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Articles 601 - 603 of 603
Full-Text Articles in Social and Behavioral Sciences
Dlux Media Arts - D>Art05: Distributed Art And Mobile Journeys, Su Ballard
Dlux Media Arts - D>Art05: Distributed Art And Mobile Journeys, Su Ballard
Faculty of Creative Arts - Papers (Archive)
Exhibitions are often about product rather than process. Like a trade show demo, the curated exhibition is the opportunity for artists to showcase their research, innovation, and general creative endeavour alongside that of their peers. There is time for the work to be examined, experimented with, and opened up to a visiting public. This kind of exhibition model has for a long time been problematic for works that do not exist within a defined 3D space, or a comfortably measured duration. D>Art05 and Mobile Journeys address the temporal and spatial restrictions of the exhibition model by making the work …
The Limits Of Art History: Towards An Ecological History Of Landscape Art, A. Gaynor, Ian A. Mclean
The Limits Of Art History: Towards An Ecological History Of Landscape Art, A. Gaynor, Ian A. Mclean
Faculty of Creative Arts - Papers (Archive)
An ecological art history primarily concerns the relationship between the aesthetic and representational functions of landscape art, the environment it depicts and the ecology of this environment. Such investigation should enable us to determine whether particular aesthetic sensibilities or styles are more or less conducive to providing accurate ecological (Le. scientific) information, and what the limits of this information might be. An ecological art history would therefore, of necessity, engage with the science of ecology. Hence it requires an alliance with environmental and ecological historians as well as appropriate scientists. There are few examples of scholars drawing connections between the …
For Nothing, Ian A. Mclean
For Nothing, Ian A. Mclean
Faculty of Creative Arts - Papers (Archive)
n the seventies, it is widely believed, Western art lost faith in its own originality and got caught in an endless retro-vision. There was nevertheless something terribly original about the art they produced. These thoughts went through my head when Domenico de Clario showed me the premise of an exhibition he was curating called For Nothing. It read like a manifesto from the seventies: Is it possible to make a work whose raison d'etre is not dependent on critiquing another artist? Is it possible to make a work that does not cost anything to make, that does not aspire to …