245 research outputs found

    Spirituality and Abstract Art

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    Through a close analysis of abstract art and metaphysics (ontological and psychical), the paper examines how metaphysics might be related to abstract art, as well as the early emergence of abstract art in diverse cultures around the world, and its development from the 19th to the 20th century in the modern art world. The paper conducts an examination of some modern abstract art pioneers, as perceived by general public, such as Wassily Kandinsky and Agnes Pilton, who experimented with the art form in the 19th and 20th centuries, and their intentions based on metaphysics: spirituality and mythology are included in these aspirations. In addition, the paper reviews a number of exhibitions which have arisen around the theme of metaphysical abstraction in recent decades

    A Model for the Integration of Art Criticism into the Secondary Art Classroom

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    This study identifies, explains, and develops a practical model of teaching art criticism within a traditional secondary art curriculum. The approach to teaching art criticism uses the discipline-based art education format described in the Getty publication of 1985, a composite art critical format including B. Bloom, E. Feldman, K. Hamblen, and E. Kaelin, is accomplished through a process model curriculum developed by L. Stenhouse, and uses K. Gentle\u27s curriculum design as the basis of the Curriculum Model Diagram. The project provides lessons that are intended to help junior high school, and senior high school art students develop the necessary skills to make informed judgements about art in the production, historic, aesthetic, and critical areas of the existing art curriculum. The methodology is presented in a lesson plan design, includes a Biographical Sketch, and a Six-Part Questioning Strategy. Three experienced artist/teachers were asked to review the curriculum and, using the Artist/Educator Questionnaire, evaluate it. Feedback from the three reviewers suggested several ways the curriculum could be tailored to individual teacher and program needs

    Exploring the biography and artworks of Picasso with interactive calendars and timelines

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    Searching for resources that are related to time periods or events can be frustrating and even problematic since it is often bound to keyword matching or prior knowledge of the exact dates of occurrence. Additionally, the ordered and itemized list that is often returned as a result is unable to provide the required affordances and constraints that users need and desire to conduct scholarly research properly. The following thesis proposes the implementation of timelines and calendar-based interfaces to browse and search through the life events and artworks documented in the Online Picasso Project. The affordances, constraints and inherent visual nature of the proposed interfaces aid scholars and general users in answering questions regarding the relationship between life events and artworks of the famous Spanish artist. The temporal interfaces are used specifically in the context of the Online Picasso Project and provide several advantages over standard HTML interfaces

    The prints of David Hockney : their cultural, autobiographical and artistic contexts

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    David Hockney is a leading figure in contemporary printmaking. Since 1954 making prints has been an integral part of Hockney's art practice. It is a field of art in which he is truly gifted and, over five decades, he has created a significant body of prints. He has constantly pushed the boundaries of printmaking in terms of style, subject matter and technique. This is almost without parallel in recent art history. Printmaking has also provided Hockney with a diversion when other forms of his art, notably painting, were in a stylistic and iconographic cul de sac. The history of Hockney's involvement in making prints has formed a critical path in his overall artistic development in all its variety of forms. For much of his life as an artist, David Hockney has been freer, more experimental and less inhibited in his approach to creating art, when making prints than when painting. A successful career in painting often eluded him during much of his early career particularly after he adopted the use of acrylic paint and Hockney would often find himself in an artistic dead end in his painting style. In contrast, making prints often provided a way forward for Hockney. This modus operandi continued for much of his artistic life until his more recent embrace of digital processes in art using an iPhone or iPad. Hockney's development from an emerging artist to a mature and successful one lay in his constant searching for new ways of depiction, other than those belonging to new modernist canons. He was constantly posing pictorial problems and then trying to solve them. To this end, Hockney developed a hybrid art in his printmaking, one of wide ranging eclecticism. He then turned to naturalism, only to find he needed to explore further choices. As a mature artist Hockney achieved a fusion of the abstract and formal elements in his work and to tackle age-old issues - how to portray someone, how to depict a landscape and a season, a time of day and under certain weather conditions and how to indicate space and time in two-dimensional art form. For Hockney, printmaking has been an integral part of this search and discovery. Now entering the second decade of the 21st century, Hockney has finally achieved his ambition to become a landscape painter of consequence and now the focus for Hockney lies there. The significant purpose and role that prints played in his artistic career in the twentieth century have ceased to exist - at least for the present. -- provided by Candidate

    Computer Analysis of Architecture Using Automatic Image Understanding

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    In the past few years, computer vision and pattern recognition systems have been becoming increasingly more powerful, expanding the range of automatic tasks enabled by machine vision. Here we show that computer analysis of building images can perform quantitative analysis of architecture, and quantify similarities between city architectural styles in a quantitative fashion. Images of buildings from 18 cities and three countries were acquired using Google StreetView, and were used to train a machine vision system to automatically identify the location of the imaged building based on the image visual content. Experimental results show that the automatic computer analysis can automatically identify the geographical location of the StreetView image. More importantly, the algorithm was able to group the cities and countries and provide a phylogeny of the similarities between architectural styles as captured by StreetView images. These results demonstrate that computer vision and pattern recognition algorithms can perform the complex cognitive task of analyzing images of buildings, and can be used to measure and quantify visual similarities and differences between different styles of architectures. This experiment provides a new paradigm for studying architecture, based on a quantitative approach that can enhance the traditional manual observation and analysis. The source code used for the analysis is open and publicly available

    Volume 8 Number 3

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