2,018 research outputs found

    Spatialising narrative pictures : transforming 2D narrative drawing/illustration to video installations

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    PhD Thesis 3 DVD's of animations available in print thesis only (theses can be requested for consultation from the Newcastle University Library Search Catalogue)This Ph.D. thesis is an investigation of the processes and problems, both practical and conceptual, involved in the transformation of my small-scale two-dimensional narrative drawings into video installations. The aim of this transformation was to increase the active involvement and engagement of the viewer and to enhance and open up the narrative/s within the original drawings. I use the term ā€˜spatialiseā€™ for this transformation, looking particularly at three major narrative factors - character, event and space. It became apparent through the investigation that scale and position were also crucial factors. These elements are examined through creative practice and a critical body of knowledge gained from firsthand practical experience, contextualised against the historical and theoretical backdrop relating to narrative images and how images relate to spaces. As an artist coming to this inquiry from a drawing/illustration background, the three key concerns and questions were: how to transform a two-dimensional narrative illustration into an installation without losing the drawing/painting quality? When transformed into a video installation, what changes happen to the narrative and to the audienceā€™s engagement and self-awareness, and subsequently the audienceā€™s understanding of the narrative? How can technology, sculpture, installation, and video projection be used to develop and enhance my drawings? This desire to search for a new medium and approach for my drawing/illustration practice is in the context of both my own artistic identity and the backdrop of dramatic social transformation in China. The research has led to new insights as well as new dialogues for me - between drawing practice, my cultural identity as an artist, the narrative content of my own hand-made drawings, and comparisons between the traditions of Western/European and Chinese art. A particularly important new element for me was the idea of an ā€˜open narrativeā€™ gained through spatialisation. The research therefore contributes to the field of contemporary art practice, video installation and narrative drawing through bringing together experimental video installation and a cultural critique ā€“ and by directing the audienceā€™s self-awareness through open narrative discourse

    A Source Book for Teaching Three Units in Design

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    A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Art at Morehead State University by John Herbert Kuhn on March 29, 1977

    Brushing the surface: the practice and critical reception of watercolour techniques in England 1850-1880

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    Twentieth-century art historical research has devoted little attention to the study of watercolour painting techniques and artistsā€™ materials. This is especially true of the period following Turnerā€™s death, when watercolour is said to have been in decline. Yet the period 1850 to 1880 was a period of intense innovation and experimentation, when watercolour painting finally came to be accepted on an equal footing with its rival, the medium of oil. The expansion of annual exhibitions brought dazzling, highly finished works to the attention of the new middle-class buying public, who eagerly scanned the latest press reviews for news and guidance. For the first time, I combine unpublished material from sources including nineteenthcentury colourmenā€™s archives, conservation records and artistsā€™ descendantsā€™ collections, with an analysis of contemporary watercolour manuals and art critical writing in the press, to give a picture of the dramatic changes in technique which occurred at this time. Brilliant new pigments and improved artistsā€™ papers and brushes flooded onto the market via a growing network of artistsā€™ colourmen. Affordable instruction manuals, aimed at the swelling ranks of amateur artists, were published, their successive editions highlighting the changing character of watercolour practice, in particular the growing use of bodycolour, microscopic detail and new tube pigments. Progressive artists such as John Frederick Lewis, Samuel Palmer, Myles Birket Foster, John William North and Edward Burne-Jones, developed revolutionary ways of incorporating the new artistsā€™ materials into their watercolours, often to great commercial success. Exhibition reviews by critics in the growing number of journals often commented loudly on the bright colouring, minute detail, texture and opaque effects produced by their use of the latest pigments, papers and brushes. The impact made on watercolour painting by improved artistsā€™ materials was farreaching, bringing power and status to a medium which had previously been considered an inferior artform

    Interviews with Nine Chinese Artists: Narrative research on Chinese art education during the 20th century

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    My thesis is a narrative inquiry based on the stories of the art learning of nine Chinese artists from different generations. their art learning is considered a lifelong activity to be analyzed. My study, an analysis of this lifelong activity, focuses on how different social and cultural contexts affect individualsā€™ art learning when they first learn art, as they learn to become artists, and as they continue to learn art as artist. In order to understand the process of their art learning comprehensively, I have divided their art learning into three types: formal, non-formal and life art learning. The purpose of my study is to analyze how artists have learned art and how society has influenced their art learning in the past half century in China. Based on the analysis of my interviews with the artists, I learned that, during the 20th century, Chinese art education in elementary and secondary schools did not play a primary role in relation to these artistsā€™ art learning. Furthermore, in art classes after 1949, western style drawing has been dominant in the art classrooms of elementary and secondary schools in China. Students followed the adultsā€™ ā€˜conceptā€™ of realism instead of pursuing their own self-expressions. Individual originality and aesthetics were often ignored. I also found that the social and cultural contexts in which the interviewees lived deeply influenced their individual art learning. What and how they learned in their formal, non-formal and life learning differed depending on the economical, political, and cultural contexts. Moreover, according to the experiences of the participants in this study, school art education in China ignored the visual experiences in the everyday lives of students. The opportunities for informal and formal learning were generally distinct. It is important to note that although there were only three female artists in the study, they had fewer opportunities to learn art outside of school with their peer groups while all the male artists had such opportunities. However, the three female artists received non-formal art learning because oneā€™s mother was an artist, one had a professional art tutor and one had opportunities to make art when she worked in the army. Finally, I found that the participantsā€™ experiences of informal art learning played a more important role in their artistic creation than their formal training did

    The Saburo Hasegawa Reader

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    Published on the occasion of the 2019 exhibition ā€œChanging and Unchanging Things: Noguchi and Hasegawa in Postwar Japan,ā€ The Saburo Hasegawa Reader encompasses a selection of writings by the Japanese artist, theorist, essayist, teacher, and curator Saburo Hasegawa (1908ā€“1957), translated into English for the first time. Credited with introducing abstract art to Japan in the 1930s, Hasegawa also became influential as a lecturer on Japan and its aesthetic and philosophical traditions in New York and San Francisco before his premature death in 1957. A memorial volume, initiated by the Oakland Art Museum but left unpublished since the 1950s, as well as interviews from students at California College of Arts and Crafts, helps to establish Hasegawa as a thoughtful bridge between East and West and an engaging and thoughtful interpreter of classical and contemporary sources

    Manual / Issue 9 / Out of Line

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    Manual, a journal about art and its making. Out of Line. The nineth issue. This issue of *Manual*ā€”themed Out of Lineā€”is a collection about the way that lines disrupt, point outward. In poetry, the attention to detail one takes in crafting a line is all about making the line disappear, making something it holds to take front stage. . . . The space between the lines creating the image . . . the space around that argues for the importance of all that the lines hold. Manual 9 (Out of Line) complemented Lines of Thought: Drawing from Michelangelo to Now, presented in collaboration with the British Museum, on view at the RISD Museum October 6, 2017 to January 7, 2018. Softcover, 76 pages. Published 2017 by the RISD Museum. Manual 9 (Out of Line) contributors include Fida Adely, Reginald Dwayne Betts, Stefano Bloch, Mimi Cabell, Namita Vijay Dharia, Douglas W. Doe, Jared A. Goldstein, Lucinda Hitchcock, Jan Howard, Kate Irvin, Douglas Kearney, Amber Lopez, Jeffrey Moser, Sheida Soleimani, and Craig Taylor.https://digitalcommons.risd.edu/risdmuseum_journals/1035/thumbnail.jp

    PANG XUNQIN (1906-1985) - A CHINESE AVANT-GARDE'S METAMORPHOSIS, 1925-1946, AND QUESTIONS OF "AUTHENTICITY"

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    This dissertation has three goals. The first is to chart the artistic life of Pang Xunqin (1906-1985) and his art works from 1929 to 1946. Pang's metamorphosis from an aspiring young artist in Paris and Shanghai in the 1920s and 30s, into an artist in his own right, a graphic designer, an educator, and a scholar of the history of Chinese art and craft, while ceaselessly trying to renew himself - all this is a record that deserves an art historical recognition. The second goal is to locate Pang Xunqin in the historiography of Chinese modern art in an attempt to problematize issues of inclusion and exclusion in the historiography of the field. The third goal, which is closely tied to the second, is to utilize post-colonial inquiries to explore myriad issues of non-Western modernism embodied in Pang Xunqin's case. Such issues include the divisions among the "traditionalists," the "academic realists," and the "modernists," colonial cosmopolitanism in the Shanghai of the 30s, and the appropriation of "primitivism" in the 40s. Attention also focuses on the issues of authenticity and "hybridity," Western orientalization of the East and self-orientalization by the East in cross-cultural encounters, and identity politics and nationalistic agendas in the construct of the guohua (national painting) and xihua (Western painting) divide. The post-colonial methodology employed here helps raise questions regarding the binary construct of tradition vs. modernity, the East vs. the West, the center vs. the periphery, and the global vs. the local. By placing Pang Xunqin's case in its semi-colonial historical and transnational context and by engaging in dialogue with the recent rich scholarship on cultural and post-colonial critiques, in conjunction with a formal analysis of his paintings and designs, this dissertation offers not only a monographic study of Pang's artistic life but also a critical examination and reassessment of the established art historical narratives of Western-trained artists in the historiography of Chinese modern art

    Drawing Education ā€“ Worldwide!

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    As a cultural technique, drawing was firmly anchored in the realities of European society from early modern to modern times. Based on this fact, the present volume asks for the first time about the significance of drawing and drawing education in other cultural areas. Indigenous methods of drawing and sign-learning in Arabic, Asian, Latin American, North American and European countries are addressed as well as historical transfer processes of didactic methods, aesthetic norms and educational institutions of drawing instruction

    Planned Spontaneity:The Construction of a Modular System of Relief Printmaking Matrices for the Platen Press

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    The Modular System draws on traditional wood engraving, woodcut and letterpress practices. It comprises two printing surfaces and printing furniture specifically devised to facilitate offset and transfer relief printing. Rigid acetal resin tint blocks, hand or laser engraved, generate tone or colour that may be applied to more than one image. Multiple overprinting produces variant colour mixtures. Their function is similar to late nineteenth-century tints devised for colour letterpress printing. Compound printing surfaces of linoleum or vinyl are segmented and joined to make removable and replaceable parts. They print variable configurations in a process that resembles historical solutions to simultaneous colour printing: from the Mentz Psalter (1475), to the compound plates of William Congreve (1820) and the segmented wood engravings of John Holt Ibbetson (1819). These compound surfaces also act as receptors for impressions from the tint blocks. Repositioning and offsetting them is expedited by press furniture especially devised for the project. Registration devices are based on the simple Japanese kentō system and laser-cut circular chases derived from traditional letterpress furniture. Printing the tint blocks directly onto the flexible compound surfaces produce two viable prints that are offsets of each other. They are reversed, but one offset is also tonally inversed. It is this unpredictable tonality that has driven this experimental project. Both the construction and processes developed using the Modular System directed historical research into functional colour relief printing which consequently unearthed examples that would influence the further development of the project. This has generated both devices and processes capable of wider applications. Printing surfaces employed in the Modular System may be laser engraved or cut and adapted to use in both lithography and intaglio printmaking.EThOS - Electronic Theses Online ServiceGBUnited Kingdo
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