ART+ MEDIA Journal of Art and Media Studies no. 10 (original) (raw)
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ART AS MATERIAL CULTURE (session 706) 24th EAA Meeting (Barcelona 5th-8th September)
CONVOCATORIA PARA PARTICIPAR EN LA SESIÓN "ART AS MATERIAL CULTURE" (session 706) (in English below) Nos es grato invitarle a nuestra sesión Art as Material Culture que tendrá lugar en el marco del 24 Congreso de la Asociación Europea de Arqueólogos (24th Annual Meeting of European Association of Archaelogists 2018) que se celebrará en Barcelona entre el 5 y el 8 de setiembre de 2018. Sería para nosotras muy importante poder contar con su experiencia y colaboración. Para cualquier duda o aclaración estamos a su disposición. Si está interesado en participar en esta sesión, es necesario que registre su propuesta en la siguiente página antes del 15 de febrero: http://tracking.funio.com/c/443/14d0bcb7e2e538babb23d7debfe67f9d2598bada526ba83b24101185de8fe73f
HISTORY OF THE USE OF WASTE MATERIALS IN VISUAL ARTS: CONCEPT AND ROOTS
Granthaalayah Publications and Printers, 2023
Today the whole world is struggling with the problem of waste materials and their proper maintenance. Examples of the use of waste material are also found in art. An artist always needs a medium to create their artwork, and also, in contemporary art, many artists are creating artwork from waste materials and beautify their environment and make people aware of its reuse. The process of making artwork from waste material is today known as 'Scrap Art' or 'Junk Art'. An early example of the use of waste materials in art comes from the 'Dadaism' Art Movement, which started in France in the 20th century, when artists started exhibiting industrially produced objects as artwork, along with their titles. From here, a question mark was raised regarding the idea of 'Readymade Art' and its aesthetics. Behind this was the main artist 'Marcel Duchamp' whose work 'Fountain' in 1917. The other two major Artists were Man Ray and Francis Picabia. The second developed form was seen in Picasso's 'Bull Head' artwork in 1942, where Words like 'Found objects' and 'Ready-mades' became popular in the history of art. Many artists in contemporary art are creating artworks using these waste materials. This is not only enhancing the beauty of our public places but also making people aware of their reuse and also showing a new dimension of art creation. This research paper analyses what new changes have taken place in terms of style and thought due to the use of waste material in art from the beginning till today.
2009
The traditional, the innovative, the ephemeral: conception, realization, intervention in contemporary art. One must consider the traditional, the innovative and also the ephemeral related to the artistic intentions and thus to the interventions on works of contemporary art, for which the concepts of originality and authenticity do not always correspond. The Brandian vision and point of view do not completely resolve the problematics relative to restoration and conservation: artists realize their artifacts with the intention of undermining tradition or, however, of interpreting it in an unusual way. There are, therefore, cases when a diagnostic-analytical and conservative intervention is possible correspondently to the different and numerous typologies of the materials (poor, plastic, industrial) and techniques (collage, enamel on rubber foam, paint on textile or plastic, neon). A vocation for the ephemeral can be transformed into the adoption of deteriorated materials or into the realization of works of conceptual art and net-art. Some case studies are treated in the comparison of art works of different age. The solutions to the aforementioned problematics are offered and the importance of the involvement of the historical-technical experts, authors and manufacturers of the materials used in the artifacts is highlighted. Finally the procedure of intervention cannot be the same for all works of contemporary art. One must employ a methodology based on the critical study, not only of the materials used but also of the philosophy and creative conceptual intentions of the artist.
The Importance of Materials in Art
Susanne Langer, a philosopher of art, wrote that "art is craftsmanship, but to a special end: the creation of expressive forms visually…perceived forms that set forth the nature of human feeling" to make the point that artistic creation is not only vision but also skill. One of the most fundamental and practical aspects of art is the materials used by the artist to express themselves. The materials that the artists use when they create a work of art influences both the form and content of the piece. Indeed, the materials do not only impact a single work of art: common groups of materials can also inspire a movement. One of these movements began in the 1960s and early 1970s when a group of Italian artists formed the movement known as "Arte Povera" or "poor art," which referred to the artists' use of 'everyday', common materials in their work. Artists working within the movement shunned oil paint, marble, and bronze and instead used materials like twigs, soil, rags, and other 'throwaway' materials (Arte Povera). When discussing Arte Povera, artists were not concerned about a lack of money to buy materials but instead about the idea of marking art without feeling limited by traditional materials and practices. Germano Celant, who coined the term, considered it to be a response to the movement of pop art and minimalism while also bringing back and radicalizing the insights of the previous generation's Italian abstract artists (with Manzoni in particular) (Mansoor, 2016). The way artists have used materials has continually changed over thousands of years and has impacted not only the art form but art technique. Indeed, many movements have been formed and reformed based on the use (including the development and availability of) new and interesting materials. The following essay describes the importance of materials in the creation of art, the broad evolution of artistic materials from the earliest examples of art until the present, and ultimately shows how even a change in the viscosity of paint can transform a work of art and inspire a whole new generation of artists.
Materials in the Field: Object-trajectories and Object-positions in the Field of Contemporary Art
Cultural Sociology, 2013
The paper explores the central role of artworks in the field of contemporary art. It is based on an ethnographic study of the conservation laboratory at the Museum of Modern Art (MoMA) in New York and draws from three detailed case studies where the temporal and spatial trajectory of artworks led to processes of competition, collaboration, and repositioning among the agents involved in the acquisition, exhibition and conservation of these artworks. The study demonstrates the importance of artworks qua physical objects in the field of contemporary art, claiming attention to materiality in field theory and engaging with an object-oriented methodology in field analysis. Artworks are shown to intervene in field processes, both reproducing divisions and re-drawing boundaries within and between fields, and actualizing positions of individuals and institutions.
Beauty from Detritus: Aestheticizing Discards in the Visual Arts
Arts and Design Studies, 2013
Wastes result from human interactions with the environment. Generation of wastes has been on the increase following the global population growth, and subsequent development in technology and its attendant urbanisation. The neglect or mismanagement of wastes constitutes environmental degradation and human health hazards. Thus, various arms of government globally have invested a lot in its management; its proper management generates employment and wealth. Wastes have in the recent times engaged the explorative and creative attention of the visual artists as well as that of the art historians and critics. However, scholars and critics have concerned themselves more with the materials used and forms created than they do with the contextuality of the forms. The research, in addition to finding out how artists creatively manipulate discards to create beauty and wealth, also seeks to probe into the contextuality of the forms created. Textual and visual materials were employed to execute the research. The result indicates that they provide artists with unending supply of materials which they skillfully convert into aesthetics and wealth. Artists find in them veritable alternatives to conventional art materials which they recover and transform into objects of utility as well as aesthetics imbued with. Keywords: Aestheticize, detritus, discards, wastes, art, creativity, contemporary artist
FROM ART ADDING VALUE TO THE OBJECT TO CONTEMPORARY ART THAT MAKES THE OBJECT VALUE
5th ASIA PACIFIC International Modern Sciences Congress , 2021
This research aims to create a theme that emphasizes the 'different' by following the path taken by the concepts of object, value and worthlessness in the artistic process, accompanied by prominent artistic examples of civilizations, periods and understandings. For this purpose, the relevance of the definitions made by social science disciplines (philosophy, sociology, linguistics) to art is emphasized. Here, the object, which is raw, unprocessed or amorphous in nature, is first perceived as objective reality by art organizations, processed by the artist, distilled from his imagination, metamorphosed and formally referred to as an 'art object'; Afterwards, the semantic layers made on this 'art object' and the processes of transforming it into a 'representational object' and adding value are observed. Briefly, the history of artistic periods that created artificial art objects from natural objects is evaluated. This entire process covers the times from the beginning of human history to the present Postmodern years. The 'art that adds value to the object' part of the process in question is a limestone bust from the Ancient Egyptian Civilization (3000-300 BC); A collection of terracotta sculptures from the Chinese Empire Civilization Period (300 BC-1900 AD); It creates an example of a marble sculpture from the Antiquity (Greek-Roman Civilization) Period (900 BC-300 AD) and a canvas painting from the European Baroque Period (17th century AD). The part of 'contemporary art that makes the object worthless' is the Postmodern Period, which has made its influence felt in the art world from the second half of the 20th century to the present day. Here, too, a sculpture by one of the contemporary British artists Damien Hirst (1965-) and an installation by Chinese artist Ai Weiwei (1957-) are examined regarding the Postmodern Period. Therefore, this research, by gathering under the same roof the examples of works of art that 'add value to the object', which refers to the long historical process, and the examples of contemporary art 'work' of the last seventy years that make the object worthless, the different; It refers to the 'Postmodern Situation' and the 'small narratives' set against the 'grand narratives' of thousands of years. It is hoped that the results obtained from this study, which emphasizes contemporary art (Postmodernism) by revealing the historical and periodical differences of the art field, can contribute to the field.
2009
15 This relationship is further elaborated by Claire Bishop: "Installation art presupposes a viewing subject who physically enters into the work to experience it, and that it is possible to categorise [sic] works of installation by the type of experience that they structure for the viewer. Of course, it is possible to say that all art presumes a subject-insofar as it is made by a subject (the artist) and is received by a subject (the viewer). The case of traditional painting and sculpture, however, each element of this three-way communication (artist-work of art-viewer) is relatively discrete. By contrast, installation art from its inception in the 1960s sought to break radically with this paradigm: instead of making a self-contained object, artists began to work in specific locations, where the entire space was treated as a single situation into which the viewer enters." Ibid., 10.