1,178 research outputs found

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    Architectural Intangible Heritage and Graphic Reconstruction. Terminological and Philological Notes

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    UNESCO’s extension of the concept of heritage to intangible has been changing the status of architectural designs and the operative frame of the practice of architectural reconstruction. The variety of reconstruction cases requires specific procedures and terms. The terms are here investigated by an analysis of the historical and theoretical roots of such a practice, focusing on the role of Quatremère de Quincy; the procedures are discussed by means of a series of personal experiences concerning with literary architecture, architectural projects, and fictive architecture. They are retrospectively analysed from the point of view of the sources – to define both the content and the appearance – which can be ‘endogenous’ to the document/monument (and priority) or ‘exogenous’, with a focus on the transparency of procedure

    Neosublime, Reframing the Philosophical

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    Why have the sunsets and sunrises become so amazingly colorful and awe inspiring recently? Eighteenth century philosophers said such events were examples of the sublime. They defined the sublime as that which is the most absolutely great combined with an underlying element of fear usually caused by the actions of God. This infers that the sublime is something that you can’t fully understand or wrap your head around and leaves you speechless and spell bound. Contemporary art critics say that the sublime is no longer applicable to art because it has been overused. I disagree, and in my art, I look for examples of the sublime in present day events. The slow, insidious, imperceptible, disastrous effects of global warming is one example of the contemporary sublime that I call the Neosublime. The brilliantly red sunrises and sunsets are awesomely great but the realization that they are caused by air pollutants brings a fearful reminder of how global warming is destroying the world. Other examples of the Neosublime are the COVID pandemic and worldwide political turmoil. The most frightening part of the Neosublime is that it is the result of the actions of humans and not God. Like global warming my paintings show beautiful sunsets and giant ocean waves from sea level rise, and yet the impending disaster is not readily apparent. So far humans have not responded to the outcries of climate activists and scientists, but perhaps the warnings within my paintings will be a catalyst for action

    Postmodernism: Style and Subversion 1970-1990

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    ‘Postmodernism’ was the final instalment of a 12-year series of V&A exhibitions exploring 20th-century design. It examined a diverse collection of creative practices in art, architecture, design, fashion, graphics, film, performance and pop music/video, which the curators, Pavitt and Adamson (V&A/RCA), identified under the common theme of ‘postmodernism’. The exhibition assessed the rise and decline of postmodern strategies in art and style cultures of the period, exploring their radical impact as well as their inextricable links with the economics and effects of late-capitalist culture. The exhibition comprised over 250 objects, including large-scale reconstructions and archive film/video footage, drawn from across Europe, Japan and the USA. It was the first exhibition to bring together this range of material and to foreground the significance of pop music and performance in the development of postmodernism. Pavitt originated and co-curated the exhibition with Adamson. They shared intellectual ownership of the project and equal responsibility for writing and editing the accompanying 320-page book (including a 40,000-word jointly written introduction), but divided research responsibilities according to geography and subject. The research was conducted over four years, with Pavitt leading on European and British material. This involved interviewing artists, designers and architects active in the period and working with collections and archives across Europe. The research led to the acquisition of c.80 objects for the V&A’s permanent collections, making it one of the most significant public collections of late-20th-century design in the world. The exhibition was critically reviewed worldwide. For the Independent, ‘bright ideas abound at the V&A’s lucid show’ (2011). It attracted 115,000 visitors at the V&A (15% over the Museum’s target) and travelled in 2012 to MART Rovereto, Italy (50,000 visitors) and Landesmuseum Zürich, Switzerland (70,000 visitors). Pavitt was invited to speak about the exhibition in the UK, USA, Poland, Portugal, Ireland and Italy (2010-12)

    The application of traditional abstract painting in new media environments

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    This thesis presents an investigation into the process of new fonns of installation art; an exploration of the shifting of artistic activities from conventional studios and fine artist practices to installation art practices. A combined approach was taken whilst undertaking research by studying literature within the field, engaging with other practicing artists and conducting practical analysis. There is also a discussion of new technology in the field of abstract expressionist painting and a dialogue on the differences between traditional and digital abstract painting with regard to their processes. The reflective and issue finding processes undertaken by the researcher in this investigation are discussed in relation to the changes in his practice. The artist's experimentation with materials and processes and the implications of this as regards the relationship between the artwork and the viewer are also discussed. The thesis is divided into seven chapters of text and images with an accompanying DVD including the main abstract new media installation. The first chapter includes an introduction to the research with the methodology . applied. The second chapter involves using the computer to produce abstract painting. The third chapter then focuses on the differences between digital .and traditional abstract painting. Moving on from this the fourth chapter covers multimedia installation and its associated processes. The fifth chapter deals with the reflections on the practice element of this investigation. The sixth chapter engages with the evaluation of and feedback from the field trip and with notes from artists with regard to practical production. The final chapter draws conclusions from this research with suggestions for further studies. This thesis will make the following contributions to knowledge: developing the process of animation from 2D abstract painting to a 3D environment with the inclusion of animation; using new technology as a creative tool to enable artists to gain new insights into creative art practices which provide audiences with new experiences of new and multimedia installation; advancing the creative process of new and multimedia artworks taking account ofnew techniques relating to the manipulation of viewpoints, picture planes and pigment surface as related to traditional methods of image creation and recording and their new media counterparts.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

    Selected Projects in Scenic and Costume Design

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    The play is set in two staterooms and the lounge car of the luxurious 20th Century Limited, also known as the millionaires\u27 line. 20th Century is a drawing room comedy/farce set on a train; the comedy is derived from, and often at the expense of, the close relationships of the characters, especially the relationship between Lily Garland and Oscar Jaffe. Much of the action moves quickly between the staterooms and the lounge car. Depending on interpretation, there is also the possibility of having the train platform as a fourth setting. Because the script is very fast paced, the set needed to allow rapid scene changes so as not to interrupt the flow of the play

    Putting the Pieces Back Together: Using a Kintsugi-Influenced Directive to Promote Self-Forgiveness and Resiliency in Young Adults with Shame and Guilt

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    Kintsugi is the ancient Japanese art form of repairing broken pieces with lacquer. It is highly regarded as an art form that represents the beauty of scars and life after destruction. Currently, the field of art therapy has little literature on how destruction of art can be used in the field to aid clients. This study was dedicated to researching a new art directive based on the kintsugi form of art making and its philosophies. To assess the therapeutic value of the destruction of art, the chosen population was millennials, an age group that is misunderstood. This study aims to show that this directive can help this age group process through their shame and guilt, and in turn build resiliency and self-forgiveness. Participants engaged in a three-part art making process and eleven short interview questions focused on their experience. They were asked to create artwork, destroy it, and then use the pieces to either repair it or create something new. Qualitative data was analyzed to assess the experience of the participants. Overall, the results showed that this directive was effective in evoking feelings of resiliency and self-forgiveness. It is hoped that this study can further the conversation on using kintsugi and other types of destructive art in the field of art therapy

    Anti-Grand: Contemporary Perspectives on Landscape

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    Anti-Grand: Contemporary Perspectives on Landscape Joel and Lila Harnett Museum of Art University of Richmond Museums, VA January 15 to March 6, 2015 Anti-Grand: Contemporary Perspectives on Landscape features 24 contemporary, international artists, artists’ collectives and game developers who examine, challenge, and re-define the concept of landscape while simultaneously drawing attention to humanity’s hubristic attempts to relate to, preserve, and manage the natural environment. Anti-Grand includes 33 works of art, with video, installation, video games, and traditional two- and three-dimensional work. All of the works in the exhibition were created since 2000 to focus on art made well after the initial developments of the modern and popular discourse on environmentalism and sustainability. The exhibition’s title Anti-Grand suggests an approach to the topic that is opposite one of awe and reverie of the past, approaches that are now difficult to consider without an implicit sense of irony. Contemporary Perspectives of Landscape emphasizes the role of the artist’s and/or viewer’s choice of framing device as applied to both the represented scenery and the genre at large. Engaging humor, tenderness, ambivalence, and respect, the artists look at many facets of this subject. Unifying the exhibition are issues of representation that are inherent to the genre and the various ways in which artists have self-reflexively considered their relationship to the artistic subject.Images from the Exhibitionhttps://scholarship.richmond.edu/exhibition-catalogs/1002/thumbnail.jp

    New York Beat: Collaborative Video and Filmmaking in The Lower East Side and the South Bronx from 1977-1984

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    This thesis examines the media, artists and creative practices that emerged in the New York City downtown art scene in the Lower East Side and the uptown hip-hop scene in the South Bronx during the late 1970’s and early 1980’s. I focus on independent public access television, video and under-researched ‘No Wave’ filmmakers Charlie Ahearn, Glenn O’Brien, Edo Bertoglio and others. I discuss how these disenfranchised, low-budget artists sought not to collapse their differences, but to explore the points of connection that engendered a form of artistic hybridity that negated both homogeneity and order. I argue that the narratives, aesthetics and techniques of this group of artists represent a unique cultural milestone in the history of radical American art, music and film
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