Gregory P. A. Levin
Full Text Available This essay sketches a history of the study of Zen art from the late nineteenth century to post-war reconsiderations, leading towards what I term “critical Zen art studies.” The latter, I suggest, has been undertaken by historians of art and others to challenge normative definitions of Zen art based on modern constructs, revise understanding of the types and functions of visual art important to Chan/Sŏn/Zen Buddhist monasteries, and study iconographies and forms not as a transparent aesthetic indices to Zen Mind or No Mind but as rhetorically, ritually, and socially complex, even unruly, events of representation.
Full Text Available The work of Donald Preziosi represents one of the most sustained and often brilliant attempts to betray the modern discipline of art history by exposing its skillful shell game: precisely how and why it substitutes artifice, poetry, and representational schemes for putative facticity and objectivity (that desirous and yet ever elusive Kunstwissenschaft that art historians prattle on about. This attempt is inseparable from a sinuous, witty, involutive writing style that meanders between steely insight and coy suggestions of how art history could be performed otherwise. Preziosi’s writes art history. In doing so he betrays its disciplinary desires. It is this event of betrayal that has made his work so exciting to some, so troubling to others.
World population and the number of cultural artifacts are growing exponentially or faster, while cultural interaction approaches the fidelity of a global nervous system. Every day hundreds of millions of images are loaded into social networks by users all over the world. As this myriad of new artifacts veils the view into the past, like city lights covering the night sky, it is easy to forget that there is more than one Starry Night, the painting by Van Gogh. Like in ecology, where saving rare species may help us in treating disease, art and architectural history can reveal insights into the past, which may hold keys to our own future. With humanism under threat, facing the challenge of understanding the structure and dynamics of art and culture, both qualitatively and quantitatively, is more crucial now than it ever was. The purpose of this article is to provide perspective in the aim of figuring out the process of art history - not art history as a discipline, but the actual history of all made things, in t...
Students often have a hard time equating time spent on art history as time well spent in the art room. Likewise, art teachers struggle with how to keep interest in their classrooms high when the subject turns to history. Some teachers show endless videos, with the students nodding sleepily along to the narrator. Others try to incorporate small…
Review of Hiroko Ikegami, The Great Migrator. Robert Rauschenberg and the Global Rise of American Art. Cambridge Mass., The MIT Press, 2010. 277 pages. ISBN 978-0-262-01425-0.......Review of Hiroko Ikegami, The Great Migrator. Robert Rauschenberg and the Global Rise of American Art. Cambridge Mass., The MIT Press, 2010. 277 pages. ISBN 978-0-262-01425-0....
Petersen, Anne Ring
“Southern” perspectives on unequal development are undeniably much needed. Yet, Southern perspectives on art and culture sometimes construct a homogenising image of the West. As a result, they are prone to uphold and perhaps even reinforce the dichotomy between “the North” and “the South” rather...... scholars based in this region with a productive entry point into the study of the globalised art forms of today. By consciously and self-critically positioning ourselves in the semi-periphery of the global art world, we may be able to develop a kind of inside–outside perspective similar to the “stereo...
Catherine De Lorenzo
Full Text Available The 2013 Australia exhibition in 2013 at the Royal Academy, London, served at one level to demonstrate the ‘Aboriginal turn’ in Australian art history and curatorship. This paper traces some key exhibitions and texts that examine Aboriginal art as art, and traces the use by anthropologists and art historians of seminal texts such as Meyer Schapiro’s essay ‘Style’ published, significantly, in Kroeber’s Anthropology Today (1953. However, what promised to serve as a lingua franca of sorts across the disciplines has provoked contested, and at times heated, interpretations. Disciplinary differences were evident in the years immediately following Tony Tuckson’s 1960-61 Australian Aboriginal Art touring exhibition, and they persist today as evidenced by Howard Morphy’s claim (2011 for anthropological ways of ‘knowing about’ as distinct from art historical attempts at ‘appreciating’ Aboriginal art. So, apart from acknowledging and questioning the persistence of these differences, my question is: Based on the extant art historiographic literature, is there anything methodologically distinctive about the practice of art history when it grapples with exhibitions of Aboriginal art?
Full Text Available A toast offered in honor of Donald Preziosi on the cusp of his seventy-fifth birthday, this essay considers a range of machine metaphors, their art historical settings, and their implications. Addressing the mythography of Daedalus and his wonder machines in relation to art history’s machinic enterprises, an ancient art-archaeology seminar Preziosi directed at UCLA (in 1988 and the book, Rethinking Art History: Meditations on a Coy Science (1989 form the focus of my thinking about Preziosi’s work. At issue across the essay is the work of recursion, when machines make machines and in so doing create a recessive subjectivity for the maker. The essay ends with the speculation that art history’s disciplinary machinery may owe its generative strength to a perpetual need for replacement parts.
Full Text Available Czech art history in the 20th century has been strongly informed by the tradition of the Vienna School. After the Communist takeover of power in 1948, Marxism – or more precisely Marxism-Leninism – became a compulsory philosophical approach. After a brief Stalinist phase, an ‘iconologic turn’ was construed by Jaromír Neumann before 1960: iconology was reframed in terms of Dvořák´s ‘spiritual history’ and the result was labelled Marxist, as it enabled to provide a direct access to the ideology of the past without having to pay attention to class and social relations. Frederick Antal´s or Arnold Hauser´s social history of art was rejected, the main focus was on the noetic qualities of artworks and the main topic the debate of realism. As a result, Czech art history was pursued as an elitist discipline in the humanist tradition, but it did not need to participate in the search for ‘humanist Marxism’ or revisionism which was typical for the East-Central Europe in the 1960. Dvořák-type iconology combined with formalist approach and belief in a validity of the laws of develompent remained attractive for Czech art history up to the 1990s.
Patten, B M
Ancient humans, lacking devices to store large amounts of information, invented and developed a system of mnemonics which evolved and passed to modern times. The mnemonics, collectively known as the Ancient Art of Memory, were discovered in 447 BC by a Greek poet, Simonides, and were adequately described by Cicero, Quintilian, and Pliny. These arts fell into neglect after Alaric sacked Rome in 410 AD, but were subsequently revived in 1323 by Saint Thomas Aquinas, who transferred them from a division of rhetoric to ethics and used them to recall Catholic doctrine and versions of biblical history. In 1540 Saint Ignatius Loyola used mnemonic images to affirm the faith with his newly formed Society of Jesus and tried to convert the Ming dynasty in China by teaching these memory skills to Chinese nobles. Today, the ancient memory arts have applications in pilot training, gambling, mentalism and telepathy demonstrations, and may have a role in the rehabilitation of brain-damaged patients. Objective testing confirms that with the use of these memory skills, recall is increased, at least 10-fold, and the memory deficits of proactive and retroactive inhibition do not exist.
Herscher, Walter R.
While AP (Advanced Placement) Art History may be taught within the art department in many schools, social studies teachers are equally capable of teaching the course well. They have the historical background to discuss the reasons for changes in art styles. A teacher's preparation is similar to teaching a course stressing political history,…
Bolte, Frances R.
Teaching AP Art History is like running on a treadmill that is moving faster than a teacher can run. Many teachers are out of breath before the end of the term and wonder how in the world they can cover every chapter. Because time is short and art from pre-history through to the present, including the non-European traditions, must be covered, this…
Curtis, James M.
Many aspects of the current cultural situation bode well for undergraduate art education. Today's college students have had more experience of the visual arts, at least in their vernacular forms, than any generation in history. They have watched thousands of hours of television, watched hundreds of feature films, and often have mastered computer…
Akdağ Salah, A.A.; Salah, A.A.
One of the recent and exciting developments in mainstream art history is its confrontation with the cognitive sciences and neurology. This study is based on the problems these disciplines face before they can contribute to each other. We inspect several critical issues resulting from this encounter,
Watt, Carey A.
In this article, the author investigates the role that world history might play in reshaping the liberal arts to better serve a twenty-first-century world that is increasingly interconnected, plural, and "globalized." While "Western civ" courses and perspectives are much less influential today than they were in the first seven decades of the…
Peters, Sandra; Saxon, Deborah
Guidelines are offered for creating content-based, English-language instructional units for a first-year introductory art history course at an international college. The guidelines are meant to help Japanese students at a low level of English proficiency in a course being taught by a native-English-speaking professor. curriculum focused on…
Full Text Available Review of Kimberly A. Smith, ed., The Expressionist Turn in Art History: A useful if strangely hybrid collection of writings in translation by allegedly expressionist art historians, together with introductory historical essays by young as well as established (Hans Aurenhammer, Charles Haxthausen art historiographers. The translated texts vary in quality, familiarity, and interest, and while on the whole they are judiciously chosen, the same cannot be said of the list of protagonists, which leans unfortunately toward a German-nationalist, tendentiously political expressionism unfair both to artists like Beckmann or Klee and to the more interesting art historians who engaged with expressionism. Interestingly, the contingency of these choices, and the imperfect match between even the chosen historians and expressionism as an artistic movement, are clearly seen and duly noted by editor Kimberly Smith and several of the contemporary authors. Some suggestions are thus made about how such an attention to expressionist historiography could be extended.
This paper compares maps of Eastern Europe, beginning from the map of Slavic lands by Josef Pavol Šafárik of 1842, and it claims that cartographic imagery has played a significant role in the legitimisation of the region’s collective identity. It argues that the adoption the map as a tool of art history, in order to spatialise and quantify the understanding of art, cannot bypass the postmodern critique of the map. It reflects on the overlap between the approaches and methods of critical carto...
Miller, Carol L.
Investigated effects of art history enrichment of art therapy task on anxiety, time on task, and art product quality among 13 chronic adult psychiatric day hospital patients. Results indicated art history enrichment task reduced anxiety and increased time on task. Art organization level tended toward significant increase compared with control…
Full Text Available The author has made a study regarding the place and the role of the jewel at the contemporary stage. The study is mostly based on the results of the first survey in the domain of jewellery art, carried out in the Republic of Moldova in March-April 2011, and compared to similar surveys from European countries and the USA. On the pages of the text, an analysis is made of the priorities and preferences in the way contemporary jewellery is worn, the main focus being placed on the study of the trends from the jewellery design domain, the developing conditions of the decorative art and the possibilities of affirmation of the jewellery autochthon school. According to our opinion, the description and analysis of the art of jewellery at the contemporary stage is very difficult, due to several reasons, though it is achievable. The new modelselaborated by the young jewellers from the country, which go hand in hand with the fashion of the clothes and stylish accessories, the appearance of new names in the decorative autochthon art allows to conclude that in the Republic of Moldova, there are artistic and economic perspectives to rehabilitate the jewellery production domain. The author comes with certain recommendations and solutions, capable of restructuring and reviving the jewellery domain. These masterpieces, based on century-old traditions from the domain of artistic processing of the metal, need an analysis and appreciation now,in order to become in time a true history of the jewellery from Moldova.
Jaime de Córdoba
Full Text Available After the famous exhibition “Copier créer” curated by Jean Pierre Cuzin in the “Musée du Louvre” in 1993, the practice of drawing art has acquired a renovated interest. This exhibition revised the theoretical concepts introduced by Bober and others in the second half of the XXth century and increased the value of the contribution of drawing in the study of art history instead of the idea of copying. An important catalog and essay by Haverkamp, Begemann and Login, titled “Creative copies”, appeared in 1988 and contained the best examples of the main collections. The last but not least important consequence was the collaboration between international museums, using their own spaces, with contemporary artists. The hermeneutic drawings and paintings by Markus Lüpertz in the Munich Glyptotheck and the exhibition of Giacometti’s drawings shown in the IVAM in 2000 are two excellent examples of the European relevance in this field. I want to analyze here twenty years of drawing done in different museums and institutions around the world and its close relationship with the process of recovering our historical memory by using visual art.
Janet, Jeff; Miles, Melissa
ARTEMIS (Art Educational Multiplayer Interactive Space) is an online multi-user virtual environment that is designed around the objects, artefacts, philosophies, personalities and critical discourses of the histories and theories of art and design. Conceived as a means of reinvigorating art history and theory education in the digital age, ARTEMIS…
In this article, the author examines how art educators can create narrators of art history rather than those who ascribe truth to the opinion of a few. She presents a series of tangible classroom activities that will potentially help art history become meaningful to students' lives. The author states that students have a right to access art…
Garoian, Charles R.
Explains how the study of art history encourages the development of critical thinking in adolescents by comparing Bloom's Taxonomy of Educational Objectives with Feldman's stages of art criticism. Offers curriculum-based recommendations for using art history and criticism to encourage critical thinking. (LS)
This is a cultural history of mathematics and art, from antiquity to the present. Mathematicians and artists have long been on a quest to understand the physical world they see before them and the abstract objects they know by thought alone. Taking readers on a tour of the practice of mathematics and the philosophical ideas that drive the discipline, Lynn Gamwell points out the important ways mathematical concepts have been expressed by artists. Sumptuous illustrations of artworks and cogent math diagrams are featured in Gamwell’s comprehensive exploration. Gamwell begins by describing mathematics from antiquity to the Enlightenment, including Greek, Islamic, and Asian mathematics. Then focusing on modern culture, Gamwell traces mathematicians’ search for the foundations of their science, such as David Hilbert’s conception of mathematics as an arrangement of meaning-free signs, as well as artists’ search for the essence of their craft, such as Aleksandr Rodchenko’s monochrome paintings. She shows t...
Art has always been linked to healthcare and medicine: at the beginning of time, art was considered to be therapeutic. Over time, the dominance of religion and then the development of sciences and medicine deprived art of its therapeutic role, before it was reintroduced in the 19th century, with the rapid development of psychiatry. Today, art has found a new place in healthcare.
Berlo, Janet Catherine
The indigenous arts of the United States have long stood in a vexed relationship with the canons of American art history. This brief essay covers only the highlights of this relationship, by considering some major exhibits and installations of Native art in American art museums (and, occasionally, in other exhibition spaces) during the past century. I make these comments as an art historian who has for more than three decades focused on Native American art, with some contributions to others a...
Benter, Doris J.
At Portledge School in Locust Valley, New York, ninth graders in their upper school study art history for one semester. The visual arts department has created a vigorous new syllabus culminating in an hour-long mock art auction. The department selects several art movements (e.g., Post-Impressionism, Cubism, Abstract Expressionism, Social Realism,…
Rudd, Elizabeth; Morrison, Emory; Sadrozinski, Renate; Nerad, Maresi; Cerny, Joseph
Using a national survey of 508 art history Ph.D.s including data on graduate school performance and careers 10-15 years post-Ph.D., this study investigates gender, family, and academic tenure in art history, the humanities field with the highest proportion of women. Alternative hypotheses derived from three perspectives--termed here "clockwork,"…
Laney, James D.
Because art is a reflection of cultural heritage, a natural affinity exists between art and social studies. In Jacob Lawrence's "The Migration Series," art serves as narrative history, with visual images telling the story of the Great Migration, a movement of African American people from the South to the North around World War I. Social studies…
Bailey, Chelsea; Desai, Dipti
The visual arts, like multicultural education, play a vital role in our understanding of diverse human experiences. In this article we explore the role of community-based contemporary art in education. We consider the ways that art practices speak to issues of history and culture as a site of investigation and a method of investigation in…
McBride, Robert, Jr.
Endorses the television series entitled "Culture Shock" that views controversial art as an artifact suggesting that the arts, and controversies surrounding them, can help viewers think critically about the issues of past and present societies. Focuses on "The Adventures of Huckleberry Finn," the painting "Olympia,"…
@@ A compendiary review of art casting in China: History of art casting in china has been over 5000 years. In the past few thousand years, numerous forming and decorating skills of art castings had been created, and left behind precious treasures in the world metal arts and crafts. In individual historical period and at different terrain, a unique artistic style formed,which flashed brilliant light in world artistic treasury.
Full Text Available Transmissibility is an essential concept for any discourse on historiography and aesthetics. In fact, this concept traverses the contemporary impasse of art historical critical practice. Although explicitly associated with Walter Benjamin, the entirety of Hannah Arendt’s work on art and history is premised on transmissibility as well. It allows them to conceive a space of history from within the aesthetic, the world of artifice. This essay reads Benjamin and Arendt alongside and against one other in order to rethink art and history without resorting to eschatology or the histrionics of political theology. In creating this virtual historiography—Arendt-Benjamin—it conceives transmissibility as an aesthetic-historiographic concept that renders an openness between past and future, poiesis and aisthesis. Writing the history of art becomes the creation of a passage between what-has-been and artifice; it becomes the opening of history into life, an event of recollection.
Madsen, Theis Vallø
Fra New York Citys eksperimenterende kunstscene i 1950'erne, i stasi-arkiverne og frem til mail art-arkiverne som Mogens Otto Nielsens arkiv på Kunsten i Aalborg.......Fra New York Citys eksperimenterende kunstscene i 1950'erne, i stasi-arkiverne og frem til mail art-arkiverne som Mogens Otto Nielsens arkiv på Kunsten i Aalborg....
Feldman, Edmund Burke
At present, art-educational research seems locked into a number of unexamined assumptions--largely derived from European Romantic ideology--about artistic productiveness as a desirable psychological trait. We need to know more about other cultural patterns of artistic behavior and the historic and social factors that influence them. (Author/SJL)
Full Text Available Discourses concerned with the sensorially embodied subject have emerged since the 1990s in various disciplines including history, anthropology, sociology, geography, film studies and literary studies. The purpose of this article is to bring the conversation regarding audiences’ embodied engagement in culture closer to art history by investigating the implications of what has been termed the sensory turn for this discipline. One of the accusations lodged against art history by supporters of the multi-sensoriality of embodied human experience is its alleged ocularcentrism, the implication of which is a detached autonomous subject. In this article, the sensory turn is defined and contextualized, particularly in light of the body of criticism targeted at art history’s emphasis on the visual. The proposed ways in which art historians might usefully deal with audience’s embodied experiences of not only immersive installation works of art, but also artworks in traditional media, such as painting and photography, are teased apart.
Although Pliny the Elder based his history of ancient art on all the authors mentioned above, the writings of classical philologists and archeologists often imply that he might not have always used the art history literature mentioned as primary sources, but rather cited a great deal of information from the works of his predecessor, the famous Roman encyclopedist Marcus Terentius Varro (beginning of the 1st century BC.
My dissertation argues that Chinese scholars of the 1920s and â30s (re)interpreted the traditions of Chinese art in order to build a modern field of Chinese art history. These scholars faced with challenges such as Chinaâs internal needs to develop, her indirect and direct encounters with Wester
Calabrese, John A.
Describes a college level art history course based on the opposing concepts of Classicism and Romanticism. Contends that all creative work, such as film or architecture, can be categorized according to this bipolar model. Includes suggestions for objects to study and recommends this approach for art education at all education levels. (CFR)
Maria José Dozza Subtil
Full Text Available This paper reflects on the situation of arts teaching in the 5th to 8th grades in mainstream elementary education. The study was carried out in public schools in a city in the state of Paraná in 2004. The data was collected by means of questionnaires. Among the problems identified, primary is; the lack of specific teacher training and the lack of a conception about artistic work and, as a result, a visible constraint in their educational practice. The paper presents a historical retrospective of the teaching of arts in Brazilian education in order to understand how the educational policies are implemented. The understanding of art as an activity, polyvalence and free expression demonstrate remains of the 5.692/71 Law in the context investigated.
Kampen, Ukjese van
The thesis argues that contrary to the present opinion in the Yukon that there was little or no early Yukon First Nations art, there was in fact an established First Nations artistic tradition in the Yukon before the coming of the white man and also into the early contact years. It is also the gener
Full Text Available In the two decades after World War II there were a series of panoramic overviews about the development of art published in both sides of the Iron Curtain. These include Mikail V. Alpatov’s “Vseobshchaya istoriya iskusstv” (The general history of art, 1948–1949, Arnold Hauser’s “Sozialgeschichte der Kunst und Literatur” (The social history of art and literature, 1953, as well as, providing a counter-model to a certain degree, Ernst H. Gombrich’s “The Story of Art” (1950. The authors of these works were often art historians who had to leave their home countries due to the National Socialist terrors to continue their research in exile. In this paper the models concerning the development of art elaborated by these authors, as well as their telos, taking into account the contemporary background of their exile and the emerging conflicts between the two political blocks are discussed.
Roberto Carvalho de Magalhães
Full Text Available Tomando como ponto de partida os conceitos sobre arte e história expressos por Paul Valéry em seus escritos teóricos, pelo filósofo alemão Konrad Fiedler e pelo historiador e crítico de arte italiano Carlo L. Ragghianti, o autor questiona as formas de se compor a história da arte e os seus desdobramentos pedagógicos. Perplexo diante da confiança nas definições dadas a períodos históricos, o autor contrapõe a verdade e a concretidão das obras existentes - que têm a sua própria linguagem, a sua própria forma - à reconstrução histórica, que não é capaz de fazer o passado reviver plenamente e não deixa de ser a projeção parcial de um olhar num passado que não existe mais e que chega até nós através de fragmentos e de enormes lacunas a serem preenchidas.In this text, the author examines the ways to construct art history and their pedagogical developments. His references are Paul Valéry's concepts about art and history expressed in his theoretical writings, the German philosopher Konrad Fiedler and the Italian historian and art critic Carlo L. Ragghianti. Astonished in the trust others have given to general definitions of historical periods, the author opposes the truth and concreteness of the existing art works of all times - that have their own languages, their own structures - to the historical reconstruction, which is not able to make the past revive fully, and is always a partial glaze to a past that doesn't exist anymore, which arrives to us fragmented and with enormous gaps to be filled.
Petraglia, Felice; Bettini, Maurizio
Conception, gestation, and birth, including maternal-fetal health, have been the subject of narrative and art since early human history. Myth and histories related to pregnancy were represented by sculptors and painters as well as the subject of several operas: the mystery of reproduction was always a fascinating theme. This mystery was commonly represented across cultures and time, in the old world, from Egypt to India, to Greece and Rome continuing until the Renaissance and the Modern period. To be an artist meant also to be a scientist in several societies. The current paper reports 12 examples of the fusion of art and reproductive science.
Qi Baishi has become a legend in the history of world culture.He is an artist with the most outstanding Chinese art spirit and charisma since the 20th century.His art is under the space and time background which has a junction between ancient and modern.Qi Baishi's art roots in his nation,whereas it belongs to the whole world.The whole life of Qi Baishi was full of hardship and adversities.When he was young,Qi Baishi made his living by painting and worked hard on art.He even stopped selling his painting and refused to take the enemy's supply while Beijing was occupied.After the People's Republic of China was founded,he donated his works to the people and stuck to his way of loneliness in his whole life.His diligence and simplicity make him a master of art and life.
Full Text Available Studying art as a manifestation of cultural memory can help us understand both collective and individual identities. Specific works of art can give us a sense of the artist while the content can also present a more general theme or social issue of a given era. Considering the number of artworks that reference (either as a major or minor topical element mass communication, media seems to be a feasible theme. The topic of media and its specific appearances has varied significantly throughout the history of both art and media. The aim of this paper is to introduce a unique analysis that combines artworks that display the use of mass communication in Czech fine arts. The collected items were the subject of an interdisciplinary analysis – both historical and semiotic. So far, the relationship between media and art has not been explored within Czech media studies. Finding the connection between fine arts and the media can broaden the horizons of historical and social sciences. Representation of media by art points to the importance of media in any given historical period. Some examples can clearly show us how media were produced and consumed, as well as, in the later periods, used as a material for the creation or the art itself. The objective of this paper is to show the perspectives and limits of art as a source of knowledge about cultural memory and advantages and disadvantages of combining historical and semiotic analyses as applied to specific artworks.
This paper looks at Australian art criticism at the start of the 1970s and at the emergence of a short-lived art journal 'Other Voices' featuring a young art critic and art historian, Terry Smith. The essay argues that writing on art by scholars from the emergent discipline of Australian art history was significant in contemporary art’s innovations. But, it is argued, Australian art history also distorted the course of Australian art. The art historians’ false consciousness of nation remained...
Full Text Available Because Polish art history, that is, art history written by Polish scholars, has tended to be rather inward-looking as a whole, its first and most important school, that of Cracow, has not received the attention it deserves. The term ‘school’ is here used in a way akin to that of ‘Vienna School’. Cracow modern art history originated in the 1860s to 1880s in the small but culturally extremely vigorous capital of Austrian Poland, as a co-operation between the newly-founded art history section at the Academy of Sciences and the Department at the Jagiellonian University. It pursued two principal, interlinked aims: the investigation of Polish art and architecture and the use of new methods that were being developed in Western and Central Europe. What comes across most strongly is the constantly foregrounded ethos of scientific, empirical exactitude and the intense institutional togetherness. All are united in an absolute devotedness to their academic task. One of the results was the way in which recruitment has remained within the school until this day. It has to be remembered though that other Polish centres only started teaching the history of art after WW I. This article is a- preliminary attempt to characterise, firstly, some of the chief factors of institutionality and, secondly, some methodological aspects of the work of the two chief protagonists, Władysław Łuszczkiewicz and Marian Sokołowski.
Kunstiteaduse hetkeseisust, lähiajaloost ja tulevikuperspektiividest konverentsil "After the "New Art History"" Birminghamis. Eestist esines Krista Kodres teemal "National versus Critical. Estonian Art History after the Turn of 1991"
The article provides a short survey of the history and the services of the Special Subject Collection "Medieval and Modern Art History (up to 1945)" / "Art Studies" at the Heidelberg University Library funded by the DFG (German Research Foundation).
Full Text Available Headache is a common complaint that makes up for approximately 25% of any neurologists outpatient practice. Yet, it is often underdiagnosed and undertreated. Ninety percent of headaches seen in practice are due to a primary headache disorder where there are no confirmatory tests, and neuroimaging studies, if done, are normal. In this situation, a good headache history allows the physician to recognize a pattern that in turn leads to the correct diagnosis. A comprehensive history needs time, interest, focus and establishment of rapport with the patient. When to ask what question to elicit which information, is an art that is acquired by practice and improves with experience. This review discusses the art of history-taking in headache patients across different settings. The nuances of headache history-taking are discussed in detail, particularly the questions related to the time, severity, location and frequency of the headache syndrome in general and the episode in particular. An emphasis is made on the recognition of red flags that help in the identification of secondary headaches.
Falco, Charles M.
Recently, renowned artist David Hockney observed that certain drawings and paintings from as early as the Renaissance seemed almost "photographic" in detail. Following an extensive visual investigation of western art of the past 1000 years, he made the revolutionary claim that artists even of the prominence of van Eyck and Bellini must have used optical aids. However, many art historians insisted there was no supporting evidence for such a remarkable assertion. In this talk, Falco will show a wealth of optical evidence for his claim that Hockney and he subsequently discovered during an unusual, and remarkably-productive, collaboration between an artist and a scientist. He will also discuss the unique properties of the "mirror lens," and some of the implications this work has for the history of science as well as the history of art. These discoveries convincingly demonstrate optical instruments were in use-by artists, not scientists-nearly 200 years earlier than previously even thought possible, and account for the remarkable transformation in the reality of portraits that occurred early in the 15th century.
Falco, Charles (University of Arizona)
Recently, renowned artist David Hockney observed that certain drawings and paintings from as early as the Renaissance seemed almost 'photographic' in detail. Following an extensive visual investigation of western art of the past 1000 years, he made the revolutionary claim that artists even of the prominence of van Eyck and Bellini must have used optical aids. However, many art historians insisted there was no supporting evidence for such a remarkable assertion. In this talk I show a wealth of optical evidence for his claim that Hockney and I subsequently discovered during an unusual, and remarkably-productive, collaboration between an artist and a scientist. I also discuss the unique properties of the 'mirror lens,' and some of the implications this work has for the history of science as well as the history of art (and the modern fields of machine vision and computerized image analysis). These discoveries convincingly demonstrate optical instruments were in use - by artists, not scientists - nearly 200 years earlier than previously even thought possible, and account for the remarkable transformation in the reality of portraits that occurred early in the 15th century.
In 1972, Michael Baxandal characterizes the processes responsible for the cultural relativism of art experience as highly complex and unknown in their physiological detail. While art history still shows considerable interest in the brain sciences forty years later, most cross-disciplinary studies today are referring to the neurosciences in an attempt to seek scientific legitimization of variations of a generalized and largely deterministic model of perception, reducing interaction between a work of art and its observers to a set of biological automatisms. I will challenge such an approach and take up art theory's interest in the historico-cultural and situational dimensions of art experience. Looking at two examples of large-scale installation and sculptural post-war American art, I will explore instable perceptions of depth and changing experiences of space that indicate complex interactions between perceptual and higher cognitive processes. The argument will draw on recent theories describing neuronal processes underlying multistable phenomena, eye movement, visual attention and decision-making. As I will show a large number of neuroscientific studies provide theoretical models that help us analyse not the anthropological constants but the influence of cultural, individual and situational variables on aesthetic experience.
Yuda B. Tangkilisan
Full Text Available According to Hetty Palm (1958, there are no people like the Minahassan that experienced a tremendous change in the nineteenth century. The changes had a great impact on their way of life, including arts, as a result of Christianization. In the opinion of the zending (priests, their ancient arts did not suit the new faith. They abandoned their traditional arts and as the consequence, the next generation lost their historical ties with their ancestors in the field of arts. They adopted a new way of life of the Western (Dutch culture. Accordingly, when they become a part of the new state, they considered it important to revitalize the old traditions. However, they had problems as there are no relics from the past. Now they have two options: to cultivate the old or to invent a new tradition. This article discusses the problem and its development from a Public History perspective. The early finding shows that the Minahasans are aware that tradition can get along with the modernity in harmony as their cultural identity. It also deals with the challenge this had brought to traditional historical authority.
Around 1800, the scientific "illustrator" emerged as a new artistic profession in Europe. Artists were increasingly sought after in order to picture anatomical dissections and microscopic observations and to translate drawings into artworks for books and journals. By training and technical expertise, they introduced a particular kind of knowledge into scientific perception that also shaped the common image of nature. Illustrations of scientific publications, often undervalued as a biased interpretation of facts and subordinate to logic and description, thus convey an 'art history' of science in its own right, relevant both for the understanding of biological thought around 1800 as well as for the development of the arts and their historiography. The article is based on an analysis of botanical treatises produced for the Göttingen Society of Sciences in 1803, during an early phase of microscopic cell research, in order to determine the constitutive role of artistic knowledge and the media employed for the visualization and conceptualization of biological issues.
This essay presents an art project as an example of two aspects of public pedagogy. The first, is that the project critically examined how history is made, and through art-making and installation it performed an alternative publishing of history. Secondly, the art project was utilised as both a process and outcome within public space, and through…
Full Text Available Around 1900 in Vienna, the concept of ugliness developed a new significance in both the theories of the Vienna school of art history and in the artistic practices of figures like Gustav Klimt, Oskar Kokoschka, and Egon Schiele. Implicitly rejecting the classical and philosophical associations between beauty and truth, the Viennese avant-garde after Klimt seemed to instead connect truth with ugliness. Others, by contrast, identified ugliness as the symptom of modern cultural degeneration. This essay analyses specific links between the theories and practices of ugliness in the Vienna school and in contemporaneous Viennese art, and examines how the concept of ugliness also functioned discursively as a trope to represent modernity, Jewishness, truth, or sickness.
Mendes, M.F. [Itaipu Binacional, Foz do Iguacu, PR (Brazil). Div. de Engenharia Eletronica e Sistemas de Controle], E-mail: firstname.lastname@example.org; Jardini, J.A. [Universidade de Sao Paulo (PEA/EP/USP), SP (Brazil). Escola Politecnica. Dept. de Engenharia de Energia e Automacao Eletricas], E-mail: email@example.com
The article summarizes the history of electric systems automation, used in hydroelectric power plants, since the rise to the present day. Technologies are presented employed at various times, developments, the difference and the reasons for evolution. The emphasis is on today's modern systems technology, covering: communication, standardization, hardware, software, architecture, maintenance, operation and challenges. This work pretend to give subsidies for the design and implementation of automation systems electricity using state of the art. The scope are the new plants as well as those being modernized. Knowledge of history is important to investigate, to plan and evaluate the costs and benefits of automation systems for new electric plants and those that are undergoing processes technological upgrading.
What is the best way to understand the recent development of American art? An older tradition of commentary focuses on the role of tradition, noting how each new form of painting is rooted in a long history. But Jack Bankoswky and some other art writers discussing Andy Warhol have adapted a different approach, arguing that his art breaks radically…
Potash, Jordan S.; Ramirez, Wayne A.
A broad history of art therapy in the United States offers important perspectives on which to view contemporary art therapy practice and professional identity. This article provides descriptive research on the contributions of art therapist Wayne Ramirez, an active leader in the early days of the American Art Therapy Association whose attention…
Full Text Available The present paper deals with the period of India’s greatest cultural fluorescence, The Golden Age. A lively intellectual debate has been going on among historians and archaeologists on the subject of the chronology of the caves at Ajanta. The study shows addition of many iconographic styles from Ajanta to Bagh caves and vice-versa due to movement of skilled workers and craftsmen between these two Buddhist sites. Many iconographic figures were added / deleted depending on the local condition of rock at both the sites. The art and architecture of these sites reflects India’s great materials culture. The Ajanta paintings are not just a milestone in the history of development of world art but they also convey unique insights about the life of ancient Indians and their culture. This paper outlines some of the architectural features introduced from Ajanta into the other cultures. Furthermore, structural conservation measures and scientific methodology adopted for the preservation of Ajanta murals have also been highlighted.
Roncalli Amici, R
The flea has been, indirectly, one of the protagonists in the history of man. As one of the two vectors of Yersinia pestis, the etiological agents of the Black Death, the flea (Xenopsylla cheopis) has contributed, over the centuries, to the death of millions of people in many countries. Galileo Galilei was the first to observe the flea with a microscope (1624), but the credit of depicting it with a stunning drawing goes to the Britisher Robert Hooke in 1665. A number of zoologists, including Antonie Van Leeuwenhoek and Diacinto Cestoni, well described and illustrated the life cycle of the flea in the XVII century. Some of these reports inspired scholars such as J. Swift and J. Donne for the composition of classic poems. Also, the flea, alone and with its hosts, has inspired a number of artists to create fine paintings; among them: G. M. Crespi, G. B. Piazzetta, G. de la Tour and others. Colorful sonnets on the flea in the Roman dialect were written by G. Belli and Trilussa. The flea also, as a theme, inspired musicians such as G. F. Ghedini and M. Mussorgsky, play writers such as Feydeau and moviemakers such as Charlie Chaplin. The flea is, indissolubly, connected with the history of Black Death. This disease in man is, in fact, caused--as demonstrated by Yersin and Simond--by the triad: bacterium (Yersinia pestis)/rat/flea (Xenopsylla cheopis). Over the centuries, Black Death has had a deep impact on both the visual arts and literature and, as a result, a very large number of paintings and other works of art have been produced to remember these tragic episodes. In the field of literature, Black Death has been skillfully described by writers such as Boccaccio, Manzoni and Camus. Finally, in recent years, following the discovery of the existence of a large market for the control of fleas in small animals, the interest in this minute insect has been resurrected and, parallel to that, the rebirth of the flea iconography, through electromicroscopy, has also taken place.
Verberne, S.; Boves, L.W.J.; Bosch, A.P.J. van den
The art history domain is an interesting case for search engines tailored to the digital humanities, because the domain involves different types of sources (primary and secondary; text and images). One example of an art history search engine is RemBench, which provides access to information in four
Vartanian, Oshin; Kaufman, James C
The research programs of empirical aesthetics and neuroaesthetics have reflected deep concerns about viewers' sensitivities to artworks' historical contexts by investigating the impact of two factors on art perception: viewers' developmental (and educational) histories and the contextual histories of artworks. These considerations are consistent with data demonstrating that art perception is underwritten by dynamically reconfigured and evolutionarily adapted neural and psychological mechanisms.
Teaching history through the visual arts is one way of bringing the past into the present. In Cuba, the visual arts and architecture have reflected the country's "flowering of identity" through time, as a multi-ethnic population has grown to recognize its own distinct history, values and attributes, and Cuban artists have portrayed the island's…
This article examines pedagogical shifts in art history teaching that have developed as a response to the implementation of a standards-based assessment regime. The specific characteristics of art history standards-based assessment in the context of New Zealand secondary schools are explained to demonstrate how an exacting form of assessment has…
The National Institutes of Health (NIH) Clinical Research Center is a government facility that has a long history of groundbreaking research. Art therapy research began at NIH in 1958 with Hanna Kwiatkowska, whose work contributed to the foundation of art therapy with families, and with Harriet Wadeson, who conducted psychodynamic art therapy…
Chalmers, F. Graeme
Investigates the connection between racism in the public school art curriculum and the ethnocentric ideas of George Zerffi. Zerffi lectured widely and taught art history to future art teachers in England, between 1868 and 1892. Although occasionally brilliant, his views reflected the ethnocentric ideology of Victorian England. (MJP)
It was years after this author's AP Art History course in high school, and two years after college. She and some friends decided to fill a day during the Thanksgiving visits appreciating fine art. Prior to that AP course her senior year of high school, touring an art museum had seemed like the equivalent of going to the dentist. But after…
Full Text Available In the 1930s, when the world-renowned Medieval and Renaissance art scholar Erwin Panofsky became acquainted with the New York contemporary art scene, he was challenged with the most difficult dilemma for art historians. How could Panofsky, who was firmly entrenched in the kunstwissenschaftliche study of art, use his historical methods for the scholarly research of contemporary art? Can art historians deal with the art objects of their own time? This urgent and still current question of how to think about “contemporaneity” in relation to art history is the main topic of this paper, which departs from Panofsky’s 1934 review of a book on modern art. In his review of James Johnson Sweeny’s book Plastic Redirections in 20th Century Painting, Panofsky’s praise for Sweeney’s scholarly “distance” from contemporary art developments in Europe is backed by a claim for America’s cultural distance, rather than a (historical removal in time. Taking a closer look at Panofsky’s conflation of historical/temporal distance with geographical/cultural distance, this paper demonstrates a politically situated discourse on contemporaneity, in which Panofsky proposes the act of writing about the contemporary as a redemptive act, albeit, as this paper will demonstrate, without being able to follow his own scientific method.
This book traces the history of the Institute of American Indian Arts in Santa Fe, New Mexico. Sections cover four time periods in the evolution of the Institute: the United States Indian Industrial School at Sante Fe, 1890-1932; the Santa Fe Indian School, 1930-62; and the Institute of American Indian Arts, 1962-70 and 1970-78. The United States…
Full Text Available Hannah Redler’s paper examines the 13 year history of Science Museum, London’s contemporary art programme and explores how changing cultural conditions and the changing function of museums are making the questions raised by bringing art into the Science Museum context increasingly significant. It looks at how Science Museum Arts Projects started as a quirky, experimental sideline aimed at shaking up the Museum and its visitors’ assumptions, but has now become a fundamental means by which the Science Museum chooses to represent the impact of science, medicine, engineering and technology on peoples’ everyday lives.
Potash, Jordan; Burnie, Michele; Pearson, Rosemary; Ramirez, Wayne
The Wisconsin Art Therapy Association (WATA), formally established in 1969, was the first incorporated organization of art therapists in the United States. Under the leadership of Wayne Ramirez, WATA lobbied the national association for an inclusive definition of art therapy that aimed to foster respect for psychiatric, educational, and community…
Full Text Available This review discusses the conference proceedings History of Art History in Central, Eastern and South-Eastern Europe. It focuses on the importance of the publication, and the fact that it highlights the almost complete ignorance of the historiography of art of central and eastern Europe, and also identifies a recurrent methodological deficit in many of the contributions, namely, their tendency to rely on a positivistic documentation of writers and texts with little analysis of their conceptual, aesthetic and ideological implications. The conference is thus an invaluable platform for further study, and also makes clear the need for more sophisticated critical interpretations.
Full Text Available A defining shift in Australian art historiography occurred with the publishing of Bernard Smith’s 1980 Boyer Lecture series, The Spectre of Truganini. Seeing the exclusion of an Aboriginal presence in Australian art through the ideas of Freud, the history of Australian art, Smith proposed, was a history of repression. After Smith, Ian McLean has developed the most detailed account of the history of Australian art according to this methodology. This essay examines the work of the modern Australian artist Fred Williams in relation to both Smith and McLean’s understanding of the history of Australian art but to expand on their work I argue that, rather than Freud alone, it is Lacan’s refiguring of Freud that offers us the most insight into Williams’s work. Further, insofar as I argue that the history of Australian art is the very subject matter of Williams’s work, his work stands in for a wider project, the understanding of the history of Australian art according to Lacan’s proposal of a foundational split between the eye and the gaze.
This first written assignment of the semester for the author's undergraduate introductory art history class--an essay where students describe and reflect upon the significance of a family heirloom--is instrumental in meeting class objectives. The author's objectives in this class are for students: (1) to broaden their conception of what art is…
Noemi de Haro García
In this article the newsreels made by Noticiarios y Documentales Cinematográficos (Cinematographic Newsreels and Documentaries, NO-DO), the official film production company created by Francoism, will be analyzed in order to shed light on the political, cultural and social role played by the presentation of art and art history to a wide public under Francoism. Special attention will be devoted to the role played by the imaginaries associated with the visual arts of the baroque and the Golden A...
Full Text Available The article discusses the location of memory and its relations with perception in contemporary art, as well as how memory takes part and resurfaces in artistic practice. I point to the impossibility of introducing a division between individual and collective memory and I refer to the notion of virtuality, which defines the immaterial visuality of memory coming into interaction with the perceived image that constitutes the expanded field of the process of construction and reception of an art work. In the second part of the text I provide a detailed analysis of means of visualising memory – the manifestations of its work that diversify the initial image – in the work of four artists: Zbigniew Libera, Gerhard Richter, Ken Aptekar and Izabella Gustowska. In conclusion, following Rosalind Krauss, I point to the necessity of redefining and "remembering" about the medium in contemporary art, with memory, in the context of the analysed works, as its founding element.
Bullot, Nicolas J; Reber, Rolf
Research seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws in the psychological approach, we introduce a psycho-historical framework for the science of art appreciation. This framework demonstrates that a science of art appreciation must investigate how appreciators process causal and historical information to classify and explain their psychological responses to art. Expanding on research about the cognition of artifacts, we identify three modes of appreciation: basic exposure to an artwork, the artistic design stance, and artistic understanding. The artistic design stance, a requisite for artistic understanding, is an attitude whereby appreciators develop their sensitivity to art-historical contexts by means of inquiries into the making, authorship, and functions of artworks. We defend and illustrate the psycho-historical framework with an analysis of existing studies on art appreciation in empirical aesthetics. Finally, we argue that the fluency theory of aesthetic pleasure can be amended to meet the requirements of the framework. We conclude that scientists can tackle fundamental questions about the nature and appreciation of art within the psycho-historical framework.
This article explores the concepts advanced from the Australian Learning and Teaching Council (ALTC)-funded project, "Exploring Problem-Based Learning pedagogy as transformative education in Indigenous Australian Studies". As an Indigenous art historian teaching at a mainstream university in Canada, I am constantly reflecting on how to better…
Children's picture books that recreate, parody, or fictionalize famous artworks and introduce the art museum experience, a genre to which I will refer as "children's art books," have become increasingly popular over the past decade. This essay explores the pedagogical implications of this trend through the family program "Picture Books and Picture…
Full Text Available The essay investigates the way Strzygowski, Dvořák and Tietze interpreted contemporary architecture, and also traces the basic premises of the Vienna School in their views. Viennese art historians, namely Dvořák and Tietze, shared a critical attitude toward historicism and eclecticism of he 19th century with their contemporaries. They regarded Otto Wagner as the most influential architect of the generation of 1900, but at the same time, they protested his belief that architectural form could be based solely on constructional reason and utility. They defined the notion that art emerges first from nonmaterial ideals. In opposition against architectural realism, based on the characteristics of technological society, they hold that architecture should be a product of imaginative subjectivity. Unlike advocates of empirical utilitarianism, finding their voice at the time, they stressed on importance of cultivating artistic tradition.
La storia dell’arte, date le sue connotazioni interdisciplinari, è una delle materie umanistiche che può prestarsi meglio a nuove metodologie di insegnamento che utilizzino la tecnologia come strumento didattico. Può essere infatti insegnata attraverso pratiche comunicative incentrate sulla multimedialità, divenendo un contenitore ideale di stimoli che proprio nella trasmissione tecnologica possono essere potenziati. Nel contributo che segue verranno presentate alcune riflessioni sugli e-book...
Den Hollander, Jaap
The metaphor of historical distance often appears in discussions about the study of contemporary history. It suggests that we cannot see the past in perspective if we are too near to it. According to founding fathers like Ranke and Humboldt, temporal distance is required to discern historical "ideas
Full Text Available In the years around 1980 the history of Australian art was reconceived in a bewildering variety of ways. A historiographical revolution was underway. This was largely the result of plethora of new approaches to art history that emerged worldwide during the 1970s: contextual, feminist, populist, Marxist. Aboriginal art awaited detailed art historical consideration. This article places these changes in the context of previous efforts to chart the history of Australian art, which the author argues occurred in six phases: colonial, bourgeois nationalist, realist versus aestheticist, modernist, culturalist, and the approaches noted above. Most of these approaches developed in Australia and were applied by local authors. In recent decades, however, ‘external’ approaches are more evident, and are deeply preoccupied with the question of defining modernism in Australia, which they largely fail to do. The author surveys a number of such attempts, taking this question as the paradoxical key to unraveling the overall structure of the history of Australian art.
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This paper reviews the establishment of a digital image library from 35mm slides to support faculty and student needs in a small-sized liberal arts college. The framework consists of central local resources, distributed faculty collections, and external resources. Standards and guidelines for digital preservation and access are also discussed. The pilot collections were multi-disciplinary resources in Middle East art and architecture and faculty slide collections in East Asian religions and Asian art history. Technical and management issues of integrating digital technology in the traditional slide library are also discussed.
N. N. Telysheva
Full Text Available The paper looks at the problems facing the art teachers and resulted, in the author’s opinion, from separation of the content and functional side of the subject. The other problem is the lack of insight regarding social behavior, forms of consciousness and perception (including the spatial and temporal ones underlying all sorts and forms of art. The paper demonstrates the interrelations between the history of arts and education history considered in terms of development and fixation of various forms of social consciousness. The audiovisual syncretism is regarded as the nature of perception and world reflection at specific historical stages of human knowledge and creativity development. Both the history of arts and education include the content and procedure related aspects. The whole history of pedagogy involves the procedure improvements (methods, means, forms, etc. along the way «from integration to differentiation, and backwards»; and on the other side, it incorporates the invariable educational content. Likewise, throughout the history of arts we can trace the procedural aspect developments and the existence of the “eternal” content related to personality upbringing.
Larsen, I F
The habit of smoking was well-known in Norway in the first half of the sixteenth century. Tobacco-smoking is seen in Norwegian paintings. In the nineteenth century, long and artistic pipes were used by men relaxing after a pleasant dinner. In self portraits of Christian Krohg and Edvard Munch we see them smoking pipes and cigarettes surrounded by smoke. In an exhibition of portraits of Norwegian Authors, ten out of seventy authors were portrayed with a pipe, a cigar or a cigarette. There are various interpretations of the use of smoking in art. A simple explanation is that this was an accepted part of life at that time. The authors may have believed that they concentrated better when they smoked and elegance may have been of importance for many of them. The symbolic significance of cigarette-smoking has been of great value in the marketing of tobacco-products.
Abstract The text is a critique of Ernst Gombrich´s book “History of Art”, old work translated into many languages, which in 2011 was published as a pocket edition in Spanish. Rather than providing a criticism of the content, only certain aspects are mentioned, the critique is centered around comments on the author´s choice of anthology taken from the universal history of art. In this way not only does the lack of presence of Spanish art in general come unde...
Robert T. Soppelsa
Full Text Available This essay reviews Constructing African Art Histories for the Lagoons of Côte d’Ivoire, by Monica Blackmun Visonà. After reviewing previous publications and approaches to the study of art and culture from the lagoon region of southeastern Côte d’Ivoire, Visonà proceeds to discuss the arts of this region based on her field work during three field visits conducted during the 1980s, and attempts to construct a revisionist interpretation of these arts. The arts of healing and shrine arts, arts of leadership, age-set festivals and performance arts, and recent developments in the arts of the region are considered in individual chapters. The book is remarkable for its clarity of presentation, and for its frequent references to Western art history and its methodologies.
The paper analyses two concepts of art history textbooks for secondary schools. It discusses their role in the learning and teaching process of art history and related school subjects within the formal educational programmes in Slovenia and their didactic structure. The comparison between one Slovenian and two Polish textbooks might contribute to better understanding of the present situation regarding art history textbook production in Slovenia, which is a result of several factors: the histo...
Liang, Haida; Keita, Kafing; Pannell, Chris; Ward, Jon
PRISMS is a portable hyperspectral imaging system designed for high resolution, in situ, remote imaging of paintings at inaccessible heights from the ground level. It currently operates from 400nm to 1700nm to provide detailed conservation monitoring, material identification and to assist art historical investigations for wall paintings. The system can be fitted with a variety of imagers to operate in the visible, near infrared and short wave infrared at close range and remotely. This talk wi...
Full Text Available In 1912 Josef Strzygowski founded the ‘Section for East Asian Art History’ at the University of Vienna, which attracted many students who would continue their careers in museums and at universities and thus established East Asian art history as an academic field. This paper examines these early art historical engagements with East Asian art: First, I discuss the role of East Asian art in Strzygowski’s agenda of broadening art history’s geographical scope beyond Europe and in his argument about the dominance of ‘Nordic’ artistic traditions in Europe and in Asia. Secondly, I introduce the work of two early students at the ‘Section for East Asian Art History’ in Vienna, Karl With and Alfred Salmony. Their respective approaches to East Asian art exemplify a range of methodological concerns of their time, from stylistic narratives, the concept of ars una, comparative frameworks, to ideas about cultural or national ‘purity’ in the arts, and an interest in cross-cultural adaption and transformation of motifs and symbolism.
Full Text Available Abstract The text is a critique of Ernst Gombrich´s book “History of Art”, old work translated into many languages, which in 2011 was published as a pocket edition in Spanish. Rather than providing a criticism of the content, only certain aspects are mentioned, the critique is centered around comments on the author´s choice of anthology taken from the universal history of art. In this way not only does the lack of presence of Spanish art in general come under particular criticism, but most of all the feeble representation of the Spanish collection of the Prado museum, the finest gallery in the world. Under scrutiny also come the unwise choice of several examples and the overabundance of British and Dutch art of a minor character. Similarly, the author deplores the little sense of references to architecture since the Baroque, and, with reference to the content, the maintaining of the old and offensive thesis regarding the supremacy of art in Protestant countries over that of Catholic ones.Key wordsart history, art, architecture, critique, reference
This paper explores the feasibility and efficacy of incorporating an interactive, discussion-based instructional approach into an undergraduate art history survey course and investigates effects of the new pedagogic strategy on students' demonstrated comprehension and retention of required content. The action research project follows a systematic…
Investigated undergraduate art history majors' image retrieval tasks and image query modes. Discusses gender differences; prior information retrieval experience; significant differences between the number of search terms users planned to use and the number they actually used; and implications for image indexing tools, image retrieval system…
Full Text Available Arthur Danto's celebrated declaration of “the end of art” might seem to accommodate well the apparently open-ended aesthetic diversity of contemporary art. However, in his philosophy of art history, Danto treats the pursuit of autonomy as a misdirected philosophical concern, and denigrates the aesthetic pluralism of contemporary art as a matter of empty indifference. As a result, Danto not only fails to do justice to the explosion of artistic forms in recent decades, he contributes to their misconstrual. Accordingly, this paper revisits the opposition between autonomy and pluralism on which Danto's philosophy of art history rests, arguing that artistic self-definition ought to be conceived, not as a misplaced conceptual problem, but rather as a distinctly aesthetic concern, integral to art practice and criticism. So understood, autonomy and pluralism do not stand opposed but rather mutually implicate one another, and the historical responsibility for artists to define the terms of their own work, rather than having been exhausted, persists amidst the broad field of formal possibilities presented by contemporary art's complication with everyday life.
Miguel Ángel Hernández Navarro
Full Text Available Durante las últimas dos décadas, toda una generación de artistas se ha interesado por el pasado actuando como virtuales historiadores: investigando, trabajando con documentos primarios y promoviendo visiones críticas de la historia. Este artículo examina la obra del artista peruano Fernando Bryce bajo ese prisma del «arte de historia». A través de un particular método de trabajo, que el artista ha llamado «análisis mimético», Bryce reflexiona sobre la construcción de la historia, la geopolítica, la identidad en Latinoamérica, sobre todo en Perú, los conflictos bélicos del siglo XX o incluso de la vigencia y genealogía del pensamiento revolucionario. Con una estética aparentemente de archivo, Bryce selecciona documentos que posteriormente copia en tinta china sobre papel para construir nuevas lecturas de la historia. Su selección, descontextualización, visualización de historias pasadas y olvidadas contribuye a traer el pasado al presente. Y su método de trabajo –el copiado anacrónico de documentos, la performance de la historia, su repetición «trastornada»– retuerce el tiempo y cuestiona los discursos hegemónicos acerca del pasado.Over the last two decades, a whole generation of artists approach to the past as if they themselves were historians: investigating, working with primary documents and promoting a critical engagement with history. This article considers the work of Peruvian artist Fernando Bryce through the prism of this «art of history». Using a particular work method—which the artist has dubbed «Mimetic analysis»—Bryce reflects on the construction of history, geopolitics, identity in Latin America, particularly in Peru, the armed conflicts of the 20th century or even the validity and genealogy of revolutionary thinking. With an archive-like aesthetics, Bryce selects documents that he subsequently copies in ink on paper in order to construct new readings of history. His selection
Noemi de Haro García
Full Text Available In this article the newsreels made by Noticiarios y Documentales Cinematográficos (Cinematographic Newsreels and Documentaries, NO-DO, the official film production company created by Francoism, will be analyzed in order to shed light on the political, cultural and social role played by the presentation of art and art history to a wide public under Francoism. Special attention will be devoted to the role played by the imaginaries associated with the visual arts of the baroque and the Golden Age and to the ways in which they crossed paths with the construction of a national identity and the changes experimented by the dictatorship. This will show to what extent ‘banal art history’ can play a relevant role in ‘banal nationalism’ as defined by Michael Billig.
Full Text Available Numerosas exposições têm sido recentemente organizadas em torno de um encontro da performance e da dança contemporânea. As instituições tradicionalmente dedicadas às artes visuais abrem-se a performance, ao mesmo tempo que a dança. Os coreógrafos cada vez mais numerosos preferem as galerias dos museus e dos centros de exposição que a sala de espetáculo tradicional. Esses fenômenos podem contribuir a renovar os modos de pensar a memória e a transmissão da arte da performance? (... Tradução: Samuel de Jesus Revisão da tradução: Anahy Jorge
Christine B. Verzar
Full Text Available This paper deals with the legacy of Jacob Burckhardt and Heinrich Wölfflin as founders of the department of art history at the university of Basel, Switzerland. Wölfflin’s pupils became his successors as head of the department and museum from H. A. Schmid, Friedrich Rintelen, Paul Ganz to Joseph Gantner and Hans Reinhardt until the 1960s. Wölfflin’s theories and teachings continued to be propagated throughout this period. During the intellectual isolation of Switzerland during the Nazi period and WWII, Swiss art historians turned to local topics for their research. Gantner’s scholarship then focused on modern and medieval art as well as on issues of aesthetics and art criticism. His pupils primarily chose medieval topics for their dissertations and future research, while some branched out into modern art. While thoroughly grounded in a formalist tradition, they now incorporated a contextual and interdisciplinary approach. In 1939, a strong counterforce to older traditional studies occurred at Basel with the appointment of Georg Schmidt as director of the Kunstmuseum and Kupferstichkabinett. He changed the direction of the museum towards modern and contemporary art and helped establish the present character of Basel as a contemporary art city rather than the traditional city and university it had been known for.
Hameeuw, Hendrik; Boschloos, Vanessa; Devillers, Anne; Gubel, Eric; Cynthia, JeanCynthia; Van Goethem, Laurence; Van Overmeire, Sam; Overlaet, Bruno
The Royal Museums of Art and History of Brussels (RMAH) boast a rich and world-renowned collection of glyptic material from the Ancient Near East. The collection consists of stamp and cylinder seals, seal impressions and sealings, originating from a broad range of cultures and dating from the beginning of their production down to the Roman period. They illustrate the entire historical development of a type of object that provides unique insights into the economic, cultural, enviromental and p...
Diana Reynolds Cordileone
Full Text Available Alois Riegl was one of the seminal art historians of the early twentieth century, but very little is known about his career as adjunct-curator of textiles at the Austrian Museum for Art and Industry. He worked at the Museum from 1884 and combined this position with University teaching until he left this post to become a full Professor of Art History at the University of Vienna in 1897. While interest in Riegl has shown no signs of abating in recent years, most scholars continue to debate Riegl’s theories and methods. The aim of this paper, however, is to demonstrate just how much of Riegl’s theorizing was brought into focus by practical issues at the Museum for Art and Industry. As recent studies have indicated, Riegl was much more than an ivory tower theoretician; his work reverberated with the type of cross-disciplinary cultural criticism we associate with the intellectual life of fin-de-siècle Vienna. Another goal of this paper is to contribute to our expanding understanding of Riegl in his social and institutional contexts. Finally, it traces ways in which Riegl used his early exposure to Nietzsche, particularly Nietzsche’s second Untimely Meditation (The advantages and disadvantages of History to life to craft his responses to contemporary artistic and social crises in the final decade of the nineteenth century.
Full Text Available The paper analyses two concepts of art history textbooks for secondary schools. It discusses their role in the learning and teaching process of art history and related school subjects within the formal educational programmes in Slovenia and their didactic structure. The comparison between one Slovenian and two Polish textbooks might contribute to better understanding of the present situation regarding art history textbook production in Slovenia, which is a result of several factors: the historical continuity of textbook writing and research in textbook didactics, the current school policy and financial competition on the textbook market. Its intention is also to clarify the idea of didactic transformation of the art history contents from the challenging scientific texts to a form suitable for secondary school students who are textbooks' main target audience.
提出了美学形态中“异形”的概念.分析了在原始艺术、中国艺术、西方古典艺术、西方现代艺术、后现代艺术等不同历史时期或不同地域“异形”的形态和产生的原因.认为“异形”不能笼统地概括为“变形”,而是“常态形”形态发生质变后的一种新的造型形态,呈现出一种怪诞和奇异的美学特点.在艺术史中,“异形”这种乖张的造型部分受到主流意识形态的压抑,因而,呈现为一种非主流的状态,但却显示了一种鲜活的创造性.它跨越千年,始终在暗示人类想要超越理性与现实的冲动、想象和浪漫.%The concept of the "dysmorphism" is presented. Based on art history, the characters of dysmorphism and the cause of them in different periods such as original art, Chinese art, western classical art,western modern art and post modern art,etc are analyzed,, It is pointed out that the"dysmorphism" can not be generally summarized as "deformation",dysmorphism is a new type when normality changes, appearing an absurd and curous way of aesthetics. In art history,part of the dysmorphism had been kept down by the main stream,showing a kind of non-mainstream state. However,dysmorphism displays vivid creativity,suggesting people s impulsion,imagination,romanticism to overstep rationality and reality.
Full Text Available This essay offers a contextual reading of the extensive but little studied documentation for the education and subsequent university careers of E. H. Toelken (1785-1864, Gustav Heinrich Hotho (1802-1873 and Franz Kugler (1808-1858, three of the earliest art historians to earn doctoral degrees. Spanning about three decades, from 1804 to 1833, their training occurred during a period of rapid disciplinary specialization within the university. Examination of that training, and the teaching careers built on it, contributes to the larger investigation of how existing university structures and procedures accommodated but also informed emerging disciplines in early nineteenth-century Germany. The essay sets out the relevant academic policies and procedures and gives an overview of those trained and appointed in the historical study of art in Berlin between 1810 and 1840. Documents for Toelken and Kugler are then presented through narrative case histories.
Mavrodi, Alexandra; Paraskevas, George; Kitsoulis, Panagiotis
Ever since man started to study systematically medicine for the first time he recognized the value of the knowledge of Anatomy in order to safely cut and treat the human body. However, over the centuries it has been proved that Anatomy is more than just a scientific field of medicine. The fact that Anatomy requires the use of human cadavers as an object to study brought to the surface many moral issues, which adumbrated its turbulent past. Additionally, Anatomy and its inextricable element, illustration, has many times been a source of inspiration for both the anatomists and the artists. This paper aims on the one hand to provide a condensed overview of the history of Anatomy and on the other hand to investigate the way Anatomy penetrates Art and, conversely, Art penetrates Anatomy.
Nekhvyadovich, Larisa Ivanovna; Chernyaeva, Irina Valerievna
The article has a program-analytical nature, contains an analysis and assessment of the scientific school of T. M. Stepanskaya, Doctor of Arts, professor, member of Russian Union of Artists. The goal of T. M. Stepanskaya's professional activity is incorporation of Art History in higher educational institutions in Siberia. The authors consider the…
The present study deals - in its three parts - with three fragments of the garden history of Japan. It reveals how the meaning a garden had to the people of its time was significantly different in all of these periods.Part one, titled "Themes", deals with the later Heian period, from the tenth until the late twelfth century. The foundations of a native, Japanese tradition of garden art were laid. The first chapters introduce the palace gardens of the courtly aristocracy in the capital Heian. ...
Olson, Donald W
For a general audience interested in solving mysteries in art, history, and literature using the methods of science, 'forensic astronomy' is a thrilling new field of exploration. Astronomical calculations are the basis of the studies, which have the advantage of bringing to readers both evocative images and a better understanding of the skies. Weather facts, volcano studies, topography, tides, historical letters and diaries, famous paintings, military records, and the friendly assistance of experts in related fields add variety, depth, and interest to the work. The chosen topics are selected
Full Text Available These notes were taken from the lectures and comments by Meyer Schapiro that constituted his course “Art History Theory and Methods,” offered at Columbia University, New York, during the Spring semester 1973. The introduction describes the immediate context of the course, briefly characterizes my own situation as a student and a member of the Art & Language group of artists, as well as the relation of these notes to materials in the Columbia University Archives. The only one of its kind then being offered in New York (and rare anywhere else, the course introduced graduate students to key texts in the history of art history, placing these in dialogue with relevant thinking from science, philosophy, linguistics (especially semiotics, and psychology. This dialogue was arranged around consideration of key topics shared by both art and science: objectivity vis-à-vis subjectivity, research methodology, definition and distinction, classification, taxonomy, form, hypotheses, interpretations, and value judgements. The course also addressed topics, such as style and expressiveness, which do not seem, on the face of it, to be shared between science and art. Offering an intimate glimpse of a major scholar teaching from inside the heart of the discipline, and thinking it forward as able to grapple with the most important questions of the times, these notes are intended to supplement the published writings of arguably the greatest American art historian.
Beiersdorf, Danielle da Silva Maçaneiro
Full Text Available O presente trabalho refere-se à análise de uma série de peças de arte expostas no pátio de entrada do Museu do Holocausto de Curitiba, inaugurado em 20 de novembro de 2011. O museu é o primeiro destinado unicamente à história do Holocausto do Brasil. O objetivo do presente artigo é compreender como os museus contemporâneos utilizam em suas exposições, elementos de sensibilização como a visualidade, a estética a sensibilização emocional e cognitiva através das obras de arte. Os museus tem uma carga muito grande de signos, sentidos e significados. Seu acervo, seu patrimônio devem ser preservados, e expostos ao público dando sentido ao papel educativo que o museu se propõe a desempenhar. As obras que o presente artigo analisa, foram produzidas por dois artistas plásticos, Guita Soifer artista plástica curitibana, e Andrew Rogers artista plástico Australiano
Over the past 15 years there has been a surge in the general field of the interaction of STEM and the arts including theatre, music dance and the visual arts leading to STEAM. There seems to be no limits to the amount of creativity and diversity of subject matter especially in areas of biography, major science events, scientific and technical innovation, the benefits and dangers of modern science, and science as metaphor. For the past 15 years, I and my colleagues have been running a science outreach series under the title Science & the Performing Arts at the Graduate Center of the City University of New York. The objective is to bring science to students and the public in ways that are engaging, instructive, and artistic and always, content-driven: the medium is the arts; the message is the joy of science. This has resulted in over 120 science and performing arts programs which have been documented on the website http://sciart.commons.gc.cuny.edu/ . The author co-taught a course titled Staging Science, http://sciart.commons.gc.cuny.edu/staging-science/outline-of-the-course-staging-science/ with Marvin Carlson, Professor of Theatre at CUNY. An excellent book, Science on Stage: From Doctor Faustus to Copenhagen by Kirsten Shepherd-Barr, can be used to develop a customized courses on Science, Theatre and History for both science and non-science majors. The book's appendix includes an annotated listing of plays on such subjects as quantum mechanics, chaos theory, evolution, genetics and morality and responsibility. The talk will include many examples how courses on science and theatre can actively engage students and enhance active participation and learning. Supported in part by the National Science Foundation.
Sibel Almelek İşman
Full Text Available Portrait historié is a term that describes portrayals of known individuals in different roles such as characters taken from the bible, mythology or literature. These portraits were especially widespread in the 18th century French and English art. In the hierarchy of genres established by the Academy, history painting was at the top and portraiture came next. Artists aspired to elevate the importance of portraits by combining it with history. This article will focus on goddesses selected by history portrait artists. Ladies of the nobility and female members of the royal families have been depicted as goddesses in many paintings. French artists Nicolas de Largillière, Jean Marc Nattier and Louise Élisabeth Vigée Le Brun; English artists George Romney and Sir Joshua Reynolds can be counted among the artists working in this genre. Mythological figures such as Diana, Minerva, Venus, Hebe, Iris, Ariadne, Circe, Medea, Cassandra, Muses, Graces, Nymphs and Bacchantes inspired the artists and their sitters. Ladies were picturised with the attributes of these divine beings.
The history of the expression of three-dimensional structure in art can be traced from the use of occlusion in Palaeolithic cave paintings, through the use of shadow in classical art, to the development of perspective during the Renaissance. However, the history of the use of stereoscopic techniques is controversial. Although the first undisputed stereoscopic images were presented by Wheatstone in 1838, it has been claimed that two sketches by Jacopo Chimenti da Empoli (c. 1600) can be to be fused to yield an impression of stereoscopic depth, while others suggest that Leonardo da Vinci’s Mona Lisa is the world’s first stereogram. Here, we report the first quantitative study of perceived depth in these works, in addition to more recent works by Salvador Dalí. To control for the contribution of monocular depth cues, ratings of the magnitude and coherence of depth were recorded for both stereoscopic and pseudoscopic presentations, with a genuine contribution of stereoscopic cues revealed by a difference between these scores. Although effects were clear for Wheatstone and Dalí’s images, no such effects could be found for works produced earlier. As such, we have no evidence to reject the conventional view that the first producer of stereoscopic imagery was Sir Charles Wheatstone. PMID:28203349
Brooks, Kevin R
The history of the expression of three-dimensional structure in art can be traced from the use of occlusion in Palaeolithic cave paintings, through the use of shadow in classical art, to the development of perspective during the Renaissance. However, the history of the use of stereoscopic techniques is controversial. Although the first undisputed stereoscopic images were presented by Wheatstone in 1838, it has been claimed that two sketches by Jacopo Chimenti da Empoli (c. 1600) can be to be fused to yield an impression of stereoscopic depth, while others suggest that Leonardo da Vinci's Mona Lisa is the world's first stereogram. Here, we report the first quantitative study of perceived depth in these works, in addition to more recent works by Salvador Dalí. To control for the contribution of monocular depth cues, ratings of the magnitude and coherence of depth were recorded for both stereoscopic and pseudoscopic presentations, with a genuine contribution of stereoscopic cues revealed by a difference between these scores. Although effects were clear for Wheatstone and Dalí's images, no such effects could be found for works produced earlier. As such, we have no evidence to reject the conventional view that the first producer of stereoscopic imagery was Sir Charles Wheatstone.
The coordinate in the meaning of art history is not the concept of position in geography,but the space-time position of specific art phenomena of art history,art figures,art activities and art achievements.The coordinate issue in the history of Chinese and western art reflects the differences in the description and explanation of space-time art development between China and west.%美术史意义上的坐标,不是地理学上用以指明方位的概念,而是指美术史特定美术现象、美术人物、美术活动、美术成果的时空位置。中西方美术史中的坐标问题,反映了中西方美术史述作在描述阐释定义各自时空美术发展过程中存在的差异性。
a collage of previously published materials on Artfulness, in this journal targeted teachers for dysfunctional behaviour children.......a collage of previously published materials on Artfulness, in this journal targeted teachers for dysfunctional behaviour children....
Full Text Available Hilary Ballon and Mariet Westermann, writing about the struggles of publishing in art history noted that “It is a paradox of the digital revolution that it has never been easier to produce and circulate a reproductive image, and never harder to publish one.” If publishing in general is in crisis because of the seismic re-ordering in a digital world, the field of art history is the extreme tail of the spectrum; rights holders are accustomed to licensing image content for limited edition print runs. Given this particularly challenging corner of the publishing work, a project initiated by the Metropolitan Museum offers some hope of a collaborative way forward. What sociological re-engineering enabled progress on this problem? It is possible that there are other lessons here too, that might throw at least streaks of light on other process re-engineering provoked by digital innovation in publishing? This paper reviews how a leading repository of art (The Metropolitan Museum of Art and a non-profit intermediary (ARTstor created an alternative pathway to provide primary source content in support of image-intensive publishing. This venture is framed in the context of a publishing system moving toward greater freedom and an aim to bring about ever lower (or no fees to readers.In general, providing academic content for free requires a re-structuring of a public release process – either of processed content or less processed content. To the extent that processing adds value, it might be worth paying for. This case study argues that there are places where community wide interests align, describes what it takes to keep them aligned, and explores what we did collectively to facilitate re-structuring. The conclusion explores whether there are lessons for open access publishing more generally in the example of cross-subsidization among mission (and not only marketing driven organizations.
A book written in a foreign language and migrated to the US along with its author, an art historian, finds a new communicative dimension by becoming a ready-made for art making purposes. Starting with an introduction explaining the genesis of the collaborative project "Access Denied," this article focuses on one of the series'…
Full Text Available An intellectual treatment of islands and isolation lends itself to a foundation in a liberal arts education. The introductory undergraduate course on island studies can serve as a topical platform on which to develop critical thinking, research, analytical, and creative thinking skills for beginning college students. The paper analyzes the natural history perspective in island studies and its methods of inquiry as pedagogical strategies that enhance the development of academic curiosity. The success of this approach to early undergraduate education is documented in traditional assessment and the direction that student-driven inquiry followed throughout the course. A course in island studies is a natural fit into progressive curriculum design strategies that are currently under development at many colleges and universities.
Litscher, Daniela; Litscher, Gerhard
This short review article presents a current overview of existing publications and scientific results regarding liquid (ear) acupuncture. The injection of liquids into defined acupuncture points of the ear is not a method commonly used in the Western world. The term liquid acupuncture has different definitions, which makes understanding each definition and differentiating one from the other difficult. General terms like pharmacopuncture, homeosiniatry, and liquid acupuncture, which all describe the method of injecting different kinds of drugs into a defined body acupuncture point, are used. This article presents the history of liquid acupuncture, as well as the current scientific state of the art, from the point of view of two European researchers. Some articles are discussed and a few practical examples are presented.
艺术的经典化离不开作品遴选这一重要环节,从文化参与的角度看,这一环节主要是由知识精英通过艺术史书写体现出来的。对于知识精英而言,作品遴选又是彰显其文化权力的重要手段之一。在这个意义上,所谓艺术史其实是一个不断被改写和重构的的文化史,艺术的经典化也不仅仅是一个艺术界内部去粗取精的过程,它还是一个存在于复杂文化语境中的权力博弈过程。正因为如此,必须区分艺术经典与艺术史经典,充分认识每一部艺术品在其经典化过程中所隐匿的文化复杂性。%The selection of art work is a key link in the process of canonization.From the perspective of cultural participation,this key link is reflected mainly by the writing of art history.For the intellectual elite,the selection of art work is an important means to highlight its cultural power.In this sense,art history is actually a cultural history which is constantly being rewritten and reconstructed.Canonization of art is not only a process of internal culling,but also a process of power game in a complex cultural context.Because of this,we must distinguish between canon of art and canon of art history,and be aware of the cultural complexity hidden in the process of canonization of art.
Anthony Gardner; Huw Hallam
This analysis of Terry Smith’s 'What Is Contemporary Art?' evaluates Smith’s ongoing project to theorise contemporary art around the theme of multiple, interconnected temporalities. It questions how this ‘contemporaneity’ differs from the classic teleologism of modernism and postmodern relativism and suggests that Smith’s categories may be valuable for understanding other cultural areas, such as contemporary music. It then raises methodological problems associated with charting the terrain of...
Mahadevan, Shankar; Virk, Kashif M.; Madsen, Jan
. We present an abstract system-level modelling and simulation framework (ARTS) which allows for cross-layer modelling and analysis covering the application layer, middleware layer, and hardware layer. ARTS allows MPSoC designers to explore and analyze the network performance under different traffic...... and load conditions, consequences of different task mappings to processors (software or hardware) including memory and power usage, and effects of RTOS selection, including scheduling, synchronization and resource allocation policies. We present the application and platform models of ARTS as well...... as their implementation in SystemC. We present the usage of the ARTS framework as seen from platform developers’ point of view, where new components may be created and integrated into the framework, and from application designers’ point of view, where existing components are used to explore possible implementations...
Full Text Available This analysis of Terry Smith’s 'What Is Contemporary Art?' evaluates Smith’s ongoing project to theorise contemporary art around the theme of multiple, interconnected temporalities. It questions how this ‘contemporaneity’ differs from the classic teleologism of modernism and postmodern relativism and suggests that Smith’s categories may be valuable for understanding other cultural areas, such as contemporary music. It then raises methodological problems associated with charting the terrain of contemporary art and how they overlap with economic considerations, arguing that the task implies particular forms of privilege that may threaten the autonomy of critical analysis, but that Smith’s work goes some way toward exposing this problem.
Common Core State Standards Initiative, 2010
The Common Core State Standards for English Language Arts & Literacy in History/Social Studies, Science, and Technical Subjects ("the Standards") are the culmination of an extended, broad-based effort to fulfill the charge issued by the states to create the next generation of K-12 standards in order to help ensure that all students are college and…
Full Text Available The paper approaches the art theory of Aloïs Riegl, Heinrich Wölfflin and Wilhelm Worringer from two perspectives. Firstly, the paper integrates the conception of the image of these three art historians into the phenomenological tradition as founded by Edmund Husserl where the image is described as an immaterial ‘image-object’ distinct from the subject and the material of the image. Further, the polarities that these historians introduced are interpreted from a structuralist perspective as anonymous deep level structures of visuality that are realised in the singular artwork. Secondly, Riegl, Wölfflin and Worringer rejected aesthetics from art history because of a specific understanding of philosophical aesthetics. However, the paper determines that their rigorous description of art historical styles is embedded in vague aesthetic categories and that, in the case of Riegl, the creative act as conceptualised by the notion of the Kunstwollen presupposes the aesthetic experience.
Conway, Bevil R
Paintings can be interpreted as the product of the complex neural machinery that translates physical light signals into behavior, experience, and emotion. The brain mechanisms responsible for vision and perception have been sculpted during evolution and further modified by cultural exposure and development. By closely examining artists' paintings and practices, we can discover hints to how the brain works, and achieve insight into the discoveries and inventions of artists and their impact on culture. Here, I focus on an integral aspect of color, color contrast, which poses a challenge for artists: a mark situated on an otherwise blank canvas will appear a different color in the context of the finished painting. How do artists account for this change in color during the production of a painting? In the broader context of neural and philosophical considerations of color, I discuss the practices of three modern masters, Henri Matisse, Paul Cézanne, and Claude Monet, and suggest that the strategies they developed not only capitalized on the neural mechanisms of color, but also influenced the trajectory of western art history.
, the United Kingdom has never produced a stamp depicting rocks or minerals. It is often said that the study of stamps is a study of history, language, culture, art, geography and politics. If this is true for stamps in general, it is particularly true for minerals on stamps.
Dobbs, Stephen Mark
Art education has been a part of the curriculum of American public schools for more than a century, since the first programs for drawing instruction were organized in Massachusetts in the 1870's. Since that time, a theme has emerged which continues to characterize art education into the present: the paradox that art education has consistently…
Bruce, Kim B.; Cupper, Robert D.; Scot Drysdale, Robert L.
With the support of a grant from the Sloan Foundation, nine computer scientists from liberal arts colleges came together in October, 1984 to form the Liberal Arts Computer Science Consortium (LACS) and to create a model curriculum appropriate for liberal arts colleges. Over the years the membership has grown and changed, but the focus has remained…
History gets a really bad "rep" in school. History teachers seemed to do everything they could to suck the interesting out of history, leaving only names, dates, and battles to memorize until the test was over. History can be brought up on its feet and given room to play when it's combined with theater. They work so well together. In this article,…
Parks, Susan; Huot, Diane; Hamers, Josiane; Lemonnier, France H.
This article reports on how Quebec Francophone high school students, enrolled in a program which featured an environment rich in information and communication technologies (ICTs), appropriated the writing process over a four-year period (Grades 7-10) in the context of their ESL language arts courses. Data for the study were obtained using…
Full Text Available Art and science, over the centuries, though starting from different positions, have very often led to the same conclusions. History, on the other hand, establishes identities that derive from our past and allows for exchanges and unity between people of different nationalities, in both a commercial and scientific context, in a world without borders, in spite of obvious contradictions related to this globalized world. The case of Italy-China bears witness to this in a significant way.A case in point is represented by the scientific collaboration between the Alma Mater University of Bologna and Zhejiang University, as well as that between the Salesian Pontifical University of Rome and Fudan University in Shanghai, Zhejiang University and the Foreign Studies University of Beijing.In the first case, the ongoing research project “Historical anamnesis, preservation and valorization of the statues of the Longxing Buddhist Temple of Qingzhou (China” is being carried out between the Department of Cultural Heritage Diagnostic Laboratory for Cultural Heritage of the University of Bologna and the Cultural Heritage Institute of Zhejiang University. In the second case, collaboration between the Salesian Pontifical University and the Chinese Universities, covers activities relating to the study of philosophy, pedagogy and Latin language and literature.The paper highlights the importance of drawing value of a cultural, conservative, social, identitary nature within the context of the holistic value of cultural heritage and respecting ethical aspects at a personal and interpersonal level, in particular, by offering young people the opportunity to enter the employment market and of which they are currently experiencing all the problematic fluctuations.
An archaic Greek terracotta vase in the Art and History Museum at Geneva depicts a man deprived of his left arm and with two legs ending in a stump below the knees. Did he suffer from a traumatism (amputation), a mutilating disease or congenital malformation (hemimelia)? A survey of written and iconographic sources throws light on the methods and limits of ancient surgery, and on the chances of survival of abnormal children in archaic and classical Greece.
Full Text Available William Stirling’s Annals of the Artists of Spain (1848 appeared at a key moment in the emergence of art history as an academic discipline. It was the first scholarly history of Spanish art in English, and was well illustrated with engravings. But there was also an additional volume of Talbotype photographic illustrations. Photography, like art history, was still in its infancy, and William Henry Fox Talbot had only recently invented the negative-positive process which allowed multiple photographic images to be produced. The experimental supplementary volume, of which only 50 copies were printed, meant that the Annals became the first photographically illustrated book on art. The new process had many limitations, including chemical instability. Fading began immediately, and Stirling himself regarded the volume as a failed experiment. Nevertheless, it pointed the way in the use of photography, and photographically illustrated books, as essential tools of art history.
The History Workshop movement took its stance on the democratisation of history making, becoming notorious for its exuberant gatherings and impassioned "histories from below". At the centre of the early Workshop was the British historian Raphael Samuel, who has been described as the personification of its intellectual and ethical…
Examines the work of Jurgen Habermas and Arthur Danto and develops a conceptual structure that views art education as an interpretive and reflective network that bridges school and life experiences. Contends that visual arts contribute to the development of reflective capacities. (CFR)
Wenger, Gina Mumma
What did art education look like within the confines of the Japanese American Internment Camp classrooms? Did the art education in the camps reflect the same curriculum that was being taught outside the camps and what other factors may have played a part in the students' experience? I propose that there were at least three significant…
German Art History and Scientific Thought - Beyond Formalism discusses the relation between art history and the human and natural sciences in the late nineteenth and early twentieth centuries. All contributions in this volume highlight the way in which this exchange affected art history on a practic
The intellectual fetishism, in which photojournalism is nowadays swathed, gives rise to an effect of distance and remoteness in our perception of photography as linked with contemporary art. A brace of quite different publications strive first and foremost to produce a convergent effect. The first is by Charlotte Cotton, and devoted to photography “in contemporary art”, while the second is the catalogue of the photographic collection of the FRAC Rhône-Alpes Institute of Contemporary Art and t...
What do 14 Year 7 students, an art teacher, a history teacher and the Victoria and Albert Museum have in common? They are all part of the "Stronger Together" Museum Champion project run by The Langley Academy and the River & Rowing Museum and supported by Arts Council England, designed to engage students, teachers and museum staff…
Full Text Available Matthew Rampley’s The Vienna School of Art History examines the early era of the famed group of art historians, curators and art functionaries against the Habsburg Empire that framed their enterprise. It takes into account the centrifugal forces of identity, nationalism and Imperial ideologies that informed their ideas and preferences. A desideratum is the project of relating formal analyses by the thinkers he studies to the ideological allegiances that he uncovers in their thought.
Maria Cristina Morandini
Full Text Available The history of special education in Italy is a highly recent field of study. Prior to this, the theme had only been treated in a small number of publications that were limited in scope, primarily hagiografic and journalistic in style, and whose authors themselves worked in special education. In 1993, the article by Roberto Sani, devoted to Severino Fabriani, educator of female deaf mutes in Restoration Modena, marked the beginning of a history of special education that was researched using an interdisciplinary approach and situated within the broader framework of social and political history, and the history of institutions and cultural processes. Following in the line of enquiry into the history of special education inaugurated by Sani, further studies have been published since the beginning of the new millennium, by both established historians of education and young scholars joining the field. Some of these authors have maintained a focus on the world of education for the deaf; others have extended this model of interpretation to related field (educational institutions for children affected by rickets and by blindness. What avenues of research remain open to those wishing to pursue the history of special education? Numerous are the aspects still awaiting systematic investigation. It might therefore be to investigate the educational models and school programs offered over time for persons with disabilities affecting more than one sense (e.g., those who are both deaf and blind. How to reference this article Morandini, M. C. (2016. Studies on the History of Special Education in Italy: State of the Art and Paths for Future Research. Espacio, Tiempo y Educación, 3(1, 235-247. doi: http://dx.doi.org/10.14516/ete.2016.003.001.12
Wadum, Jørgen; Haack Christensen, Anne; Vila, Anna Espuna
The use of analytical techniques by conservators-restorers, conservation scientists and technical art historians in order to better understand the material culture embedded in paintings is increasing, and we feel an urgent need to share the potential of these techniques as well as their limitations...... not correlate with the period in which a painting is placed art historically, a severe problem is at hand. Precluding the use of technological studies, on the other hand, will equally leave the owner and the connoisseur with empty hands if the conservator together with the conservation scientist does not find...... historically adequate materials and techniques embedded within the art work. In order to advance the field of interdisciplinary connoisseurship in our opinion the connoisseur will benefit significantly from understanding the possibilities and limitations of examination of materials and techniques applied...
Tyler, Christopher W.
Embodied cognition is a concept that provides a deeper understanding of the aesthetics of art images. This study considers the role of embodied cognition in the appreciation of 3D pictorial space, 4D action space, its extension through mirror reflection to embodied self--cognition, and its relation to the neuroanatomical organization of the aesthetic response.
Hans H. Aurenhammer
Full Text Available The intellectual development of Max Dvořák (1874-1921, one of the protagonists of the ‘Vienna School of Art History’, was characterized by a constant process of methodological self-criticism. His changing views on Medieval Art are known above all by two texts: The Enigma of the Art of the Van Eyck Brothers (1904, strongly influenced by Wickhoff and Riegl and by an ‘impressionistic’ view of modernity, and Idealism and Naturalism in Gothic Sculpture and Painting (1918, an essay dating to Dvořák’s late, ‘expressionistic’, period. Knowing only these two texts, the decisive turn undertaken by Dvořák around 1920 could be interpreted as a sudden change of paradigm. As the paper wants to show, this view has to be revised after having read and analyzed Dvořák’s hitherto unpublished university lectures on Western European Art in the Middle Ages which were given four times from 1906 to 1918.
Studying images of families in works of art and in snapshots is compelling, and the author wondered if looking at both types of images side by side might help students understand both kinds of images more fully. Snapshots often prompt detailed and vivid stories among family members and friends. Therefore, she wondered if dialogue about snapshots…
Rose, Marice; Torosyan, Roben
As a philosopher and an art historian, the authors decided to record their experience after discovering they shared similar journeys changing their courses. They had both been dissatisfied with their students' learning outcomes and their own tired patterns of teaching. After learning about Dee Fink's (2003) integrated course design (ICD) and his…
Nicholls, Paul; Ridley, Jacquline
Apart from archival print collections, digital multimedia materials will be the primary form of library resources in the future. Argues that all published materials, print or electronic, are subject to analytical and critical examination. Describes art historian Erwin Panofsky's "Circulus Methodicus," a method of iconological analysis, that could…
Petersen, Anne Ring
In the contemporary world, a considerable number of artists are on the move, due to the triple processes of globalization, decolonization and migration. Migrant artists, and also cosmopolitan artists that travel widely, are transnational cultural workers with ties to several places. As ‘bridging...... persons’, migrant artists have more than one sense of home, and they play a seminal role in the translation between cultures, and in the transformations between the local and the global. However, the multiple cultural references in their works also raise the difficult question of the provenance...... of their art. This article addresses the issue of how transnational cultural memory is articulated in works by migrant artists, as well as how to access it analytically. After outlining the general issues concerning the impact of migration on contemporary art, the article explores the usefulness of three...
Francesca Gargallo Celentani
Full Text Available Two experiences of intervention in the social imaginary, brocken by violence that causes panic in Mexico, revealed as aesthetic actions to move our emotions, rescue the deepest sense of the politics, the arts and ethics. The RECO Group that rescued a place of death and disappearance through the work of artists, psychologists and anthropologists with members of a commonality determined to rescue his neighborhood, and the collective of collectives Bordando por la Paz, la Memoria y la Justicia (for Peace, Justice and Memory that takes public space to social life, transforming it in resistance to the horror of death and disappearance, show that art is the site of termination of this.
Carolyn C. Guile
Full Text Available The art historical writings of Stanislaw Kostka Potocki (1755-1821 are little-known outside of Poland. Potocki intended, On the Art of the Ancients, or the Polish Winckelmann (O Sztuce u Dawnych, czyli Winkelman Polski, 1815 to be a history of world art that used Johann Joachim Winckelmann’s system of analysis as its point of reference. The importance for art historiography of Potocki’s project resides in the presentation of Winckelmann’s Geschichte der Kunst des Altertums (1764 for a Polish readership, in his consideration of cultures Winckelmann had not discussed and in his defense of Winckelmann’s approach against Christian Gottlob Heyne’s critique. Written when art history was a discipline in formation, Potocki’s text gave Winckelmann’s project an ‘afterlife’ in the eastern borderlands of Europe.
Renaissance painters used a number of inorganic color materials. The development of mineralogy as a discipline opened a new discourse on mineral pigments. Agricola and other naturalists were familiar with the contemporary writings on art technology, but their focus was different. Therefore, the exchange of knowledge between these two color worlds remained selective. One possible meeting point was the Kunstkammer where the study of natural objects and materials was combined with an interest in the manual execution of a painting.
The present study deals - in its three parts - with three fragments of the garden history of Japan. It reveals how the meaning a garden had to the people of its time was significantly different in all of these periods.Part one, titled "Themes", deals with the later Heian period, from the tenth until
Acuff, Joni Boyd; Hirak, Brent; Nangah, Mary
The consequence of narratives becoming stagnant or controlled is that they become a Master Narrative. The Master Narrative is an "ideological script that is being imposed by the people in authority on everybody else: The Master Fiction... history" (Moyers, 1990, para. 4). Master Narratives use myths and ideologies to sustain a sanitized version of…
Full Text Available Experiment, as a new form of knowledge, was aBaconian creation. It was in Bacon’s project of Great Instauration and inBacon’s reformed natural history that experiment and experimentationceased to be illustrations of theories and become relatively autonomousdevices for the production of knowledge and for setting the mind straightin its attempts to gain knowledge. This paper explores the way in whichBacon’s Latin natural history transformed experiment and experimentationin such devices. More precisely, I investigate the way in which Bacon’sLatin natural histories were put together from a limited number ofsignificant experiments listed in the Novum Organum under the general title“instances of special power” or “instances of the lamp.” Contrary to thereceived view, my claim is that Bacon’s natural histories are based on alimited number of ‘core experiments’ and are generated through a specificmethodological procedure known under the name of experientia literata. Thispaper is an attempt to reconstruct the procedure of putting such naturalhistories together and a more in-depth exploration of their epistemologicaland therapeutic character.
Full Text Available “Renaissance concept of space” harbors surely some definite bonuses for anybody embarking on a study of the inventive role that philosophy has had, in its happiest moments of life, for human cognition. First, the new suppositions related to physical space emerge in the Renaissance as derivative from the theological-philosophical assumptions of the era: what Renaissance space is can be enunciated quite convincingly on the basis of the intellectual collisions that the era was allotted to deal with. Thus, as a re-generator of classical culture, the Renaissance had to a degree dug up the finite substructure of ancient thinking; however, as an inheritor of the Middle Ages, it had been requested to square finitism with transcendency. Second, much of what we can today fit under Renaissance space is in fact delivered to us in the artistic form of painting, which means that, in addition to the challenge set by philosophy to the spatial knowledge of the era, there was postulated as well a mediatory agency of art in the realization and conveyance of this new knowledge. Thus we can suppose that the solution offered by Renaissance art to the problem of space on its fictional plane comprised the germ of some modern knowledge about space in reality.
Poulsen, Jens Aage
Historie i serien handler om læreplaner og læremidler og deres brug i skolefaget historie. Bogen indeholder nyttige redskaber til at analysere og vurdere læremidler......Historie i serien handler om læreplaner og læremidler og deres brug i skolefaget historie. Bogen indeholder nyttige redskaber til at analysere og vurdere læremidler...
Kvale, E.P.; Powell, R.L.; McNerney, M.J.
Cemeteries can be intriguing places to people, in part because of a fascination with death but also because of the quiet solitude and artistic beauty found there. Many grave monuments are really works of art and can be appreciated on that basis alone. Cemeteries can also serve as teaching laboratories for geologists. Monument types, carving styles, ornamentation, and durability are all related, to some extent, to the type of rock used. The older the monument dates the more variability one can see in the character of the stones. Pioneer cemeteries in southern Indiana, some of which date back to the early 1800s, can be used to teach concepts in mineralogy, depositional environments, and paleoastronomy. This can be very useful to someone teaching some of the basic concepts of geology.
Kvale, E.P.; Powell, R.L.; McNerney, M.J.
Cemeteries can be intriguing places to people, in part because of a fascination with death but also because of the quiet solitude and artistic beauty found there. Many grave monuments are really works of art and can be appreciated on that basis alone. Cemeteries can also serve as teaching laboratories for geologists. Monument types, carving styles, ornamentation, and durability are all related, to some extent, to the type of rock used. The older the monument dates the more variability one can see in the character of the stones. Pioneer cemeteries in southern Indiana, some of which date back to the early 1800s, can be used to teach concepts in mineralogy, depositional environments, and paleoastronomy. This can be very useful to someone teaching some of the basic concepts of geology.
Histories make men wise, history learning can help people learn from the lessons of the past historical events and grow. But there are some problems exist in the current high school art students in history teaching which hindered the development of history teaching.%读史使人明智，历史的学习让人能从过去的历史事件中汲取教训而获得成长。但是目前高中艺术生在历史教学过程中存在的一些问题阻碍了历史教学的发展。
Galvanese, Ana Tereza Costa; D'Oliveira, Ana Flávia Pires Lucas; Lima, Elizabeth Maria Freire de Araújo; Pereira, Lygia Maria de França; Nascimento, Ana Paula; Nascimento, Andréia de Fátima
By studying the inclusion of artistic and cultural activities in the care provided throughout the history of public mental healthcare in greater São Paulo, Brazil, we can better understand and characterize the practices adopted in the Psychosocial Care Centers in the city today. Experiments carried out between the 1920s and 1990s are investigated, based on bibliographic research. The contemporary data were obtained from research undertaken at 126 workshops at 21 Psychosocial Care Centers in the same city between April 2007 and April 2008. The findings indicate that the current trend in mental healthcare, whose clinical perspective spans the realms of art and mental health and has territorial ramifications, has maintained some of the features encountered in earlier mental healthcare experiments.
Full Text Available This article presents a theoretical exploration and reading of the notion of the grotesque in Western history of art to serve as background to the reading of the original creatures in the “Tracking creative creatures” project.1 These creatures were drawn by Marley, based on imaginary creatures narrated by his five year-old son, Joshua. The focus in this article is on the occurrence of the grotesque in paintings and drawings. Three techniques associated with the grotesque are identified: the presence of imagined fusion figures or composite creatures, the violation and exaggeration of standing categories or concepts, and the juxtaposition of the ridiculous and the horrible. The use of these techniques is illustrated in selected artworks and Marley’s creatures are then read from the angle of these strategies.
How do astronomical methods make it possible to calculate dates and times for Vincent van Gogh's night-sky paintings? Why is there a blood-red sky in Edvard Munch's The Scream? On what dates did Ansel Adams create his moonrise photographs in Yosemite? How can the 18.6-year cycle of the lunar nodes and the Moon's declination on the night of August 29-30, 1857, explain a long-standing mystery about Abraham Lincoln's honesty in the murder case known as the almanac trial? Why is a bright star described in Act 1, Scene 1, of Hamlet? To answer questions like these, our Texas State group has published a series of articles over the last two decades, applying astronomy to art, history, and literature.
Clerici, Carlo Alfredo; Veneroni, Laura; Patriarca, Carlo
Andrea Pasta was an eclectic visionary light years ahead of his time. He made numerous contributions to the field of medicine, some recognized by his contemporaries and others so visionary that they are being applied only in modern times. His contributions spanned the disciplines of psychology, gynaecology, haematology, infectious diseases and the doctor-patient relationship. Well known among his contemporaries, he combined a passion for clinical medicine and a keen interest in history and art with a strict research methodology and an approach to caring for patients as human beings. By studying his life and works, we can better understand the magnitude and significance of his innovative method and its applicability in modern times and also the significance of his many contributions.
Kutner, Ryszard; Masoliver, Jaume
In this article we demonstrate the very inspiring role of the continuous-time random walk (CTRW) formalism, the numerous modifications permitted by its flexibility, its various applications, and the promising perspectives in the various fields of knowledge. A short review of significant achievements and possibilities is given. However, this review is still far from completeness. We focused on a pivotal role of CTRWs mainly in anomalous stochastic processes discovered in physics and beyond. This article plays the role of an extended announcement of the Eur. Phys. J. B Special Issue [http://epjb.epj.org/open-calls-for-papers/123-epj-b/1090-ctrw-50-years-on">http://epjb.epj.org/open-calls-for-papers/123-epj-b/1090-ctrw-50-years-on] containing articles which show incredible possibilities of the CTRWs. Contribution to the Topical Issue "Continuous Time Random Walk Still Trendy: Fifty-year History, Current State and Outlook", edited by Ryszard Kutner and Jaume Masoliver.
Full Text Available This story is a small part of a larger one, the Great Diaspora of central and east European intellectuals in the 1930s, to Britain, USA, France, Latin America etc. Exile may be regarded as a school, a form of adult education, not only for the exiles themselves but also for some of the natives who came to know them. Focussing still more sharply, let us consider the intellectual consequences of the diaspora on an insular culture, with special reference to two relatively new and small disciplines. Both sociology and art history were more highly developed in central Europe in the 1930s than they were in Britain, allowing a few remarkable immigrants to make a contribution quite disproportionate to their numbers. How does one establish a new discipline? In short, what is offered here is a kind of social history or historical sociology of both art history and sociology itself, suggesting that the contribution of the exiles should be regarded not a simple import or transfer of knowledge but rather as a cultural encounter leading to changes on both sides, to a kind of cultural hybridization.Este ensayo es una pequeña parte de una historia más amplia, la gran diáspora de intelectuales del Centro y Este de Europa en los años treinta, hacia Gran Bretaña, EEUU, Francia, América latina, etc. El exilio puede ser observado como una escuela, una forma de educación de adultos, no sólo para los propios exiliados sino también para algunos de los nativos que llegaron a conocerlos. De forma más precisa, consideramos las consecuencias intelectuales de la diáspora en una cultura insular, con mención especial a dos disciplinas relativamente nuevas y pequeñas. La sociología y la historia del arte estaban en los años treinta mucho más desarrolladas en Europa central de lo que lo estaban en las islas Británicas, permitiendo a algunos destacados inmigrantes realizar una desproporcionada contribución si tenemos en cuenta su número. ¿Cómo se establece una
Kovács, Emese; Simon, Lajos
The authors in this article explor the most important steps of the development of the research on the psychopathology of expression. They introduce the development of Art Brut and it's place in art history. They deal with the characteristics of art therapy.
‘The Vienna school and Central European art history’: Jan Bakoš, Discourses and strategies: the role of the Vienna School in shaping central European approaches to art history ‡ related discourses, Frankfurt am Main: Peter Lang, 2013
Full Text Available Jan Bakoš’s recent book Discourses and strategies: the role of the Vienna School in shaping central European approaches to art history ‡ related discourses presents a comprehensive picture of the Vienna School of art history from its inception in the mid-nineteenth century to the influence it exercised on Central European scholarship in the second half of the twentieth century. Although the book is a collection of essays that have been published or presented in the past it is very coherent in the perspective it provides. A particularly important merit of the book is the presentation of the works of Slavic- and Hungarian-speaking art historians that are often ignored in contemporary English-speaking scholarship.
本文围绕艺术学升级为学科门类之后，艺术史课程作为构建人才培养的横向性结构课程的意义与作用进行探讨，提出艺术史课程设置既有作为支撑艺术学学科基础教学的重要作用，又有作为拓展艺术学学科史学研究层次的重要作用。与此同时，本文还就艺术学升级为学科门类之后，艺术史作为被列入艺术学理论一级学科下的二级学科，其设置将对艺术学学科的整体建设与发展起到有益推动作用的问题进行探讨。%This paper discusses the significance and function of the curriculum of art history as transverse structural curriculum in talent cultivation after art study has been upgraded to be an independent category of discipline. It argues that the curriculum setting of art history plays an important part in not only supporting the basic teaching of art study but also elevating the research level of history in the subject. As art history is listed as a second-level subject under art theory, the paper also analyzes the beneficial effect of it in putting forward the construction and development of art study as a whole.
Lajos Fülep: The task of Hungarian art history (1951’ [Lajos Fülep, ‘A magyar művészettörténelem föladata (1951,’ in Ernő Marosi ed., A magyar művészettörténet-írás programjai [Programmes of Hungarian art history writing], Budapest: Corvina, 1999, 283–305, edited by Árpád Tímár
Full Text Available The Hungarian art historian and theorist Lajos Fülep wrote his programmatic essay The Task of Hungarian Art History as his inaugural lecture given at the Hungarian Academy of Sciences in 1950. Starting from the provocative claim that the history of Hungarian art has not yet been written, the author distinguished ʽart in Hungary’ from ʽHungarian art.’ He argued that not all art created or found in Hungary could be designated as Hungarian art or included in its history, rejecting interwar art historians’ attempts to ʽappropriate’ art created by itinerant artists or other ethnic groups inhabiting the country. His essay called for new, fundamental research: an unbiased investigation of all art found in the historical territory of the country, so that subsequently Hungarian art could be identified within this greater whole. While rejecting appropriation, Fülep did not define Hungarian art by the ethnic origin of the makers; instead, he challenged art historians to prove the existence of clearly recognisable local traditions. This is the first English translation of a seminal text that has exerted a major influence on Hungarian art history writing. It is complemented by explanatory notes providing guidance for the non-Hungarian reader and is preceded by a short introduction which contains a biography of Fülep and a brief overview of his opinions on the question of national art.
Nowadays art biennials are organized in the farthest corners of the world. Everywhere in Europe and America we see surveys emerging that include art works stemming from countries that were formerly excluded from the modern art scene: in addition to art from Europe and the United States we see contem
Meyer, Jean Christophe
abstractThis contribution is aimed at analyzing the public impact of „Histoire Parallèle/Die Woche vor 50 Jahren“, a history show that stands out by its longevity and conceptual design. This study is founded on archive material and statistical data (Institut National de l’Audiovisuel, Arte, Deutsche
在美术史的教学中,教师的“一言堂”式教学使学生个体的审美感受和审美体验受到了束缚,开拓性的思维也接受不到锻炼.本文通过实例论述了高校美术史课堂教学模式改革的方法与体会,以期对提高高校美术史课堂教学水平,培养学生创造力有所帮助.%the most common problem in art history teaching is the aesthetic spoon-feeding education, which hindered the students' individual aesthetic experience and their creativity. This paper discusses the examples of art history teaching and the experience in the reform of art history teaching in University, with a view to improve the classroom teaching of art history and develop the students' creativity.
Litman, Cindy; Marple, Stacy; Greenleaf, Cynthia; Charney-Sirott, Irisa; Bolz, Michael J.; Richardson, Lisa K.; Hall, Allison H.; George, MariAnne; Goldman, Susan R.
This study presents a descriptive analysis of 71 videotaped lessons taught by 34 highly regarded secondary English language arts, history, and science teachers, collected to inform an intervention focused on evidence-based argumentation from multiple text sources. Studying the practices of highly regarded teachers is valuable for identifying…
Grant, Jacqualine; Patterson, Delaney
The arts animate learning because they are inherently experiential and because of their potential to develop creative and critical thinking skills in students. These same skills are valued in science, technology, engineering, and math (STEM) education, but the arts have not been consistently included in STEM lessons. We transformed our STEM…
Seabolt, Betty Oliver
Discusses the differences and goals of four areas: (1) art appreciation; (2) art history; (3) art aesthetics; and (4) art criticism. Offers a definition of art appreciation and information on how the view of art appreciation in education has changed over time. (CMK)
A. A. Donohue
Full Text Available This essay is an expanded version of a paper delivered in 1989 at a colloquium organized around a replica of the Doryphorus acquired by the Minneapolis Institute of Arts. Winckelmann's treatment of Polyclitus serves to introduce a wider consideration of the structure and method of his history of classical art. It is argued that, contrary to assertions that he developed his history on the basis of his empirical observation of works of classical art, Winckelmann instead adopted historiographic schemata derived directly and indirectly from ancient authors. The ancient texts themselves reflect not so much authentic information about the visual arts as formulations from a tradition of histories of the ‘technai’, the arts of civilization, that were often linked with political history. Pliny's famous statement of the decline of art is re-interpreted in this light.
Matthias, Diana C. J.; Barrett, Jesse
This art education resource, designed for use in the Snite Museum of Art, may also be used with slides or reproductions. Black and white reproductions are included for each of the art works represented, along with title, artist, date, and media information. This three part gallery guide presents a brief synopsis of the stories narrated in the…
Per Olav Folgerø
Full Text Available This article explores the possibility of testing hypotheses about art production in the past by collecting data in the present. We call this enterprise experimental art history. Why did medieval artists prefer to paint Christ with his face directed towards the beholder, while profane faces were noticeably more often painted in different degrees of profile? Is a preference for frontal faces motivated by deeper evolutionary and biological considerations? Head and gaze direction is a significant factor for detecting the intentions of others, and accurate detection of gaze direction depends on strong contrast between a dark iris and a bright sclera, a combination that is only found in humans among the primates. One uniquely human capacity is language acquisition, where the detection of shared or joint attention, for example through detection of gaze direction, contributes significantly to the ease of acquisition. The perceived face and gaze direction is also related to fundamental emotional reactions such as fear, aggression, empathy and sympathy. The fast-track modulator model presents a related fast and unconscious subcortical route that involves many central brain areas. Activity in this pathway mediates the affective valence of the stimulus. In particular different sub-regions of the amygdala show specific activation as response to gaze direction, head orientation, and the valence of facial expression.We present three experiments on the effects of face orientation and gaze direction on the judgments of social attributes. We observed that frontal faces with direct gaze were more highly associated with positive adjectives. Does this help to associate positive values to the Holy Face in a Western context? The formal result indicates that the Holy Face is perceived more positively than profiles with both direct and averted gaze. Two control studies, using a Brazilian and a Dutch database of photographs, showed a similar but weaker effect with a
Folgerø, Per O; Hodne, Lasse; Johansson, Christer; Andresen, Alf E; Sætren, Lill C; Specht, Karsten; Skaar, Øystein O; Reber, Rolf
This article explores the possibility of testing hypotheses about art production in the past by collecting data in the present. We call this enterprise "experimental art history". Why did medieval artists prefer to paint Christ with his face directed towards the beholder, while profane faces were noticeably more often painted in different degrees of profile? Is a preference for frontal faces motivated by deeper evolutionary and biological considerations? Head and gaze direction is a significant factor for detecting the intentions of others, and accurate detection of gaze direction depends on strong contrast between a dark iris and a bright sclera, a combination that is only found in humans among the primates. One uniquely human capacity is language acquisition, where the detection of shared or joint attention, for example through detection of gaze direction, contributes significantly to the ease of acquisition. The perceived face and gaze direction is also related to fundamental emotional reactions such as fear, aggression, empathy and sympathy. The fast-track modulator model presents a related fast and unconscious subcortical route that involves many central brain areas. Activity in this pathway mediates the affective valence of the stimulus. In particular, different sub-regions of the amygdala show specific activation as response to gaze direction, head orientation and the valence of facial expression. We present three experiments on the effects of face orientation and gaze direction on the judgments of social attributes. We observed that frontal faces with direct gaze were more highly associated with positive adjectives. Does this help to associate positive values to the Holy Face in a Western context? The formal result indicates that the Holy Face is perceived more positively than profiles with both direct and averted gaze. Two control studies, using a Brazilian and a Dutch database of photographs, showed a similar but weaker effect with a larger contrast
Full Text Available Robert Bagley’s Gombrich among the Egyptians is an ambitious challenge to business as usual in the teaching and practice of art history, tackling subjects from style and iconography to pedagogy and cross-cultural comparison, all in light of an original account of artist’s materials and techniques centred on prehistoric China. The book concludes on a polemic confrontation with the Anglo-Austrian art historian E.H. Gombrich, which is flawed but offers plenty of grist for further thinking.
Blashill, Aaron J; Gordon, Janna R; Safren, Steven A
Appearance concerns are common among HIV-infected individuals, and previous cross-sectional and longitudinal data indicate that these concerns are associated with antiretroviral therapy (ART) non-adherence. However, to date, no known prospective data have explored the mechanism behind this relationship. Thus, the aim of the current study was to test depression severity as a prospective mediator of the relationship between appearance concerns and ART non-adherence in HIV-infected individuals with a history of injection drug use (IDU). Participants were 89 HIV-infected individuals with a history of IDU who participated in a prospective, randomized controlled trial of cognitive behavioral therapy for depression and medication adherence. Clinician-administered measures of depression severity and appearance concerns, along with electronic monitoring of ART non-adherence were included. Data were analyzed using longitudinal linear mixed-level modeling, and mediation was tested via the Monte Carlo Method of Assessing Mediation. Appearance concerns were predictive of depression severity, γ = .31, SE = .076, 95 % CI [.16, .46], t = 4.1, p = .0001, and depression severity was predictive of ART non-adherence, γ = 3.3, SE = 1.3, 95 % CI [.8, 5.8], t = 2.6, p = .01. The effect of appearance concerns on ART non-adherence, however, was significantly mediated by depression severity, γ = 1.02, 95 % CI [.21, 2.1]. Appearance concerns are associated with depression severity, which in turn is associated with ART non-adherence. Integrative interventions addressing appearance concerns, depression and ART adherence are needed, as this is one potential pathway towards worse health outcomes in HIV-infected individuals.
Full Text Available This paper is embedded in the new methodological – transcultural – approach of Global Art History: it questions the taxonomies and values built into the discipline since its inception, with their claim to universal validity, and tries to constitute new units of investigation by contextualizing the multiple processes of the appropriation and reconfiguration of artworks through the participating agents in changing institutional regimes. As a case-study, this paper investigates what art historians and archaeologists between 1850 and 2015 had negotiated under the umbrella-term Graeco-Buddhist Style of Gandhara as it historically emerged in an area of today’s North Pakistan between the first and fifth centuries CE. Bypassing the Area Studies approach to describe this Eurasian hybrid of architectural and sculptural style along its formal characteristics, this paper investigates how it was ideologically exploited for different (postcolonial purposes by operating with the classic art historical terminologies of influence and transfer, purity and decadence.
Jean Christophe Meyer
Full Text Available This contribution is aimed at analyzing the public impact of „Histoire Parallèle/Die Woche vor 50 Jahren“, a history show that stands out by its longevity and conceptual design. This study is founded on archive material and statistical data (Institut National de l’Audiovisuel, Arte, Deutsches Rundfunk Archiv, …, contemporary literature and press coverage as well as on an interview with Marc Ferro, the mainstay of this show.
美术史是高等院校美术专业的一门必修理论课程,其宗旨是指导学生艺术创作实践、提高美术审美、培养创新意识和能力。文章从激发学生的探究兴趣和培养学生问题意识两方面讨论如何在美术史教学过程中,训练学生进行探究性学习。%Art history painting in higher schools is a compulsory theory course, whose purpose is to guide students' art creation practice, improve art aesthetic and the cultivation of creative consciousness and ability. develop student learning. This paper explores the students interest and two aspects to discuss how the art history in the process of teaching, and to train students for inquiry
刘韬; 郭早早; 朱文晶
The article mostly discusses some questions on Buddhism grotto art monograpmc teacmng m History of Chinese Fine Arts. The instructional objectives are three aspects that are grasping rudimentary knowledge, extension of art cultivation and increasing of research competence. The article mostly elaborates that settings arrangement of course content, the supple of teaching method bringing in video information, paying attention to the concepts of ＂cultural circle＂and ＂model＂in the course of teaching. The article indicates that we should bring academic history into Grotto art monographic teaching, so we can lead undergraduates to hackle research method on grotto art and to discover new questions.%本文主要讨论了中国美术史中佛教石窟美术专题教学的相关问题，将教学目标设计为基础知识掌握、美术修养扩充及研究能力提高三方面。主要阐述包括课程内容的设置安排、授课过程中引入视频教学资料教学方法补充、在具体授课过程中注意“文化圈”、“样式”等概念的问题，并指出将佛教石窟研究的学术史引入到石窟美术专题教学中，从而引导学生总结梳理石窟美术的研究方法与发现新问题。
Full Text Available This paper addresses the common assumption that Aboriginal art has been absent from Australian art histories and demonstrates how this is not so. It criticises the notion that art history should be represented by specialised art-history books and argues for the important of art museum displays as texts. It also examines the ways in which Aboriginal art has been examined in literature devoted to Australian history and anthropology. It foregrounds the idea that arts history is not necessarily best represented by official art historical texts.
Into the Curriculum. Art: The Z Was Zapped [and] Art: Friendly Plastic [and] Music: American Composers [and] Reading/Language Arts: Chocolate Day [and] Science: Moose [and] Social Studies: Women's History Project.
Rossi, Marie; And Others
A group of six articles describes activities for art, music, reading/language arts, science, and social studies. Each article includes library media skills objectives, curriculum objectives, grade levels, resources, instructional roles, activity and procedures for completion, evaluation, and follow-up. (AEF)
Everaldo de Oliveira Andrade
Full Text Available Este artigo pretende avaliar em que medida arte e política se expressaram na criação e na ação do artista e militante político boliviano Miguel Alandia Pantoja, ativo participante de momentos centrais da História do seu país como a guerra do Chaco, a revolução de 1952 e a Comuna de La Paz de 1971. As influências do indigenismo andino e do muralismo mexicano parecem ter-se cruzado com as opções políticas de Alandia e com seu engajamento na proposta dos artistas ligados ao Manifesto por Uma Arte Revolucionária e Independente lançado por André Breton, Diego Rivera e Leon Trotski em 1936, permitindo o surgimento de uma obra original, polêmica e marcante para a História latino-americana.This article intends to evaluate how art and politics are expressed both in the creation and in the action of the Bolivian militant politician Miguel Alandia Pantoja, who was an active participant in decisive moments of his country's history, as the Chaco War, the 1952 Revolution and the Commune of La Paz in 1971. The Andean indigenismo and the Mexican muralist influences seemed to have crossed with Alandia political options and with his enrollment at the proposal made by artists related to the Manifesto for a Revolutionary and Independent Art launched by Andre Breton, Diego Rivera and Leon Trotski in 1936, allowing the uprising of an original and controversial artistic creation for Latin American history.
This article explores the possibility of testing hypotheses about art production in the past by collecting data in the present. We call this enterprise “experimental art history”. Why did medieval artists prefer to paint Christ with his face directed towards the beholder, while profane faces were noticeably more often painted in different degrees of profile? Is a preference for frontal faces motivated by deeper evolutionary and biological considerations? Head and gaze direction is a significa...
What do 14 Year 7 students, an art teacher, a history teacher and the Victoria and Albert Museum have in common? They are all part of the "Stronger Together" Museum Champion project run by The Langley Academy and the River & Rowing Museum and supported by Arts Council England, designed to engage students, teachers and museum staff…
Full Text Available When Ludwig Klages visited Åbo (a coastal city in Finland, in 1935, his host was Lars-Ivar Ringbom (1901-1971, an art historian and docent at Åbo Akademi University. In 1969, Ernst Gombrich visited the same city, and this time his host was Lars-Ivar Ringbom’s son, Sixten Ringbom (1935-1992, who soon was to follow his father as a professor in art history. I use the image of these visits as a starting point for my discussion about the change in the art historical interests of Lars-Ivar Ringbom and Sixten Ringbom. I will concentrate particularly on the impact that Ludwig Klages had on Lars-Ivar Ringbom writings. The polarity and the tension of rational and irrational that structured Lars-Ivar Ringbom’s work was later echoed in the work of Sixten Ringbom. Sixten Ringbom’s thinking is in dialogical relation and partly contradictory to his father’s studies.
Look and Do Ancient Egypt. Teacher's Manual: Primary Program, Ancient Egypt Art & Architecture [and] Workbook: The Art and Architecture of Ancient Egypt [and] K-4 Videotape. History through Art and Architecture.
Luce, Ann Campbell
This resource contains a teaching manual, reproducible student workbook, and color teaching poster, which were designed to accompany a 2-part, 34-minute videotape, but may be adapted for independent use. Part 1 of the program, "The Old Kingdom," explains Egyptian beliefs concerning life after death as evidenced in art, architecture and…
When we try to make sense of pictures, what do we gain when we use a particular method - and what might we be missing or even losing? Empirical experimentation on three types of mythological imagery - a Classical Greek pot, a frieze from Hellenistic Pergamon and a second-century CE Roman sarcophagus - enables Katharina Lorenz to demonstrate how theoretical approaches to images (specifically, iconology, semiotics, and image studies) impact the meanings we elicit from Greek and Roman art. A gui...
Full Text Available The paper is based on the results of the project All This Painting hasn’t Gone to Waste, 2011, which deals with early 16th century sacral wall paintings in southern Slovenia. It tries to resolve some dilemmas in communication with the wider public and presents main objectives in regard to awareness-rising and promotion of art heritage, for example encouragement of institutions and individual experts for more intensive study and/or conservation-restoration work.
Cole, Richard Glenn
In the eighteenth century there were enough printed sources and archival materials to challenge or even overwhelm historians of that day. Two productive editors of lexicons and information management were Christian Gottlieb Jocher, who taught history at the University of Leipzig and became the chief librarian at his university, and Johann Heinrich…
‘Hans Tietze and art history as Geisteswissenschaft in early twentieth-century Vienna’ translated by Clarice Zdanski with an introduction by Riccardo Marchi, originally published as Riccardo Marchi, ‘Hans Tietze e la storia dell’arte come scienza dello spirito nella Vienna del primo Novecento’, Arte Lombarda, 110/111, 1994, 55–66
Full Text Available This article analyzes the Methode der Kunstgeschichte, published in 1913 by Hans Tietze (1880-1954, an important but often neglected figure of the Vienna school of art history, who had been a student of Franz Wickhoff and Aloïs Riegl and was one of Ernst H. Gombrich’s teachers. In the Methode Tietze developed a bold and innovative idea of art history out of a confrontation with momentous intellectual and artistic challenges. These were (1 the discussion about the object and method of the Geisteswissenschaften (human and cultural sciences in German philosophy, (2 Riegl’s and Wölfflin’s formalism, which Tietze critiqued as insufficient, also in response to the emergence of expressionism, which he courageously and precociously supported, and (3 epistemological debates that questioned notions of ‘objective’ knowledge.
Nueva perspectiva en los estudios de la Historia del Arte en la Universidad Nacional de Educación a Distancia (New Perspective in the Studies of the History of the Art in the National University of Education Distantly
Mata Torres, Josefa
Full Text Available Resumen: La Universidad Nacional de Educación a Distancia (UNED, ha sido pionera al introducir en sus programas educativos el Grado de Historia del Arte. Con la unificación educativa europea propuesta en1999 en Bolonia, se ha consolidado el Espacio Europeo de Educación Superior (EEES, con lo cual ésta Universidad ha puesto en marcha la plataforma virtual educativa ALF(Aprende, coLabora, Forma. Sin embargo, esta iniciativa, ha estado cargada de una gran polémica, a la vez que ha supuesto un gran esfuerzo y dedicación tanto por parte del equipo Docente como de los Profesores Tutores de cada uno de los centros asociados. Abstract: The National University of Education Distantly, has been pioneering on having introduced in his educational programs the Degree of History of the Art. With the educational European unification proposed en 1999 in Bologna, there has been consolidated the European Space of Higher Education (ESHE, with which this one University ALF (He learns, collaborates, Forms has started the virtual educational platform. Nevertheless, this initiative, she has been loaded with a great polemic, simultaneously that has supposed a great effort and dedication so much on the part of the Educational equipment as the Teachers Tutors of each one of the associate centers.
‘Towards an “exakte Kunstwissenschaft”(?, A report on some recent German books on the progress of mid-19th century art history. Part I: Work by German art historians on nineteenth Century art-historiography since 2000’
Full Text Available Part I. Some younger German art historians have lately spent much effort on exploring the history of their discipline, especially that of the period c. 1820 to 1880. This article concentrates on three works, by Locher, Prange and Rößler, but takes note of books and articles by a number of other recent authors as well. Of particular interest has been the nineteenth century conundrum, summarised as: empirical ‘scientificness’ and, or versus, the metaphysics of ‘art’. It can be found in the writings of two to three generations of German art historians, from Rumohr to Kugler, to Schnaase and to Burckhardt, Springer and Justi. In order to reach an understanding of how the old authors arrived at their analyses, as regards their theories as well as in their dealings with individual works of art, the new investigations use a range of approaches: A broadly contextualised cultural history, a history of ideas approach which concentrates on major philosophical tenets and an approach which explores the textual-organisational structures of the old writings in a more literary sense. In due recognition of both the perspicacity and the thoroughness of the new books this article aims to provide a comprehensive report rather than an overtly critical review. Summarising considerations as well as further problematisations of some of the major issues can be found in ‘Part II’.
The art of history teaching is at a crossroads. Recent scholarship focuses on the need to change the teaching of history so students can better learn history, and insists that history teachers must move beyond traditional structures and methods of teaching in order to improve their students' abilities to think with history. This article presents…
Folgerø, Per O.; Hodne, Lasse; Johansson, Christer; Andresen, Alf E.; Sætren, Lill C.; Specht, Karsten; Skaar, Øystein O.; Reber, Rolf
This article explores the possibility of testing hypotheses about art production in the past by collecting data in the present. We call this enterprise “experimental art history”. Why did medieval artists prefer to paint Christ with his face directed towards the beholder, while profane faces were noticeably more often painted in different degrees of profile? Is a preference for frontal faces motivated by deeper evolutionary and biological considerations? Head and gaze direction is a significant factor for detecting the intentions of others, and accurate detection of gaze direction depends on strong contrast between a dark iris and a bright sclera, a combination that is only found in humans among the primates. One uniquely human capacity is language acquisition, where the detection of shared or joint attention, for example through detection of gaze direction, contributes significantly to the ease of acquisition. The perceived face and gaze direction is also related to fundamental emotional reactions such as fear, aggression, empathy and sympathy. The fast-track modulator model presents a related fast and unconscious subcortical route that involves many central brain areas. Activity in this pathway mediates the affective valence of the stimulus. In particular, different sub-regions of the amygdala show specific activation as response to gaze direction, head orientation and the valence of facial expression. We present three experiments on the effects of face orientation and gaze direction on the judgments of social attributes. We observed that frontal faces with direct gaze were more highly associated with positive adjectives. Does this help to associate positive values to the Holy Face in a Western context? The formal result indicates that the Holy Face is perceived more positively than profiles with both direct and averted gaze. Two control studies, using a Brazilian and a Dutch database of photographs, showed a similar but weaker effect with a larger contrast
Eloi Biosca Frontera
Full Text Available This article is a summary and conclusions of a field study carried out in a secondary education classroom with the aim of experimenting and observing how 13-year-old students learn the history of architecture by using complex virtual reality software. Within the framework ofautonomous and active learning, students act as builders of some of the historic landmarks studied during the course. Thus, students learn, for instance, the features of Romanesque and Gothic architecture as they are asked to build block by block –and with the aid of a computer equipped with virtual reality software– various buildings of the periods concerned. The student-centered approach which concentrates on students’ learning also allows for a high degreeof student autonomy and creativity. At the same time, this method fosters interactivity, and the spectacular results of virtual recreation and its stimulating activities are highly motivatingand contribute to improve student concentration and achievement alike.
Feldman, Edmund Burke
Throughout European history, artists have celebrated the values of their patrons. Today, the schools are the largest employer of artists. To justify art education according to current Back-to-Basics values, art teachers should explain visual art as a language, which they can teach students to read and use. (SJL)
Berube, Maurice R.
Describes the American public's growing interest in art after World War II. Discusses the problematic history of arts in the public school curricula, in which arts programs are seen as a last priority in school reform and are the first to be eliminated in school districts facing financial retrenchment. (SR)
Brown, Jill Harris
Every year, the Parent-Teacher Association of Ferndale Elementary School in Atlanta, Georgia sponsors a fun road race for the students, teachers, families, and community. This annual event has inspired the author to develop the Running and Art project to show off her students' art and squeeze in a little art history, too. In this article, the…
At present, the exhibitions about art history can be seen in the museums of many Asian countries and districts, like Japan, China, Korea and Taiwan of China. However, the content of these exhibitions is mainly about the art history of each country and region. By contrast, the exhibitions in European and American countries are arranged within the framework of European Art History. After exploring history, we can ifnd that the concept of “art history” in East Asian countries formed in the late 19th and early 20th century, a period of disorganization result-ing from the collapse of the Chinese Hegemony and prevailing nation-alism and localism. In reality, art has been always interacting across national borders, so the art histories in these countries can be referred to as “Art History of East Asia”. The construction of such an Art History can be regarded as an important touchstone for deducing whether or not East Asia can transcend the modern era of disorganization and confron-tation.%目前，日本、中国、中国台湾地区、韩国等东亚的国家和地区博物馆中都有美术史方面的展览，但是，这些展览都是以各个国家或地区的美术史为主要内容。实际上，在欧美各国所展示的美术史，都是在欧洲美术史这一宏观视野下开展的。东亚各个国家与地区却与此截然不同。究其背景，19世纪末、20世纪初逐渐形成了“美术史”这一认知，而这一时期，又正好是华夷秩序崩溃、各个国家和地区的民族主义或地方主义盛行的时期。我们能否将美术交流的历史构建出一个更为宏观的“东亚美术史”，意味着我们能否告别或超越分裂与对立的东亚近代的历史。
An introduction to the field of Arts-in-Business outlining 4 different approaches: 1) Art as decoration, 2) Art as intertainment, 3) Arts as instrumental, 4) Art as strategic......An introduction to the field of Arts-in-Business outlining 4 different approaches: 1) Art as decoration, 2) Art as intertainment, 3) Arts as instrumental, 4) Art as strategic...
Ogarkova Elena Vladimirovna
Full Text Available The article emphasizes an urgency of the role of an art heritage and folklore of 1941-1945 years as perspective source for studying influence of war on the person and a society. By the example of activity of artists of a front seal the variety of displays of satire and humour in wartime is shown. An example of the fact that laughter and humor played a major role in the war can be found in the memoirs of many combatants, civilians, people of different professions. Even full of terrible details of the memories of children are mentions of Stalingrad as the edge of death, hopeless situation, people have found the strength to joke. Culture of folk humor – a powerful spiritual resource of any nation. On the one hand, it appears the attitude of people in a particular era. On the other hand, satire, humor, laughter – effective tools of propaganda and ideological influence. The culture of laughter responded to the challenges of wartime. It is possible to identify the mechanisms of self-preservation society and the individual. The issue of the research project “satire, humor, laughter in the culture of the Great Patriotic War”. Visual sources actualize the role of the artistic heritage in the formation of objective, reliable, multi-faceted, holistic scientific knowledge about the processes of socio-cultural development of the state and society in a world war. Artistic interpretation of scientific knowledge and the Great Patriotic War as a phenomenon of history and culture go hand in hand, influencing each other. Message from front generation accumulated in the art form and transmitted to descendants, as a cultural heritage of the Great Patriotic War, is the basis for the formation of the historical memory of the Great Patriotic War and World War II as a whole.
Chinese art history has changed the closed painting history into the international art tide since the 20th century as we can see from the cases of Chinese art history,such as Chen Shizeng and Pan Tianshou's The History of China Painting influenced by Japanese art historians in 1920s,Li Puyuan's An Introduction to the History of Chinese Art and Teng Gu's History of the Tang and Song Painting influenced by the Western historical materialism in1930s,and the British scholar Ke Lige's Ming art research and the Chinese American scholars Fang Wen's Chinese art history studies in the late period of the 20th century.There are two primary paths as following: On the one hand,the theories and methods of the Japanese and the Western have profoundly impacted on the study of art history scholars in China;On the other hand,China's scholars like Fang Wen have created new research methods to respond to the challenge of Western art historians so as to promote the in-depth development of Chinese art history into the international world,which should be one of the countermeasures and directions of China art history research in the 21st century.%从20世纪30年代滕固《唐宋绘画史》、李朴园《中国艺术史概论》所受西方风格理论与唯物史观的影响,再到20世纪下半叶英国学者柯律格的明代艺术研究及旅美华人学者方闻的中国艺术史研究的案例中,可以看出20世纪以来中国美术史研究已经改变了此前那种封闭的画史、书史研究状态,进入到国际艺术史学的大潮中。主要路径有两方面：一方面,西方的艺术史观与方法深刻地影响了中国学者的艺术史研究;另一方面,如方闻那样,以创造新的中国艺术史研究、分析方法来应对西方艺术史学的挑战,从而推动中国艺术史学的深入发展和融入国际艺术史学的大背景。
@@ 回顾起来,1996年夏天,著名的艺术杂志(October)第77期有关艺术史(art history)和视觉文化研究(visual culture study)的讨论,其原因可谓由来已久.艺术史家巴克桑德尔(Michael Baxandall),在其(Patterns of Intention)一书中,曾表达过他的"语言焦虑".他认为,艺术品的历史解释是某种意义上处在艺术批评话语内的"特殊趣味",艺术史是一种本质的批评话语.但是他发现,视觉艺术的旨趣虽然在于其视觉性,而艺术史家凭借语言(words)所进行的描述却天然地和视觉艺术作品之间容易错位.这种语言焦虑实际上是一种关于现实的焦虑,它一直存在干艺术史本身的写作之中.
Full Text Available Johnson offers a detailed study of women in the Viennese avant-garde art movements between 1880 and 1940, detailing both the careers and the critical/public reception of their contributions to various Vienna art groups. Johnson aims to counter the myth that women were confined to the private sphere, suffered institiutional discrimination and were hence unrecognized by their contemporaries, arguments Johnson attributes misleadingly to ‘feminist’ art history. Her book sets itself up in refutation to feminist straw women, thereby distorting feminist analysis of women and modernist art movements. The effect of this false battle with straw feminists is to miss out on the analysis of the specific significance of the politics of memory in the twentieth century’s selective representation of the artworlds of Vienna that serve precisely to confirm feminist analysis of the modernist phenomenon of new gender politics being erased by the distinctly unmodernist forms of androcentric art historical and museal representations of modernist art movements and their significantly egalitarian art worlds.
Falls, Sarah E.
Art libraries face similar issues to other types of libraries during the digital transition but have unique twists driven by the needs of their collections. Art library information seekers may possess a sense of what an art library is: a library, set apart, to support the study of art and art history. For art libraries, it is the collection,…
Law, Sophia S. M.
Background: Under the challenge of many post-modern theories and critics on art and art history, the boundaries and definition of art has becoming more diverse. Conventional art appreciation no longer covers all the debates and issues arising from the complex meaning of art in the modern world. Art education today must widen students' vision of…
Scholl, Jennifer Coordinator; Baker, James; Boyer, William; Eidsheim, Nina
In 2002, the University of California San Diego ArtsBridge America program initiated a project, funded by the National Geographic Society Education Foundation, that was designed to address the lack of standards-based geography content and culture-based arts instruction within San Diego elementary schools. Representatives from host ArtsBridge institutions identified the following factors contributing to this deficiency: • a perceived lack of arts and geography competence amongst elementary ...
Advanced Techniques of Russian Art Actualization in Modern Youth Environment (on the Basis of «History of World Art and Literature» Course Teaching of the Students of Nizhy Novgorod Institute of Management and Business
Ekaterina A. Kropotova
Full Text Available The author considers conceptual issues, characterizing Russian art as an element of spiritual and ethic system of personality development, the result of European and Russian cultural systems co-integration; methods of Russian art actualization in modern youth environment have been specified.
Most students in America can graduate from high school without ever analyzing a piece of art. Perhaps these students will take an art history or an art appreciation course in college that may incorporate a few references to literature and history. Math or science connections will most likely remain entirely absent. Why do we treat art analysis…
Every year, fourth graders at Sterling Morton Elementary School in Ohio present a talking art museum for the school and community. In this article, the author describes a lesson on art history which culminates in an activity showcasing all the students' finished paintings in gold frames. A student stands behind the painting and pokes his or her…
Van Dijk, T.
The Jordan Valley was once populated by a people, now almost forgotten by historians, with whom the pharaoh of Egypt sought favour. That is the conclusion reached by Niels Groot, the first researcher to take a PhD at the Delft-Leiden Centre for Archaeology, Art History and Science.
关联是指事物之间发生牵连和影响。在美术史教学中运用关联策略能让学生的认知结构产生更加顺利的迁移,从而有效促进教学。关联策略的主要方法有内容关联和形式关联。只要找到有价值的切入点,就可以运用关联策略辅助美术史教学。常用关联策略,力争让＂关联＂的思路成为学生学习美术史的一种意识和良好习惯。%Correlation means the relationship and inter-influence among things.The application of correlation strategy in fine arts history teaching is able to help the successful transferring of students＇ cognitive structure,so as to promote teaching.The main ways of correlation strategy are content correlation and style correlation. If valuable breakthrough point is found, correlation strategy can be utilized to aid fine arts history teaching. Teachers should constantly utilize correlation strategy, and try hard to make ＂correlation＂ am awareness and good habit in students＇ learning of fine arts history.
Gamboa Hinestrosa, Pablo
¿Cuál es la vigencia del arte precolombino? ¿Qué ha aportado ala corriente del arte universal? ¿Qué se deben mutuamente arte modernoy arte precolombino? Estos planteamientos nos sirven para establecerla vigencia del arte precolombino en Latinoamérica, buscandoantecedentes desde los tiempos de la Conquista hasta nuestros días.
Kula, Judith A., Ed.
This document provides art information with a range of applications for Arizona preschool teachers, administrators, and parents to guide them in their development of an appropriate, preschool art curriculum. Three primary goals are endorsed: (1) making art; (2) looking at and talking about art; and (3) art in culture and history. Instruction in…
Roche, Mark W.
This chapter provides a rationale for the value of a liberal arts education, addressing briefly the recent history of the liberal arts, explaining the value of the liberal arts in diverse educational settings as opposed to simply residential liberal arts colleges, and exploring a contemporary rationale for the liberal arts.
Aleksandre P. Lobodanov
Full Text Available The origins of artistic activities or rather art, and in recent decades the processing and consolidation of a new field in art history, art semiotics, are grouped together in the semiotic systems of applied and non-applied arts.In this paper, in particular, an analysis is made of the non-applied arts, in which non-verbal signs are used to express the form of human thought.The discussion focuses on the origins of non-applied arts, the image-forming process, the psychology of perception, the perception of sound and reproduction of sounds, the development of music and the development of dance in their entirety, as an expression of the inner condition that influences the body through movement: it thus provides a valuable contribution to the study of the non-applied arts.
20世纪上半叶，是中国社会向现代化转型的关键时期。在风起云涌的变革大潮中，中国的哲学、历史、文学等都步入了现代化的征程。与此相伴，中国的美术史学研究也在此种背景下实现了由传统形态向现代形态的转型。探讨20世纪上半叶中国现代美术史学产生和发展的思想文化背景，主要包括三个方面的内容：一是西学东渐与中国近代史学的牵引，二是新式美术教育与出版机构的推进，三是近代美术考古学的促进。%The ifrst half of the twentieth century is the critical period of China's social modernization. During the surging tide of change, Chinese philosophy, history, literature, etc. are embarked on a journey of modernization. Meanwhile, art history studies in China have also achieved the transition from traditional forms to modern forms in this context. Analysis of the generation and development of Chinese modern art history’s ideological and cultural background in the ifrst half of the twentieth century mainly consists of three parts:driven by eastward spread of western culture and the modern history of China;advanced by new art education and publishing company;promoted by recent art archaeology.
Gladding, Samuel T.
In this book counseling approaches with a variety of populations are examined using these creative arts: music; dance/movement; imagery; visual arts; literature; drama; and play and humor. It is noted that all of these arts are process-oriented, emotionally sensitive, socially directed, and awareness-focused. Chapter 1 discusses the history,…
Egidio Calzini (1857-1928 e gli studi di storia dell'arte in Romagna e nelle Marche tra XIX e XX secolo / Egidio Calzini (1857-1928 and the studies of art history in Romagna and Marche regions between the 19th and the 20th centuries
Francesco De Carolis
The paper aims to discover the career and the critical profile of Egidio Calzini, an art historian who actively contributed to the study of the artistic heritage in Romagna and Marches between 19th and 20th century. Following a diachronic order of his studies, the research underlines both his relationship with the rest of scholars of that time, examining unpublished sources, and his best discoveries, analyzing his publications. From the monography on Marco Palmezzano (1894 to direction of the specialized journal titled «Rassegna bibliografica dell’arte italiana» (1898-1916, the article defines his personality, who contributes to the period of the art history in which started the current features of the discipline, both about conservation and research studies.
Henri Matisse, a rewritten history of modern art, is a deserved leader of Fauvism. Not subject to the limitations inherent color on color relationships, There is an decorative effect on the screen with Matisse. The u-nity of pure colors and lines, characters and background fusion in a decorative techniques. Matisse embarked on a far-reaching impact on 20th-century art, the avant-garde art of the road, the influence of his art and ideas to the younger generation is inestimable
Acoustic event detection refers to the task of detecting each semantic segment in an audio stream and associating it with a classification label .Acoustic event detection is a fundamental technique for sound scene recognition and semantic understanding ,and it is very promising in many application fields ,such as the semantic understanding of the environmental sounds for a human‐like robot ,the con‐text aware of sounds in the travelling environment for an unmanned vehicle .In this paper ,the history of acoustic event detection is reviewed from the point of view of related fields and application requirements , meanwhile ,the typical works of acoustic event detection is introduced ,and the future research of acoustic event detection is analyzed .In the analysis of related fields ,we focus on the researches of speech recogni‐tion ,music processing based on computation ,and sound processing based on auditory .In the application requirements ,we introduce the works of context aware of sounds and multimedia information retrieval . Finally ,the state of the art in acoustic event detection is analyzed ,and its future research fields is predic‐ted .%声学事件检测是指对连续音频信号流中具有明确语义的片段进行检测与标定的过程。它是机器对环境声音场景进行识别和语义理解的重要基础，并将在未来类人机器人声音环境的语义理解、无人车行车周边环境的声音感知等方面发挥重要的作用。本文分别从与声学事件检测相关领域的发展历程以及应用需求出发，对声学事件检测的历史进行了回顾，介绍了典型的研究工作，并分析了未来的发展方向。在相关领域的分析中，重点介绍语音识别、基于计算的音乐处理及基于听觉特性的声音处理等方面的工作；在应用需求方面，介绍机器的环境声音感知与多媒体信息检索方面的工作；最后分析本领域的研究现状，并展望其未来的发展趋势。
Since 1900, the connections between art and technology with nature have become increasingly inextricable. Through a selection of innovative readings by international scholars, this book presents the first investigation of the intersections between art, technology and nature in post-medieval times....... Transdisciplinary in approach, this volume’s 14 essays explore art, technology and nature’s shifting constellations that are discernible at the micro level and as part of a larger chronological pattern. Included are subjects ranging from Renaissance wooden dolls, science in the Italian art academies, and artisanal...... Camilla Skovbjerg Paldam and Jacob Wamberg trace the Kantian heritage of radically separating art and technology, and inserting both at a distance to nature, suggesting this was a transient chapter in history. Thus, they argue, the present renegotiation between art, technology and nature is reminiscent...
当代中国竹笛表演艺术发展的历程是民族器乐发展史研究的重要内容。文章以当代中国竹笛表演艺术发展史为研究对象，通过对竹笛艺术发展的初始期、文革期、繁荣期三个阶段的典型案例、主要特征及代表性艺术家的分析与研究，探讨了竹笛发展的规律，为当代中国竹笛表演艺术未来的发展提供可资参考的依据。%The developing process of contemporary Chinese bamboo flute ’ s performing art is an inseparable part of the research of the history of instrumental music .With the effort of old ,middle-aged and young educators of bam-boo flute ,talented people of bamboo flute are produced by each generation in the new era and the teaching of bam-boo flute enters a full and new period .However ,compared with the flourish performing art of bamboo flute ,the sys-tematic study of its history has not been paid sufficient attention by the academia .Therefore ,it is of vital importance to systematically analyze and research the developing history of the performing arts of bamboo flute ,and summarize its artistic regulations and lessons learned in the developing process ,which serves as a reference for the research of other folk instrumental music art .
Ceramic art in the Qing Dynasty when the Republic of China contemporary ceramic art rise, flourish with each passing day, and the drawings of the design, composition, color, form and point, line, surface, cutting, coloring and other techniques are based on traditional innovation, a breakthrough development, will push to a peak of carved porcelain art.%刻瓷艺术于清代民国时兴起,当代刻瓷艺术日趋繁荣,并且在图纸设计、构图、色彩等形式方面和点、线、面、刀法、着色等技法方面都在传统基础上锐意创新,获得突破性发展,将刻瓷艺术推向更高峰.
美国文理学院是美国高等教育中别具特色的一个重要类型，历史悠久，经历多次时代的挑战。随着美国大学模式的确立，其从占据主导地位到面临生存危机，但由于坚守博雅教育理念等多方面因素而得以继续保留，并以优质而富有特色的本科教育在美国高等教育中占据一席之位。美国文理学院的发展历史和特点对我国优化高等教育结构、引导高校特色发展和凝练办学理念、促进顶尖创新人才培养上具有重要的借鉴意义。%Liberal arts colleges are an important and distinctive type in American higher education. With a long history, liberal arts colleges, used to be the dominant type in American higher education, have confronted with identity crisis, especially since university mode formed in America. Through insisting on liberal education and supplying the good-quality undergraduate education with distinctive features, liberal arts colleges still play an important role in American higher education. Therefore, the history and characteristics of American liberal arts colleges can be used for reference to higher education reforms in China.
高校中国美术史课程因其理论课的性质,往往显得枯燥而引不起学生的学习兴趣.教师在教学中可以通过引导学生的内在觉醒,以人文演绎与情景创生等方式激发学生的学习动机,并在视觉轨迹中进行理论解读以对美术史学科进行图史共建,将美术史的先验知识与学生的学习经验和切身生活经历紧密联系,从而使理论知识得到人文认同,并调转传统单一的教学模式不断探寻更加多元的教学方法,因材施教对学生进行有针对性的教学,以及注重教师自身业务素养的全面提升等几个方面使中国美术史课堂教学效果得到有效性提升.%The course in Chinese art history seems boring because of its theoretical nature. And it can not arouse students'interest. However, teachers can take several strategies to improve teaching effect. Teachers can guide students'internal awakening, and stimulate students' learning motivation through cultural interpre-tation and situational creation. They can also explain art theory to construct the image and its history. Teach-ers can contact the prior knowledge of art history with students'learning experience and personal experience. They can change the traditional teaching mode, and explore diverse teaching methods. Meanwhile, they should teach students in accordance with their aptitude. And teachers should continuously improve their own professional qualities. Only in this way can we improve the teaching effect of Chinese art history.
Everaldo Oliveira Andrade
Este artigo pretende avaliar em que medida arte e política se expressaram na criação e na ação do artista e militante político boliviano Miguel Alandia Pantoja, ativo participante de momentos centrais da História do seu país como a guerra do Chaco, a revolução de 1952 e a Comuna de La Paz de 1971. As influências do indigenismo andino e do muralismo mexicano parecem ter-se cruzado com as opções políticas de Alandia e com seu engajamento na proposta dos artistas ligados ao Manifesto por Uma Art...
The feminist movement has at least one hundred years, swept almost "every country is globalization". However, as the "here" culture, economy level of development lags behind, the idea of people also tend to take the conservative color, feminism is still a long way to go for the cause. At the end of the 1960 s, with the decline of modern "masculinity", appeared in the field of Western art in the new genre of art" women". The " women" art also quickly developed into a global phenomenon, we look forward, as a feminist art form can go far.% 女权主义运动已经至少持续一百多年了，几乎席卷了“被全球化”的每一个国度.但是，正如“我们这儿”的文化、经济的发展水平之滞后，人们的观念也不免带上保守落后的色彩，女权主义仍然是一个任重而道远的事业.20世纪60年代末，随着“男性主义”的现代主义的衰落，在西方艺术领域中出现的全新的艺术流派“女性主义”.女性主义艺术同样迅速发展为一种全球性现象，我们期待，作为艺术形式的女性主义可以走的更远.
Full Text Available Using as a contextual reference my experience of seeing the original and copy of Michelangelo's David in Florence, I briefly introduce how the Platonic legacy has affected that discourse. The Western preference in art and aesthetics is typically in favor of the original over the copy, despite whatever indiscernibility may exist between them. Since Arthur Danto has treated this phenomenon in his text The Transfiguration of the Commonplace, his relevant comments are considered and adapted for the purpose of working through how one understands the relationship between the original and copy in terms of a criterion for defining art.
Although the art-historical context of a work of art is important to our appreciation of it, it is our knowledge of that history that plays causal roles in producing the experience itself. This knowledge is in the form of memories, both semantic memories about the historical circumstances, but also episodic memories concerning our personal connections with an artwork. We also create representations of minds in order to understand the emotions that artworks express.
This paper discusses the concept of character formation as it can be positively impacted by folk arts in education. A long-standing tradition in U.S. education is for the teacher to take a leading role in molding the character of young people, as outlined through the years by such scholars as Thomas Jefferson, Horace Mann, and Rachel Davis DuBois.…
Full Text Available This essay is the concluding chapter of a study of the work of Max Loehr (1903-1988, an art historian whose visual analysis of unprovenanced Chinese bronzes famously anticipated the discoveries of archaeologists. It argues that Loehr’s strictly pragmatic understanding of style is implicit in the daily practice of most art historians, but that most of our explicit uses of the word, including such everyday expressions as ‘Romanesque style’ and ‘style of Raphael’, presume the existence of a mysterious, indefinable entity that is both a property of the object and a disembodied agent evolving independently of artists and objects. Not surprisingly, no procedure for ascertaining the style of an object has ever been described. The failure to recognize that style is not a physical property but only a shorthand for talking about comparisons is responsible for many classic confusions in art history. Finding the causes of a style or explaining its evolution (‘the origin of the Gothic style’, ‘the evolution from Renaissance to Baroque’, relating styles to times or cultures or nations, relating them across media (‘Baroque painting’ and ‘Baroque music’—these are fictitious problems, artefacts of a mistaken belief in a thing called ‘style’.
Full Text Available The question whether camera should be regarded as a technical device that only enables opportunity of duplicating images mechanically or an instrument that express artistic sensation of individual has strained the minds of artists, photographers, critics for years. The argument whether photograph is an art or not has enabled photograph a different dimension and has been discussed in details. In this essay, first of all short history of photograph was mentioned, then area of use of photograph in the field of art and views on photograph-art relation will be mentioned.
At present, the figurative art with earthenware is called “Tocho（Ceramic Sculpture）”, artists of “Tocho” are called “Tocho-ka”, and the “Tocho” exhibition is called “Tocho-ten” in Japan. However, it has not yet been closely discussed about the first user of those terms, or the time when those terms came to be generally used and applied to the definition of “Tocho”. Ichiga Numata （1873-1954） is placed with “father of the Tocho” or “the originator of the Tocho” as the person credited with the s...
Over the sweep of Chinese longstanding history,numerous treasures and heritages have been left over,among which the lacquer art is a brilliant one.China is the earliest country in the world using natural lacquer,In the early 1970s,archeologists unearthed a red lacquer wood bowl in an excavation in the
The art ideal is usually understood as an exemplary art that stands out in a formalist conception of the history of art, or as the art that matches the programmatic conception of a normative aesthetics. Hegel’s conception is different in that it makes no emphatic command for ideal conditions of art or for it. Instead, and according to his notion of the ideal, which is none other than the idea of the true in history and its realities, the art ideal is art itself accomplishing this task of real...
With the increasing demand of comprehensive and innovative talents in the 21st century, the construction of art discipline has become a hot issue in the field of art and academia. The art discipline in comprehensive universities in China has just been set up, and so far there hasn＇t any effective discipline construction system. Concerning the construction of the art discipline in comprehensive universities, it is held in this paper that only by having thorough review of the history of art discipline construction, and analyzing the superiority and challenges, weighing the pros and cons, enhancing the strong points and avoiding the weaknesses can comprehensive universities expect to have a brighter future, and shoulder the historic mission of training high quality comprehensive and innovative talents.%面对21世纪对综合型、创新型人才的需求,综合性大学进行艺术学科建设,已成为近年来艺术领域及学术界关注的一个焦点问题。时至今日,我国综合性大学艺术学科建设仍处于起步阶段,还没有形成行之有效的建设体制。在综合性大学艺术学科建设的探索之路上,只有充分了解综合性大学艺术学科建设的发展脉络,分析综合性大学建设艺术学科具有的优势和面临的挑战,权衡利弊,扬长避短,才能期望综合性大学艺术专业建设有一个光明的前景,并担负起培养综合型、创新型高素质人才的历史使命。
As one of the most commonly and widely adopted art forms, vocal art has been closely related with national culture and the aesthetics trend. Traditional Chinese vocal art rooted from China' s long history and distinctive culture. On the contrary, Italian bel canto stems from the prospect of Italian Opera Art during the Renaissance period. This essay discusses the differences between East and West vocal art, from its aesthetic and culture origin.
The next time you walk through the local art museum or open an art history book, make a tally sheet of the names of the artists represented. Then sort the artists by gender and ethnicity. What is the ratio of art created by women to that created by men? What is the ratio of Eurocentric art to non-Eurocentric art? It was an experience like this…
creation of a practical utopia (?heterotopia?) in the organisational context. The case study makes use of both art- and organisational theory. The thesis concludes with an outline of a framework for OA that is derived from contemporary theory of mainly Relational Aesthetics (Bourriaud), Conceptual Art......University of Copenhagen / Learning Lab Denmark. 2005 Kort beskrivelse: Organisational Art is a tentative title for an art form that works together with organisations to produce art. This is most often done together with non-artist members of the organisation and on-site in their social context. OA...... is characterised as socially engaged, conceptual, discursive, site-specific and contextual. Abstract: This investigation is about Organisational Art (OA), which is a tentative title for an art form that works together with organisations (companies, institutions, communities, governments and NGOs) to produce art...
中国革命历史题材电影由于纪实性的艺术特点，编导者秉承儒家传统美学精神，在电影的拍摄中特别推崇尚实求真的审美艺术。中国革命历史题材电影的艺术魅力不仅表现在忠实历史，追求故事情节的真实可信，以真取胜，也体现在对情感的书写和张扬，以情动人。主创者以严谨的创作态度和艺术的表现方法，创作出许多故事情节真实生动、人物形象血肉丰满、情感基调真挚深沉的优秀革命历史题材电影作品。%Because of the documentary features of film to tell the revolutionary stories of China , editing staffs with traditional aesthetic spirit of Confucianism have respected particularly the authenticity of aesthetic art when shooting movies about Chinese revo -lutionary history theme .The truth of art have been not only performed in faithful history and believable story , but also reflected the real emotion of characters in the film .The editing staffs with strict attitude of creation and artistic performance method have created many outstanding works including vivid plots , plentiful image and deep tone .
Henn, Cynthia A.
There are many interpretations for the symbols that are seen in rock art, but no decoding key has ever been discovered. This article describes one classroom's experiences with a lesson on rock art--making their rock art and developing their own personal symbols. This lesson allowed for creativity, while giving an opportunity for integration…
Full Text Available La incertidumbre y desconfianza que en ocasiones suscitó la presencia y actuación de los médicos diplomados en la ciudad de México durante el gobierno de Porfirio Díaz (1877-1911, condujo a que éstos profesionistas consideraran como esencial fortalecer, vigorizar y crear, hasta donde fuese posible, una imagen respetable, competente y homogénea de su labor profesional. Para ello, recurrieron, recrearon y adaptaron las máximas de ética médica de la cultura médica occidental a su labor profesional, y se abocaron a rescatar del olvido histórico a destacados médicos del convulso siglo diecinueve mexicano. Con ello, como se expondrá en este ensayo, anhelaban responder, reaccionar y neutralizar la incredulidad y la crítica que el público manifestaba en torno a su quehacer y desempeño profesional.The uncertainty and mistrust towards the presence and activities of academic medical practitioners in Mexico City during the Porfirio Díaz government (1877-1911 convinced these professionals that is was essential to create, strengthen and transmit a respectable, competent and homogeneous image of the profession. To this purpose they recovered, recreated and adapted the ethical maxims of the occidental medical culture to their professional work, and rescued eminent medical figures of Mexico's convulse nineteenth century from being lost in the oblivion of history. Their goal - as it will be expounded in the following pages - was to respond, oppose and neutralize the criticism and disbelief expressed by the public against their professional performance.
Full Text Available This article is based on what has been outlined in ‘Part I’ and on additional references to other new German work, as well as to articles by two of the protagonists of the 1870s and 1880s, Anton Springer and Moritz Thausing. The central issue is the nineteenth century’s desire for a Verwissenschaftlichung of the subject, to render the subject ‘purely scientific’. Principally this concerns the way in which older kinds of connoisseurship were juxtaposed to the new claims of a strictly ‘historical’ approach. Much shorter sections touch on aspects of style, iconography and form, as well as on the history of the provision of illustrations.
Full Text Available This article examines scholarly publications between the 1770s and 1840s of one of the most published Athenian red-figured vases, a hydria first known in the collection of Sir William Hamilton and since 1772 in the British Museum. It reviews critically several visual and textual interpretations of the vase by a range of scholars of various European nationalities. It offers a new interpretation of a well-known object and reveals the extent to which its iconography influenced the development of art-historical writing and vice versa. While d’Hancarville was a pioneer in his own peculiar way, others were all more or less influenced by him though having their own agendas, not really related to any intrinsic interest in the vase, or any vase, as an object. What the article establishes is that although every writer was the product of his time and culture, only one of them (Eduard Gerhard really advanced the study of the vase or Greek ceramics being more thorough and imaginative in analyzing the subject matter.
In 2000, CERN hosted Signatures of the Invisible – one of the landmark initiatives in arts and science. In 2012, CERN is now initiating its own science/arts programme Collide@CERN in different arts disciplines. The first of these is in digital arts, and the international competition to find the winning artist is called the Prix Ars Electronica Collide@CERN. It was announced September 2011 at CERN’s first collaboration with an international arts festival – Ars Electronica in Linz. The competition attracted over 395 entries from 40 countries around the world. The winning artist, Julius Von Bismarck, will begin his two month residency here at CERN next month. Ariane Koek who leads on this initiative, discusses the residency programme, as well as the background about Art@CERN. History has shown that particle physics and the arts are great inspiration partners. The publication of the paper by Max Planck which gave birth to quantum mechanics as well as those by Einstein, heavily influenced some of the grea...
至20世纪70年代,西方出现了所谓的New Art History(新艺术史)思潮.这个名称,在80年代通用于欧美,但和"传统艺术史"的名称一样,是一个极为宽泛的称谓,涵盖如下四种主要研究趋向:第一,运用马克思主义政治、社会和历史理论解释艺术史;第二,女性主义艺术史,对男权进行批判;重新肯定女性在历史和当代社会中的地位;第三,对视觉再现,以及它在社会建构和性认同中作用的心理学阐释;第四,分析符号及其意义的符号学和结构主义艺术史.参见曹意强一文,,2005年第1期,第13页. 作为一位在西方颇负盛名的批评家,阿瑟·丹托由分析哲学而进入艺术批评领域.同时他也作为一位艺术史研究的学者,其早在20世纪80年代早期即提出"艺术的终结"的理论,在其1997年出版的[After the End of Art : Contemporary Art and the Pale of History]当中,正如其副标题所暗含的意蕴,丹托投向艺术史以巨大的关注及热情.本文就丹托的中所涉及到的艺术史叙述模式来进行评析,并辅之以不同的学者对他的"后历史时期"的叙事的评价,力图廓清阿瑟·丹托的这种叙事方式产生的历史情境以及这种叙事方式所存在的问题.
This article discusses rock art which was the very first "art." Rock art, such as the images created on the stone surfaces of the caves of Lascaux and Altimira, is the true origin of the canvas, paintbrush, and painting media. For there, within caverns deep in the earth, the first artists mixed animal fat, urine, and saliva with powdered minerals…
Dobbs, Stephen Mark
Discipline-based art education (DBAE) is an approach to art education that draws upon four art disciplines: art production, art history, art criticism, and aesthetics. This handbook is designed to help art specialists and supervisors, classroom teachers, teacher educators, museum educators, and school administrators to understand and implement…
Lund, Henrik Hautop; Pagliarini, Luigi
We describe the upcoming art field termed robot art. Describing our group contribution to the world of robot art, a brief excursion on the importance of the underlying principles, of the context, of the message and its semiotic is also provided, case by case, together with few hints on the recent...... history of such a discipline, under the light of an artistic perspective. Therefore, the aim of the paper is to try to summarize the main characteristics that might classify ro-bot art as a unique and innovative discipline, and to track down some of the principles by which a robotic artifact can...
Full Text Available Originally published in Towards a Science of Art History: J. J. Tikkanen and Art Historical Scholarship in Europe, Helsinki: Society of Art History, 2009.The lifelong rivalry between Alois Riegl and Josef Strzygowski, both prominent members of the Vienna School, not only had personal, but mainly methodological and ideological reasons. Born and raised up in the very eastern parts of the Hapsburg monarchy, both Riegl and Strzygowski were strongly interested in the status of art beyond the academic canon. Their research on widely ignored subjects like folk art, baroque, and late antiquity, clearly reflect the shared intention to enlarge the field of art history writing. In doing so, however, they came to complete different results. Whereas for Strzygowski art history must be seen as a permanent struggle between a dominant powerful art (“Machtkunst” and diverse suppressed artistic ideas, Riegl emphasized the concept of mixing cultures. For him art was always the result of different, antagonistic and dissident artistic streams. This idea of a transforming art – art that is in a constant flux, always creating new forms and values – was rigidly fought by Strzygowski. For the latter, whose anti-Semitic writings reflect an irrational fear of hybrid cultural forms, art only gains a certain cultural value when it is ‘pure’, untouched by external influences.
Full Text Available This article investigates some relations between contemporary art and rock, from a collection of examples of the involvement between artists and rockers through history. Notably Pop Art, punk, Conceptual Art and the figure of Hélio Oiticica. The article detaches geographical aspects in this relation, with special attention to the New York and London scenes between 1960-1980.
Explores recent studies in anthropology, art history, and archeology on African women's art from a feminist theoretical perspective. Relates women's arts to several sociological and economic factors and suggests new avenues of exploration, especially in the face of urbanization and modernization. (CJS)
El discurso científico de la historia: Análisis estructural y retórico de los artículos de investigación en historia THE SCIENTIFIC DISCOURSE OF HISTORY: A STRUCTURAL AND RHETORICAL ANALYSIS OF HISTORY RESEARCH ARTICLES
Miguel Fuentes Cortés
Full Text Available Al igual que en cualquier otra disciplina científica, el discurso general de la historia se transmite a través de distintos géneros, siendo el artículo de investigación (en adelante, AI, una manifestación que permite, en particular, analizar el discurso científico de la historia. En esta materia, el trabajo de Swales (1990, 2004 y su teoría de Movidas Retóricas (en adelante, MR es un referente para el estudio específico de los artículos de investigación. Los estudios que siguen esta teoría son, en su mayoría, aplicables a trabajos escritos en la lengua inglesa y dan cuenta, de manera aislada, de las distintas secciones superestructurales, tales como la introducción o la conclusión. En este contexto, el objetivo de la presente investigación es describir, estructural y retóricamente, los artículos de investigación en historia. Para este efecto, se realizó un análisis de todas las secciones superestructurales presentes en los AiI de nuestro corpus. Además, se identificaron las MR prototípicas de los AI en historia, y se estableció el grado de similitud de las secciones superestructurales del corpus con los de otras disciplinas. Los resultados principales señalan que los artículos de investigación de historia se caracterizan, principalmente, por la narración e interpretación de hechos, en conjunto con la referencia literal a otras fuentes.As in all scientific disciplines, the general discourse of history is conveyed by means of different discourse genres. One of such genres is the research article (RA, which therefore enables the analysis of the scientific discourse of history. In this respect, the descriptive work of Swales (1990, 2004 and his theory of Rhetorical Moves (RM is seminal to the study of scientific research articles. The studies based on this theory have been published mostly in English and involve the analysis of some of the distinctive super-structural sections, mainly the introduction and the conclusion
Petersen, Anne Ring
Despite its large and growing popularity – to say nothing of its near-ubiquity in the world’s art scenes and international exhibitions of contemporary art –installation art remains a form whose artistic vocabulary and conceptual basis have rarely been subjected to thorough critical examination....... In Installation Art: Between Image and Stage, Anne Ring Petersen aims to change that. She begins by exploring how installation art developed into an interdisciplinary genre in the 1960s, and how its intertwining of the visual and the performative has acted as a catalyst for the generation of new artistic...... phenomena. It investigates how it became one of today’s most widely used art forms, increasingly expanding into consumer, popular and urban cultures, where installation’s often spectacular appearance ensures that it meets contemporary demands for sense-provoking and immersive cultural experiences. The main...
Bullot & Reber (B&R) begin asking if the study of the mind's inner life can provide a foundation for a science of art. Clearly there are many epistemological problems involved in the study of the cognitive and affective basis of art appreciation. I argue that context is key. I also propose that as long as the "mind's life" continues to be perceived as an "inner" intracranial phenomenon, little progress can be made. Mind and art are one.
Full Text Available The tragedy of Oflazoğlu generally has received it’s subjects from history. We see that it has been stuck to history in these theaters which wrote using historical events. Oflazoğlu has led to re-interpret of the history using literary art, synthetizing aesthetic pleasure and historical information. We see that national values have been given in the fictive structure of literary art in the writer’s historical theaters. This event has given a different importance to tragedy of Oflazoğlu. It’s possible to benefit from theatre of Oflazoğlu for teaching our national values to new generations using literary art but not changing the historical events.In this study, it was investigated how Oflazoğlu’s literary works in parallel with historical events comparing his tragedies to historical studies. In addition it was made comparison of the literary works and historical facts Oflazoğlu tragedyaları konularını genellikle tarihten alır. Tarihî vakalardan hareketle yazılan bu oyunlarda geçmişe sadık kalındığını görmekteyiz. Oflazoğlu, yaşanan hadiseleri saptırmadan, geçmişi edebî eserin fiktif yapısı içerisinde ele alır. Bununla birlikte tarihin edebî eserlerle estetik haz alınarak yeniden yorumlanmasına öncülük edilir. Yazarın tragedyalarında millî değerlerimizin edebî eser kurgusu içerisine sindirilerek verildiği görülür. Bu durum, Oflazoğlu’nun oyunlarına ayrı bir önem katar. Millî değerlerimizi edebî eserle ve gerçeklerden sapmadan yeni nesillere öğretmek için Oflazoğlu’nun tiyatrolarından yararlanmak mümkündür.Bu çalışmada Oflazoğlu’nun eserleri tarihî kaynaklarla karşılaştırılarak edebî eserde gerçeklik çizgisine ne kadar bağlı kalındığı araştırılmıştır. Ayrıca edebî eserle tarihî gerçeklerin mukayesesi yapılmıştır.
Zhuo Dehui graduated from Guangzhou Academy of Fine Arts in 1973 with a specialty in lacquer painting, and shortly thereafter began teaching at the school. Zhuo has conducted research and actively created decorative art for many decades, and has often led groups of students deep into the areas inhabited by minority nationalities, The two paintings shown here represent his impressions and depictions of
The book introduces the key themes central to the interactions between photography and art, from the earliest days of photography in the 1830s to the present day, examining the many ways in which photography has become central to the development of modern and contemporary art.
P.A. Arora (Payal); F.R.R. Vermeylen (Filip)
textabstractThe advent of digitization has had a profound impact on the art market and its institutions. In this chapter, we focus on the market for visual arts as it finds its expression in (among other) paintings, prints, drawings, photographs, sculpture and the like. These artistic disciplines cl
Diploma seminar speaks of ceramics as a field of artistic expression and not just as pottery craft. I presented short overview of developing ceramic sculpture and its changing role. Clay inspires design and touch more than other sculpture media. It starts as early as in prehistory. Although it sometimes seems that was sculptural ceramics neglected in art history overview, it was not so in actual praxis. There is a rich tradition of ceramics in the East and also in Europe during the renaissanc...
The goal of spatial sound is to reproduce spatial information of sound by electroacoustic means, so as to recreate desired spatial auditory perception. Spatial sound has been widely applied to the fields of culture, communication, multimedia and virtual reality as well as aviation as spaceflight. Beginning in 1958, extensive researches matching with the international development have been carried out in China over the past 50 years. After outlining the basic principle and classification as well as the international development history of spatial sound, this paper primary reviews the history, development and state of art of spatial sound in China. Some future developments are also prospected.%空间声的目的是通过电声的手段重放声音空间信息,给聆听者再现特定的空间听觉感知.它在文化生活、通信、多媒体和虚拟现实等方面以及航空、航天等领域都有重要的应用.国内对空间声的研究起步于1958年,五十多年来进行了大量的基础研究工作,是和国际上的发展前沿相接轨的.本文在回顾空间声的基本原理与分类、国际上空间声发展历史的基础上,侧重评述了国内空间声研究和应用的历史、发展与现状,并展望了今后的发展前景.
Modern embossed forged copper has an elegant character. This art form works well as decoration for the walls of buildings. Chen Chuan, the designer, pursues a look of simplicity and powerfulness in his works Auspiciousness and Harmony, which is based on the themes of man and nature. Chen carefully plans the arrangement of convex and concave parts, adding texture by hammering or scraping in many small points and fine lines. With a steel pick, the artist creates a surface sometimes rough and matte, sometimes smooth and shiny. Chen Chuan graduated from the Hubei Institute of Arts in 1965, and was deputy director of the Shandong Provincial Art Gallery from 1984 to 1991. A member of the China Artists Association and the China Graphic Art Association, Chen Chuan is ranked as a first-class artisan, and currently serves as director of the forge copper art office of the Shandong Academy. He has won awards at exhibitions held both at home and abroad.
My dissertation is a study of North Korean art as a site where politics, history, and culture meet. Art in North Korea fulfills a clear purpose. This is most apparent in the depiction of historical themes in North Korean art. History serves the political legitimization of the North Korean state and
Contribution to the opinion series “Perspectives” on arts entrepreneurship; how arts entrepreneurship is situated in relation to other disciplines or fields; what problems we are grappling with as scholars, practitioners, teachers, and artists; and what are the research questions we are attempting...... to answer individually or as a field. Under the headline “Perspectives on Arts Entrepreneurship, part 2”, are responses from: William B. Gartner, Professor of Entrepreneurship at Copenhagen Business School and California Lutheran University; Joseph Roberts, Director of the Coleman Fellows Program, Associate...
Barrow, John D.
Our love of art, writes John Barrow, is the end product of millions of years of evolution. How we react to a beautiful painting or symphony draws upon instincts laid down long before humans existed. Now, in this enhanced edition of the highly popular The Artful Universe , Barrow further explores the close ties between our aesthetic appreciation and the basic nature of the Universe. Barrow argues that the laws of the Universe have imprinted themselves upon our thoughts and actions in subtle and unexpected ways. Why do we like certain types of art or music? What games and puzzles do we find challenging? Why do so many myths and legends have common elements? In this eclectic and entertaining survey, Barrow answers these questions and more as he explains how the landscape of the Universe has influenced the development of philosophy and mythology, and how millions of years of evolutionary history have fashioned our attraction to certain patterns of sound and color. Barrow casts the story of human creativity and thought in a fascinating light, considering such diverse topics as our instinct for language, the origins and uses of color in nature, why we divide time into intervals as we do, the sources of our appreciation of landscape painting, and whether computer-generated fractal art is really art. Drawing on a wide variety of examples, from the theological questions raised by St. Augustine and C.S. Lewis to the relationship between the pure math of Pythagoras and the music of the Beatles, The Artful Universe Expanded covers new ground and enters a wide-ranging debate about the meaning and significance of the links between art and science.
Luo Zhongli. now a professor with the Oil Painting Department in the Sichuan Academy of Fine Arts became famous in the Chinese painters’ circle in 1980 with his enormous painting, Father. This painting also led the rise
-century portrayals of alchemists, and alchemy's tortured status as a forerunner of photography. Art and Alchemy indicates that alchemy indeed has several connections with art by examining some of the pictorial and literary books that disseminated alchemical symbols and ideas, delving into images, which in one way......Partly because of alchemy's dismissal from the Parnassus of rational sciences, the interplay between this esoteric knowledge and the visual arts is still a surprisingly neglected research area. This collection of articles covering the time span from the Late Middle Ages to the twentieth century...... intends, however, to challenge the current neglect. Areas on which its twelve authors cast new light include alchemical gender symbolism in Renaissance, Mannerist and modernist art, alchemical ideas of transformation in Italian fifteenth-century landscape imagery, Netherlandish seventeenth...
Rock art, basically being non-utilitarian, non-textual anthropic markings on natural rock surfaces, was an extremely widespread graphical practice in ancient Egypt. While the apogee of the tradition was definitely the Predynastic Period (mainly fourth millennium BCE), examples date from the late Palaeolithic (c. 15,000 BCE) until the Islamic era. Geographically speaking, “Egyptian” rock art is known from many hundreds of sites along the margins of the Upper Egyptian and Nubian Nile Valley and...
In Naive Girls, Zhang Nan portrays three country girls with brightly decorative colors commonly seen in Chinese folk art. Their individuality is portrayed with the contrasting colors of their clothing, yet the whole picture is harmonious. The naivete of country girls is distilled into art. Delight portrays a fishing girl drying fish in the open air. On her bamboo hat hang strings of fish. The background is painted with skills used in traditional Chinese water and ink painting.
This essay will discuss the need for the humanities to address visual culture studies as part of its interdisciplinary mission in today's university. Although mostly unnoticed in recent debates in the humanities over historical and theoretical frameworks, the relatively new field of visual culture has emerged as a corrective to a growing…
Dam Christensen, Hans; Karlholm, Dan; Rampley, Matthew
Artiklen belyser kunsthistoriefagets udvikling i Danmark, Norge, Sverige og Finland siden midten af 1800-tallet og frem til i dag, hvorvisuel kultur-studier i stigende grad præger billedforskningen.......Artiklen belyser kunsthistoriefagets udvikling i Danmark, Norge, Sverige og Finland siden midten af 1800-tallet og frem til i dag, hvorvisuel kultur-studier i stigende grad præger billedforskningen....
Garcia-Ruiz, Pedro J; Slawek, Jaroslaw; Sitek, Emilia J; Martinez Castrillo, Juan Carlos
Dystonia has a recent history in medicine. Focal dystonia was described in the 19th century by classic authors including Gowers, whilst generalized dystonia was described at the turn of the century. However, it is possible to find precise descriptions of dystonia in art, centuries before the medical definition. We have reviewed several pieces of art (sculpture, painting and literature) across the history that might represent descriptions of dystonia, from ancient period to nowadays. In classic times, the first reference to abnormal postures can be tracked back to the new Empire of Egypt (equinus foot), not to mention some recently described examples of dystonia from the Moche sculptures in Peru or Veracruz culture from Mexico. In Middle Ages it is possible to find many examples of sculptures in European cathedrals representing peasants with dramatic, presumably dystonic postures that coexist with amputation of limbs. This unique combination of dystonia and limb amputation probably represents ergotism. The painters Brueghel, Ribera and Velazquez also represented figures with postures likely to be dystonic. Literature is also a source of precise pre-neurological descriptions, especially during the 19th century. In David Copperfield, Dickens depicts characters with generalized dystonia (Uriah Heep), cervical dystonia (Mr. Sharp) and spasmodic dysphonia (Mr Creakle). Finally, even in modern Art (19th and 20th centuries), there are dramatic descriptions of abnormal postures that are likely to be dystonic, such as painful cervical dystonia (Brancusi), cervical dystonia with sensory trick (Modigliani) and upper limb dystonia (Wyspianski). However some postures presented in works of art may simply be a form of artistic expression and only bear unintentional resemblance to the dystonic postures. Art may be a source of neurological information, and that includes primary and secondary dystonia.
Dobbs, Stephen Mark
Explains the rationale for including art in the general education curriculum and expanding the studio orientation to include art criticism, art history, and aesthetics. Advocates a balanced, integrated curriculum that resembles artists' ways of confronting, experiencing, and producing art and meets students' multicultural needs. (MLH)
This paper considers the studio in art therapy as a neglected yet key aspect of the field's history. Descriptions of studio art practice among the founders of the American Art Therapy Association and such predecessors as Mary Huntoon were obtained through historical research. Because both art therapy and art studios are hybrid in nature, the…
This article offers a kind of map of intellectual fields that are more or less close to cultural history. It is difficult to separate cultural history from intellectual, social and political history, from archaeology and from the histories of such activities as art, literature, language and religion, whether these histories are studied in departments of history or under the umbrella of “visual studies”, “religious studies” or “cultural studies”. All these neighbours form an “inner circle”, di...
Mitra, Niloy J.
"To them, I said, the truth would be literally nothing but the shadows of the images." - Plato, The Republic Shadow art is a unique form of sculptural art where the 2D shadows cast by a 3D sculpture are essential for the artistic effect. We introduce computational tools for the creation of shadow art and propose a design process where the user can directly specify the desired shadows by providing a set of binary images and corresponding projection information. Since multiple shadow images often contradict each other, we present a geometric optimization that computes a 3D shadow volume whose shadows best approximate the provided input images. Our analysis shows that this optimization is essential for obtaining physically realizable 3D sculptures. The resulting shadow volume can then be modified with a set of interactive editing tools that automatically respect the often intricate shadow constraints. We demonstrate the potential of our system with a number of complex 3D shadow art sculptures that go beyond what is seen in contemporary art pieces. © 2009 ACM.
Skov, Vibeke; Pedersen, Inge Nygaard
Abstract Based on a Jungian approach, this article will introduce an integrative model to therapeutic change using art therapy methods as practical tools, with the aim of improving quality of life and in the prevention of depression. In a research study involving six participants, painting, clay......, was that participants gained a new understanding about their personal life. In addition, some participants were able to continue to use art therapy experiences as selfdevelopmental tools after the research study terminated. Jung’s description of the interactive relationship between the two living parts of the psyche...... work and drumming were used together with imagination and personal dialogues linked to the artwork. These art therapy processes attempted to combine the participant’s experience of inner and outer reality. The effect of gaining more knowledge about their inner reality using dreams and symbols...
Created in 1996 by Mauritians Anna Patten and Sanedhip Bhimjee,Art Academy has gained a high profile due to its dance creation Katha’zz.Mixing new styles with traditional Kathak,the academy produces visual poetry that keeps it busy traveling around the world. Last September,along with the Mauritian presidential delegation,Art Academy presented Chinese audiences a real taste of Mauritian culture. Choreographer,dancer and set designer Bhimjee spoke to ChinAfrica from Mauritius about Katha’zz and its fusion with Chinese folk music.
‘Juan Alberto Kurz Muñoz and his academic contribution to the study of the history of Russian art’ [Juan Alberto Kurz Muñoz y su aportación a la historiografía del arte ruso. In: Ars longa: cuadernos de arte, 2010, No. 19: 29-38.
Ester Alba Pagán
Full Text Available This is a biographical and bibliographical article, describing and analysing the most important contributions to the world of art by the art historian Juan Alberto Kurz Muñoz. He was a pioneer in the study and promotion of Russian-Soviet art in Spain. He introduced studies of Russian art in the University of Valencia in the last years of Franco and the years of the Spanish transition.
Presents three art projects that can bring to life the study of ancient Egypt for elementary students. After researching Egypt's history and culture, students can create King Tut masks, make Cleopatra headdresses, and craft cartouche pendants. The article describes the materials needed and steps required to complete each project. (SM)
Elizabeth den Hartog
Full Text Available Janet T. Marquardt’s book ‘Zodiaque. Making medieval art modern’ discusses the historical context, history and impact of the Zodiaque publications issued by the monks from the abbey of Ste-Marie de la Pierre-qui-Vire in Burgundy between 1951 and 2001 and links the striking photogravures, the core business of these books, to the modern movement. Although Marquardt’s view that the Zodiaque series made a great impact on the study of Romanesque sculpture is somewhat overrated, her claim that the photogravures should be seen as avant-garde works of art and the books as a “museum without walls” is entirely convincing.
Easttown Township chose to celebrate its tercentenary to create a greater awareness of local history. In this article, the author discusses how she incorporated this celebration into her art classroom. With history and architecture as the theme, sixth-grade art students researched homes and buildings in the township dating back as early as the…
Petroglyphs of Armenia have preserved valuable manifestations of primitive knowledge, beliefs and art. Within the scope of this unique iconographic art a number of key issues are examined: the origin of ancient art, its attributes and functions, the relationship between art and science, the role of art as an important means of human cognition and communication. Thus, rock art is presented as subject of art history and aesthetics, manifestation of scientific knowledge of the past, and an oldest iconographic language with characteristic features of book culture. These general scientific aspects are elucidated alongside achievements of ancient Greek and medieval Armenian philosophy. As a result, it becomes obvious that different problems of art during millennia remained within the focus of the Armenian aesthetic mind, testifying to the continuity and succession of creative activitiy in Armenian culture.
In this article, the author describes how a visit from a flock of chickens provided inspiration for the children's chicken art. The gentle clucking of the hens, the rooster crowing, and the softness of the feathers all provided rich aural, tactile, visual, and emotional experiences. The experience affirms the importance and value of direct…
Jaworski, Joy; Murphy, Kris
In this article, the authors describe how they incorporated environmental awareness into their art curriculum. Here, they describe a digital photography project in which their students used flatbed scanners as cameras. Their students composed their objects directly on the scanner. The lesson enabled students to realize that artists have voices…
Cheng Lei has lived in an artistic environment since childhood. In 1991 she graduated from the Central Institute of Fine Arts in Beijing. She loves, raises and paints cats. Cheng is adept at revealing the beauty and intelligence of felines using light and neutral tones in her watercolors "In my paintings I’m more concerned with expressing my own feelings, my understanding of
Art exhibitions in China are now an important way to engage with Africa THE African Museum at China’s Zhejiang Normal University(ZJNU) is the first of its kind on the Chinese mainland with the theme of African civilization.ZJNU is also the first Chinese university to set up a comprehensive institute of African studies.The museum was completed on
The author describes the history, theories, and methods of the German institution called the Bauhaus, which he considers to be the basic influence on American studio art education in the last 50 years. (Author/SJL)
Jørgensen, Anker Helms
history at large have been sparse. However, a small spate of publications appeared recently, so a reasonable number of papers are available. Hence this work-in-progress paints a portrait of the current history of user interfaces at large. The paper first describes a theoretical framework recruited from...... history. Next the paper analyses a selected sample of papers on UI history at large. The analysis shows that the current state-of-art is featured by three aspects: Firstly internalism, in that the papers adress the technologies in their own right with little contextualization, secondly whiggism......The user interface is coming of age. Papers adressing UI history have appeared in fair amounts in the last 25 years. Most of them address particular aspects such as an innovative interface paradigm or the contribution of a visionary or a research lab. Contrasting this, papers addressing UI...
Hellvig Robert Claudiu
Full Text Available Even though everyone defines diplomacy in some form, all recognize its special place that bears its political and legal mechanisms and structures, changes over the centuries in foreign policies enhancing its importance in the new context of globalization, thus acquiring new meanings and ways and embracing new features. As we will see later in the paper, diplomacy exists even in ancient times, though not necessarily under this name. Nowadays we can say that diplomats, through their efforts they reconcile conflicting situations and even avoid negative consequences for states, such as embargoes or even wars. It is therefore necessary for diplomats to master the art of negotiations and to be specialized and skilled people. The present study will make an incursion into history until present time to highlight the evolution and importance of diplomacy in international relations. The paper is addressed to those who wish to learn a brief history of diplomacy in a couple of minutes, from El-Amarna until today. The impact of diplomacy on how the state is seen in relationship with others is even more powerful considering the ability to reflect how conflicts are settled or resolved before they escalate. The aim of the paper is to provide a broader vision of what diplomacy means, through the chronology from appearance and its development to the final conclusion: is it a science or an art? The intention is that this work will be useful to all who wish to know more about this subject still considered relatively new. It is worth to mention that it has led to the emergence of a new job – the diplomat, an official, whose mission is to maintain relations with officials of other states or to deal on behalf of his country, who knows how to behave in a situation in order to achieve his goals. Briefly, a shift from art itself to a policy of the art of diplomacy.
AbstractThere are two reasons why “Balinese art” is not a global art form, firstbecause it became too closely subordinated to tourism between the 1950sand 1970s, and secondly because of confusion about how to classify“modern” and “traditional” Balinese art. The category of ‘modern’ artseems at first to be unproblematic, but looking at Balinese paintingfrom the 1930s to the present day shows that divisions into ‘traditional’,‘modern’ and ‘contemporary’ are anything but straight-forward. Indism...
Networking | La rete come arte [book] A reconstruction of the history of artistic networking in Italy, through an analysis of the realities which during the past twenty years have given way to a creative, shared and aware use of technologies, from video to computers, contributing to the formation...
Bindner, Donald; Hemmeter, Joe
Presents a clear bridge between mathematics and the liberal arts Mathematics for the Liberal Arts provides a comprehensible and precise introduction to modern mathematics intertwined with the history of mathematical discoveries. The book discusses mathematical ideas in the context of the unfolding story of human thought and highlights the application of mathematics in everyday life. Divided into two parts, Mathematics for the Liberal Arts first traces the history of mathematics from the ancient world to the Middle Ages, then moves on to the Renaissance and finishes with the development of modern mathematics. In the second part, the book explores major topics of calculus and number theory, including problem-solving techniques and real-world applications. This book emphasizes learning through doing, presents a practical approach, and features: A detailed explanation of why mathematical principles are true and how the mathematical processes workNumerous figures and diagrams as well as hundreds of worked example...
Flores, K. E.; Nadeau, P. A.; Zirakparvar, N. A.; Grcevich, J.; Ustunisik, G. K.
Post-doctoral positions in Earth science fields traditionally emphasize research within a university setting or research institute. Such positions may include a teaching component, but one which is often restricted to introductory undergraduate Earth science courses or upper-level courses within their own field of specialization. With such a specific focus, there may not be much inclination on the part of a post-doctoral fellow to involve themselves in broader education programs, such as public outreach or secondary schools. The American Museum of Natural History is now conducting a non-traditional post-doctoral position as part of its new Master of Arts in Teaching Earth Science (MAT). This pilot program involves forging a one-of-a-kind partnership between a world-class research museum and high-needs schools in New York City with the goal of addressing a critical shortage of qualified Earth Science teachers in New York State, particularly in high-needs schools with diverse populations. The program, which is part of the state's Race to the Top initiative, is approved by the NYS Board of Regents and will prepare a total of 50 candidates in two cohorts to earn a Board of Regents-awarded Masters of Arts in Teaching (MAT) degree with a specialization in Earth Science for grades 7-12. The post-doctoral fellows of the MAT program have unique 3-year positions, with more traditional research-based work comprising 65% of the tenure and non-traditional educational roles 35%. The MAT fellows are divided into two types: those with a teaching role, who are involved in the co-design and co-teaching of graduate-level Earth science courses; and those in a research/mentoring role, who design and teach a summer-long science research practicum while also providing informal support to MAT teaching candidates throughout the school year. Over the first year of the MAT program's implementation, fellows have been exposed to a range of activities outside the realm of a traditional post
Traditional art education, like other academic disciplines, emphasizes competitiveness and individualism. Through a mural painting curriculum, learners participate in mural art and history appreciation, are active in mural theme or content construction, and engage in hands-on mural design and painting processes. When mural paintings are produced…
China’s practice of separating science and arts education has a long and complicated history. Back in the early 1950s, China decided to adopt the Soviet Union’s practice of separating science and arts education into two systems, the upshot of which was many universities finding themselves divided into
Pumfrey, Elizabeth; Beardon, Toni
Presents some activities for both art and mathematics classrooms. Traces the history of geometric art and focuses on a way of drawing tiling using LOGO programming. Describes some of the work on tessellations by the mathematician Roger Penrose and the artist M.C. Escher. Provides websites for further information. (KHR)
Wertz, S. K.
Both John Dewey and Martin Heidegger thought that art's audience had to take a detour in order to appreciate or understand a work of art. They wrote about this around the same time (mid-1930s) and independently of one another, so this similar circumstance in the history of aesthetics is unusual since they come from very different philosophical…
China Shanghai International Arts Festival Performing Arts Fair is gaining popularity. In two months after the dates of the fair were announced, all the 120 booths were booked out, and for the first time in the event's four-year history, participants had to scramble to get in. When the trade fair opened, about 40 organizations were shut out.
@@ The Chinese art casting with 5 000 years history has been rapidly developed in recent ten years. This benefits from the great development of Chinese economy, the large-scale urban construction and transformation, the increasing demands for the cultural work of art, the loose religious environment and the expanding international market.
Segura Jorda, Gloria
A brief tour through all art periods, analyzing and searching, to determine the meaning and symbolism of the wound in each period. To study the relationship and symbolism art / body / wound, is a vast and complex task. Can be approached from every angle imaginable. Different disciplines such as anthropology history and philosophy medicine, and now the art, we have provided different interpretations about the meaning representation and wounded human body through the centuries.
Full Text Available This retrospective look at the 1979 British Council travelling exhibition to Paris, Un Certain Regard Anglais, considers whether it was an accurate picture of English art practices at the end of the decade. I examine the aims of its English and French curators, and its reception by art critics and audiences. I find that the exhibition raises timely questions about how national characteristics might be reflected in art practice, and how, despite the cultural and societal shifts of the 1970s, omissions on the grounds of colour and gender prevail. With this in mind, my short essay finds that the radical objectives which are often attributed to this period of English art practice were not so widespread as history would have us believe.
Khaldoun A. A. BESOUL
Full Text Available The desire to create unique things and give free rain to one's imagination served as a powerful impetus to the development of digital art and design software. The commoner was the use of computers the wider variety of professional software was developed. Nowadays the creators and computer designers are receiving more and more new and advanced programs that allow their ideas becoming virtual reality. This research paper looks at the history of the development of graphic editors from the simplest to the most modern and advanced. This brief survey includes the history of different graphic editors’ creation, their features and abilities. This paper highlights the two basic branches of graphic editors – these that are in free use and commercial graphic editors design software. The researcher selected the most powerful and influential graphic editors design software brands like Paint.NET and GIMP among free software and commercial Adobe Photoshop. This paper also dwells upon the way digital art transferred from the exclusively professional business into the hobby for ordinary users. This research paper bears implications for those who are interested in features and potentiality of most popular graphic editors design software.
Almukhambetov, Berikzhan A.; Nebessayeva, Zhanar O.; Smanova, Akmaral S.; Kakimova, Laura S.; Musakulov, Kusan T.; Sydykova, Roza S.
The article reveals the importance of art pedagogy, art pedagogy through understanding the history of Kazakh art. The paper provides definitions of potential art of Kazakhstan and its role in the educational system of the university. It describes the main purpose of art teaching through the formation of ethnic and cultural identity of the student…
Full Text Available This work is intended to introduce a new kind of asset, the so called art asset. This financial tool is an asset whose value is related to an art-work, and in particular to the artist reputation. It will be shown the evaluation of an art asset by using a particular kind of volatility, the α-hedging. This tool normalizes the prices volatility of the art-works of an artist (or an art-movement by a sentiment index referred to the Art Market. At last I shall show how the art assets’ values are related to an art-call option.
Humanism and art - To what extent does art have a major role to play in twenty-first-century humanism? Greek philosophers believed that its purpose was ethical, serving to improve people by confronting them with evil and purging their passions. Nineteenth-century literature saw it as edifying and utilitarian, and for two centuries it was associated with the principles of goodness, truth, freedom and resistance to oppression, part of a general movement towards greater human solidarity based on shared experience. Literature and, more recently, cinema have been the most effective at defending human values. But the role of culture is not purely ethical: it also encourages a purely aesthetic reflection that has become the sole truth of creation. The aspiration to beauty reminds us that mankind is no ordinary species, but a reminiscence of the ideal objectified in works of art. The quest for the absolute is that of artists who draw on the lessons of history to come closer to the essence of spirituality and the cosmic centre of the world. Artistic vision is the ultimate vocation of humanity, achieving greatness and dignity in a constant quest for illumination, engaging in dialogue with the transcendent, and perhaps even transcending our own finiteness.
Swan, Nora; Marinaccio, Louis
A course in forming, decorating, glazing, and firing pottery is presented. Upon completion of the course, the student will be expected to be familiar with all terms and characteristics connected with pottery and ceramics, and he will be expected to be able to properly handle and form clay. Course content includes the history of clay handling,…
Luminet, J -P
From the geocentric, closed world model of Antiquity to the wraparound universe models of relativistic cosmology, the parallel history of space representations in science and art illustrates the fundamental role of geometric imagination in innovative findings. Through the analysis of works of various artists and scientists like Plato, Durer, Kepler, Escher, Grisey or the present author, it is shown how the process of creation in science and in the arts rests on aesthetical principles such as symmetry, regular polyhedra, laws of harmonic proportion, tessellations, group theory, etc., as well as beauty, conciseness and emotional approach of the world.
From the geocentric, closed world model of Antiquity to the wraparound universe models of relativistic cosmology, the parallel history of space representations in science and art illustrates the fundamental rôle of geometric imagination in innovative findings. Through the analysis of works of various artists and scientists like Plato, Dürer, Kepler, Escher, Grisey or the author, it is shown how the process of creation in science and in the arts rests on aesthetical principles such as symmetry, regular polyhedra, laws of harmonic proportion, tessellations, group theory, etc., as well as on beauty, conciseness and an emotional approach of the world.
... Documents#0;#0; #0; #0;Title 3-- #0;The President ] Proclamation 8873 of October 1, 2012 National Arts and... ago. Throughout our history, the arts and humanities have given us comfort and confidence, drawn us..., fine art, and music reflect something common in all of us. They open dialogues between cultures...
... Documents#0;#0; ] Proclamation 8723 of October 3, 2011 National Arts And Humanities Month, 2011 By the... equality. Like Rockwell's painting, art in all its forms often challenges us to consider new perspectives... moment in American history that changed us forever. This is the power of the arts and...
Kohl, MaryAnn F.; Potter, Jean
This activity book contains over 130 art ideas from around the world, combining the fun and creativity of art with the mysteries of history, the lure of geography, and the diversity of the cultures of the world. These projects allow children to explore the world through art with a process, not a product, approach to artistic outcome; the process…
Moon, Bruce L.
This viewpoint asserts that art therapy education is a form of performance art. By designing class sessions as performance artworks, art therapy educators can help their students become more fully immersed in their studies. This view also can be extended to conceptualizing each semester--and the entire art therapy curriculum--as a complex and…
Discusses types of art materials that children enjoy using in their artworks. Explores the art materials such as tasty art supplies, such as candy; peeled supplies, such as pencil shavings; sticky art supplies, such as Band-Aids; and fast-food supplies, such as forks and spoons. (CMK)
The Second International Conference on Tibetan Archaeology & Arts (hereinafter referred to as Symposium)was held from September 37, 2004. Iit was jointly launched by the Tibetan History and Culture Research Center of the Chinese Academy of Social Sciences, the China Tibetan Culture Conservation and Development Association,the History Research Institute of the China Tibetology Centger, the China Tibetology Research Institute of Sichuan University/Tibet University, and Oriental Art magazine.
Full Text Available Through the culturel history, meaning of art and art object have been queried and these researchs have emerged thesis and antithesis. Fundamentaly, this article aim to comparison interaction and/or conflict with mathematical rationalist art and primitive/heuristical/romantic art. In this context, effects of primitive and experssive art to the nowadays’ art perception are examined to envolve out of Basquiat and neo expressionism. Entailment of expressive art in contemporary art is researched for answers for questions in terms of cultural and genetic heritage of art and instinctive origins of making art object.
Contemporary Graphic art defines numerous graphic art techniques; from classical original graphic art techniques to the new media techniques. The new media reproduction and communication capacity influences contemporary art works in such way that more attention is on non-artistic content, while artistic content with its visual efficiency becomes less important. Reproductibility is one of the non-artistic contents which plays a key role in original graphic arts, where it is a means of making o...
Building the image of modern art : the rhetoric of two museums and the representation and canonization of modern art (1935-1975) : the Stedelijk Museum in Amsterdam and the Museum of Modern Art in New York
The Rhetoric of Two Museums and the Representation and Canonization of Modern Art (1935-1975): The Stedelijk Museum in Amsterdam and the Museum of Modern Art in New York Museums of modern art have determined the course of modern art history. Their contributions to the representation and canoniz
尚爻; 王欣苗; 寇瑾妍; 王君; 刘芳
艺术教育作为大学生素质教育的关键环节,对培养医学生创新能力具有不可替代的重要作用.在对相关资料进行筛选、分类、统合的基础上,试从艺术教育的定义和功能、创新能力的定义和重要性、艺术教育对创新能力培养的作用等方面对艺术教育与创新能力研究的历史与现状进行梳理,并在此基础上,指出先行研究成果的不足,展望艺术教育对医学生创新能力的培养及教育模式的研究趋势.%Art education is a crucial method to cultivate college students' quality education and motivate their innovations. At the same time, art education is playing an irreplaceable role to promote medical school students' creative capabilities. This article describes the definition and functions of art education, the deifnition and functions of innovation, and the relationships between art education and the cultivation of creative capabilities by the methodology of ifltering, classiifcation, and integration. Based on the descriptions, the authors illuminate the disadvantages of former researches about art education, and further discuss the functions of art education in motivating medical school students' creative capabilities and the tendency of art education development.
Vladimir V. Feshchenko
Full Text Available The article analyzes terminological complexes where the concepts of “language” and “art” act as components and thus convey particular ideas of language (“visions of language” in terms of art, and, vice versa, visions of art in terms of language. We address a number of contexts from the history of linguistics and aesthetics, where the concepts of “language” and “art” act as operators in various combinations according to particular conceptions. In Antiquity and the Middle Ages, language did not relate to categories of art, apart from the contexts of the art of eloquency (rhetorics; the concepts of techne and ars had only to do with grammatical art. The idea of creativity, expressed in the concepts of poiesis and creatio, for its part, did not go beyond the theory of literary genres (lyric, drama, epic and in Medieval aethetics beyond theological visions of divine creation. The concept of language began to play an active part starting from German Romanticism, which introduced the formula Sprache der Kunst. Later on in literature studies, this expression transformed into the idea of “language as creativity” and “language as art” (in Neohumboldtianism and, in Avant-Garde poetics, language became the carrier of synesthesia. The formalist notion of “poetic language”, being itself an offspring of avant-garde literary experiments, underwent a transfer to the field of arts and transformed into semiotical notions of “languages of art” and “art as language”. Finally, the linguistic turn of the early 20th century provided for the tranfer of “language-art” terminological complex into the area of artistic activism. Conceptual art based its principles on language games and linguistic premises.
The article briefly describes the development features of the Chinese art education in the various histor ieal periods and its lasting relationships. Moreover, the summary will be provided and it will focus on the eharacteris tics and some problems of the present art education.%简述了中国美术教育在各个历史时期的发展特征以及上下间的延续关系,进而总结并提出了现阶段美术教育的特点及面临改革的若干问题。
@@ 斯托克斯曾为[Art and Illusion]的书名提过很多建议,如[Seeing and Looking]、[The Artist Looks]、[The Art of Looking]、[You See:He Looks]、[See and Look]、……[Art and Looking],42贡布里希都拒绝了,一旦我们知道了这一点,那么我们就会明白,以下这两个题目的对比在理性的高度上巩固了他们的个人推论:[Art and Illusion:aStudy in the Psychology of Pictorial Representation]与[Inside Out:an Essay in the Psychology and Aesthetic Appeal of Space]相互颉颃43.
The origins of Native Americans are traced through art forms in this history of American art. The basic time periods for this history are determined and defined as the formative horizon, the classic horizon, and the historical horizon. Art forms used throughout these time periods are described in terms of technique and aesthetics. The arts and…
Contemporary abstract art of Chinese ink and wash is one of the successful representations of traditional Chinese paintings in modern society .To explore new concepts and new trends of contempo-rary abstract art of Chinese ink and wash ,the logical starting point ,development status ,characteris-tics and problems of the abstract art of Chinese ink and wash are analyzed .A conclusion is drawn that contemporary abstract art of Chinese ink and wash is a powerful and pioneering school of traditional Chinese paintings .%抽象水墨是传统水墨在现代语境中成功转型和发展的典型个案。为探寻抽象水墨艺术实践开拓的新空间和新理念，文章对抽象水墨逻辑起点、发展状况、属性特点等问题作了较深入的剖析，力图说明抽象水墨艺术是中国画发展的一支先锋力量。
Full Text Available In the territory of Ravenna there are many tourist attractions that individually work well, but they need to relate to each others. So I had the idea of a linear park that connects Ravenna with Cervia defining a “tourist district” which offers to the tourist / traveler a unique experience in harmony with the land and the history of the place. In the park it is promoted an un-motorized mobility and infobox are disposed to inform the tourist in proximity of train stops from which you can download the application for smartphones Tourism.art by reading QR codes or NFC codes, which provides users with a “program travel “ describing the activities to do. In addition, I propose a typology of diffused hotel that allows users to temporarily live in places of historical and natural interest.
Full Text Available This paper explores women's art that interrogates the logic intrinsic to a powerful concept of maternal caring evident in Marian iconography. While conventional portrayals of women in the history of art connote maternity as divine and mystical, women's art with a feminist sensibility reconfigures the mother figure as monstrous and forbidding. Through the use of visual semiotics and Kristevan psychoanalytic theories, I analyse how feminist art reconciles sacred and sadistic states for a more aggressive mother to emerge.
The Han Dynasty is the first in the history of the unified and powerful country. It is a huge momentum has also affected the development of art, especially the art of eaves tile. Pattern of Han eaves tile is the art of the Chinese nation in the classic, rich artistic value for tile study of traditional ceramic art is very necessary in China. Through the research on Eave Tile Art, can be in-jected into the power of ceramic art in China's new development.
Lewis, Helen M.
Recounts the experience of researching community history in Ivanhoe, Virginia, between 1987 and 1990. The Ivanhoe History Project involved community members in collecting photographs, memorabilia, and oral histories of their town. Subsequent published volumes won the W. D. Weatherford Award and inspired a quilt exhibit and a theatrical production.…
Context is everything. Very little in art or in history (or in life) happens in isolation, although works of art and events in history have been studied this way. This is especially true of the arts, which are so intrinsically connected to the cultures from which they emerge. This essential interconnectivity was also the premise behind the design…
Jonathan Mané Wheoki
Full Text Available This is the text of an illustrated paper presented at ‘Art History’s History in Australia and New Zealand’; a joint symposium organised by the Australian Institute of Art History in the University of Melbourne and the Australian and New Zealand Association of Art Historians (AAANZ; held on 28 – 29 August 2010. Responding to a set of questions framed around the ‘state of art history in New Zealand’; this paper reviews the ‘invention’ of a nationalist art history and argues that there can be no coherent; integrated history of art in New Zealand that does not encompass the timeframe of the cultural production of New Zealand’s indigenous Maori; or that of the Pacific nations for which the country is a regional hub; or the burgeoning cultural diversity of an emerging Asia-Pacific nation.
Susie J. Lee
Full Text Available "The Art of Discovery" discusses an ambitious educational program taught by the artist which incorporated locative media, contemporary art, site specificity, and creative work as a proposal for the integration of art, technology and science.
... ART and Birth Defects ART and Autism 2013 Assisted Reproductive Technology National Summary Report Recommend on Facebook Tweet Share ... live-birth rate? [PDF - 1.37MB] Section 2: ART Cycles using fresh nondonor eggs or embryos What ...
Levine, Donald N.
Liberal arts and the martial arts are compared from the perspective that courses of training in the martial arts often constitute exemplary educational programs and are worth examining closely. Program characteristics, individual characteristics fostered by them, the relationship between liberal and utilitarian learning, and the moral…
Discusses a type of visual art called grotesque art and includes four different examples of grotesque art: (1) the painting "Head of Medusa" by Peter Paul Rubens; (2) Rangda, the widow witch from Bali (Indonesia); (3) totem poles; and (4) grotesque sculptures from the Cathedral of Notre Dame (Paris, France). (CMK)
Describes Generation X students. Believes that teaching history to Generation X requires rebuilding the connections between community college teachers and four year schools that invent the "new history." Discusses how teachers can use the new history, "reflexive methodology," pictures from art history, and storytelling in the postmodern classroom.…
Full Text Available Il testo qui pubblicato vuole essere un omaggio a Enrico Castelnuovo (1929-2014, da poco scomparso, uno dei maggiormente importanti storici dell'arte italiani e fra gli studiosi che più hanno contribuito alle ricerche di geografia artistica e all'apertura della storia dell'arte verso altre discipline. Fondamentali le riflessioni metodologiche nei saggi Per una storia sociale dell'arte (1976 e Centro e periferia (1979, scritto insieme a Carlo Ginzburg, più volte citati negli articoli di questo numero della rivista. La frontiera nella storia dell'arte (1987 rientra nel filone di studio sul ruolo delle aree di confine nella circolazione artistica, uno dei più fecondi della carriera di Castelnuovo: riflette sulla creazione delle frontiere nelle più varie accezioni, da quelle "reali" (geografiche, politiche a quelle "inventate" dalla storiografia (le classificazioni stilistiche, dimostrando la complessità del campo artistico, «intersecato e percorso da limiti e confini». The text published here is a tribute to Enrico Castelnuovo (1929-2014, who died recently, one of the most important Italian art historians and among the scholars who have contributed most to the research of artistic geography and to open the history of art to other disciplines. Fundamental are the methodological reflections in the essays For a social history of art (1976 and Centre and periphery (1979, written with Carlo Ginzburg, as many time mentioned in the articles in this issue of the journal. The Frontier in the history of art (1987, is part of the series of studies on the role of border areas in the circulation of art, one of the main themes of Castlenuovo's career: reflects on the creation of borders in various meanings, from the "real" one (geographical, political to the "invented" one by historians (stylistic classifications, demonstrating the complexity of the artistic field, «intersected and crossed by limits and boundaries».
This unit provides an introduction to global arts with a focus on the arts of India. Through analysis of artistic works, students develop an awareness of individual expression which addresses the elements of art. A background of Indian history is presented, along with the arts of India including painting, sculpture, relief sculpture, mandala…
Full Text Available The paper focuses on two kinds of relationship: between Western fine art and Indigenous art, and between anthropological and art historical approaches to understanding and appreciating works of art. The primary focus is on the process by which Australian Aboriginal art came to be incorporated within galleries of fine art. This process brought both kinds of relationships to the fore in the contemporary context and challenged established boundaries exemplified by the distinction between the museum and the art gallery. It is argued that objects encompassed within the category of fine art come from very different cultural traditions and historical backgrounds. The methods of both art history and anthropology can be productively applied in analysing the forms and significance of artworks in their social and cultural contexts. The paper concludes by considering some of the implications of the co-presence of artworks from different cultural traditions in the same contemporary gallery spaces.
An exploration of the need to define a specific and critical language to describe the art of holography. Within any discussion of art, critical analysis must maintain an objective openess, particularily when the discourse concerns new media. To apply technological invention to art, new media is often without precedent on which to base criticism and bias. For this reason, holography falls prey to comparative rhetoric and established evaluation of other forms of imaging,as photography emulated the compositional romanticism of painting initially. Isolated and often misunderstood within the context of history, new media vascillates between legitimacy and curiosity in an attempt to create specific parameters to identify perceptual transition.
Wojciech J. Cynarski
Full Text Available The purpose of this study is to explain the revival of Polish martial arts from the perspectives of cultural sociology, the sciences of physical culture, and the humanistic theory of martial arts. The Polish Martial Arts (Polskie Sztuki Walki are a subject still requiring serious scientific examination, even in Poland. There are few works concerning the history of Polish weapons, and most only describe techniques for wielding specific types of edged weapons. Nevertheless, there is a large group of enthusiasts trying to restore and cultivate the old Polish tradition, a tradition with heavy emphasis on the art of fencing. The author knows many of the people and facts presented here, from personal observation and from direct participation in these arts. As a disciple of the late Master Yoshio Sugino (10th-dan Kobudo Katori Shinto-ryu, he fought against the Polish saber champion, and he has taken part in joint exhibitions of Polish and Japanese fencing.
Cotler, Jordan; Wilczek, Frank
We introduce quantum history states and their mathematical framework, thereby reinterpreting and extending the consistent histories approach to quantum theory. Through thought experiments, we demonstrate that our formalism allows us to analyze a quantum version of history in which we reconstruct the past by observations. In particular, we can pass from measurements to inferences about ‘what happened’ in a way that is sensible and free of paradox. Our framework allows for a richer understanding of the temporal structure of quantum theory, and we construct history states that embody peculiar, non-classical correlations in time.
Full Text Available Review of: Paul van den Akker, Looking for Lines. Theories on the Essence of Art and the Problem of Mannerism, Amsterdam: Amsterdam University Press 2010. The problem of the categorical definition of the nature of art was often regarded as the central challenge of art history. Paul van den Akker examines the history of this problem from the eighteenth century to the 1960s. Thus his book addresses ‘the essence of art history’. In order to do so, he uses the extremely contradictory discussions of ‘Mannerism’ and the use of the line in mannerist art as a relevant case study, and this is supplemented with extensive excursuses on historic concepts of ‘classical art’, of Renaissance painting, of medieval art, or connoisseurship. Johann Joachim Winckelmann, Heinrich Wölfflin, Alois Riegl and John Shearman play key roles in van den Akker’s book. The review mainly asks for the specificity of the analytical categories and the changing role of the visual material used by the antiquarians and early art historians from the later seventeenth to the early twentieth centuries to illustrate and accompany their texts and arguments.
藏族说唱艺术中最具代表的是《格萨尔王传》，它是千百年来流传在西藏的一部伟大的英雄史诗，被外国研究学者誉为“东方的《伊利亚特》”，本文从它的音乐、文化等方面阐述其重要的研究价值。应该说，它是研究古代雪域文化的重要参考资料，是一部“活性态”史诗，也是一部典型的非物质文化遗产。%Tibetan rap is a blossoming flower in the Tibetan art, after thousands of years of development, has gradually formed a variety of folk art forms. The different forms reflect various aspects of life of the ancient Tibetan people and folk customs etc. Among them, the most representative is the ＂Life of King Gesar＂, it has been spreading in Tibet for thousands of years. It is a great epic. It is deemed as ＂Oriental＂ Iliad by foreign scholars.
van Heusden, Bernard; Gielen, Pascal
People and societies thrive on a versatile and imaginative awareness. Yet the critical debate on arts education is still too often about the qualities of artefacts and technical skills, and tends to neglect issues such as the critical function of the arts in society, artistic cognition and cognitive
what makes art special in an anthropologic and evolutionary biologic point of view. Cases on the emerging field of arts-in-business in Denmark.......what makes art special in an anthropologic and evolutionary biologic point of view. Cases on the emerging field of arts-in-business in Denmark....
Del Giacco, Maureen
The purpose of my paper is to identify the difference between psychotherapy and art therapy. Then to introduce a technique within the field of art therapy that is relevant to neuro-plasticity Del Giacco Neuro Art Therapy. The paper identifies the importance of the amygdala and the hippocampus within the role of art therapy. Supporting…
Since the nineteenth century's interest in "art for art's sake," many thinkers have argued that art would supplant traditional religion as the spiritual locus of the increasingly secular society of Western modernity. If art can capture the sort of spirituality, idealism, and expressive community of traditional religions but without being ensnared…
Fine art and big finance are proving a profitable combination in China but questions of authenticity need to be addressed CHINA’S art market is on fire.As sales and prices break records,a new force has appeared in the market - organized art finance in the form of art trust funds and artwork exchanges.
Moreira, Antônio Sérgio
Odeslocamento de objetos sagrados da cultura africana para o novo mundo serve como início de uma reflexão sobre o mercado de arte africana. O texto faz uma análise da influência desses objetos na arte. E ainda nos questiona sobre a arte produzida por artistas afro-brasileiros (arte afro-brasileira ou negra brasileira? Ou apenas arte brasileira?). Palavras-chave: Cultura africana; Objetos sagrados; Arte afro-brasileira; Mercado de arte.
In the 5 Questions book series, this volume presents a range of leading scholars in Intellectual History and the History of Ideas through their answers to a brief questionnaire. Respondents include Michael Friedman, Jacques le Goff, Hans Ulrich Gumbrecht, Jonathan Israel, Phiip Pettit, John Pocock...
Romerrigets historie fra Roms legendariske grundlæggelse i 753 f.v.t. til Heraklios' tronbestigelse i 610 e.v.t.......Romerrigets historie fra Roms legendariske grundlæggelse i 753 f.v.t. til Heraklios' tronbestigelse i 610 e.v.t....
The importance of water is presented from a myriad of aspects including its creation in cosmic history; its importance in the texts of ancient history; references within various religious writings; and significance with respect to modern science, art, music, transportation, archi...
Monjo Carrió, Juan
The begining of this work is devoted to the analysis of the concepts of Art, Science and Technique and their historical evolution, distinguishing between "fine arts" and "technique arts". Following, Architect and Architecture terms are defined both conceptual and professionally, analysing as well its historical evolution and pointing out the interdependence between the architectural conception as "fine art" and the constructive technology as "technique art", finally reminding the necessary sc...
There are good motivations for considering some type of quantum histories formalism. Several possible formalisms are known, defined by different definitions of event and by different selection criteria for sets of histories. These formalisms have a natural interpretation, according to which nature somehow chooses one set of histories from among those allowed, and then randomly chooses to realise one history from that set; other interpretations are possible, but their scientific implications are essentially the same. The selection criteria proposed to date are reasonably natural, and certainly raise new questions. For example, the validity of ordering inferences which we normally take for granted --- such as that a particle in one region is necessarily in a larger region containing it --- depends on whether or not our history respects the criterion of ordered consistency, or merely consistency. However, the known selection criteria, including consistency and medium decoherence, are very weak. It is not possibl...
Full Text Available What happens when painting emancipates itself from all physical mediums, the piece of art disappears from the exposition site and it becomes immaterial, indiscernible within its surrounding space? What type of esthetic experience and embodied understanding of art is possible under these programmed and produced conditions, maybe dissimulated, and finally enunciated and affirmed next to and in place of that which presents itself with the title of art masterpiece? What type of description, definition and interpretation is necessary? What type of phenomenology, pragmatic, rhetoric, and ontology is called upon? What type of percepts, of effects and affects, of appearance and apparatus, are put into play in this esthetic relation lacking an artistic object? When there is nothing to see and to touch, what living forms, what beliefs, what qualities are dealt with? Until this day, after more than 50 years, the “Exposition of Void” of Yves Klein doesn’t quit asking these and other questions on aesthetics and to the history of art.
Cano-Izquierdo, Jose-Manuel; Almonacid, Miguel; Pinzolas, Miguel; Ibarrola, Julio
The temporal character of the input is, generally, not taken into account in the neural models. This paper presents an extension of the FasArt model focused on the treatment of temporal signals. FasArt model is proposed as an integration of the characteristic elements of the Fuzzy System Theory in an ART architecture. A duality between the activation concept and membership function is established. FasArt maintains the structure of the Fuzzy ARTMAP architecture, implying a static character since the dynamic response of the input is not considered. The proposed novel model, dynamic FasArt (dFasArt), uses dynamic equations for the processing stages of FasArt: activation, matching and learning. The new formulation of dFasArt includes time as another characteristic of the input. This allows the activation of the units to have a history-dependent character instead of being only a function of the last input value. Therefore, dFasArt model is robust to spurious values and noisy inputs. As experimental work, some cases have been used to check the robustness of dFasArt. A possible application has been proposed for the detection of variations in the system dynamics.
Full Text Available This paper reopens the question of the place of high art in the period identified by Walter Benjamin as the age of mechanical reproduction. Walter Benjamin, Bruno Latour, and Adam Lowe are wrong to think that mechanical reproduction has transformed the concept of art, destroying the aura of art or transmitting that aura from original to copy. The concept of art cannot be redefined by the modern change in the capacity to reproduce art unless art was initially defined primarily by its uniqueness/nonreproducibility. Photographic reproduction has caused major changes in the visual arts and in the way we consume art, but reproductive techniques have a long, continuous history that includes the production and reproduction of exact, artistic copies.
Colley, Binta M.
In the past decade, there have been growing efforts to improve and enhance the delivery of social studies content in the classroom through arts integration. Some educators have used music as a method for teaching social studies and found that interdisciplinary work increases students' understanding of history and different cultures. This article…
Schmidt, Lone; Hageman, Ida; Hougaard, Charlotte Ørsted
disorders and ART treatment in both sexes have only been sparsely explored. METHOD AND ANALYSIS: The main objective of this national register-based cohort study is to assess women's and men's mental health before, during, and after ART treatment in comparison with the mental health in an age......-matched population-based cohort of couples with no history of ART treatment. Furthermore, the objective is to study the reproductive outcome of ART treatment among women who have a registered diagnosis of a mental disorder or have used medication for mental disorders prior to ART treatment compared with women in ART...... treatment without a mental disorder. We will establish the Danish National ART-Couple (DANAC) cohort including all women registered with ART treatment in the Danish in vitro fertilisation Register during 1994-2009 (N=42 915) and their partners. An age-matched population-based comparison cohort of women...
Discusses spirals in nature, man-made objects, and art. Focuses on art that incorporates the spiral, including works by M. C. Escher and Frank Lloyd Wright, an African headdress, and a burial urn. Describes activities to help students make spirals of their own, such as constructing a coil clay pot. (CMK)
Your family history includes health information about you and your close relatives. Families have many factors in common, including their genes, ... as heart disease, stroke, and cancer. Having a family member with a disease raises your risk, but ...
Historical inquiry in art education forms the basis of any research undertaken in the field. It is on this path that we discover ignored moments and personalities and clarify challenging ideas, thus approaching history from multiple perspectives. This historical study attempts to reframe the past of colonial Indian art education within the broader…
The thensis consists of theoretical part and of practical part. Firstly, the art therapy is defined in the theoretical part. Moreover, the experiential education - its history and present is presented. The last chapter of the theoretical part comprises a reflection about the relation between the art therapy and experiential education.
Wexler, Alice; Derby, John
In this article, we use a disability studies lens to examine ways in which the artworks of disabled people are bonded in a common sociopolitical experience. We analyze the history surrounding institutional art and the emergence of community art centers at the time of deinstitutionalization in the late 20th century. As a result of this…
Una visión sucinta de la enseñanza de la medicina a través de la historia: II. Colombia, un sitio donde confluyeron varias culturas con su arte de curar = A succinct vision of medical teaching throughout history: II. Colombia, a place where different cultures came together with their art of healing
Díaz Hernández, Diana Patricia
Full Text Available Para comprender cómo se ha enseñado la medicina a través de los tiempos, es necesario apoyarse en los historiadores que han tratado su evolución y, a partir de ellos, indagar sobre las actitudes de los médicos en su posición como docentes y acerca de cómo era la apropiación del conocimiento en cada época por parte de los estudiantes. En este segundo artículo se presenta una visión sucinta de la enseñanza de la medicina en Colombia en diferentes épocas, empezando con la Conquista Española cuando se encontraron varias culturas, la española y las aborígenes, con sus respectivas tradiciones en el arte de curar y en la forma de enseñarlo; se incluyen también la llegada de la enseñanza de la medicina a la universidad colombiana y la actual propuesta curricular de la Facultad de Medicina de la Universidad de Antioquia.
Heidt, Ann H.
The experiences of college students enrolled as majors in elementary education in designing art appreciation activities for use in elementary classrooms are described. The college students had no art background. (RM)
A description of the rise of the role of photography on the Scandinavian art scene the last 25 years......A description of the rise of the role of photography on the Scandinavian art scene the last 25 years...
General Services Administration — The Fine Arts Database records information on federally owned art in the control of the GSA; this includes the location, current condition and information on artists.
■The boom of Chinese contemporary art in recent years has been greatly assisted by the purchasing power of Taiwanese collectors. They constitute the largest art buyers in the Asian market and without them the scene would look
Svenningsen Kajita, Heidi
Om MUF architecture samt interview med Liza Fior og Katherine Clarke, partnere i muf architecture/art......Om MUF architecture samt interview med Liza Fior og Katherine Clarke, partnere i muf architecture/art...
Rubén Martínez Dalmau
Full Text Available El artículo defiende que existe un derecho subjetivo al arte fundamentado en la autonomía del arte, que lo diferencia de otras formas expresivas; en la capacidad de apropiación subjetiva del arte exclusivamente por parte de los seres humanos; en las posibilidades del arte para la construcción de formas de expresión varias; y en el potencial uso del arte en políticas públicas propias de los sistemas democráticos, que ayudaría al derecho a la paz y a la reconciliación, así como formas alternativas de reparación y rehabilitación en sociedad. La exclusividad de la relación del hombre con el arte fundamentaría su objetivación y, por ello, lo convertiría en un derecho jurídicamente exigible.
Art galleries have emerged on the streets of Lhasa since the reform and opening up of China.The earliest ones were Art Gallery of Tibetan Exhibition Hall and Art Gallery of Potala Palace 20 years before.For 20 years as one fell,another rose until now,tens of art galleries of various sizes and centred around the Barkor Street are attracting enormous numbers of tourists from both home and abroad.
Ernst H. Gombrich has always shown particular attention to the psychology of art as psychology of representation (and enjoyment) of art. In addition, through his friendship with Ernst Kris, who had been a respected art historian in the staff of the Kunsthisthoriches Museum in Vienna before becoming an important psychoanalyst, Gombrich devoted some fundamental essays on the contribution of psychoanalysis to the study of art.The main novelty and the most original feature of his contribution to ...
Baar, Teun; Brettel, Hans; Ortiz Segovia, Maria V.
The studies regarding fine art reproduction mainly focus on the accuracy of colour and the recreation of surface texture properties. Since reflection properties other than colour are neglected, important details of the artwork are lost. For instance, gloss properties, often characteristic to painters and particular movements in the history of art, are not well reproduced. The inadequate reproduction of the different gloss levels of a piece of fine art leads to a specular reflection mismatch in printed copies with respect to the original works that affects the perceptual quality of the printout. We used different print parameters of a 3D high resolution printing setup to control the gloss level on a printout locally. Our method can be used to control gloss automatically and in crucial applications such as fine art reproduction.
Full Text Available In this article I examine the relationship between Arthur Danto's philosophy of art and his practice of art criticism. Danto has said that he included many actual examples of discussions of art in The Transfiguration of the Commonplace because of the feeling that, previously, philosophers had theorized about art in a vacuum. And since the time of publishing that book, he has written on a wide variety of both historical and contemporary artists and art practices. Danto's philosophy of art commits him to an account of the practice of art criticism as interpretation. However, I question whether the Danto-esque interpretive essay can serve as an adequate model for art criticism. My primary claim is that art criticism must include a more strongly evaluative element than Danto's theory leaves room for, since on his view, the critic primarily explains meaning by examining how it is embodied in a work. This leaves open the question of which meanings count as valuable or important. In his more recent work Danto has explored a "Hegelian" view that art is primarily about art, but this view too does not allow for art to be evaluated or "criticized" on the basis of whether or how well it tackles the more profound questions of meaning.
This book constitutes the thoroughly refereed post-conference proceedings of the Second International Conference on Arts and Technology, ArtsIT 2011, which was held in December 2011 in Esbjerg, Denmark. The 19 revised full papers and the two poster papers cover various topics such as Interaction...... and Art, Music and Performance, and Digital Technology....
@@ A CHINESE New Year painting exhibition has offered thousands of art lovers a traditional folk art feast in Beijing this past January and February.With the theme of "Door Gods," over 300 works of art were on display, representing various styles in China's different regions.
Leishear, Christina Chiddo
There is a lot of creative energy between students and their art materials. In this lesson, the author discusses materials an artist may use to create a work of art--paint, a paintbrush, a palette, crayons, markers, pastels, and so on. Each student sketched a picture of themselves holding some tools that can be used in art. The objectives of this…
The increasing focus on arts education during the past few years has brought much-needed attention to the benefits it affords to students of all ages. Past research has proved time and again that the arts support teaching and learning in numerous ways, and recommendations abound that schools should find ways to integrate the arts in classrooms.…
Full Text Available The article analyses different forms of easel painting, monumental and decorative art and photography existing in modern universities. It observes how the function of art changes in the context of modernization of culture and higher education. The role of initiators of art spaces in universities is also featured.
Deasy, Richard J.; Fulbright, Harriet Mayor
Findings from a 2-year study of arts education reveal that the first and most important factor in a school district's ability to provide strong arts education is the community's support and involvement. Districts with strong arts education also require a supportive school board, superintendent, and a cadre of principals, teachers, and parents.…
Artista Artesão ou Artista Igual Pedreiro: de Mozart a Macaco Bong, uma história de lutas por autonomia * Artist Craftsman or Artist Equal Mason: from Mozart to "Macaco Bong", a history of struggles for autonomy
Full Text Available Resumo: No livro "Mozart – Sociologia de um gênio", Norbert Elias descreve embates em torno de artistas artesãos (presos ao gosto musical da corte aristocrata e artistas autônomos (com certa autonomia musical, só que menos estruturados socialmente, apresentando Mozart como um agente de transição. Já em pleno século XXI, surge com a banda brasileira Macaco Bong o conceito de artista igual pedreiro, a ideia de envolvimento do músico nos processos produtivos, não apenas na hora de subir ao palco, apontando novas tecnologias digitais como democratizadoras. Neste artigo, discutirei reapropriações de antigas estratégias da indústria fonográfica, e de que forma elas retornam reconfiguradas com esses jovens oriundos da indústria musical do século XXI.Palavras-chave: Autonomia – Reconfigurações – Indústria fonográfica. Abstract: In the book "Mozart – Sociology of a Genius", Norbert Elias describes clashes around craftsmen artists (attached to the musical tastes of the court aristocracy and independent artists (with more freedom and musical autonomy, only less socially structured, presenting Mozart as an agent of transition. On the other hand, in the XXI century, comes up with the Brazilian band "Macaco Bong" the concept artist like mason, i. e., the idea of Musician’s involvement in the production process, not just in time to take the stage, pointing out the new digital technologies as a way for democratizing music. In this article, I will discuss reappropriations of ancient strategies of the music industry, and how they return reconfigured with these young people from the new music industry of the XXI century.Keywords: Autonomy – Reconfigurations – Music industry.
王欣; 陈明明; 张斌
绍兴东湖位于绍兴城东箬篑山北麓,清末学者陶浚宣回乡归隐,利用开山留下的残山剩水,把自然和人文熔于一炉,建成“水石大盆景”式的舟游园林.并在湖上建学堂,是绍兴近代教育和思想革新的重要舞台.除讨论东湖园林各时期历史沿革之外,还从构思立意、谋篇布局、建筑与花木、景因人胜4方面讨论园林艺术,揭示东湖园林的艺术人文价值.%The East Lake lies at the north foot of Mt. Ruokui in the east of Shaoxing. The famous scholar Tao Junxuan in the Qing Dynasty took advantage of the terrain and made the lake a bonsai-like boat-taking landscape in which natural and humanistic elements were both embodied. He also set up schools beside the lake, providing an important stage for modern education and ideological innovation in Shaoxing. Besides the reflection on the East Lake landscape in different historical periods, the paper explores the garden art from four aspects, i.e., conception, layout, buildings and plants, and human elements. It also points out the artistic and humanistic value of the East Lake landscape.
Feller, C.; Landa, E. R.; Toland, A.; Wessolek, G.
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.
Celia Balbina Fernández Consuegra
Full Text Available Tomando en consideración que el Body Art es el lenguaje expresivo del género Performance Art, se plantea como objetivo de este trabajo, una reflexión sobre aquellas acciones artísticas que dieron origen a lo que hoy conocemos como videoperformance. En un principio, con el objeto de documentar las acciones, se comenzaron realizar grabaciones videográficas. Después, los artistas empezaron a incorporar determinadas imágenes a sus acciones, lo que planteó la posibilidad de realizar obras con el único objetivo de ser registradas; esto dio origen al videoperformance.
＂Howl＂ initiates both a cultural and literary revolution in the 1950s. However, it has been more studied with regard to its cultural effect upon the Beat or the effect of the Beat upon ＂Howl＂, rather than valued from a poetic perspective. Either approach would diminish its poetic integrity. The Beat above all was a movement evolving from ＂Howl＂ to other areas, and ＂Howl＂ is better appreciated when placed in the context of history.%《嚎叫》开启了20世纪下半叶一场影响深远的文学和文化革命。然而，评论界多从历史的横断面切入研究由《嚎叫》引发的垮掉派，或者就垮掉派论《嚎叫》，那样都难以看清它在诗歌史上的革新意义。垮掉派终究是一场以诗歌为中心辐射到其他的文化运动，如果从美国诗歌史的纵坐标来厘清它，可能更接近诗人的初衷。
van Miert, D.K.W.
This article argues that Library History ought to be guided by well-contextualized questions of cultural history. It proposes one such question: that which asks after the ways in which repositories of knowledge were created, organized and used in the past. The examples that are discussed in this art
Jakobson, Kristel, 1983-
Restoran Art Priori Tallinna vanalinnas Olevimägi 7. Sisekujunduse autor Kristel Jakobson (Haka Disain). Eesti Sisearhitektide Liidu aastapreemia 2014/2015 parima restorani eest. Lühidalt Kristel Jakobsonist
... skills, improve reality orientation, reduce anxiety, and increase self-esteem. A goal in art therapy is to improve ... supports federal and state policies, legislation, regulations, judicial actions, and initiatives that encourage, promote, and support efforts ...
Afhandlingen er en undersøgelse af linjefaget historie ved læreruddannelsen. Med fokus på subjektperspektivet peger afhandlingen på en række afgørende udviklingsperspektiver for læreruddannelsen, uddannelsen af historielærere og folkeskolens historieundervisning.......Afhandlingen er en undersøgelse af linjefaget historie ved læreruddannelsen. Med fokus på subjektperspektivet peger afhandlingen på en række afgørende udviklingsperspektiver for læreruddannelsen, uddannelsen af historielærere og folkeskolens historieundervisning....
Hansen, Vagn Lundsgaard
Matematikkens historie i syv kapitler: 1. Matematik i støbeskeen; 2. Matematikkens græske arv; 3. Den gyldne tidsalder for hinduer og arabere; 4. Matematik i Kina; 5. Renæssancens matematik; 6. Regning med infinitesimaler ser dagens lys; 7. Matematik i det tyvende århundrede.......Matematikkens historie i syv kapitler: 1. Matematik i støbeskeen; 2. Matematikkens græske arv; 3. Den gyldne tidsalder for hinduer og arabere; 4. Matematik i Kina; 5. Renæssancens matematik; 6. Regning med infinitesimaler ser dagens lys; 7. Matematik i det tyvende århundrede....
Pawson, Eric; Christensen, Andreas Aagaard
Environmental history is an interdisciplinary pursuit that has developed as a form of conscience to counter an increasingly powerful, forward-looking liberal theory of the environment. It deals with the relations between environmental ideas and materialities, from the work of the geographers George...... risks”. These are exposed by environmental history’s focus on long-run analysis and its narrative form that identifies the stories that we tell ourselves about nature. How a better understanding of past environmental transformations helps to analyse society and agency, and what this can mean...... for solutions and policies, is the agenda for an engaged environmental history from now on....
In this project we have theoretically investigated the concept of art and how it is perceived. We have tried to prove the claim that art reflects the changes and dynamics that pervade in a society. We have accomplished this by taking a closer look at two art streams, Abstract Expressionism and Pop Art, with our focus mainly on the latter. The concluding comparative analysis was carried out by juxtaposing the works of the two main representatives of their respective art streams, the Pop Artist...
Chinese New Year painting exhibition reveals the beauty of folk art A CHINESE New Year painting exhibition has offered thousands of art lovers a traditional folk art feast in Beijing this past January and February.With the theme of "Door Gods," over 300 works of art were on display,representing various styles in China’s different regions. Woodcut prints,each a piece of special handmade folk art featuring auspicious subjects,are characterized by their concise lines, bright colors,and joyful scenes embodying people’s best wishes for the New Year.
art and architectural space museums and other exhibition spaces or how artists learn to love architects Over the last two decades, innumerable new museums, art galleries and other exhibition spaces have been built and opened all over the globe. The most extreme growth happened in China, where...... historically considered even the mother of all arts) - but more relevant: what are appropriate architectural spaces for presenting, exhibiting, contemplating, reflecting, meditating, discussing, enjoying, dissenting, debating creations of art. Simplified, this is a question about the relation between package...... and its content. The urban and spatial question goes far beyond museums and other buildings for art: how in democratic societies should public spaces be supported by art and how can public art support ´cityness´ and meaning versus spaces of consumerism. Famous but egocentric buildings with the main...
At the Museum of Art and Design in New York the The Art of Scent (1889–2012) exhibition announced its declared aim of bringing to the forefront of the arts what has long been considered the fallen angel of the senses: it would inscribe scent into fine art through a display characterised by its ex...... situ superiority detached from everyday culture in situ. The exhibition would thus give cause to sketch in a phenomenology of the art of scent that opts for greater inclusion of visitors’ experienced noses. Unfolding within the framework of Martin Heidegger’s critique of aesthetics and the advocacy...... of art, this paper argues that scent that is not of high culture may yet, phenomenologically speaking, be considered great art....
... the President of the United States of America A Proclamation Throughout our history, America has... country's story. Our history is a testament to the boundless capacity of the arts and humanities to shape.... Somewhere in America, the next great author is wrestling with a sentence in her first short story, and...
Full Text Available This texts offers a reflection on the origins and actual development of the field of cultural history through a comparison with the term that has served as title for this seminar: “polyphonic history”. The author provides an overview of the themes that have structured the seminar (the history of representations, the history of the body and the cultural history of science with the aim of making explicit and clarifying this plurality of voices in the field of history as well as its pervasiveness in other research areas.
En este texto se ofrece una reflexión sobre el origen y actual desarrollo del campo de la historia cultural a través de una comparación con el término que ha dado título a este seminario: “historia polifónica”. El autor propone un recorrido por las áreas temáticas que han conformado la estructura del seminario (la historia de las representaciones, la historia del cuerpo y la historia cultural de la ciencia con el objeto de explicitar y explicar esta pluralidad de voces en el campo de la historia, así como su repercusión en otras áreas del conocimiento.
Smith, Gregory D.; Nunan, Elizabeth; Walker, Claire; Kushel, Dan
Imaging of artwork is an important aspect of art conservation, technical art history, and art authentication. Many forms of near-infrared (NIR) imaging are used by conservators, archaeologists, forensic scientists, and technical art historians to examine the underdrawings of paintings, to detect damages and restorations, to enhance faded or…
The term "arts-based research" has been debated for some time now. In an article strongly in favor of this approach Bean (2007) identifies three species: "Research on the arts (italics in the original) (art history, visual and cultural studies, media studies etc.)...Research for the arts, refers to research into applied techniques, materials and…
Hansen, Per H.
This article argues that a cultural and narrative perspective can enrich the business history field, encourage new and different questions and answers, and provide new ways of thinking about methods and empirical material. It discusses what culture is and how it relates to narratives. Taking...
Duffy, Robert E.
Examines the way in which studying history contributes to intellectual development. Identifies five mental attributes it enhances: perspective--gained from placing people, events, institutions against larger background; encounter--confronting great ideas, personalities, etc.; relativism in a pluralistic world--developed from immersion in other…
Roy, R. H.
Asserts that the writers and producers of the television documentary, "The Valour and the Horror," provided a false impression of an event to fit preconceived and erroneous interpretations of history. Points out specific examples of inaccurate historical presentations and provides contradictory historical interpretations. (CFR)
Arthur C. Danto
Full Text Available In this "Reply to my Critics," I explain that The Transfiguration of the Commonplace was essentially a contribution to the ontology of art in which two necessary conditions emerge as essential to a real definition of the art work: that an artwork must (a have meaning and (b must embody its meaning. Many issues have emerged in the course of art's history that are very much part of its practice but are not part of art's essence. In response to Cynthia Freeland, I argue that though the book does not address art criticism, the two necessary conditions specify a viable rule for critical practice, as was recognized by Hegel. And in response to Ivan Gaskell, I argue that the definition of art arrived at in the book is capable of drawing a distinction between art works and artifacts.
Michael, O S
The book appraised in this edition of Chronicles of Medical History, History of Dentistry in Nigeria, is a product of many years of painstaking research. The Author, Professor Eyitope Ogunbodede, has put together an excellent book that is a great work of art. Dentistry is one of the first specialties in medicine with a very long history; evidence of periodontal disease has been traced back to at least 100, 000 years in human remains. However, the book by Professor Ogunbodede is the first comprehensive record of the History of dentistry in Nigeria. It is a must-read for every medical professional practicing in Nigeria and a worthy addition to every library.
A. Rikrik Kusmara
Full Text Available This research review Indonesian contemporary artists that used the various media in the presentation in his works over the years since 2000 until now. Survey at Pameran Besar Indonesia "Manifesto" in May 2008, were around 670 Indonesian living artists, 350 are consistently professional artists, 41 artists who utilize a variety of media in each works and 6 of them are artists who used a various of media on their solo exhibition including combining conventional media with new media and installation approaches. 6 artists are analyzed on the structure of the media presentation configuration their used, and generally they used more than 3 types of media in their solo exhibition, first, painting/drawing, second, sculpture/object/installation, and third video/photography. In the study of each exhibition process, generally utilizing the curatorial and sponsored by promotor (gallery. This research shows a rapid development of economic infrastructure in Indonesian the art in 2000-an era with the emergence of many auction hall, a new generation of collectors and galleries, and the Asian art market and global orientation, it became one of the holding in contemporary art of Indonesia, has been shifting art situation from cultural appreciation in the era of 90-to an era to cultural production.
Full Text Available [ES] Este famoso ensayo de Arthur Danto, que se presenta aquí traducido al español, fue el primer desarrollo de su concepto de «mundo del arte» como un marco contextual que da sentido, por medio de sus usos teóricos-lingüísticos, a toda forma de arte reconocible en el mundo. Este concepto tendría una influencia enorme en todo el mundo, y fue la base de todo el pensamiento posterior de Danto acerca del arte, y su principal herramienta filosófica para vender en todas partes la idea de que las obras de Andy Warhol no sólo eran legítimas obras de arte, sino incluso, obras importantes de arte. ; [EN] This famous essay by Arthur Danto, presented here entirely translated into Spanish, was the first development of his concept of “art world” as a contextual framework that gives meaning, through its theoretical-linguistic uses, to all forms of recognizable art in the world. This concept would have a huge influence around the world, and was the basis of all subsequent Danto’s thought about art, and his main philosophical tool to sell everywhere the idea that the works of Andy Warhol were not only legitimate works of art, but even important works of art.
Full Text Available Art therapy is a form of expressive therapy that uses art materials. Art therapy combines traditional psychotherapeutic theories and techniques with an understanding of the psychological aspects of the creative process, especially the affective properties of the different art materials. Medical art therapy has been defined as the clinical application of art expression and imagery with individuals who are physically ill, experiencing physical trauma or undergoing invasive or aggressive medical procedures such as surgery or chemotherapy and is considered as a form of complementary or integrative medicine. Several studies have shown that patients with physical illness benefit from medical art therapy in different aspects. Unlike other therapies, art therapy can take the patients away from their illness for a while by means of creative activities during sessions, can make them forget the illness or lost abilities. Art therapy leads to re-experiencing normality and personal power even with short creative activity sessions. In this article definition, influence and necessity of medical art therapy are briefly reviewed.
Full Text Available AbstractDOI This essay looks at the reception of the sculptor Reg Butler in the USA and the role of Addison Franklin Page. This art historian, who was the first Curator of Contemporary Art at the Detroit Institute of Arts, has been overlooked in the history of modern sculpture although (or because his work represents an alternative narrative to dominant art history in the aftermath of Clement Greenberg. Page was an important exponent of the American tradition of art education. His core ideas were that art had a meaning for society as a whole and that every individual can read a work of art symbolically. Within this framework Butler became important. The decline of these ideas and the rise of new elitist ideals of art may explain why Butler’s reputation has been omitted from prevailing narratives of the period. Between them, Butler and Page suggest alternatives to dominant art history.
Public art may promote the image and inner culture of the city,build and accumulate the gentle pulse of history and the cultural atmosphere,make public environment serve the people better,meet modern demand more to whom spirit enjoy.How are the whole development, cultural inside information,living standard of a city,can be embodied through the state of development of observing its public all at first,public art and development of the city complement each other.
Full Text Available This article examines the special nature of Te Whāriki, Aotearoa New Zealand’s early childhood national curriculum, as a dynamic social, cultural document through an exploration of two art-inspired imaginary case studies. Thinking with Te Whāriki retains the potential to ignite thinking post-developmentally about art, pedagogy and practice in teacher education, and in the field. It offers examples of how creating spaces for engaging (with art as pedagogy acts as a catalyst for change, art offers a dynamic way of knowing, and being-with the different life-worlds we inhabit. While new paradigms for thinking and practicing art in education continue to push the boundaries of developmentally and individually responsive child-centred pedagogies, an emphasis on multiple literacies often gets in the way. This prohibits opportunities for engaging in other more complex approaches to pedagogy and art as subject-content knowledge, something essential for developing a rich curriculum framework. The article draws on research that emphasises the importance of teacher education in opening up spaces for thinking about (the history of art in/and of education as more than a communication/language tool. It considers an inclusive and broad knowledge-building-communities approach that values the contribution that art, artists, and others offer the 21st early learning environments we find ourselves in.
Full Text Available The Art Toys phenomenon, better known as Art Toy Movement, was born in China in the mid-nineties and quickly spread out to the rest of the world. The toys are an artistic production of serial sculpture, made by handcrafts or on an industrial scale. There are several types of toys, such as custom toys and canvas toys, synonyms of designer toys, although they are often defined according to the constituent material, such as vinyl toys (plastic and plush toys (fabric. Art toys are the heirs of an already pop-surrealist and neo-pop circuit, which since the eighties of the twentieth century has pervaded the Japanese-American art scene, winking to the playful spirit of the avant-garde of the early century. Some psychoanalytic, pedagogical and anthropological studies about “play theories”, may also help us to understand and identify these heterogeneous products as real works of art and not simply as collectible toys.
... 3 The President 1 2010-01-01 2010-01-01 false Proclamation 8430 of October 2, 2009. National Arts... 8430 of October 2, 2009 Proc. 8430 National Arts and Humanities Month, 2009By the President of the United States of America A Proclamation Throughout our Nation's history, the power of the arts...
Nelson, Cindy Lou
This paper describes the history and development of the Jersey City Public Schools creative arts therapy program. Creative arts therapists contributed examples of their work throughout the district that provide a window into their respective school settings. Examples include technology-based art therapy, an extended school year program,…
Does America needs more welders and fewer philosophers? Community college humanities professors and administrators say it benefits all students, whether liberal arts or career track, to take courses in philosophy, history, political science, language arts, and other liberal arts subjects. And they're developing innovative humanities curricula to…
To date at least two aspects of Tibetan studies have become prominent. One is Tibetan archaeology which has grown from a base of ever-enriching fieldwork, and the other is Tibetan art studies which is dominated by Tibetan Buddhist art. In western humanity disciplines,archaeology and art history have always been regarded
Klorer, P. Gussie
In this art-based research project an art therapist utilized reproductions of historic documents and letters discovered in an old building to create a body of three-dimensional art that chronicled local and family history and inquired into societal prejudices of the past. The resulting sculptures and altered books were exhibited in the Missouri…
Martial Arts Club
In July 2010, after five years of activity, the CERN Martial Arts held its first international Bujutsu seminar, gathering more than 40 participants from France, Switzerland, Sweden and Japan. The seminar was led by Master Shimazu Kenji, world-renowned martial arts expert based in Tokyo and headmaster of the Yagyu Shingan Ryu school, present in Europe specifically for the occasion. During nine days, participants got to discover the wide array of Bujutsu techniques and traditions of an ancestral martial art that finds its roots in the art and lives of Japanese samurais. Covering such varied subjects as self-defense techniques (Jujitsu), swordsmanship (Kenjutsu), through to healing techniques and etiquette, it encompasses all aspects of a way of life that still find echoes in today's modern Japanese society. The CERN Martial Arts club wishes to thank particularly the CERN Clubs Committee and its president Rachel Bray for their support in organizing this event. The CERN Martial Arts club, led by Sylvai...
In the last several decades, art has seen the dissolution of the old avant-garde critical grid. Gone are the days of absolutes and manifestos. The most varied styles have been absorbed into the postmodern pastiche, outsider artworks have been traded for large sums on the fine-art market......, and a contemporary zeitgeist marked by a general relativisation of aesthetic values has emerged, exploding into a plethora of parallel discourses on art. Perhaps there is no longer such a thing (if there ever was) as Culture with a capital C, which Dubuffet so vehemently opposed in his championing of art brut....... The concepts of raw art and outsider art were typical of a time when oppositional politics still infused artistic and academic discourses. But modernity seems to have ‘grown out’ of its adolescence, so to speak: out of politics of opposition and absolutes. Of course, it is neither desirable nor possible...
Summer holiday is a pleasure which did not become available to many people until the 20th Century. The article describes the early mountain rambles of the bourgeoisie and their holidays in seaside boarding houses. Outdoor pursuits and stays in boarding houses at bathing resorts also became favour...... pattern. Finally, the history of the special holiday camps is told, which were established by American Jews because they were excluded from many hotels....
Monjo Carrió, Juan
Full Text Available The begining of this work is devoted to the analysis of the concepts of Art, Science and Technique and their historical evolution, distinguishing between "fine arts" and "technique arts". Following, Architect and Architecture terms are defined both conceptual and professionally, analysing as well its historical evolution and pointing out the interdependence between the architectural conception as "fine art" and the constructive technology as "technique art", finally reminding the necessary scientific base of this one (Construction Physics. Consequently, the need for architecture professionals of constructive technology knowledge, is also reminded. At last, the functional character of the Architecture (Architecture as a "functional art" is analysed, going over the three basic aspects of this functionality (Integrity-firmitas, Habitability-utilitas and Aesthetics-venustas.Se inicia el trabajo analizando los conceptos de Arte, Ciencia y Técnica y su evolución histórica, distinguiendo entre ¡as "bellas artes" y las "artes técnicas". A continuación se definen los conceptos de Arquitecto y Arquitectura, tanto conceptual como profesionalmente, analizando, asimismo, su evolución histórica y haciendo hincapié en la interdependencia entre la concepción arquitectónica como "bella arte" y la tecnología constructiva como "arte técnica", para terminar recordando la necesaria base científica de esta última (la Física de la Construcción. Como consecuencia, se recuerda la necesidad de los conocimientos de la tecnología constructiva en los arquitectos profesionales. Por último, se analiza el carácter funcional de la Arquitectura (Arquitectura como "arte funcional" y se hace un breve recorrido por los tres aspectos básicos de esa funcionalidad (Integridad-firmitas, Habitabilidad-utilitas y Estética-venustas.
CHINA'S art market is on fire.As sales and prices break records,a new force has appeared in the market-organized art finance in the form of art trust funds and artwork exchanges.It was reported that the anonymous winner of the bid for the Song Dynasty calligraphy work Dizhuming by Huang Tingjian (1045-1105).which was sold for a staggering 436.
Terry, Charles M
Given the increasing popularity of the martial arts, it is likely that physicians in all specialties encounter patients who participate. From pediatric patients, to geriatric patients, to those living with various disabilities, the martial arts may offer physical, psychologic, and therapeutic benefits. An appreciation of the physical demands of the martial arts is crucial to understanding the pathogenesis of injury as well as to planning treatment and prevention strategies and to determining safe return to participation after injury.
Baceviciute, Sarune; Bruni, Luis Emilio; Burelli, Paolo
in hospitals. Most of these guidelines favor figurative over abstract art, based on ideas leaning to the emotional congruence theory, which would claim that abstract art leads to ambiguity and therefore it could augment the current emotional base-line of an already stressed patient. The early ethnographic...... studies of the “Art in Hospitals” project challenged this perspective by investigating the positive or negative effects of “lower-level” specific features (e.g.: bright colors vs. darker, contrast, predominant shapes) independent of whether they were present in abstract or figurative art, which...
Full Text Available This article devoted to the search of relevant sources (primary and secondary and characteristics of computer games that allow to include them in the field of art (such as the creation of artistic games, computer graphics, active interaction with other forms of art, signs of spiritual aesthetic act, own temporality of computer games, “aesthetic illusion”, interactivity. In general, modern computer games can be attributed to commercial art and popular culture (blockbuster games and to elite forms of contemporary media art (author’s games, visionary games.
Mehlsen, Camilla; Jensen, Hans Siggaard
Managing through Variety: The European Style. 3rd European Academy of Management (EURAM) Conference , Milan (Italy). 2003 Short description: This paper focuses on the use of art metaphors in today?s world of management and organizational practice. Abstract: This paper focuses on the use of art...... metaphors in today?s world of management and organizational practice. It tells the story of how art has entered the organizational stage as a metaphorical role model and how art is a metaphor we live and manage by. The story is in particular concerned with artistic images of organizations that frame...
Virginia Tech School of the Arts announces ArtsFusion 2008, a weeklong celebration of the arts throughout the New River Valley scheduled for April 12 through April 19. ArtsFusion 2008 is seeking participation by arts organizations and artists both on campus and throughout the New River Valley working in music, film, theatre, dance, creative writing, and the visual arts.
Chartier, Duane R.; Notehelfer, Fred G.
Contrary to popular belief, there is a very great difference between the detection of forgery versus the authentication of works of art. Sciences is generally very good at producing evidence of falsification but often is equally poor at proving authenticity. The primary reason for these gross differences is that connoisseurship and art history are more strongly involved in the process of authentication than are scientific testing and analysis. There is also a pronounced lack of substantive interaction between art conservation professionals, scientists and art historians. The case of a recently discovered painting by John Constable will be used to illustrate the difficulties and opportunities of a balanced and systematic approach to the process of authentication. There is much more than science involved in such endeavors and this would not surprise anyone who has attempted to introduce works of art through non-traditional channels. Great problems arise when the curatorial community is asked to consider works that do not so easily 'fit' into a neat art historical period or stylistic pigeonhole. Connoisseurs often will only accept the best works of an artist and discount the inevitable products of the artist's evolution -- less accomplished works. Scientific principles and technical evidence can and must be used in order to elevate the practice of authentication.
Environmental art design refers to the construction of indoor and outdoor space environment, integration design a practical way of art through art and design.Art system is the existence of a specific period of art ideas and knowledge systems, as well as artwork for the existence of production, dissemination, complete social mechanisms consumption evaluation. Environmental art design in its production to consumption process, restriction and help inseparable art system.
Full Text Available This article offers a kind of map of intellectual fields that are more or less close to cultural history. It is difficult to separate cultural history from intellectual, social and political history, from archaeology and from the histories of such activities as art, literature, language and religion, whether these histories are studied in departments of history or under the umbrella of “visual studies”, “religious studies” or “cultural studies”. All these neighbours form an “inner circle”, discussed in relative detail. Beyond it lies a “middle circle” of disciplines that are separate from cultural history but have made considerable impact on it: anthropology, ethnology, sociology, politics and geography. Still further away, and discovered by cultural historians only recently, comes an “outer circle”, comprising psychology, cognitive studies, neuroscience and biology. The effect of the outer circle of disciplines on the practice of cultural history remains uncertain.
Este artículo ofrece un cierto mapa de campos intelectuales más o menos cercano a la historia cultural. Es difícil separar la historia cultural de la intelectual, social o política, de la arqueología y de historias de actividades como arte, literatura, lenguaje y religión, tanto si estas historias se estudian en departamentos de historia como si caen bajo el paraguas de "estudios visuales", "estudios religiosos" o "estudios culturales". Todos estos vecinos constituyen un "círculo interior" que se discute con cierto detalle. Mas allá se sitúa un "círculo medio" de disciplinas que están separadas de la historia cultural, pero han tenido considerable impacto sobre ella: antropología, etnología, sociología, politología y geografía. Y un paso más allá, según han descubierto solo de manera reciente los historiadores culturales, existe un “círculo exterior”, que comprende psicología, estudios cognitivos, neurociencia y biología. El
Full Text Available The paper is a brief survey of the historiography of Maithil painting after independence. Tracing the roots of current perceptions of Maithil art to the 1949 article of W.G. Archer, the paper demonstrates how his interpretations were articulated by Maithil and non-Maithil scholars and promoters of Maithil art to project a regional, caste-based and national identity. It also looks at the ways in which Maithil art got misinterpreted with the arrival of western scholars in Mithila. The paper reviews the recent shifts in the historiography of Maithil painting by examining the emergence of Harijan Madhubani art. It examines how the legacy of colonial interpretations, romanticization of past history and debates on innovation and tradition, have changed the trajectories of the historiography of Maithil painting in the past few decades.
In contrast to theories of poetry or rhetoric, no complete ancient theory of the figurative arts survives. Renaissance authors wishing to underpin the "rebirth" of painting therefore had to resort to a variety of strategies to invent a new genre. Literary metaphors and fragments from artists’ biogra
Presents four lesson plans centered around artworks involving Japanese clothing. Instructional materials include color plates of a 19th century print showing women's clothing, two beautifully handcrafted coats, and a coverlet in kimono form. The lesson plans discuss Japanese clothing, art, society, and culture. (MJP)
Ozgur, Kemal; Humaidan, Peter; Coetzee, Kevin
Currently up to 4% of infants born in developing countries are conceived through assisted reproductive technology (ART). Even though most of these conceptions occur and progress without complications, ART procedures and processes may increase iatrogenesis through complications in - and after conception. We herein review and discuss the clinically and scientific implications and evidence of iatrogenesis, and show how the evolution in ART technologies and procedures has led to the current presumption that frozen embryo transfer might be a more optimal strategy than fresh embryo transfer, in terms of not only reproduction, but also of maternal and fetal outcomes. There is increasing scientific evidence to support the notion that controlled ovarian stimulation could induce significant changes to the endocrine profile of a reproductive cycle, especially to the reproductively important early luteal phase. These changes may not only have a negative effect on implantation and early placentation, but also on the mother, the fetus, and the infant. The overt consequences of controlled ovarian stimulation include ovarian hyperstimulation syndrome, reduced embryo implantation, increased ectopic pregnancy, and altered placentation and fetal growth. The cumulative scientific evidence from this review suggests that GnRHa trigger in segmented ART might constitute the future routine treatment regimen for IVF patients, providing a safe, effective, and patient friendly treatment.
Stephens, Pamela Geiger; Shaddix, Robin K.
Presents an activity for upper-elementary students that correlates the actions of archaeologists, patrons, and artists with the sequencing of events in a logical order. Features ancient Egyptian art images. Discusses the preparation of materials, motivation, a pre-writing activity, and writing a story in sequence. (CMK)
Lassen, Henrik Roesgaard
In December 2012 a manuscript entitled "Tællelyset" ['The Tallow Candle'] was discovered in an archive. The story was subsequently presented to the world as Hans Christian Andersen's first fairy tale and rather bombastically celebrated as such. In this book it is demonstrated that the text cannot...... from a point-by-point tracing of 'the origins and history' of Hans Christian Andersen's famous fairy tales. Where did the come from? How did they become the iconic texts that we know today? On this background it becomes quite clear that "Tællelyset" is a modern pastiche and not a genuine Hans Christian...... Andersen fairy tale....
Erin J. Campbell
Full Text Available To transcend the divisions in art historical research between high art and decorative art, this study proposes an ecological approach. Drawing on research in the social sciences and humanities, and using the early modern domestic interior as a case study, the essay develops the concepts of environment, ecology, meshwork, assemblage, distributive agency, vital materiality, and matter as social performance, which appear in the work of political scientist Jane Bennett, feminist philosopher Karen Barad, sociologist Bruno Latour, anthropologist Tim Ingold, and others. As the study argues, such concepts provide a phenomenological, integrative, and non-hierarchical framework for the study of the decorative arts within the institutions and practices of art history, allowing art historians to analyse the processes through which the human and the material are intertwined.
Rosenfeld, Malke; Johnson, Marquetta; Plemons, Anna; Makol, Suzanne; Zanskas, Meghan; Dzula, Mark; Mahoney, Meg Robson
Writing about the teaching artist practice should mean writing about art making. As both teacher and artist, the authors are required to be cognizant of their own art-making processes, both how it works and why it is important to them, in order to make this process visible to their students. They also need the same skills to write about how and…
Bialoskorski, Leticia S.S.; Westerink, Joyce H.D.M.; Broek, van den Egon L.
The progress in the field of affective computing enables the realization of affective art. This paper describes the affective interactive art system Mood Swings, which interprets and visualizes affect expressed by a person. Mood Swings is founded on the integration of a framework for affective move
POPOLIZIO, VINCENT J.; AND OTHERS
FACILITIES FOR CARRYING OUT AN ART PROGRAM MUST BE DESIGNED TO MEET THE NEEDS OF STUDENTS IN SCHOOL AND THOSE ENROLLED IN ADULT PROGRAMS. PROVISIONS MUST BE INCLUDED FOR PAINTING AND DRAWING, THE GRAPHIC ARTS, GENERAL CRAFTS, MODELING, SCHULPTURING, PHOTOGRAPHY, SERIGRAPHY, AND MECHANICAL DRAWING. WORK CENTERS AND TRAFFIC FLOW NEED CAREFUL…
Discusses a project that aimed at educating the public about art by bringing art to the people. Explains that students selected their favorite artwork and made a t-shirt displaying their artwork. States that the students went into their community and also created a mural. (CMK)
May, Michael; Stjernfelt, Frederik
Discussion of the semiotic concept of the iconic sign according to Charles S. Peirce and its importance for the understanding of "diagrammatic reasoning" in science and art.......Discussion of the semiotic concept of the iconic sign according to Charles S. Peirce and its importance for the understanding of "diagrammatic reasoning" in science and art....
Penasse, J.N.G.; Renneboog, L.D.R.; Spaenjers, C.
We hypothesize the existence of a slow-moving fad component in art prices. Using unique panel survey data on art market participants’ confidence levels in the outlook for a set of artists, we find that sentiment indeed predicts short-term returns.
Discusses the Art and Architecture program that involves K-12 students in the creation of public art. The program provides students with a sense of ownership through design and construction assignments created as part of an integrated curriculum, including mock bids and interpreting a floor plan into an elevation. Tips on how architects can start…
Valladares, Clarival Do Prado
Class differences in Brazil explain the inequality between the art produced in the high strata of society and that originating in the economically inferior communities. Genuine expression of art degenerates for two reasons: the influence of modern industrial civilization and the tendency to satisfy the taste of the acquisitive group. (Author/MF)
Gustav Klimt (1862-1918), a Viennese painter, was the founder of the Vienna Secession, the Austrian Art Nouveau movement. Art Nouveau is characterised by flowing lines and flat designs based on organic structures. This style is found in the symbolic aspect of Klimt's later work, and in the works of other artists of the late 1890s and early 1900s…
In an era that is rife with aggression and hostility, most art educators hold close to their hearts the belief that they, and their students, can contribute to making the world a better place. Through their acts as teachers and the daily work of art education, they often strive toward creating a space of "non-violence." For K-12…
Purpose: This paper explores the way in which art education advances the goals of citizenship education. In the first section of this paper the similarities between ethical and aesthetic concepts will be outlined and the visual art symbol system will be carefully examined. Findings: It will be argued that the transference of a value-adaptive…
Goetzmann, W.; Renneboog, L.D.R.; Spaenjers, C.
This paper investigates the impact of equity markets and top incomes on art prices. Using a long-term art market index that incorporates information on repeated sales since the eighteenth century, we demonstrate that both same-year and lagged equity market returns have a significant impact on the pr
Art educators can "critique" senseless violence--mistreatment, exclusion, intimidation, bullying, violation, abuse, corruption, murder, and war--by unleashing the power of students' creativity. In this article, the author, sharing her philosophical context, discusses how art is preventative medicine with the power to transform the cycle…
A mini-course of nine weeks was organized as a laboratory course to survey relationships in literature, music, and art. Three periods in the arts (Romanticism, Impressionism, and Contemporary) were matched with three major activities; the basic areas of study and activity were poetry, short story, and novel. (Author)
Provides an annotated bibliography of books for grades K and up which explores the folklore, poetry, fiction, and art of Mexico, and focuses on the Mayans and Aztecs and Diego Rivera and Frida Kahlo. Also suggests various research, reading, drama, music, social studies, physical education, and art activities and lists related videos and Internet…
Martins, Mirian Celeste
Full Text Available A pergunta que dá título ao artigo é o mote da conversa que o texto deseja compartilhar. O convite é para percorrer trajetos em encontros com a arte, com a palavra estética, com a potencialidade da arte contemporânea, com o olhar de missão francesa que teima em considerar a arte como expressão da beleza. No percurso, a proposição da leitura de uma imagem incompleta, tenta provocar idas e voltas conceituais na percepção do próprio ato de leitura oferecida como curadoria educativa na processualidade da mediação cultural. Declanchar, tirar a tranca. Não será esta a tarefa maior da mediação cultural: abrir o que estava travado, libertar o olhar amarrado ao já conhecido para ver além? Não será este o sentido da educação estética? Os territórios de arte de arte & cultura, instigando o pensamento rizomático, não seriam nutrição estética para ir além das obras de arte conhecidas e das biografias dos artistas? Na ampliação de horizontes, cabe ao leitor a resposta: Afinal, arte, só na aula de arte?
Mehlsen, Camilla; Jensen, Hans Siggaard
Managing through Variety: The European Style. 3rd European Academy of Management (EURAM) Conference , Milan (Italy). 2003 Short description: This paper focuses on the use of art metaphors in today?s world of management and organizational practice. Abstract: This paper focuses on the use of art me...
Larsen, Poul Steen
the Metropolitan Museum of Art, Thomas J. Watson Library, Helge Ernst, illustrator, Poul Kristensen, printer, Ole Olsen, bookbinder, exhibition catalog......the Metropolitan Museum of Art, Thomas J. Watson Library, Helge Ernst, illustrator, Poul Kristensen, printer, Ole Olsen, bookbinder, exhibition catalog...
This paper focuses on the art in translation.First,the translation and art are defined and some historic views are illustrated.Then the author lays emphasis on how to convey the artistic information and provides some methods on how to achieve artistic effect in translation.
In this article, the author shares how she was able to discover some big ideas about art education. She relates how she found great ideas to improve her teaching from the book "Rethinking Curriculum in Art." She also shares how she designed a "Big Idea" unit in her class.
Challenging one's brain is the beginning of making great art. Tangrams are a great way to keep students thinking about their latest art project long after leaving the classroom. A tangram is a Chinese puzzle. The earliest known reference to tangrams appears in a Chinese book dated 1813, but the puzzles existed long before that date. The puzzle…
Jones, Jean Ellen, Ed.
Reviews research on the place of the arts in programs for the elderly. In nine articles deals with characteristics and attitudes of adult students in art and music, dance therapy, and creativity. Discusses the aging advocacy movement and suggests it can be useful to program planners and gerontologists. (JAC)
Epstein, Ann S.
Examines the place of art appreciation in early childhood education programs. Discusses historical changes in philosophies of art education and young children's capability for appreciating art. Presents suggestions for including art appreciation in the preschool curriculum, and describes ways to tie art activities to children's interests,…
National Assembly of State Arts Agencies, 2011
Supporting lifelong learning in the arts is a top priority for state arts agencies. By supporting arts education in the schools, state arts agencies foster young imaginations, address core academic standards, and promote the critical thinking and creativity skills essential to a 21st century work force. State arts agencies also support…
This viewpoint presents a reflection on a meaningful relationship that developed between a university art education department and a local art therapy studio. Such partnerships are desirable and mutually beneficial because of the significant interest many art educators have in the field of art therapy. The author, an art educator, describes the…
The aim of this paper is to observe the evolution and evaluate the 'realness' and authenticity in Anatomy Art, an art form I define as one which incorporates accurate anatomical representations of the human body with artistic expression. I examine the art of 17th century wax anatomical models, the preservations of Frederik Ruysch, and Gunther von Hagens' Body Worlds plastinates, giving consideration to authenticity of both body and art. I give extra consideration to the works of Body Worlds since the exhibit creator believes he has created anatomical specimens with more educational value and bodily authenticity than ever before. Ultimately, I argue that von Hagens fails to offer Anatomy Art 'real human bodies,' and that the lack of bodily authenticity of his plastinates results in his creations being less pedagogic than he claims.
Degn Johansson, Troels
This article outlines the author's continuous collaboration with the Danish art collective Superflex; an internationally recognised example of how contemporary art has taken interest in design practice in order to realise visions of change and empowerment. Setting off from Frayling's infamous...... distinction between research in, for, and through art and design, the author lays out this collaboration as a series of stepping back from an initial action research situation, that is, a case of research through design where the researcher is involved by means of strategic interest. However, by gradually...... distancing himself, by taking steps back from this situation, the author has sought to map out systematically the institutional contexts in which the art collective has been operating. In this way, it has become possible to understand further why art may maintain its original empowering role in design...
From 8 December 2011 to 17 February 2012, Geneva University's physics faculty will be holding an exhibition called "L'Origine – un voyage entre la Science et l'Art". Thirty artists from Europe and Africa will be exhibiting their work. The aim of the exhibition is to take the visitor on an imaginary journey to the origins of mankind and to show how science and art approach the same theme from different angles. The works on display will include pieces of Makonde art, a traditional art form native to Mozambique, created by artists of the Nairucu Arts centre. The cultural programme that will run alongside the exhibition will include lectures on contemporary scientific themes aimed at the general public. Visitors will also have the opportunity to discover "L’Origine", a book of poetry by Beatrice Bressan (Ed. Loreleo, Geneva, 2010), which was awarded the third prize in the “Poeti nella società&...
Full Text Available This article presents a visual artist’s point of view about art. This view confronts the Eurocentric traditional cannon with some ignored, but valuable traditions, thus proposing a contra-canon. These ideas are examined on the light of a variety of sources, including prehistoric, pre-Columbian, and 20th century art expressions, in a variety of media, from sculpture to literature. Recent art expressions are characterized by their incorporation of minority values and perspectives that challenge “universal” views. Using samples of works from Latino and African American artists, the author shows that, even today, art is a means to know the world and its people, to exhibit personal life, to create personal symbolism, and to show one’s identity or the search for it. Like the human nature it represents, art has multiple faces.
中村, 和世; 大和, 浩子; 中島, 敦夫; 吉川, 和生
This paper is aimed at developing Art Education Taxonomy Table through critically examining a revision of Bloom's Taxonomy of Educational Objectives contrived by Anderson and Krathwohl. First, the overview of the history of Bloom's Taxonomy is provided in relation to art education. Second, the influence of Bloom's theory of educational evaluation and Taxonomy on the classroom practice of art education in Japan is discussed. Third, aiming at using for the development of art education curriculu...
Full Text Available Throughout history, the humanbeing discussed the space in the sense of both to perceive the truth and to state the connection between him and the truth itself. In this context; mythology, religion, phylosophy and positive science, etc. handle the subject from their point of view. As to the art,throughout history, handles the space from different points in terms of cultures, beliefs thoughts and periods in accordanc with the perspective of the fields that are issue and the guidance of the artist's world perception himself. In this direction, the reflection manner of the space on the art has taken form as the manifestation of the artist's individual and social perception. When we look at the history of the painting art, it is seen that space concept shows itself in four stages with different characteristic shapes. The stages at issue are called as twodimensional superficial space vision, three dimensional superficial space vision, multidimensional space vision and conceptual space vision. Between the views that are mentioned, two-dimensional superficial space vision matches up with the space perceptive in miniature craft. In this point, in the article, the acceptance of the twodimensional superficial space vision, seen in miniatures, in Islamic World and the meaning of it from Muslim artist's point of view are discussed by investigating the concepts of space and emptiness in the Oriental and islamic thought.
Argues that art education does not meet its objective of creativity and instead is replicative rather than original. Contends educational journals such as "Instructor" and "Good Apple" reduce fine art to its antithesis, popular art. Concludes that art educators must work diligently to protect fine art from becoming "dumb…
Geering, Adrian D.
This document contains 10 essays which focus on various aspects of art education in the elementary, secondary, and postsecondary educational institutions of Australia. Titles are "Art Education in Australia," The Visual Arts and Society,""The Parallels Between Primitive Art and Child Art,""The Mildura Sculpture…
Asmus, J. F.
-profile diagnostic technique. These two, seemingly trite, examples of scientific serendipity "in reverse" are not isolated anomalies. History is replete with instances of art coming to the aid of science and technology. Examples include Samuel Morse's drawing upon his skill as a painter in support of his electrical engineering research, the collaboration of Michele Besso and Albert Einstein in the formulation of Special Relativity, Picasso's vision of wave-function collapse in Quantum Electrodynamics, and Jay DeFeo's depiction of Big Bangs and Black Holes while cosmologists were focusing on Fred Hoyle's steady-state continuum theory of the universe.
Acar Haci Mehmet
Full Text Available Since the early ages, people live together with art, and create various branches of art. Painting, as one of the most important branches of art, occurs on the walls of the caves of prehistoric ages. By the nineteenth century, photography shows itself and come as a branch of art until today. Photographers have created new methods and techniques throughout history. Among these, we can say that “painting with light” is one of the techniques by which the artist can create original works of art and reflects his/her creativity freely. This study aims to cite the importance of creativity in art education by the applications of “painting with light”. First the history of art is touched briefly, and then the invention of photography is mentioned and the relationships of photography and painting is studied. In the final section by informing about the technique of “painting with light”, it is discoursed how to get a work of art with this technique.
Full Text Available The Japanese art and culture, which had been isolated from the West for long periods, opened their doors to the whole world in the 1850s and Japanese culture and art became a “fashion” especially in Europe after they spread through trade across the globe. Exotic Japanese commodities obtained through Western merchants aroused a huge interest among some artists of the time and served as a source of inspiration for modernist movements. In the 19th century, especially lithographic pictures called “estamp” made by Japanese lithographers were collected by European artists of the time. Examination of Japanese lithographic pictures brought new points of view to the European modern art and artists laid the foundations for new artistic pursuits in light of impressions they obtained from those pictures. The basic goal of this study is to obtain information about Japanese culture and art, one of the sources that fed the Impressionist Art, which occupies a significant place in the history of Western Art, and to investigate the relationships between the Impressionist or Post-Impressionists works and the Japanese art, which they interacted with. Japanese art did not only influence the Impressionist art movements but it also inspired movements such as Art Nouveau, Expressionism, Fauvism and Cubism. However, the scope of the study was limited to the 19th century Impressionist movement and artists and the examples were focused on well-known Impressionist artists and their works so as to understand the subject better.
Full Text Available Principally, theory and practice should be in harmony. In Jewelry Design Programmes, the knowledge of light, colour and design should be thought on basis of theories and causations besides visuality and practice. The education of design provides the students an independent aspect and encourages researching and questioning when supported by theoretical knowledge as art history, aesthetics, sociology of art, arts policy and analyzation of works of arts. The fundamental thing in art education is an accurate definition of art and a correct specification of coordinates of art education in accordance with this definition. If universal art coordinates are not included in Jewelry Design Education’s scope, it is possible to train craftsmen but not artists. It is a recognized truth that if a work of art has gained a universal value and protected it in time, then it is likely to talk about an artist and artistic values. Unique art works have their own creation laws and prove themselves in time.
María Eugenia Blázquez Rodríguez
Full Text Available El diseño industrial desde la segunda mitad del siglo XX empieza a entenderse también como catalizador cultural, capaz de actuar como una forma de crítica cultural y social. Este papel se pone de manifiesto igualmente en una parte del arte contemporáneo. Sus caminos a menudo se cruzan, no sólo en este aspecto relativo a la funcionalidad social sino en otras cuestiones relativas a la manera de analizar la relación de los objetos con el espacio, es decir con nuestro entorno. El título hace mención a unas obras de arte basadas en las cualidades formales y simbólicas de los objetos provenientes de la tecnología y el diseño industrial, para ser llevadas al campo de la estética y de la percepción. Abstract The industrial design from the second half of the 20th century starts being understood also as cultural ca-talyst, capable of acting as a form of cultural and social critique. This role is manifest equally for a part of the contemporary art. Their ways often cross, not only in this aspect relative to the social functionality but in other relative questions like analyzing the relation of the objects with the space, that is to say with our environment. The title make refernce to a few works of art based on the formal and symbolic qualities of the objects from the technology and the industrial design, to be taken to the field of the aesthetics and of the perception.
This article is based on examples of contemporary audiovisual art, with a special focus on the Tony Oursler exhibition Face to Face at Aarhus Art Museum ARoS in Denmark in March-July 2012. My investigation involves a combination of qualitative interviews with visitors, observations of the audienc......´s interactions with the exhibition and the artwork in the museum space and short analyses of individual works of art based on reception aesthetics and phenomenology and inspired by newer writings on sound, voice and listening....
We describe the design of an undergraduate course in art and robotics that aims to integrate basic concepts of computer science, robotics and art installation for undergraduate students within the problem-based learning model. Our methodology aims to bridge the gap that separates humanities from...... computer science and engineering education to prepare students to address real world problems in robotics, including human-robotic interaction and HCI. Given the proliferation of interactive, systems-based art works and the continued interest in human-centered factors in robotics research (such...
For the past 20 years the author has taught an Honors College course combining astronomy and the humanities. The purpose of this note is to give examples of methods that can be adapted to classroom use for topics including night sky paintings by Vincent van Gogh, Edvard Munch, and Claude Monet, historical events influenced by astronomical factors,…
1940 ) (M. Zakharov) ..... 57 N Some Issues On The Development Of The Theory Of Strategy In The 1920s (N. Pavlenko) .......... 70 On The Theory Of Deep...Russian army deployed at that time against the German and Austro-Hungarian armies on a front of 1057 kilometers. 19. N. N. Golovin , Vvedeniye v kurs...Moscow: Military Academy For Tank Troops) 1940 , pp. 5-6 33. N. Varfolomeyev. Strategzya v akademcheskoy postanovke [Strategy in an academic formulation
This article describes an activity in which students created and designed lampshades using artists' styles. This was a unique experience because while all of the students have drawn or painted on flat canvas, none of them had done dimensional painting in this manner before. Essentially, they were planning and creating murals in 3-D. The author…
May, Brittany Nixon; Robinson, Nicole R.
The purpose of this study was to examine the perceptions and attitudes of the Beverley Taylor Sorenson Arts Learning Program (BTSALP) arts specialists on arts integration. BTSALP arts specialists (N = 50) throughout the state of Utah responded to a 20-item survey. Results indicated that a majority of BTSALP arts specialists believe that arts…
Griffey, Erin; Reay, Barry
Although one will not find Edward Melcarth (1914-73) in the best recent histories of male homosexuality and American art, he was not always so spectral. Named in Life magazine in 1950 as one of the best young American artists, he exhibited as a painter, draftsman and sculptor and also practised as an illustrator, photographer and designer. His work survives in the Forbes Collection, in the Smithsonian Institution and in the art archives at the Kinsey Institute. We argue that Melcarth’s vision of the erotic was far broader than the traditional categories of sexuality that are perpetuated in art histories of homoeroticism in modern America – and that such a revisioning enables a reinterpretation of some of the better known images of homosexual art.
Kelekian, Lena, ,, Lady
Since the dawn of mankind, cavemen has expressed himself through art. The earliest known cave paintings date to some 32,000 years ago and used 4 colours derived from the earth. These pigments were iron oxides and known as ochres, blacks and whites. All pigments known by the Egyptians, the Greeks, the Romans and Renaissance man were natural and it was not until the 18th century that synthetic pigments were made and widely used. Until that time all art, be it sacred or secular used only natural pigments, of which the preparation of many have been lost or rarely used because of their tedious preparation. As a geologist, a mineralogist and an artist specializing in iconography, I have been able to rediscover 89 natural pigments extracted from minerals. I use these pigments to paint my icons in the traditional Byzantine manner and also to restore old icons, bringing back their glamour and conserving them for years to come. The use of the natural pigments in its proper way also helps to preserve the traditional skills of the iconographer. In the ancient past, pigments were extremely precious. Many took an exceedingly long journey to reach the artists, and came from remote countries. Research into these pigments is the work of history, geography and anthropology. It is an interesting journey in itself to discover that the blue aquamarines came from Afghanistan, the reds from Spain, the greens Africa, and so on. In this contribution I will be describing the origins, preparation and use of some natural pigments, together with their history and provenance. Additionally, I will show how the natural pigments are used in the creation of an icon. Being a geologist iconographer, for me, is a sacrement that transforms that which is earthly, material and natural into a thing of beauty that is sacred. As bread and wine in the Eucharist, water during baptism and oil in Holy Union transmit sanctification to the beholder, natural pigments do the same when one considers an icon. The
Contemporary artists and art galleries have been more active than museums in representing gay and lesbian culture in public spaces in recent decades. However same-sex relationships have a long history that is reflected in the collections of museums that have material from the classical world. The culture of ancient Greece and Rome was less…
King, Alyson E.
In recent years, historical events, issues, and characters have been portrayed in an increasing number of non-fiction graphic texts. Similar to comics and graphic novels, graphic texts are defined as fully developed, non-fiction narratives told through panels of sequential art. Such non-fiction graphic texts are being used to teach history in…
Martin, Edward C.; Sandler, Martin W.
Questions and activities using still pictures, audio materials, simulations and games, popular arts, literature in the new social studies projects are given. Combinations of the right kind of media around fundamental human issues may help students get meaningful answers to the questions posed in the history classroom. (VW)
Describes two reference books suitable for middle/junior high school library media centers that present information about African-American women and suggests activities for Afro-American History Month. Library media skills objectives, social studies and art objectives, grade levels, resources, instructional roles, activities and procedures,…