforestation, landscape changes, the extinction on fauna and flora and so on. Both in Antiquity and in the Middle Ages, technology was closely related to the production of material goods, construction, agriculture and trade, without being associated with the idea of art, so we cannot talk about any aesthetics of mechanisms. We can say that the devices made for the plays or “automata” type mechanisms from the time between the end of Antiquity and the Middle Ages, were a preamble to visual arts of technological origin. Starting with the Renaissance, “automata” devices migrated to a new environment: that of small circles, formed by the high society. After less than three millennia of scientific evolution, today one can speak about artificial consciousness and the transcendence of the physical capacities of beings. The robot, in the philosophical sense, is an interpretation of the living body that exercises its capabilities in its own repetitive manner. The illustration of mechanisms by engineers has been common since the Renaissance. Of all the inventors of the Renaissance and of all times, one stands out in particular, namely Leonardo Da Vinci. From the issue of pagination, spatiality and shapes circumscribed in geometric structures, Leonardo pleaded for both technical and visual solutions. One conclusion of the above is that through technical valences they could borrow from art, mechanisms have caught people's attention since time immemorial, so we will find countless applications of them throughout history.
More...
Fernando Picornell's artwork painted on drums of Hellin region from Spain. Based on knowledge acquired from studying of drums from Hellin region since the very beginning to nowadays in its different ways of representations, the artist developed this subject within an artwork which is also a reason for meditation upon visual arts and painting.
More...
Although previous studies on artworks have highlighted value-based expressions among humans in a variety of styles, very little attention was directed to exploring the robustness of love manifested in ceramic arts, that is, an eternal love relationship between man and woman. To fill such a gap, this paper reports on the production of ceramic arts that express the robustness of love. The expression of the sturdiness of love is represented through forms and is reinforced by the material aspects of ceramic clay stoneware. To enact such a purpose, we deployed a creative approach in the production process, namely (a) the formulation of the concept of ceramic works, (b) creative exploration of the design of the work, (c) the processing of plastic clay stoneware taken from southern Malang, and (d) the creation of ceramic works with hand massage techniques directly and drying until the glaze burning process reached 1200 °C. This approach thus portrayed the representation of the solidity of love in the form of ceramic arts.
More...
The author evokes two worthy monks from the Romanian monasticism - Father Pantelimon Angelescu from Crasna Hermitage (Prahova County), Father Valerian Pâslaru from Pătrunsa Monastery - and Gheorghe Lala, the victim of an armed robbery he tried to oppose as a citizen. All three portraits show light, dedication, spirit of sacrifice, high ideals, realities that give beauty to the human image.
More...
The formation and developments of the developments in the field of plastic arts in our country; based on a traditional understanding and on a national line; are targeted in the article. It is observed that these formations reflect a synthesis effort aiming at national modernization and reaching universal dimensions. The renewed efforts identified as the Westernization process in Turkey; form the only factor in determining changes in the area in the form of prejudice that was thought to bring Europe together. The original forms of historical Turkish art; especially in Islamic times; have been influential as a dynamic element in the renewal process. The phenomenon of modernization gained speed from the nationalism scale adopted by the intellectuals; and by separating the cosmopolitan elements within it; a brand new synthesis aimed at the universal was created. The orientation towards a new synthesis in art in historical or contemporary periods paved the way for creating new; original models by fusing with cosmopolitan and foreign influences and sorting them out. In the 19th century; the military painters; who had a share in all major events in the field of art; were especially important and the reasons for their establishment was that these painters played a major role in the political propaganda of the Turkish state administration; which turned to the Republican regime. Military artists represented the goals reflected in the field of art and culture in the new political awareness. The military artists movement; which started in the first half of the 19th century; was also supported by the Palace circles; whose relations with the West have been established since the early 18th century.Miniature art; which has been effective in Ottoman painting for centuries; has formed a strong painting tradition. In the development of Turkish painting; which has a solid tradition since the 19th century; social values and progress throughout the periods have been effective. First of all; the studies in the Western understanding of painting were shaped by the work of military painters. Turkish painting was limited to foreigners; minorities and the periphery of the palace in the early periods.It is known that painting education in Military Schools has made important contributions to the development of Turkish painting art in our country. These artists constitute the basis of Turkish painting art. Our military painters; who started training in the Ottoman Empire Engineering Center from the beginning of the 19th century; contributed to the art of Turkish painting. They have revealed their own unique styles. The painters who opened up to the West in the following periods transferred their experiences and experiences to other artists in our country. Towards the end of the 19th century's first industrial-i Nefise of schools in Turkey (School of Fine Arts) with the opening; the artist studied painting in our country with the exception of military development; there has been a significant milestone.The fact that Turkish artists received art education in the West; learned their understanding of Western painting; and grasped their styles; was realized thanks to our painters who worked devotedly on this subject. The generation of painters of military origin; who had important influences in the history of Ottoman painting; gradually became civilian in time thanks to the 1914 Generation; and left its place to groups formed by civilian painters with the establishment of the Republic.Artist groups such as Yeniler; They group and D group were the pioneers of the development in Turkish painting art before 1950. In the later periods; II. Turkish artists were also influenced by the abstract painting seen in Europe after World War II.Great progress has been made in still life; landscape and portrait subjects in paint paintings. In fact; the success and solid foundations of Turkish painting today were laid by our first artists who worked before and after the Republic. Developments in Turkish art have formed the phenomenon of modernization; which is interlocked with historical and traditional data; within a unique chain of progress and continuity.
More...
Born in 1950 in Lekėčiai, Šakiai district; studied at M.K. Čiurlionis School of Art; in 1974, graduated from the State Art Institute where he studied painting under A. Petrulis and J. Švažas (the latter was the supervisor of his diploma thesis). From 1974 till 1984, Daniliauskas taught painting at M.K. Čiurlionis School of Art and later at Vilnius Institute of Fine Arts. At the same time, he organized personal exhibitions in various Lithuanian cities, as well as in Baden, Zurich, Greifswald, London, Warsaw, Poznan, etc. Also he took part in collective exhibitions in Bulgaria, Denmark, Russia, Finland, USA, GDR, Germany, Poland, Latvia, Georgia, Turkey, Armenia, Japan, Spain, India, Great Britain, France, Switzerland, and Turkey. Awards: 1979 – Prize of the Ministry of Culture of Lithuania, 1985 – first prize of the Lithuanian Ministry of Culture at the 4th Baltic Biennale, 1985– first prize at the 11th Baltic-Icelandic Biennale in Rostock (Germany), 1999 – Prize of the Lithuanian Artists’ Union, 2005 – M. J. Šileikis Prize. In 2012, the album “Jonas Daniliauskas. Painting“ was printed and published. In 1998 and 2014 documentaries “Jonas Daniliauskas” were filmed.
More...