IF 0.5

Arts Pub Date : 2024-06-20 DOI: 10.3390/arts13030110

Alina Lipowicz-Budzyńska

{"title":"Aspects of Coexistence between Art Glass and Architecture—Façade Graphics","authors":"Alina Lipowicz-Budzyńska","doi":"10.3390/arts13030110","DOIUrl":"https://doi.org/10.3390/arts13030110","url":null,"abstract":"One of the key concerns for present-day society is the need to build the environment in which we live in a sustainable way, using green solutions, but without losing the aesthetic values. The following study proves that, when applied in the right way, façade graphics support sustainability. Art glass placed inside the envelope significantly influences a number of aspects related to how a building functions, improving the quality of a given architectural space’s properties. Façade graphics have a considerable effect, as they control the intensity of light penetrating to the interior and provide support sunlight protection. Façade graphics act as a cover that controls how images filter through from the inside to the outside and from the outside to the inside. The graphics may be used to show messaging directed at the public. Art glass located in the external partition has a significant impact on several aspects of the functioning of an architectural object. In the preliminary examination, a few factors that determine the scope of such effect were identified, including the structure of the glass layer and of the image. The objective of this publication is to determine to what degree the structure of an image on glass, and the artistic means associated with it, influence the scope of the visual effect of a glass partition, as well as its functional properties, and how important for the reception of architectural space are the artistic values of glazing, in terms of its form, dynamics, composition, and colours, as well as the means by which the applied image impacts its surroundings. These means result from selection of suitable execution techniques and strategies for shaping the partition. The research concerns aspects of interconnection between graphics and the architectural space; its artistic, compositional, integrating, and covering role. The work is important in further research on the use of facade graphics in the utility and visual aspect.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"18 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-06-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141430616","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The Creative Impulse: Innovation and Emulation in the Role of the Egyptian Artist during the New Kingdom—Unusual Details from Theban Funerary Art 创作冲动：新王国时期埃及艺术家角色的创新与模仿--底比斯墓葬艺术中的不寻常细节

IF 0.5

Arts Pub Date : 2024-06-19 DOI: 10.3390/arts13030109

Inmaculada Vivas Sainz

{"title":"The Creative Impulse: Innovation and Emulation in the Role of the Egyptian Artist during the New Kingdom—Unusual Details from Theban Funerary Art","authors":"Inmaculada Vivas Sainz","doi":"10.3390/arts13030109","DOIUrl":"https://doi.org/10.3390/arts13030109","url":null,"abstract":"The present research analyses the role of the Egyptian artist within the context of New Kingdom art, paying attention to the appearance of new details in Theban tomb chapels that reflect the originality of their creators. On the one hand, the visibility of the case studies investigated is explored, looking for a possible explanation as to their function within the tomb scenes (such as ‘visual hooks’) and offering a brief experimental approach. Tomb owners benefitted from the expertise and originality of the artists who helped to reaffirm their status and perpetuate their funerary cults. On the other hand, iconography can include examples of the innate creativity of artists, including ancient Egyptian ones. The presence of such innovative details reflects the undeniable creativity of artists, who sought stimulating scenes which were sometimes emulated by contemporaries and later workmates. Significantly, some of these innovative details reveal unusual poses and daily-life character, probably related to the individuality of the artists and their innovative spirit. In other words, the creative impulse is what leads artists to innovate. In this sense, creativity must be understood as the dynamic of the visual arts that determines constant evolution of styles.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"43 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141425592","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Making Space for the Better: Living by the Sacred Yamuna 为更好的生活留出空间：生活在神圣的亚穆纳河畔

IF 0.5

Arts Pub Date : 2024-06-18 DOI: 10.3390/arts13030108

Vrushali Anil Dhage

{"title":"Making Space for the Better: Living by the Sacred Yamuna","authors":"Vrushali Anil Dhage","doi":"10.3390/arts13030108","DOIUrl":"https://doi.org/10.3390/arts13030108","url":null,"abstract":"Eviction could hold a different meaning if a home’s immediate surroundings contribute to its residents’ livelihood, especially for informal laborers. This paper explores the notion of the fragility of a home within an expanded space—the space on which a home stands and its surroundings when turned into a contested area. It specifically looks at the slum of Yamuna Pushta in Delhi, which was demolished in 2004. The act uprooted thousands of low-income families who were blamed for polluting the river. The demolition was fueled by new urban visions and planning strategies, political and capitalist ambitions, projections of national pride, and an event-driven approach camouflaged under an environmentalist concern attempting to “clean” the river. Using the photographic works of artist, curator, and activist Ravi Agarwal as a case study, this paper argues the presence of a counternarrative in the works, challenging the projected environmentalist discourse around the river, the slum dwellers. This study further states the dual marginalization of the Pushta residents and the Yamuna by critiquing the economic format of majoritarianism through the growing normalcy and agreeability of the slum demolitions by the urban non-poor disguised as the “greater good”.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"73 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141334268","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Great-Grandmother, Grandmother, Mother, and Me: A Search for My Roots through Research-Based Theatre 曾祖母、祖母、母亲和我：通过基于研究的戏剧寻根

IF 0.5

Arts Pub Date : 2024-06-13 DOI: 10.3390/arts13030107

Mette Bøe Lyngstad

引用次数: 0

An Unlikely Match: Modernism and Feminism in Lynda Benglis’s Contraband 不可能的匹配：林达-本格里斯《违禁品》中的现代主义与女性主义

IF 0.5

Arts Pub Date : 2024-06-08 DOI: 10.3390/arts13030106

Becky Bivens

{"title":"An Unlikely Match: Modernism and Feminism in Lynda Benglis’s Contraband","authors":"Becky Bivens","doi":"10.3390/arts13030106","DOIUrl":"https://doi.org/10.3390/arts13030106","url":null,"abstract":"In 1969, Lynda Benglis withdrew her large latex floor painting, Contraband, from the exhibition Anti-Illusion: Procedures/Materials. Looking beyond the logistical problems that caused Benglis to pull the work, I suggest that it challenged the conceptual and formal parameters of the exhibition from its inception. Taking hints from feminism, modernist painting, camp aesthetics, psychedelic imagery, pop, and minimalism, Benglis’s latex pours unify an array of movements, styles, and political positions that have often been treated as antithetical. Although the refusal of traditional binaries was typical of the neo-avant-garde, Benglis’s work was “contraband” because it challenged the inflexible dictum that feminist art and modernist painting are mortal enemies. With Contraband, she drew on abstract expressionist techniques for communicating feeling by exploiting the dialectic of spontaneity and order in Pollock’s drip paintings. Simultaneously, she drew attention to gender through sexed-up colors and materials. Rather than suggesting that gender difference is repressed by abstract expressionist painting’s false universalizing, Benglis shows that modernist techniques for communicating feeling are crucial for the feminist project of understanding the public significance of seemingly private experience.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"23 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-06-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141292770","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

From Primal Matter to Surrogate Veneer: Wood and Faux Bois in Picasso’s Cubism 从原始物质到代理单板：毕加索立体主义作品中的木头与人造木皮

IF 0.5

Arts Pub Date : 2024-06-06 DOI: 10.3390/arts13030105

Christine Poggi

{"title":"From Primal Matter to Surrogate Veneer: Wood and Faux Bois in Picasso’s Cubism","authors":"Christine Poggi","doi":"10.3390/arts13030105","DOIUrl":"https://doi.org/10.3390/arts13030105","url":null,"abstract":"In the spring and summer of 1906, while visiting the rural village of Gósol in the Spanish Pyrenees, Picasso executed his first woodcut, made two sculptures out of boxwood, and began to focus on the topoi of wood and the forest as avatars of primal matter and of that which lies beyond civilization. In a subsequent series of paintings, he used wooden supports for images that depict male and female heads that look as if they had been chiseled out of wood. Others represent nude figures in forest settings, with explicitly sexual gestures and poses connoting a range of attitudes. These little studied works provide an optic into Picasso’s early exploration of the emergence of sexual identity as an inner psychic state, but one whose signs can be read through the body. Later, responding to the proliferation of cheap, industrially produced materials, including trompe l’oeil woodgrain wallpaper, Picasso began to treat woodgrain as a mere surrogate, one that marks its distance from actual wood through a variety of painterly and mechanical effects. No longer associated with “primitive” authenticity and the primordial forces of the forest, woodgrain now appears as a false sign open to conceptual play and metamorphosis.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"28 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141265002","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Introduction for Special Issue “Rethinking Contemporary Latin American Art” 特刊 "反思当代拉丁美洲艺术 "导言

IF 0.5

Arts Pub Date : 2024-06-06 DOI: 10.3390/arts13030104

Gabriela Germana Roquez, Lesley A. Wolff

引用次数: 0

“Lost in Flowers & Foolery”: A Gendered Reading of the 9th Earl of Devon’s Flower Watercolors "迷失在鲜花与愚弄中"：德文郡第九代伯爵花卉水彩画的性别解读

IF 0.5

Arts Pub Date : 2024-06-05 DOI: 10.3390/arts13030102

James Thomas Stewart

引用次数: 0

Sex, Sign, Subversion: Symbolist Art and Male Homosexuality in 19th-Century Europe 性、符号、颠覆：19 世纪欧洲的象征主义艺术与男性同性恋

IF 0.5

Arts Pub Date : 2024-06-05 DOI: 10.3390/arts13030103

Ty Vanover

{"title":"Sex, Sign, Subversion: Symbolist Art and Male Homosexuality in 19th-Century Europe","authors":"Ty Vanover","doi":"10.3390/arts13030103","DOIUrl":"https://doi.org/10.3390/arts13030103","url":null,"abstract":"There is something queer about Symbolism. Art historians have long acknowledged the links between Symbolist aesthetics and contemporaneous ideas about human sexuality, and even a cursory examination of artworks by male Symbolist artists working across the continent reveals an eyebrow-raising number of muscled nudes, lithe ephebes, and intimate male couplings. The sensual male body could register the artist’s erotic desire, even as he put it forth as an idealized emblem of transcendental truth. But perhaps Symbolism’s queerness extended beyond subject matter. Scholars have argued that Symbolism was in part defined by a subversive approach to visual semiotics: a severing—we might say a queering—of the ties binding a sign to its established cultural meaning. Similarly, male homosexual subcultures were sustained by endowing established signs and pictures with a uniquely queer significance. This paper seeks to tease out the relationship between Symbolist aesthetics and male homosexuality in terms of a shared sensibility towards pictorial interpretation. Taking as a case study the work of the Swedish Symbolist artist Eugène Jansson, I argue that Symbolism held appeal for homosexual artists precisely because queer subcultures were primed to read subversive meaning into normative pictures. Offering a new reading of Symbolism’s sexual valences, I contextualize the movement’s attendant artworks within the broader cultural landscape of homosexual signs and symbols and articulate the parallels between Symbolist approaches to the image and queer modes of seeing in the late nineteenth century.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"102 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141251563","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Affect and Ethics in Mike Malloy’s Insure the Life of an Ant 迈克-马洛伊《为蚂蚁的生命上保险》中的情感与伦理

IF 0.5

Arts Pub Date : 2024-06-04 DOI: 10.3390/arts13030101

Gerald Silk

{"title":"Affect and Ethics in Mike Malloy’s Insure the Life of an Ant","authors":"Gerald Silk","doi":"10.3390/arts13030101","DOIUrl":"https://doi.org/10.3390/arts13030101","url":null,"abstract":"This essay examines a little-known but important installation entitled Insure the Life of an Ant, conceived by artist Mike Malloy and displayed at the O.K. Harris Gallery in New York in April of 1972. This provocative and idiosyncratic piece confronted gallery-goers, who became viewer–participants, with the option of killing or saving a live ant displayed like a sculpture on a pedestal, either by pushing a button or not. The artist made the piece, which can function almost like a psychology experiment, to engender a “moral dilemma”. I explore the particular role of affect in a participatory art installation, distinct from response to inanimate art. I investigate the roles of emotion and reason in dealing with the work; whether ratiocination can be considered an “anti-affect”; and how the tension between competing thoughts and feelings helped create a psychological drama. The essay looks at how an art space can operate as a zone of moral exceptionalism to encourage questionable actions. It also locates the piece in relation to the emergence of a more behaviorist art in the early 1970s, as discussed by critic Gregory Battcock, and the larger notion of postmodernism. Other contexts investigated include art and animal rights and issues of sentience and speciesism; social and military violence, including capital punishment and the Vietnam War; the 1961 Milgram experiment; Hannah Arendt’s concept of the “banality of evil” as a Nazi war criminal defense; and other works of art involving maltreatment or violence toward both human and non-human animals, including those by Marina Abramović, Marco Evaristti, and Edward and Nancy Reddin Kienholz.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"2013 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141246536","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

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