Linking Neuroscience To A Psychophysical Test On Line Perception And To The Use Of Self-Adhesive Tape In Contemporary Painting

La primera parte de este ensayo discute descubrimientos neurobiológicos recientes en el ámbito de la percepción de la línea y el color a medida que se manifiestan como reacciones de nuestro cerebro visual ante estímulos del arte visual. Subsecuentemente, explica el diseño y los hallazgos de un test psicofísico, que se llevó a cabo con el objetivo de obtener conocimiento sobre si aquellos denominados expertos y no expertos son igualmente capaces de distinguir líneas rectas en pinturas, creadas a mano o con el uso de cinta adhesiva. La segunda parte del ensayo se concentra en las adaptaciones particularmente creativas de la cinta adhesiva en el trabajo de algunos pintores contemporáneos selectos: Ed Ruscha, Michael Craig-Martin, Tim Eitel, Magnus Plessen, Silvia Plimack Mangold, Mel Bochner, Ben Johnson, Cipriano Martínez, Bernard Frize y David Reed.The first part of this essay discusses recent neurobiological discoveries in the realm of line and color perception as they manifest as reactions of our visual brains to stimuli in visual art. It subsequently explains the design and findings of a psychophysical test, which was conducted with the aim of gaining insight into whether so-called experts and non-experts are equally capable of distinguishing straight lines in paintings, created freehand or with the use of self-adhesive tape. The second part of the essay focuses on the particularly creative adaptations of self-adhesive tape in the work of select contemporary painters: Ed Ruscha, Michael Craig-Martin, Tim Eitel, Magnus Plessen, Silvia Plimack Mangold, Mel Bochner, Ben Johnson, Cipriano Martínez, Bernard Frize, and David Reed.La primera parte de este ensayo discute descubrimientos neurobiológicos recientes en el ámbito de la percepción de la línea y el color a medida que se manifiestan como reacciones de nuestro cerebro visual ante estímulos del arte visual. Subsecuentemente, explica el diseño y los hallazgos de un test psicofísico, que se llevó a cabo con el objetivo de obtener conocimiento sobre si aquellos denominados expertos y no expertos son igualmente capaces de distinguir líneas rectas en pinturas, creadas a mano o con el uso de cinta adhesiva. La segunda parte del ensayo se concentra en las adaptaciones particularmente creativas de la cinta adhesiva en el trabajo de algunos pintores contemporáneos selectos: Ed Ruscha, Michael Craig-Martin, Tim Eitel, Magnus Plessen, Silvia Plimack Mangold, Mel Bochner, Ben Johnson, Cipriano Martínez, Bernard Frize y David Reed

Writing in Britain and Ireland, c. 400 to c. 800

No abstract available

Lucio Fontana the artist's materials

"Lucio Fontana (1899-1968) is widely regarded as one of the most influential and innovative post-World War II Italian artists. Best known for his tagli--slashed, mostly monochromatic canvases--Fontana fashioned a remarkably multifaceted œuvre that encompasses architecture, sculpture, and ceramics, as well as painting. In his quest to expand the vocabulary of his art, Fontana subjected the pictorial surface of his paintings to a remarkable assortment of punctures, gashes, and slashes, as well as adornments of glass fragments, glittering aluminum flakes, and sand. This richly illustrated book, the third in the Getty Conservation Institute's Artist's Materials series, presents the first technical study in English of this important painter. Initial chapters present an informative overview of Fontana's life and work. Subsequent chapters examine the nine major cycles of work on canvas that constitute his most important achievement, focusing on the physical genesis of these landmark paintings: How did Fontana's philosophical concerns influence his choice of materials? Once he had settled on an aesthetic concept, what precise means did he use to realize it? Did physical constraints imposed by the material force him to adjust his concepts? In considering these questions, this book seeks to illuminate how Fontana's material choices over the course of his career fit into the gradual evolution of idea into form"-