개념미술에서 의상의 역할

The era of Peter the Great was a time of fundamental changes. New reforms and orders were very unfamiliar to Russians, which is why the new Russian state required comprehensive means of glorification of new cultural and political reforms. Planning of new architecture, urban space and composition in pieces of fine art were based on a system of concepts: the concept of glorification of battles and wars won by the Russian army and navy, introducing European traditions in fine arts, introducing the Table of Ranks for service, and bringing European science to Russia. In other words, the creation of art, architecture and country residences was not random. The glorification of new reforms in Russia was the basis for new art. Conceptuality as a basic element of creative culture was founded in the beginning of the XVIII century. It determined the evolution of fine arts for the next several centuries. This is the reason why analysis of architecture and fine arts in the culture of Peter the Great’s era in terms of conceptual art is important. In conceptual art the conception is crucial, not the form. Many prints were made in the first quarter of the XVIII century, dedicated to military victories and the new flourishing city: Saint-Petersburg. These prints were created by invited artists from Europe (A. Schoonebeek, P. Picart) and their Russian apprentices (A. Zubov and I. Zubov). J. Tannauer, L. Caravaque and G. Gzel created conceptual paintings dedicated to Peter the Great’s deeds. The “Petrine Baroque” style of architecture and regular urban planning has determined the evolution of Saint-Petersburg as a European city.

This paper analyzes the creative heritage of H. Skovoroda, his literary pronouncements on the role of art in the cultural heritage of the reference period. Along with dialectics of philosophical thought of H. Skovoroda, an important principle of his work, namely symbolism, which was inherent not only in Baroque emblematic poetry, but also in the visual art in general at the time, is revealed. Philosophical reflections and symbols of H. Skovoroda were understandable and highly sought not only in the Baroque period, but also throughout the time. It is thus with good reason that philosophical and ethical views of H. Skovoroda influenced the artistic conceptions of many Ukrainian artists, first and foremost those belonging to M. Boichuk, H. Narbuta, V. Krychevskyi, O. Bogomazov, K. Malevich and others.
 This paper expands the concept of emblematics, symbolism of the Baroque and its quotation in the modern Ukrainian art. It has been brought out that the image symbolism of H. Skovoroda in their creativity expressed the idea of Ukrainian Sacrum, sophistication and cordocentrism. The philosophy of Ukrainian art, based on the idea of Sacrum, as well as on the sacral signatures of the national fine arts, developed its own understanding of both art and artistic concepts that reflected the revolutionary “mythmaking” and transformed the stable Ukrainian archetype into new artistic images.
 Skovoroda’s teachings have always attracted artists by their uniqueness, the significance of opinions, the depth of spiritual understanding of both the world and man, while his mystical symbolism is still quoted in the works of Ukrainian artists. Skovoroda’s figure is embedded in the historical process of understanding both the man and the world around, and his views can be projected not only onto the past, but likewise onto the present. In Ukrainian fine art and iconography, the philosopher’s dream of the harmony of human existence, the greatness of his spirit and self-knowledge is still maintained.
 The expressed allegorical nature of Skovoroda’s philosophical meditations is reflected in the symbolism of both the past and contemporary works of art. The illustration of a conceptual idea in terms of images-symbols is kind of “l'instant épié”, which aims at the most adequate expression of the artist’s point of view, when reality is transformed by flair, and everything that the artist’s brush touches rises above everyday life and becomes poetic.

According to Friedrich Schlegel, theorist of German Romanticism, art is autonomous and idiosyncratic and is not subordinate to any utilitarian or mundane goals. Its essence is confined to manifestation of beauty and creation of visualized images that do not imitate the world’s visible forms but express certain essential foundations of human existence. F. Schlegel applies two art concepts: “expressive arts” that are based on the idealizing principle and “fine arts” that center around beauty, “depiction”, and spiritual fulfillment. Art is grounded upon the principles of diversity, unity, and integrity, and its main law is the internal consistency of a work of art with itself. Art combines fullness, harmony, beauty, and morality. Classical art created by a genius is always aesthetically relevant and symbolic and can never be fully understood. The supreme art is complete fullness, and an example of such is the art of Classical Greece. Schlegel often uses the terms of art and poetry as synonymous, viewing poetry specifically as the aesthetic quality of art. To Greek Classical art, he opposes contemporary Romantic art, which, in many ways, refrains from visible manifestation of the principle of beauty, knows no mythological roots, but is founded upon the laws of the characteristic, individual, interesting, disharmonious, contradictory, ironic, ingenious, and marvelous. Romantic art originates from Dante’s, Shakespeare’s, Cervantes’s, and Goethe’s “novels”. It is exactly Romantic art that F. Schlegel considered to be the future of aesthetic culture.

Collecting as an Art Kevin Melchionne I Snob appeal and bad psychology have hindered understanding the aesthetics of collecting. Theorists have tended to see collecting as a form of conspicuous consumption or obsessive-compulsive behavior, leading them to dismiss the possibility of any aesthetic value in collecting. These views of collecting as consumerist and neurotic are shortsighted. After considering two highly visible examples of the standard approaches, I offer an alternative view of collecting as an art. For the critique of collecting as conspicuous consumption, consider, for instance, John Dewey, one of the earliest advocates of expanding our conception of art beyond the fine arts. 1 Despite his broad and inclusive conception of art, Dewey did not think collecting had any aesthetic value. He sought to redirect attention from the world of curators, critics, and collectors to an ordinary life infused with aesthetic experiences ranging from a "fire engine rushing by" to "the delight of the housewife in tending her plants" (p. 9). Given this outlook, it is surprising that Dewey dismissed the possibility of an aesthetics of collecting with the remark: "the typical collector is the typical capitalist" (p. 12). Dewey saw the pleasure of collecting as an "adventitious matter," that "simulates aesthetic values" (p. 14). For Dewey, collecting is linked to the museum concept of art, according to which the work of art is raised above and segregated from everyday life. It is through the process of collecting that works of art end up in museums, mansions, [End Page 148] and warehouses. As the very means of this sequestration of art in our society, collecting seems at first glance to be no more than a symptom of the cult of the art object that Dewey was criticizing. Dewey does not object to the museum itself as much as he objects to the reduction of art to the objects and performances found in museums and concert halls, and aesthetic experience to the occasions engendered by them. The consequence of the museum concept of art is a separation of what Dewey terms the "artistic" and the "aesthetic." By the artistic, Dewey means production, creativity and expression; by the aesthetic, he means consumption, appreciation and interpretation. We tend to see production or creation on the side of the professional artist; whereas the art-goer, or, for our purposes here, the collector, is the passive consumer of aesthetic experience. However, for Dewey, "the distinction between esthetic and artistic cannot be pressed so far as to become a separation" (p. 53). Though analytically distinguishable, the aesthetic and the artistic represent a unified process for Dewey. Creation and appreciation are two sides of a pragmatic-phenomenological whole. The awkward phrase "art as experience" unites doing and undergoing, creation and appreciation. 2 The fact that there is no standard term to capture the continuity of the aesthetic and the artistic illustrates how deeply entrenched the museum concept of art is in our habits of thought. Dewey's rejection of the aesthetics of collecting may also be tied to his distaste for the elitism of high profile art and antiques collecting. Unlike his general theory of art, his vision of collecting was closely linked to the fine arts. While he must have marveled at the works that his friend, Albert Barnes, was assembling in his Merion, Pennsylvania mansion, Dewey probably also recognized that the collection was made possible by the patent medicine entrepreneur's great fortune. Despite the ubiquity of beachcombing and tag sales, the association of affluence with collecting is deeply ingrained. Though collecting is common, public attention is directed toward the collections of the elite. Glossy antiques and interior decorating magazines feature priceless collections set in the sumptuous homes of the super-rich. Interest in collecting becomes voyeurism into the lives of those who collect the most expensive and admired objects. In return, the collectors are tacitly seen as the dedicated custodians of a common culture. Yet collecting is as common as spare change or a walk on the beach. While few people have the cash to drop on a Chippendale card table, collectors can be found among all classes of people. Children collect, though the old [End Page 149] cigar box has been...

ture from Greece and Rome to the present. In Over the past decades, several authors, among particular, whatever happened in the eighteenth them Paul Oskar Kristeller, Larry Shiner, Pierre century, there is continuity as well as change in the Bourdieu, Terry Eagleton, and Paul Mattick, have Western traditions of all the arts mentioned above, argued that is of recent origin—in fact, as well as in the arts of other cultures as they have that it originated (along with its name) in the traveled from antiquity through the shock of the eighteenth-century West.1 They also note that the modern and of globalization, word 'art,' as we now use it in reference to paintMore often than not throughout this history, ings, sculptures, concerts, and the like, has come various arts have also been combined in such to mean approximately the same thing as 'fine art' forms as drama or public celebrations. And in did then. So they may be taken as claiming that many if not all societies, we have reflected on and art is of recent, Western origin.2 Finally, many of categorized human skills, pleasures, and practices these same authors claim that art has an inherin ways that may initially resemble modern group ently ideological function within modern society. ings of the arts; this adds to the initial implausi Most readers of this journal are familiar with these bility of what Kristeller et al. have to say. Thus, views. I find them persuasive, but with the excepthe ancient Greeks had the Muses (though a close tion of some brief remarks about the descent of look at the variety of arts they sponsored, includ art from fine art, I do not defend them in this aring history and astronomy, quickly shows that they tide.3 Rather, I argue that if they are correct, the did not embody our category of art). Classical In project of defining art is misconceived and should dian society reflected on the nature of rasa (var be abandoned, as should arguments (at least by iously translated as relish and transcendental philosophers) about what should and should not enjoyment) as produced by drama, poetry, and count as art. song.5 I begin by clarifying what I am assuming, for it The authors mentioned in my first paragraph is easy to misunderstand what these authors are are aware of these facts and accept them. What saying. On the surface, they appear to contradict can they mean, then, by saying that fine art, in some well-established facts. Human beings have deed art as we now understand it, originated in been drawing and painting, carving and decorateighteenth-century Europe? What is new, they ing, singing and dancing, telling stories and acting say, is the eighteenth-century idea that what came them out for tens of thousands of years. Likewise, to be identified as the fine arts share a unique as Ellen Dissanayake puts it, we have always been essence, in virtue of which they should be called inclined to make things special.4 We have alfine and distinguished from other activities ways valued a wide variety of skills, whether they such as craft and popular entertainment. Also new promote our survival, facilitate social interaction, is the interlocking set of fine art concepts, in or please and entertain us. Most societies have trastitutions, and practices that formed around this ditions within which standards, training, and critcore notion. Following Kristeller and Shiner, I call ical discussion regulate the practice of such skills, all of this (the arts themselves, plus the concepts,

Review: <i>How Photography Became Contemporary Art: Inside an Artistic Revolution from Pop to the Digital Age</i>, by Andy Grundberg

The difficulty in teaching the concepts of colour lies not so much in conveying the physical origin of colour, its possibilities and numerous applications, as in trying to find a practical means to further the understanding and the later use of the language of colour in practical applications in the fields of painting, graphic arts, advertising, fashion and decoration, etc.Computing and hypermedia didactic systems have shown themselves to be highly qualified assistants in teaching. Though they will never be a substitute for the tutor, they may considerably lighten his/her workload by taking charge of repetitive tasks or otherwise very costly process simulations. The project presented concerns the development of a hypermedia system as a teaching aid for colour concepts in the fine arts, although its possible extension to other areas of this subject or even other subjects has been foreseen.This paper describes both an individual software development and an easy-to-use pedagogical methodology based on imaging, digitized video, interactivity, etc., supported by technologically advanced elements, such as the computer, and engineered using object-oriented and knowledge storage technologies, such as hypertext and hypermedia. The project's objectives were to stimulate perception, acquire expertise and skills, promote the application of innovative or creative thought by encouraging fluency, flexibility, originality, inventiveness, production, etc., and to offer an overall view of the importance of colour in art.

The primary purpose of this paper is to identify the level of interest and knowledge about fine art materials (in selected works of art) that can influence pre-service primary school, chemistry, and fine art teachers’ implementation of this content into their teaching. This knowledge can help them be aware of how a specific fine art material can be used in fine art classes. Fine art materials can also be applied in different manners by chemistry teachers and primary school teachers (science lessons) to explain the specific chemical characteristics of these substances. Altogether, 118 pre-service teachers from the Faculty of Education, University of Ljubljana participated in the study. The data were collected using three instruments: information about participants (IP), fine art materials achievement test (FAMAT), and individual interest questionnaire (IIQ), which comprise items for self-concept. It can be concluded that pre-service teachers’ average score (49.6%) on FAMAT is quite low. The results also showed that pre-service fine art teachers achieved better results than the other two groups did. Similar results were also obtained regarding participants’ interest and self-concept in learning about fine art materials. It can be concluded that more emphasis should be placed on developing the understanding of chemical and fine art concepts due to the fact that fine art and chemistry can be interdisciplinarily connected in education, according to contemporary curricular guidelines.

Positively, the effect of speeding up temporal sequence is to abolish time, much as the telegraph and cable abolished space. Of course the photograph docs both. It wipes out our national frontiers and cultural barriers, and involves us in The Family of Man, regardless of any particular point of view.--Marshall McLuhan (1) [ILLUSTRATION OMITTED] In Understanding Media: The Extensions of Man (1964), Marshall McLuhan observed how automation and could become forms of resistance under late capitalism. Correspondingly, conceptual art emerged at this time, just as the ''information economy (2) was gaining in currency and momentum and the aesthetics of administration (as articulated by historians such as Benjamin Buchloh (3)) were becoming increasingly important modes of addressing the prevalence and systemic power of bureaucratic structures in everyday life. Amid this context of postindustrial logic and ideology, many photoconceptualists were preoccupied with investigating the camera's power as a social and economic agent. Kynaston McShine's 1970 Information show at the Museum of Modern Art (MoMA) in New York was reflective of this context, and used photography to establish the contemporary ambivalence surrounding the concepts of information and documentary, while ultimately underscoring photoconceptualism's emphasis on the contingency of meaning. Relying on a shared or public discourse in order to be read, work by artists such as John Baldessari, Dan Graham, Hans Haacke, Douglas Huebler, and N.E. Thing Co. advanced critiques of the logic of objectivity lied to the empirical notion of information, as well as optimistic propositions for the Utopian potential of mass media. Looking for moments of countercultural activism in the works both as exhibited at the museum and in the catalog, and invoking McLuhan's theorization of the medium of photography as pointed out toward the world (linking artist and viewer) and thus taking into account their shared environment, this article argues for the inherent social meaning of media, or to quote McLuhan, the fact that Nobody can commit photography alone. (4) Reflecting the moment of their emergence, conceptual art practices were responses to, and manifestations of, an emerging globalism and an increasingly nomadic art world. Working during a period of intense aesthetic and political anxiety, conceptual art marked the first time photography took center stage as an artistic medium and an object of theoretical inquiry, in part clue to its uncanny ability to evade the categorical boundaries of medium specificity and borders. Photography purported an ease of transmission and access to direct inextricably linked to the praxis of everyday life. Fascinated with the dynamics of perception and communication, conceptual artists were interested in exploring photography's ability to level all onto a singular surface, while simultaneously extolling the sameness that could frame all difference. Envisioning these possibilities as inherently democratic, conceptualists saw photography as typified by its capacity to defy the edicts of conventional artistic media and modernist solipsism, and thus as uniquely positioned to engage with the role of the social subject through technological experimentation, hybrid methodologies, and a critical play on and with emerging fantasies of the global village. Information exists as an elusive time capsule--both the concept and the landmark exhibition, The confusing omissions within the exhibition's archive and the catalog are but one example of its legacy of contradiction and experimentation. Standing on the edge of intense change, within the volatile social and political context of 1970, Information (according to the curator) sought not simply to document, but more importantly, to understand and intervene in those changes. Tellingly, the prevalent use of photography in the Information exhibition and catalog is one of its most striking features. …

The concept of art, which has a spiritual meaning in its essence, is the transformation of the created concrete world into qualified objects in the artist's production with the method of imitation and repetition. This transformation makes it necessary to make sense of the concepts related to the object of art. In the historical process of art, getting rid of purely aesthetic concerns and starting to form the predominant side of thought causes the conceptual dimension of the object to be questioned. Some cornerstone works such as Marcel Duchamp's urinal, Robert Rauschenberg's white panels or Malevich's Black Square stand out by gaining value with the new conceptual meanings they add to art with their approaches in the background. In this study, some concepts in art will be examined and evaluations will be made through meaning and concept terminology. Keywords: Meaning in art, conceptual art, phenomenon in art

The eighteenth century is a nuisance. At least to the historian bent on coming up with tenable general assertions, or, even worse, encompassing narratives. The richness of eighteenth-century thought is intimidating; its ambiguities are nothing less than baffling. No grand narrative is safe from them, especially the ones that treat the eighteenth century only as an overture of what came afterwards, while ignoring its transitional character, famously described by Koselleck’s term, ‘Sattelzeit’. The eighteenth century was, indeed, the formative period of many of our key concepts; this means, however, that these were still in the making, not yet congealed into their modern forms.1 Unsurprisingly, the eighteenth-century initiation of the discipline named aesthetica, and its antecedents in Europe, have come to be interlocked with the rise of modernity as well. The emergence of aesthetics has been interpreted as a symptom of the entrance of a new image of man, individuality, a modern conception of subjectivity, a new mode of experience, as well as a new ideology or the modern concept of (fine) art into European consciousness. And even though these narratives all situate aesthetics within heteronomous contexts—from physiology and psychology to morality and politics, from social and economic history to belief and religion—one narrative came out as victorious, which neglects the eighteenth-century interpenetration of various disciplines. It offers instead a teleological history of aesthetics which leads towards the concept of autonomy, aesthetic and/or artistic, as it takes shape, allegedly, in the aesthetics of Kant and then Romanticism. The new volume of the Routledge Studies in Eighteenth-Century Philosophy, entitled Beyond Autonomy in Eighteenth-Century British and German Aesthetics, joins the growing body of scholarship that re-examines the influential narratives of autonomy.

This unique and authoritative reference work contains around 2,000 clear and concise entries on all aspects of modern and contemporary art. Its impressive range of terms includes movements, styles, techniques, artists, critics, dealers, schools, and galleries. There are biographical entries for artists worldwide from the beginning of the 20th century through to today's globalized art world, from conservatives and academics to the most controversial of the avant-garde, from household names to a host of lesser known figures. There are indications of public collections and publicly sited works, and in-depth entries for key topics (for example, Cubism, abstract art, and Conceptual art): this dictionary is a fascinating and thorough guide for anyone with an interest in modern and contemporary culture, amateur or professional.Formerly the Dictionary of 20th Century Art, the text has been completely revised and updated for this major new edition. Over 300 entries have been added and it now contains entries on photography in modern art as well as the new media such as installation and Performance which are such a crucial element of the contemporary scene. With emphasis on recent art and artists, for example Ai Weiwei, Tracey Emin, and Damien Hirst, it has an exceptionally strong coverage of art from the 1960s onwards, which makes it ideal for contemporary art enthusiasts. Further reading is provided at entry level to assist those wishing to know more about a particular subject. In addition, this edition features recommended web links for many entries.

Cutting Edge of the Contemporary: KNUST, Accra, and the Ghanaian Contemporary Art Movement

The poetic output of Diego Jesús Jiménez is undoubtedly one of the most outstanding of the Generation of '68, as is shown by its success in gaining major poetry prizes. From his first publication in the early seventies, Jesús Jiménez gave a new direction to Spanish poetry, freeing it from its previous assumptions and introducing some of the features that would go on to provide a new aesthetic. His poetry was based upon the concept of the anticipatory nature of art: poetry, in the course of its composition, draws upon the realm of the imagination to anticipate something that reality cannot provide. The concept of art as anticipation acquires a dimension of commitment that, in the course of writing, overflows into reality as the materialization of a utopia that transcends the prevailing social system's values. If art possesses the capacity to anticipate reality, the poetic utterance acquires a performative character, because the utopia it names materializes in language. In this way Jesús Jiménez's poetry has been consolidated in a series of volumes: La ciudad (1965), Coro de ánimas (1968), Fiesta en la oscuridad (1976), Bajorrelieve (1990), and Itinerario para Náufragos (1996).

&lt;p style="text-align:justify"&gt;The main purpose of this study is to present the practice, opportunities, and challenges of fine art education activities in a prison setting. Prison is primarily a form of punishment, a place where prisoners are disempowered and excluded from the outside world. Art is, therefore, extremely useful as it empowers prisoners and brings them contentedness and relaxation. In this research, we present a case study of Hungary and Slovenia. Through meaningful fine art education support activities, we can impact the awareness of the personal situation of prisoners and empower them to cope with various emotional and social challenges. By systematically incorporating fine art concepts, diverse and user-friendly fine art techniques, and content that can engage users where emotional and social skills are identified, strengthened, and indirectly reinforced, it is easier and better to endure the daily challenges of the prison environment. The presented fine art activities in prisons show that it would be useful to think in the direction of systematic involvement of artist teachers or students of fine art education within practical training to create a stimulating environment that helps to strengthen the affective, psychomotor, and cognitive development of juvenile and adult prisoners.&lt;/p&gt;