Art and Design Commons^™

No Canvas, No Rules, Francisca B. Ugalde

Proceedings from the Document Academy

This presentation activity is a creative exploration of the concept of DIS-EASE, as in the absence of ease, uneasiness, or discomfort.

Conceptually, I am exploring DIS-EASE in three ways:

1. As you can see, I am painting directly onto the gallery wall. As the keeper of these galleries, I can assure you that this is a big no-no. I mean how dare anyone disturb these pristine surfaces?! The rationale behind my discomfort is rooted in the idea that the gallery is a sacred space, and that these walls ought to be kept pristine so that the objects displayed against them …

Aeneid: A Depiction Of Dido In Dutch Golden Age Art, Rebecca R. Kaczmarek

Parnassus: Classical Journal

No abstract provided.

Model Of Mural Painting In The Inpatient Room Of Fatmawati Hospital, Tri Aru Wiratno

International Review of Humanities Studies

The research model of mural painting in the children's ward of Fatmawati Hospital is interesting not only as a beauty but also the beauty it gives to patients. The model of mural painting as a form of instrumenta art works that aims and serves as the beauty of a child's inpatient room to further provide calm, coolness and peace to the pediatric inpatients. By using Terry Barrett's interpretation research method, the interpretation research method must include the contextualization of substantial creative work. And the development model of Borg and Gall, Dick and Carey. As a method that is integrated as …

Winter Birches At York Redoubt, Irene Oore

The Goose

This painting of Winter Birches at York Redoubt in Halifax, Nova Scotia reflects the grandeur and beauty of the historic site on which it sits and evacuates the fortification from it. York Redoubt, now a National Historic Park, was constructed in 1793 (just as war broke out between Britain and France) on a bluff at the narrowest point on the outer harbour. It overlooks the entrance to Halifax Harbour at Ferguson's Cove, Nova Scotia, Canada.

Combining An Intuitive Art Workshop And Neuroscience Rituals To Make Us Happy, Audrey Gran Weinberg

The STEAM Journal

One might wonder how intuitive art can connect to neuroscience and how this could be accomplished. In this descriptive article, research connecting art therapy and neuroscience has been collected and a workshop on Intuitive Painting has been described in detail. The connection was made by the author based on an article by Barker (2017), ‘4 Rituals to be more Happy,’ who writes a popular science blog. The rituals: gratefulness, expressing negative emotions, decision making and human touch were combined with Dr. Pinkie Feinstein’s method of Intuitive Painting in a small group setting. Although subjective, it would seem that at least …

Painting With Horses Towards Interspecies Response-Ability: Non-Human Charisma As Material Affect, Madeleine Boyd

Animal Studies Journal

Leading up to the 2014 Melbourne Cup three communication modes were employed by unrelated horse welfare activists to raise awareness of cruelty in the racing industry. The intention to increase empathy with horses ties together these efforts, which are characterised as written, visual and immersive. This paper uses the lens of Jamie Lorimer’s three types of non-human charisma to consider the potential for each communication mode to achieve the goal of change towards interspecies response-ability. Charisma is considered in this paper to be a form of material-affect within new materialism that offers a more complex tool for analysis than the …

Mimicry And Mimesis: Matrix Insect, Madeleine Kelly

Animal Studies Journal

Paintings and insects might seem like odd companions. In this paper I describe how a series of paintings I made depicting insects creates associations between mimesis and mimicry in order to flag a sort of protective self-referentiality – one where painting resists its proverbial ‘end’ and insects are presented as vital new orders. Drawing upon art historical references, such as Surrealism and the modernist grid, I argue that playing on these references and the compositional effects of camouflage enlivens our regard for the sensuous worlds of both insects and painting. I conclude by exploring how paintings of insects are powerful …

Narsisme Sebagai Wujud Eksistensi Diri Dalam Novel “My Name Is Red” Karya Orhan Pamuk, Raden Dibi Irnawan

Paradigma: Jurnal Kajian Budaya

This paper discusses about socio-psychological dimension in paintings pictured in Orhan Pamuk’s novel My Name is Red. The novel shows us fi ne examples about how paintings can be a media of painters who lived in a repressive era of Sultan Murat III which established rigid rules adopted from Islamic principles of how a painting should be done. This idea manifested in the characters’ behaviour, especially Velijan Eff endi, who hold the Islamic or East principles, but dilemmatically fond of Western principles as an aesthetic way of painting. This kind of dilemma born from the presence of East and West …

The Quantified Self, Behind The Cover Art, Leslie Love Stone

The STEAM Journal

We lead quantified lives. The information we send and receive through our computers, CD players, and smart phones is coded in ones and zeroes. We exist as numerical accounts, license numbers, and login IDs. Anyone who has ever waited on hold for a live customer service representative understands the desire to be treated like a person, not a number. We each want acceptance for our inherent peculiarities and consideration for our circumstance—conditions we believe extrinsic to numbers.

« La Femme Qui Pleure » : La Nouvelle D’Assia Djebar Et Le Tableau De Picasso, Farah Aïcha Gharbi

Présence Francophone: Revue internationale de langue et de littérature

This article is a study of the dialogue that is maintained between the novel « La femme qui pleure » by Assia Djebar and the Picasso painting that bears the same title. This article also aims to show author’s achievement of the liberation of the feminine subject through an aesthetic means, in other words, through an angle that allows for an encounter between that which has been written and the painting, which combined give the women the right to the word and the image portrayed. The form and the structure that are shared between the novel and the painting appear …