Fine Arts & Visual Studies - Page 3

Reflections of Society in Art: Contributions of Michael Soi’s Politics Paintings to Socio-Political Debates in Africa

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Chijioke Onuora1, Krydz Ikwuemesi2, Chukwuemeka Okpara3 & Emeka Aniago4

1Senior Lecturer, Dept. of Fine & Applied Arts, University of Nigeria, Nsukka, Nigeria

2Associate Professor, Dept. of Fine & Applied Arts, University of Nigeria, Nsukka, Nigeria

3Senior Lecturer, Dept. of Fine & Applied Arts, University of Nigeria, Nsukka, Nigeria

4Senior Lecturer, Dept. of Theatre & Film Studies, University of Nigeria, Nsukka, Nigeria

ORCID id 0000-0003-3194-1463. Email: emekaaniago@gmail.com

 Volume 13, Number 1, 2021 I Full Text PDF
DOI: 10.21659/rupkatha.v13n1.08
Reflections of Society in Art: Contributions of Michael Soi’s Politics Paintings to Socio-Political Debates in Africa

Abstract

The purpose of this study is to extend scholarly reading of the contributions of Michael Soi’s politics paintings to social debates as a means of deepening our understanding of the complex relationship between art and politics. Thus, this study assesses relevant variables indicating how Soi’s selected paintings are effectively his means of projecting his views about his experiences, expectations, dreams, fears and reservations concerning his society’s socio-political realities. In an attempt at analyzing the functionality and aesthetic significances of Soi’s paintings, this study discusses relevant perspectives from individuals on politics paintings particularly how they can propel meaningful debates. Therefore, to gather relevant information on people’s responses to this kind of painting, we utilized viewer response approach and follow-up interviews. More so, we applied interpretive analysis in assessing the paintings (as metaphors depicting social realities), the collated responses (as means of espousing more on the concepts of cognitive process mechanisms), and relevant literature (as a means of assessing the trajectories of scholarly views on this subject). In the end, we observe that Soi’s politics paintings are efficacious medium of communication and that each individual viewer of these paintings produces responses that are similar or dissimilar but not exact because their subsisting ideological, political and philosophical inclinations are not exactly the same.

Keywords: Africa, art, cognition, efficacy, Michael Soi, politics painting

Regional Branding: Transfers Medium Dance into Visual Identity in Ponorogo Image Construction

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Agus Budi Setyawan¹, Nanik Sri Prihatini², Sri Rochana W.³, Didit Widiatmoko Soewardikoen4

1Faculty of Design and Creative Arts, Mercu Buana University, Jakarta, Indonesia. Email: budi.setyawan@mercubuana.ac.id. ORCID id: 0000-0001-7829-5433

2Postgraduate Program, Institut Seni Indonesia (ISI), Surakarta, Indonesia. Email: nanik@isi-ska.ac.id. ORCID id: 0000-0002-1272-002x

3Postgraduate Program, Institut Seni Indonesia (ISI), Surakarta, Indonesia. Email: rochana@isi-ska.ac.id. ORCID id: 0000-0003-0256-2958

4Faculty of the Creative Industry, Telkom University, Bandung, Indonesia. Email: diditwidiatmoko@telkomuniversity.ac.id. ORCID id: 0000-0002-1272-7026

 Volume 13, Number 1, 2021 I Full Text PDF
DOI: 10.21659/rupkatha.v13n1.07
Regional Branding: Transfers Medium Dance into Visual Identity in Ponorogo Image Construction

Abstract

This article discusses how the people of Ponorogo, East Java, Indonesia, designed a visual identity as a representation of Reyog dance to build up a regional image through a series of branding communication activities. This study uses a qualitative paradigm with a case study approach. The data was collected through in-depth interviews, participatory observation, and document investigation. All data collected were analyzed using an interactive model. The results showed that the five characters of the Reyog dancer were represented as a visual identity for Ponorogo branding through the process of media transferring using photography, illustration, and sculpture techniques. Reyog’s visual identity with motion characteristics is implemented in each channel of branding communication media through primary, secondary, and tertiary communication approaches. Other local governments can use these research results as a model to build up a regional image through dance media.

Keywords: Regional Branding, Visual Identity, Reyog, Ponorogo, Indonesia.

Quantum Leap beyond the Frontiers: ‘Currentism’ in Visual Arts Production in the Nsukka School

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Okoro, Martins N.

Lecturer in the Department of Fine and Applied Arts, University of Nigeria, Nsukka.   

ORCID id 0000-0003-2789-6874. Email id: martins.okoro@unn.edu.ng

 Volume 13, Number 1, 2021 I Full Text PDF
DOI: 10.21659/rupkatha.v13n1.06
Quantum Leap beyond the Frontiers: ‘Currentism’ in Visual Arts Production in the Nsukka School

Abstract                          

There exists no scholarly publication espousing on the driving force behind the restless aspirations of the Nsukka artists towards searching for and using commonplace materials that the potent environment provides for supports and media for studio art production. Following this, my intent is to discuss the Nsukka artists’ creative inclinations, bordering on styles, ideas, forms, materials and technique. Through hermeneutical analysis, I examine some useful insights in the formal and conceptual principles for which their recent and current artworks are foregrounded. Relying on historical, interpretative and analytical methods of data illumination, I engage some selected unusual artworks executed between 1999 and 2017 by some selected Nsukka artists to authenticate the fact that Nsukka artists have taken a quantum leap beyond the frontiers of the human consciousness and in so doing, have mastered their oeuvres, bringing about great ingenuity and some unprecedented innovations in the execution of breath-taking postmodernist artworks whose formal contents and thematic probing interrogate germane issues.

Keywords: quantum leap, frontiers, currentism, visual arts, production, Nsukka School

Connotations of Identities in William Kurelek’s Paintings: Typology and Critical Art Analysis

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Khrystyna O. Beregovska1, Myroslava I. Zhavoronkova2, Tetiana F. Krotova3, Andrii L. Demianchuk4 & Andrii A. T?rasenko5

1Department of Theory and History of Art, Lviv National Academy of Arts, Lviv, Ukraine

2Department of Fine and Applied Arts, Yuriy Fedkovych Chernivtsi National University, Chernivtsi, Ukraine

3Department of Artistic Costume Modeling, Kyiv National University of Technologies and Design, Kyiv, Ukraine

4Department of Directing and Choreography, Ivan Franko National University of Lviv, Lviv, Ukraine

5Department of Theory and Methods of Decorative and Applied Arts and Graphics, South Ukrainian National Pedagogical University named after K.D. Ushynsky, Odesa, Ukraine

Contact: kh.beregovska@nuos.pro

 Volume 13, Number 1, 2021 I Full Text PDF

DOI: 10.21659/rupkatha.v13n1.04

Connotations of Identities in William Kurelek’s Paintings: Typology and Critical Art Analysis

Abstract

Despite the high popularity of William Kurelek in Canadian society, relatively few interpretations of his works can be found at the scientific, art criticism level. Based on the analysis of William Kurelek’s artistic legacy a typological study was conducted identifying the Canadian artist’s thinking and personal position declared openly in his art. A study of the thematic content of his paintings led to the identification of the following categories: personal, religious and awareness of community membership. The article outlines the difference between the notion of national and ethnic identity, which the artist saw in the difference between national and ethnic identity an instrument to self-awareness through membership in a particular community as a result of common spiritual, religious and social convictions with shared modes of behavior, mores and traditions. As a result of the study, we derived a certain formula of identity in the works of William Kurelek, which the author understood as a set of ethnic, national, gender-based, and religious characteristics inherent in a person, demonstrating its identity as the appropriate group affiliation. We also conducted a typology of identities in his art: personal, religious, awareness of community membership, national and ethnic. We analyzed the issues of commonality and differences between national and ethnic identity, designating them as “ethnic calmness” and “ethnic stress”.

Keywords: immigrant life, cultural world, Ukrainian original, ideological burden, painter.

Problems of Intertextuality in Audio-Visual Arts

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Halyna M. Kot1, Olena G. Levchenko1, Tetiana O. Kravchenko2, Oksana S. Musiienko3 & Kostiantyn V. Hrubych1

1Department of Tele-Journalism and Actor’s Skill, Kyiv National University of Culture and Arts, Kyiv, Ukraine

2Department of Scenic Speech, Kyiv National I.K. Karpenko-Kary Theatre, Cinema and Television University, Kyiv, Ukraine

3Department of Cinematography, Kyiv National I.K. Karpenko-Kary Theatre, Cinema and Television University, Kyiv, Ukraine

Contact: kot5382-6@nuos.pro

 Volume 13, Number 1, 2021 I Full Text PDF

DOI: 10.21659/rupkatha.v13n1.03
Problems of Intertextuality in Audio-Visual Arts

Abstract

At the present stage, the visualisation process covers all areas of life that come into contact with information and its presentation. Specialists and researchers in the relevant fields of activity are increasingly using the concepts that have been formed on the basis of printed text in the audio-visual arts. Such an example is the use of intertextuality, which is currently one of the promising areas for research on the example of audio and visual material (film, video, music, photography). The aim of the study was to identify the main current problems of the use of intertextuality in the audio-visual arts on the example of the two most common forms – film and music. The main methods used in this work are intertextual analysis, as well as discourse analysis, because for this method the area of interest is the study of discourse changes associated with intertextuality. As a result of the analysis, it was found that one of the problems of intertextuality is the uncertainty and lack of unity in its understanding between the followers of different approaches to the doctrine of intertext; several problems were identified. The authors propose solutions to the identified problems of the theory of intertextuality in the audio-visual arts, which confirms the practical significance of the study.

Keywords: text borrowing, film, music, culture studies, intertextual interactions.

The Artistic Status of Bio-art

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Eleni Gemtou

National and Kapodistrian University of Athens, Greece.  

ORCID: 0000-0002-8543-3555. Email: egemtos@phs.uoa.gr.

 Volume 13, Number 1, 2021 I Full Text PDF

DOI: 10.21659/rupkatha.v13n1.02
The Artistic Status of Bio-art

Abstract

This paper aims to define Bio-art by strengthening its artistic status through two distinct approaches. The first is based on the acceptance that the concept of Bio-art includes both the term “art” and the term “bio” that could stand for Biology, Biotechnology, and Bioethics. It is argued that despite its direct connection to scientific research, Bio-art is only partly linked to the methods of the pure science of Biology, while it stands closer to the technoscience of Biotechnology. However, while bio-artists often use scientific methods and techniques, they eventually focus on bioethical questions. To amplify the artistic status of bio-artworks, we claim that they are kinds of visual “enthymemes”, a term used by Aristotle to define incomplete rhetoric syllogisms linking all recipients to common questions. Our second approach is developed around Levinson’s intentional-historical theory, showing that Bio-art belongs to the evolutionary narrative of art and artistic intentions. We allege interconnections of distinct features of bio-artworks with artworks of different eras that in the context of a retrospective view are to be understood as having paved the way for the emergence of Bio-art.

Key words: Bio-art, Biotechnology, Bioethics, Metaphor-Enthymeme, Levinson’s intentional-historical theory

A New Study on the Contemporary Aesthetics based on the “Applied Ontology” Theory of Roger Pouivet

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Hoda Zabolinezhad1 & Parisa Shad Qazvini2

1PhD, Post-doc researcher at Alzahra University of Tehran, Phd in Visual Arts from University of Strasbourg (France), H.zabolinejad@alzahra.ac.ir, tarzaboli@gmail.com

2 PhD, Assist. Prof. At Faculty of Arts, Alzahra University of Tehran, shad@alzahra.ac.ir

 Volume 12, Number 6, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n6.25 

Abstract

This article, based on Roger Pouivet’s “Applied Ontology” Theory, studies the effect of Warhol’s Brilloo soap boxes. The work was challenged at the time of its performance and could not convince the art world of accepting it, as an artwork. The research questions of this article are: 1. In the contemporary period, what aesthetic criteria turn a human work into an artwork? 2. According to Pouivete’s “Applied Ontology” Theory, how and with what approach is contemporary work of art considered as the personal symbolism of the artist and how is the governing aesthetics read? The hypothesis of the article is that the work of art in any way includes formal and content symbolism. Basically, in the contemporary period, the artist’s personal symbolism plays a finishing role in the creation of the artwork by mixing with already known collective symbols in a culture. The result suggests that in Contemporary Aesthetics, a work is recognized as a work of art when it is debated and exchanged without the need for consensus among art experts. The research method of this article is analytical-qualitative which has been done by collecting library information and virtual documents.

Keywords: Contemporary Aesthetics, Applied Ontology Theory, Andy Warhol, Art Criticism, Audience Reading

The Image of Syncretic Javanese Women in Digdo Irianto’s Paintings

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Nanang Yulianto1, Narsen Afatara2, Bani Sudardi3 & Warto4

1Universitas Sebelas Maret, Indonesia, nanangfirel@yahoo.co.id

2Universitas Sebelas Maret, Indonesia, narsen-afatara@yahoo.com

3Universitas Sebelas Maret, Indonesia, banisudardi@yahoo.co.id

4Universitas sebelas Maret, Indonesia, warto-file@yahoo.com

 Volume 12, Number 6, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n6.24 

Abstract

Through his paintings, Digdo Irianto unveils figures of Javanese women showing an expressive, bold and open face and body gestures. His imagination was based on a cultural change observed in Surakarta society which is heavily dominated by syncretic characteristics, evoking Javanese traditional cultures and modern culture. His conceptual imagination indicates his desire to put a woman in an honorable position where the body can be interpreted as a medium meant to sow and revive a dry soul following the presence of image embedded in modern life. Javanese women can synergize the spirit and essence of Javanese cultural values which uphold philosophical ??and practical, materialistic modern culture.

Keywords: Imagination, Javanese women, paintings, syncretic culture

Transformation of Catuspatha in Bali Indonesia: Alteration Ideas from Empty Space to Aesthetic Element of City

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Ngakan Ketut Acwin Dwijendra1*, Frysa Wiriantari2, Desak Made Sukma Widiyani3, Anak Agung Ayu Sri Ratih Yulianasari4

1Faculty of Engineering, Udayana University, Bali, Indonesia. ORCID id: 0000-0003-0070-4254. E-mail: acwin@unud.ac.id

2 3 4Faculty of Engineering, Dwijendra University, Bali, Indonesia

 Volume 12, Number 6, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n6.15

Abstract

Catuspatha in Bali is interpreted not merely as a junction or crossroad but a crossroads that have their own sacred values ??and meanings and are equated with the great crossroads. At the time of the kingdom in Bali catuspatha was the center of the royal capital and meant the center of the country. Meanwhile, since the Dutch occupation in Bali, there has been a tendency to place aesthetic elements as the focal points or landmarks of a city at the center of a catuspatha and this trend was continued by the republican government during independence. The purpose of this study is to uncover the concept of catuspatha, the transformation of concepts, changes in the expression of catuspatha from the kingdom to independence and the impact of the changes. To achieve this goal, an observation was carried out on nine catuspathas of royal heritage in the Bali region with document research and reconstruction through interviews with priests of Shiva, Buddhism, Bachelors, and other elements as well as textual observations in the form of literature, research results, and ancient chronicles. The results obtained from this study indicate a change in the idea where the view of the center of the catuspatha as an empty space turned into an aesthetic element of the city that acts as a traffic sign and also as a city orientation. In the political context, there is an impact on the integrity of traditional values ??in the catuspatha where the symbols of royal power were expressed in the castle’s structure. The central facilities of the kingdom, are transformed into a mayor’s office with subordinate units. In the context of transportation technology, traffic lights are also expressed to regulate the flow of traffic on the catuspatha.

Keywords: catuspatha, transform, space, city, element

 

Seeking theory-practice relations between humanities and fine-arts through practice of painting

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Asmita Sarkar

PhD Candidate, Manipal Academy of Higher Education, Email: asmita.sarkar@srishti.ac.in, ORCID ID 0000-0002-2024-5553

 Volume 12, Number 5, 2020 I Full Text PDF

DOI: 10.21659/rupkatha.v12n5.rioc1s1n5

 Abstract

In recent years different art and design institutions around the world are increasingly looking at developing programs that are research intensive. Along with this trend, doctoral programs that are art and design practice based are becoming progressively common. There are several debates around the nature and significance of art and design practice as research (Sullivan 2005 Borgdorff, 2010, Eriksson 2010). Many have doubts about the exact nature of knowledge contribution made by these PhD theses.  One distinct aspect common to all these programs is that these consider creation of art or design artefacts a part of the research process. This paper will discuss some theoretical view-points and philosophical speculations such as discourse on material of art, performance embodiment, cultural-scientific knowledge behind creation of artefact. The aim is to show that the process oriented and performative aspects of art-practice can come into a meaningful dialogue with traditional humanities. In the present article the author/artist has drawn from the writings of art-historian James Elkins (2000) and philosopher Merleau-Ponty (1964,1993,2008)   to analyze her own work and devise a methodology of artistic research. The proposed methodology consists of two theoretical lens that are used to contextualize artist’s work: phenomenology (Merleau-Ponty 1964, 1993, 2008) and elements of auto-ethnography (Alvesson 2003).  Thus, this paper develops a methodology that contextualizes artist’s intensely personal process of creation and critically evaluate this process. The result is a methodology of artistic research that can be a bridge between creative performance and critical research.

Keywords: phenomenological research, process and performance in humanities research, methodologies of practice-based research.

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