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Search Results: 1 - 10 of 3783 matches for " Contemporary Art "
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Religious Dimensions of Classical and Contemporary Islamic Art  [PDF]
Maha A. Al- Senan
Art and Design Review (ADR) , 2015, DOI: 10.4236/adr.2015.32006
Abstract: This paper focuses on the work of Egyptian Islamic contemporary artist Ehab Mamdouh who grew up in Saudi Arabia, then moved to Cairo, where he was exposed to religious, historical concepts and art forms, then came back to work in Saudi Arabia to observe the societal struggle raging between traditional and emergent concepts, and the influence of Islam and ideology thereon. The artist conveys a fundamental tenet of Islam, embodied by the five daily calls to prayer, replete with attributes borrowed from classical Islamic art but infused with the contemporaneity of modern art—all in the context of contemporary Islamic art. In Moqeem, Mamdouh replaces the abstract geometric elements of classical Islamic art with an abstract portrayal of the praying worshipper. Mamdouh’s artistic style merges the Islamic milieu of the artist’s upbringing in Saudi Arabia and Egypt with his deep knowledge of the region’s history and architectural heritage. Moqeem is a “veiled” extension of Islamic art, in accordance with the standards by which the latter was classified in the past, yet it is shaped by the cultural development of our society and by the intellectual growth that the artist experienced on an individual level. Through this work, Mamdouh incites us to think and wonder—the true mark of a successful visual artist today.
Graphics Communication an Appraisal of an Art of Learning in Contemporary Nigerian Education  [PDF]
Emmanuel Bankole Oladumiyte
Art and Design Review (ADR) , 2014, DOI: 10.4236/adr.2014.23005
Abstract: The concept of communication graphics is characterized by the technology that is infused with inormation and communication technology which cover any product that stores, retrieves, mani- pulates, transmits or receive information that helps in disseminating knowledge through graphic device visuals. That generates interest which is the key note to instruction, motivation, stimulation and ultimate finding relevance through the provision of changing experiences in knowledge disseminating. It is a genetic term that incorporates many professional fields of wide spectrum which ranges from product designs that communicate with various forms of electronic gadgets and tools from the information and communication technology sector such as project computer, television channels and other emerging media that allows organization to share information in learning process. The study highlights the historical background of graphic communication and the appraisal of graphic design communication in contemporary Nigeria. It discusses the role that communication plays in Nigerian contemporary education. It goes further to discuss the issues in graphic communication as regards to art of learning and finally concludes with the efficacy of graphic communication in contemporary Nigerian education.
In the Age of Schizophrenia, Icebergs, and Things that Grip the Mind
Sue Hajdu
PORTAL : Journal of Multidisciplinary International Studies , 2008,
Abstract: Encountering Saigon in the early 1990s, I was confronted with an unfamiliar concept of time in photography. I am not talking about moments, the tripping of shutters, the splattering of light onto a frame of film. No, I am referring to historical time. Time as epochs. Time that lingered thick and dense like heavy wedges or chunks that could barely be budged.
Complutense Art Centre – A new space for the heritage and the contemporary art in the Complutense University of Madrid
Alejandra Gómez Martín
University Museums and Collections Journal , 2012,
Abstract: Complutense Art Centre (c art c) is located in the centre of the University City. In 2009, it began with a new room of temporary exhibitions approximately 400qm for showing contemporary artists and the heritage of the university. In a second phase, 700qm will be adapted in a permanent exhibition space. The aim is to show a selection of the most emblematic works of our heritage.
Between Humans and Other Things: Conservation as Material Fabric in Contemporary Art
Cecilie Gravesen
Journal of Conservation and Museum Studies , 2012, DOI: 10.5334/jcms.1011201
Abstract: The text considers the role of the artist observer in scientific research, by using examples from the author's recent artwork in which conservation constitutes the material fabric. Gravesen employs an anthropological view on the museum conservator grappling with objects that are considered to be imbued with a spirit, and views the schism between a scientific approach and a transcendental belief system as emblematic for the bigger question as to how we currently deal with the legacy of colonialism on western ground. The author subscribes to a view of 'spirited' objects as imbedded agents in the ethnographic museum, enabling change on a social and cultural level, and suggests artistic license as a facilitator for an understanding of the living presence of objects that is beyond the idea of metaphor or representation.
Bienais sem fronteiras?
Wu, Chin-Tao;
Novos Estudos - CEBRAP , 2012, DOI: 10.1590/S0101-33002012000300005
Abstract: has the global art world really become porous, open to all artists irrespective of their origins - even if they come from what paris or new york would consider the most marginal places?
Cultura pop: astúcia e inocência
Salzstein, S?nia;
Novos Estudos - CEBRAP , 2006, DOI: 10.1590/S0101-33002006000300014
Abstract: this essay focuses the intensive ideological reconfigurations to which the term "pop" fell prey in the artistic and cultural debate of the last quarter of the twentieth century. during these years, pop was claimed or as a wedge in a new and wholesome cultural era or as the grandiose accomplishment of the "historical art", from which finally would rise "art" as a pure concept. it also discusses the contemporary remains of this debate - a "pop issue" follows being its kernel - and analyses specially the role that multiculturalist currents have had in this context.
Mixing it Up at "Africa Remix: Contemporary Art of Africa"
Ceri Ashley
Papers from the Institute of Archaeology , 2005, DOI: 10.5334/pia.240
Abstract:
Inside out, outside in: changing perspectives in Australian art historiography
Terry Smith
Journal of Art Historiography , 2011,
Abstract: Beginning from some recollections of art historical training in Australia and the United States in the 1960s and 1970s, the author highlights the key role played by art historiographical awareness within revisionist approaches to art history since those decades. He focuses on the resonance of such awareness in writing histories of Australian art, including Indigenous art. Theories of provincialism that mediated the relationships between the local and the international in Australian art are shown to be present, on a global scale, in the currents of contemporary art in the world today.
The curator/patron: Foundations and contemporary art
Rebecca Coates
EMAJ : Electronic Melbourne Art Journal , 2008,
Abstract: This article addresses the role of private foundations in commissioning site-specific ephemeral art works: contemporary art projects of a temporary nature that are realised outside of public institutions. Though small in number, I argue that the private individuals creating and managing private foundations of this nature demonstrate a new form of patronage, creating in the process a new role of ‘curator/patron’. Equally, this process of realisation reflects the changing needs of contemporary art practice. Work of this scale and ambition would increasingly not be possible without the vision, perseverance and funding of these kinds of foundation. In Australia, this trend is demonstrated by two foundations: Kaldor Art Projects, and their commissioning of works by artists such as Christo and Jeanne-Claude, Gilbert & George and Jeff Koons; and the more recently formed Sherman Contemporary Art Foundation, whose first project was with Chinese artist Ai Weiwei. In this article, these examples are placed within the broader international context of foundation models such as Artangel, UK, Fondazione Nicola Trussardi, Milan, and The Public Art Fund, New York.
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