Contemporary Art and Science

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The Wunderkammer from pre-Enlightenment to contemporary art

The Wunderkammer from pre-Enlightenment to contemporary art

Rosamond Purcell, photographer, has worked for three decades in Natural History collections in the US and Europe. Most recently, she took the photographs that appear in A Glorious Enterprise,an overview of the 200 years of the Academy of Natural Sciences in Philadelphia and installedin the Natural History Museum, Copenhagen a reconstruction of the 1655 collection of physician and professor Ole Worm. Purcell published Landscapes of the Passing Strange: Reflections from Shakespeare (2010, with Michael Witmore, Director of the Folger Shakespeare Library, Washington D.C.), and curated with Witmore Very Like a Whale (2012), an exhibition of books, artifacts, and images reflecting aspects of early modern science.
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The Degree of Openness of Undergraduate Education to Contemporary Art

The Degree of Openness of Undergraduate Education to Contemporary Art

In general, it is considered that the current school curricula of the Plastic Educa- tion discipline develop visual creativity more in the case of secondary-school students than the programs related to the high-school learning cycle. This may due to the fact that in secondary school the Plastic Education discipline is stu- died for four years, and in high school only the Human, Theological and Peda- gogical profiles study Plastic Education, Visual Education and Artistic Education for four years (citation). For the rest, it is studied only for the first two years of high school (9th and 10th grade, for Science , Sport , Military , and the Choreo- graphy and Actor ’ s Art artistic profiles). In this respect, in order to balance the ratio between high school and secondary school level, in educational institutions where this situation is identified, non-formal artistic activities can be conceived and proposed, such as: artistic creation circles, activities such as artistic experi- ments, museum and contemporary art galleries visits (Clement, 1993).
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Skin Portraiture: Embodied Representations in Contemporary Art

Skin Portraiture: Embodied Representations in Contemporary Art

As suggested by its name, skin portraiture is a visual language that makes the representation of the skin its priority. In some cases, however, human skin is the medium, signifying the overwhelming desire to move beyond representation. In Andrew Krasnow’s Palette (1992/1999) [Fig. 1], for example, the artist creates a map of the United States from skin donated to medical science in the 1980s by donors who gave what is called “living consent” (i.e., consent given exclusively to the artist before the time of their death). 66 In order to represent the skin as a fragment, more often than not skin portraiture flays (both literally and figuratively) the cutaneous surfaces of bodies so as to transform them into a radical new material for the creation of portraiture. Despite the underlying horror and anxiety achieved by flaying, skin portraiture focuses on the epidermis in all of its nuanced likeness through mediums that achieve a heightened sense of realism, such as photography, film, and video. While realism is critical to the skin’s representation, there is also a focus on the viewer’s ability to imagine them selves in the skin of another. The imaginative burden placed on viewers permits the tactile and indexical mediums, such as performance, installation art, and various craft- and fashion-oriented practices, to amplify the experiences of reflexivity, empathy, and relationality experienced by viewers.
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Diasporic returns : reading partition in contemporary art

Diasporic returns : reading partition in contemporary art

Exhibited in Leeds and Birmingham in the early 1990s, Akmut’s work conveyed Partition memories inherited from family members, or found within the historical archival; she considered the place and role of women in the subcontinent, while also challenging stereotypes of South Asian womanhood in Britain. Akmut and Bhimji both attended art colleges in London during the early 1980s, and their early works were similarly informed by British feminism and Black identity politics. As the centrepiece of her solo show at the Whitechapel Gallery, London, in 2012 (19 January – 19 March), Bhimji’s filmic work Yellow Patch (2011) is punctuated by fragments of archival Partition testimony and, I suggest, indirect meditations on its legacies which splinter and fracture the film’s superficially calm tenor; reminiscent of Rushdie’s lament, Bhimji’s film suggests the impossibility of returning to a homeland that is both temporally and psychically distant. 11 In contrast, Rawanchaikul’s work presented Partition as a positive and productive experience. His two works, exhibited in Tate Britain’s 2009 exhibition Altermodern (3 February – 26 April), directly and indirectly address the legacies of Partition and, within the context of that gallery space, obliquely prompted a consideration of the global reach and repercussions of Britain’s colonial intervention in (South) Asia. While not wishing to suggest that Akmut, Bhimji and Rawanchaikul’s artworks address Partition equally, or that it is necessarily a motivating thematic found throughout their work, in considering specific artworks through their variously overt and elliptical references to Partition, the ways in which diaspora artists may reframe national histories as transnational
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Becoming multiple: collaboration in contemporary art practice

Becoming multiple: collaboration in contemporary art practice

collaboration being exclusively concerned with operating as molar art groups with fixed, non-permeable boundaries, there is a movement toward a more multiple, molecular type of collabo[r]

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Collaborative Listening and Cultural Difference in Contemporary Art

Collaborative Listening and Cultural Difference in Contemporary Art

Along the way, his artwork foregrounds the relevance art practices can have regarding a sociocultural context marked by a history of dispossession and ruination, and where the meaning of gold has acquired a unique value associated with rapid profit. As Chantal Mouffe suggests, art can play a relevant role in overflowing the terrain of production by operating a subjective transformation oriented towards a collective appropriation of the public, an urgent task Esteban Ayala developed in his installation, when we considered the situation of environmental risk as the one being experienced by the settlers of the mining district (Mouffe, 2007). Regarding a context where The Gold Has Never Really Been Seen by Anyone, the statement displayed on a small panoramic photo of Portovelo town integrated in the installation, his artistic proposal positions us to face a landscape that reflects the spectators’ hope for establishing a transformative dialogue enriched by the warm reverberations of the water of gold.
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Art and Science of Smalltalk - Free Computer, Programming, Mathematics, Technical Books, Lecture Notes and Tutorials

Art and Science of Smalltalk - Free Computer, Programming, Mathematics, Technical Books, Lecture Notes and Tutorials

Programming in Smalltalk consists of using the Smalltalk language and development environment to extend the class library to make it do the things you want it to do.. We'll come to that [r]

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Growth of African
Contemporary Art:
The Howard Connection

Growth of African Contemporary Art: The Howard Connection

Although Enwonwu had been ac- claimed as an excellent artist in Europe and Africa and had exhibited in major European galleries, the Harmon Founda- tion found it difficult to obtain an e[r]

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Religious Dimensions of Classical and Contemporary Islamic Art

Religious Dimensions of Classical and Contemporary Islamic Art

Muqeem is derived from the second pillar of Islam, prayer, and takes its name from the Koranic verse “O my Lord! Make me and my offspring the callers [Muqeem(s)] to prayer, and accept my supplication O Lord”. It also comes from the idea that group prayer, one of the five duties of Islam, which follows the call to prayer and ends with a set of beautiful, rhythmic movements, clears the soul through sacred spiritual practices and reestablish the believers’ presence in the material and social world, subsequent to their pure, ritualistic contact with their maker. Mamdouh recreates this important tenet of Islam as an artistic element in his work via a symbolic representa- tion of Muslim ideology, affirming both its continuity and its significance in the lives of people today. Instead of choosing the act of prayer as a title, he chose the act of calling to prayer, alluding to the need for a reexamina- tion of contemporary Islamic art, on one hand, and a myriad of social mores, on the other. Through this work, Mamdouh explores the call to prayer as a factual act and prayer as an act that cannot be proven to have occurred, in light of the harsh repercussions associated with religious practices in contemporary society, or the affirmation of the individual’s attempt to perform his or her religious duty, regardless of any social, political, economic, re- volutionary, or partisan circumstances that may be developing around him or her.
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Bodily Experience and Restricted Conditions in Contemporary Art

Bodily Experience and Restricted Conditions in Contemporary Art

In addition, regarding the selected tool I choose for my art production - why I utilize spray, syringe, or toy gun instead of the typical brush - is because it can make effects without contacting the surface, which means that it can be used to interact with my three dimensional movement. Moreover, why I empower the use of a gun as a ‘playful’ meaning is because one- year military service is training for a ‘fake’ battle. Most of time we are ordered to aim at the target, a simulation of a bad guy who does not exist. In addition, the practice of goose- stepping, which is walking without bending our knees, is to demonstrate an elegant or dignified look instead of strengthening our body. In an artistic way, I transform the power of the gun from aiming at the illusion of a ferocious enemy to enjoying the impact of soft material and making the dignified step become playful movement with party stuff - glow sticks. All the intention of transformation in my work is not only exploring the possibility of contemporary artistic language, but also exploring the uniqueness of synthesizing the different cultural elements. Namely, even though the core concept in my works is still influenced by my culture, context and personal experience, the visual effects are quite different.
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Defining experiences :  feminisms and contemporary art in Indonesia

Defining experiences : feminisms and contemporary art in Indonesia

My starting point for analysis is grounded in the discipline of art history, namely from cultural and textual productions that are produced by women artists through art works, interviews, biographies, letters, and essays. I examine how critical language can be derived from these primary sources, thus basing the primacy of the analysis on the perspective of the female artists. To some extent, my analysis can be seen as embodying a stance that I criticise in the thesis, namely that of valorising female material creativity. Yet I argue that within these works there is a complex picture of Indonesian women artists and their socio- cultural environment. The art works are not a mere reflection of their personal stories and thoughts; their subjectivities cannot be simplified through their voice as primary sources. To balance this perspective, I look at the reception of art history and feminist-inspired works within the mainstream Indonesian art world. I demonstrate that it is equally important to look at the role of audience and reception in the production of meaning in order to open up a discursive field about feminism/s in Indonesian art discourses.
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Dance in the system of contemporary integrative Art Studies

Dance in the system of contemporary integrative Art Studies

The scientific field and vectors of the study of the program “Ballet and the Synthesis of Plastic Arts” presupposes a broad study of the current topics related to the morphology of the ballet as a synthetic art form, various aspects of the interaction of stage dance and plastic arts (graphics, painting, sculpture, arts and crafts, architecture, and other forms of creativity) to the study of a qualitatively new artistic phenomenon, not reducible only to the sum of the integral components [12]. The laws of visual perception of scenography cause three compositional levels of the stage work, the relationship between the masses of the stage space, the light and shadow state of the performance, the plastic elaboration (depth) of the stage space. All this is reflected in the concept so important for the theory of scenography – the organization of a common theater space. It includes the following features: the architectural division of the theater into scenic and visual parts (topographic division), the interaction of the actor and the audience, being manifested in the context of the spatial environment; dynamics of mass development, consisting in the ratio of the linearity of their voltage; and finally a dialogue: the actor is the spectator in their spatial certainty. The concept of “organization of scenic space” includes the interdependence of the real (physically given) and surreal (artistically-sensed) scenic space in the theatrical performance. The real stage space, determined by the nature of the architectural interconnectedness of the stage and the auditorium, the type and characteristics of the stage, its technical equipment, scale of dimensions, – all of them change physically. The real scenic space changes due to the different interrelationships of its constituent masses, light state, color relationships, graphics. Remaining physically unchanged, it can change in artistic perception, depending on what is depicted on the stage and how it is filled with details.
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The Dallas Pavilion: Contemporary Art and Urban Identity

The Dallas Pavilion: Contemporary Art and Urban Identity

ARTISTS AT ART LAB: Adrian Aguirre • Al Souza • Alain Gerard Clement • Allison V. Smith • Anderson and Low • Andrea Rosenberg • Andrew Ortiz • Angel Cabrales • Anna Krachey • Annabel Dou • Annette Lawrence • Arcangel Constantini • Archie Scott Gobber • Bennett Fitts • Betsy Eby • Brent Ozaeta • Brian Fridge • Candace Briceno • Carl Suddath • Carolina Sardi • Cedric Delsaux • Celia Eberle • Charles Mary Kubricht • Christine Gedeon • Daniel Joglar • Daniel Mirer • David Dreyer • David Gibson • Dornith Doherty • Elizabeth Higgins • Erik Tosten • Evan Hecox • Frances Bagley • Gabriel Dawe • Greta Gundersen • Heide Fasnacht • Jackie Tileston • James Sullivan • Janaki Lennie • Janet Chaffee • Jay Shinn • Jeff Zilm • Jennifer Rose • Joan Winter • Joe Pflieger • John Adelman • Julie Barnofski • Jung Eun Lee • Justin Quinn • Kana Harada • Kelli Connell • Kelly Flynn • Kenda North • Kevin Bewersdorf • Kevin Todora • Kirsten Macy • Kristin Lucas • Kyle Kondas • Lawrence Lee • Lily Hanson • Linnea Glatt • Lizzy Wetzel • Lopez Pardo • Lorraine Tady • Ludwig Schwarz • M • McKay Otto • Michael Mazurek • Mike Osborne • Mona Kasra • Nate Glaspie • Nic Nicosia • Olia Lialina and Dragan Espenschied • Otis Jones • Pancho Luna • Paul Booker • Paul Urich • Phil Evett • Raymond Saa • Reinhard Zeigler • Richie Budd • Robert Boland • Robert Dale Anderson • Robyn O'Neil • Rosemary Meza-DePlas • Rusty Scruby • Sarah Williams • Scott Anderson • Scott Barber • Stephen Lapthisophon • Steven Hopwood-Lewis • Susan Kae Grant • Takako Tanabe • Ted Kincaid • Ted Larsen • Terrell James • Theresa Chong • Tim Sullivan • Timothy Harding • Todd Camplin • Tom Leininger • Tom Orr • Tracy Hicks • Trenton Doyle Hancock • Vincent Falsetta • Wendy Red Star • William Lamson • Wouter Deruytter
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Building Positive Future Orientations: The Role of Natural Mentors in the Lives of African American Girls

Building Positive Future Orientations: The Role of Natural Mentors in the Lives of African American Girls

However, the history of art shows a sequence of artistic precedents leading from one artist, or movement, to the next. In his essay titled ―Originality,‖ Richard Shiff proposes the question: ―If artists must use what has already been shaped, how can they and their artworks attain originality?‖ He continues, ―Perhaps originality is manifested when one alters existing directions or forces.‖ Therefore, the artist appears original when he adds onto, or counters, a previous direction. 2 Even though artists may be striving toward some aspect of originality, the public as a whole accepts counterfeits. For example, Sherrie Levine‘s art reflects our society‘s acceptance of copies. The presence of faxes, Xerox copies, CDs, videos, and MP3s demonstrate how the ―value system implicit in Sherrie Levine‘s art is a part of everyday contemporary existence.‖ Industry
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Media Resistance and Resiliency Revealed in Contemporary Native Art: Implications for Art Educators

Media Resistance and Resiliency Revealed in Contemporary Native Art: Implications for Art Educators

where he helped watch over his tribe’s buffalo herd. In his artwork, he uses the buffalo as “an allegory for North America” (Rangel, 2012, p. 158). Hunted almost to the point of extinction, the buffalo is “an important symbol for Native American people who valued the animal” (p. 158). According to Hyde, his buffalos often gaze at the viewer as a “homicide detective, always there, witnessing and observing” (ibid). The concept is shown in Buffalo Field with Mother Ship (see Figure 5), which asks the viewer “to examine their perceptions of Native Americans and contemporary Native art” (p. 158). Hyde uses the landscape to convey “timelessness” with paranormal elements such as orbs or UFOs, and humor by including the South Park character Cartman. Rangel observes an “underlying connection to settler colonization and manifest destiny as the mother ship is hovering over seemingly unclaimed land” (p. 159). Lowry and Hyde’s work exemplify art as counter-image/storytelling by indigenizing the symbols and disrupting the colonial gaze.
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Disengagement

Disengagement

suffering from depression. My aesthetic is directly influenced by the pathology of the illness. My thesis aims to let the viewer witness how depression has impacted me, so they can understand the disease on a more personal level rather than a stereotypical image, such as TV commercials for anti-depression medication. I analyze both depression in art and the history of depression through the writings of Christine Ross, and Michel Foucault. Freudian and Lacanian psychoanalytic theory also inform my work. They are also the foundation from which I defend my work. Through the personal we attempt to understand the universal, and by sharing my struggle with depression, I seek to give the viewer a window into the depressive experience and to shed light on this taboo subject.
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The Life of Mick Namarari Tjapaltjarri (c1923 1998)

The Life of Mick Namarari Tjapaltjarri (c1923 1998)

Museum and Art Galleries of the Northern Territory, Darwin Museum of Contemporary Art, Sydney National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne National Mus[r]

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How Ties to Professional Support Networks Impact Social Outcomes among Homeless Youth

How Ties to Professional Support Networks Impact Social Outcomes among Homeless Youth

Within A Survey of No Place, I am interested in the contemporary and somewhat pejorative view of landscape painting and how my paintings engage with that history while integrating digital indications. To Schwabsky’s point, my work acknowledges the photographic lens within the painted imagery, in line with the “sign of photography” utilized by such painters as Gerhard Richter, Marilyn Minter, and Eduardo Sarabia. These artists, known for painting hyper-realistic renderings of depth-of-field photo blur, acknowledge the mediation of photography within their paintings while still using the human figure in their central imagery. Through A Survey of No Place, I aim to fuse landscape painting and digital photography (including the use of related
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historical evidence of administration practices: The beginnings of a contemporary science

historical evidence of administration practices: The beginnings of a contemporary science

the systemic approach that measures the organization as a set of interactive and interdependent parts that relate and interact in a dynamic process in the construction of a whole. The organization comes to be seen by the set of interactions of its parts that are interrelated forming a totality and not by the sight of its individual parts. They are exponents: Ludwig Von Bertalanffy (1901-1972) C. West Churchman (1913-2004) AnatolRapoport (1911-2007); 5), and finally, the contingency approach with the emphasis on environmental variables and their influences in the organizational context. The studies of Joan Woodward (1916-1971), Tom Burns (1913-2001) & G.M. Stalker (19?), Lawrence (1922 -2011) &Lorsh (1932) are the spotlights for this approach. This small review of management as a science evolution is the subject of a study by several authors in compendia on management (DALE, 1978; KWASNICKA, 1989; MOTA, 1995; PARK, BONIS E ABUD, 1997; DAFT, 2005). However, it is necessary to describe the evolution of administration as a contribution to understanding the genesis of organizations, where principles and foundations of administration have been applied in military, social, political and religious endeavorsover the centuries. Themes that are current studies in administration like strategy, structure and organization, people management, technology and processes and managerial control and their practices are punctuated in the organizations throughout the ages. Thus, these evidences of managerial practices employed in the business of ancient organizations contributed to the construction of management as a science, insofar as principles, concepts and foundations of business management served as basis for describing and explaining the current administrative phenomena. However, they were administrative practices applied in mimetic form and in phenomena of organic and structural dimension of small complexity. These practices adopted by organizations prior to the advent of scientific management, by virtue of the absence of methodological and scientific criteria, can be termed as administration as art. So, when adopting management as an art, one has to ask: What are the indications of management as art in practices related to strategy and planning, structure and organization, technology and process, people management and control?
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CHALLENGES OF CONTEMPORARY SCIENCE EDUCATION

CHALLENGES OF CONTEMPORARY SCIENCE EDUCATION

It may well be stated that the rapid development of the society and society demands on education development we are witnesses of in our days, has had no parallel in the history of education yet. Our society of technologies and techniques has been transformed into a knowledgeable and education- oriented society in a dramatically short time. Newer and urgent issues of global importance occur and show no respect to any particular frontier. We can also see the aspect of post-modern society trying to fi nd the path back to understanding a personality in its individuality to build up their personal skills. To compare the crisis in science education with the current recession in economy, our topic seems to be of no value and also a matter of discussion to academic workers only. However, we fi nd that to see the problem in a long-term scope, it could be said there is a probability to experience the effects of the educational crisis in the future more harshly than any fi nancial crisis of today. We be- lieve that one of the main reasons for science being unpopular with pupils is the unclear concept of science education, which in both ontogenetic as well as phylogenetic ranges, oscillates between the extremes of practical merchandising education and simple primary national history and geography on one side, and over-complicated mathematical models not comprehensible to their own makers on the other side of the issue. We are convinced the defi nition of paradigm in science education can- not happen without deep integration with other scientifi c fi elds of human activities and search for cross-subject topics, inter-disciplines or super-subjects which could give answers to many a current question of today’s world and its society.
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