Suchergebnisse

El origen de esta reflexión escrita es un curso de doctorado impartido en la ETSA de Sevilla desde el año 1994 hasta la actualidad, por la profesora Dra. M.Cruz Aguilar y por la autora de este artículo, y que se trazó como objetivo encontrar relaciones de afinidad entre las Artes Plásticas y la Arquitectura a lo largo del s.XX. Es necesario aclarar, antes de seguir adelante, que, además de nuestras habituales sesiones teóricas, el curso se ha venido enriqueciendo todos estos años con la participación de numerosos invitados de diversas procedencias, artistas casi todos ellos en activo y que con su testimonio personal nos han ilustrado de una manera fehaciente la evidencia de estas relaciones arte-arquitectura. Así, y entre otros, Enric Miralles y Juan Lacomba nos visitaron por separado en el bienio 1994-5, Juan Navarro Baldeweg lo hizo en 1998, en el año 1999 estuvo en nuestras tertulias Guillermo Pérez Villalta y, por último, en Enero de este año estuvo con nosotras la escultora vienesa Eva Lootz. Por otro lado, el soporte teórico del curso se ha planteado a modo de recorrido, que pretendía ser crítico y reflexivo, por los principales acontecimientos del panorama artístico del siglo XX. Es evidente que son los procesos de pensamiento que subyacen en cualquier hecho artístico, materializado en una obra de arte concreta, los encargados, en última instancia, de justificarlo. En este sentido, tan válida sería la obra de enfoque objetivo-racionalista (cubistas, puristas, suprematistas, neoplasticistas, constructivistas,. hasta los high-tech) como las aparentemente más subjetivas o irracionales (fauves, expresionistas, dadaístas, surralistas, organicistas, . incluso postmodernos y deconstruccionistas). Un segundo gran capítulo abordado en el curso ha sido el relativo a las denominadas vanguardias históricas, es decir, a todas las tendencias artísticas o -ismos acontecidos básicamente hasta mediados de los años treinta. Esta etapa supuso un enriquecimiento mutuo de los diferentes artistas y de sus respectivos lenguajes plásticos; el agruparse en asociaciones los llevó a reflejar sus conclusiones en manifiestos cuyo objetivo último era una auténtica transformación de la sociedad. Al buscar relaciones, en esta etapa postbélica, entre arte y arquitectura, no podemos dejar de mencionar el Guggenheim Museum de Wright del 1959, auténtica arquitectura escultórica, pero tampoco y en la misma línea, la iglesia de Notre-Dame-du-Haut (1950-1955) de Le Corbusier. Lo mismo sucede con la obra más emblemática de Louis I. Kahn, el Parlamento de Dhaka en Bangladesh (1962-83), con sus extraordinarios efectos de luz, o con el Ayuntamiento de Säynätsalo (1952) de Aalto, donde la poética del paisaje y los materiales convierten a la obra en algo diferente y distante de la "modernidad radical"; algo parecido a lo que sucede con Eero Saarinen, Hans Scharoun o Utzon. Se trata de una etapa en la que en las artes plásticas se experimenta una evolución del expresionismo abstracto (Escuela de N. York) al Informalismo europeo y a la abstracción post-pictórica, para desembocar después en el Op Art y el Arte Cinético, y todo ello habiendo desaparecido por completo la estrecha vinculación entre artistas que se produjo en las vanguardias históricas de los años veinte y quedando, sólo, un sustrato cultural común que sirve de alimento para cualquier manifestación artística. ; The origin of this written reflection is a doctoral course given at the ETSA of Seville from 1994 to today, Dr. professor. M.Cruz Aguilar and the author of this article, and charted the goal of finding relations affinity between the fine arts and architecture along the s.XX. It is necessary to clarify, before proceeding, which, in addition to our usual theoretical sessions, the course has been enriched all these years with the participation of numerous guests from various sources, most of them artists active and with his personal testimony us They have been illustrated in a consistent manner the evidence of these relationships art-architecture. Thus, among others, Enric Miralles and Juan Lacomba we visited separately in the biennium 1994-5, Juan Navarro Baldeweg did in 1998, in 1999 it was in our gatherings Guillermo Pérez Villalta and finally, in January this year was with us Viennese sculptor Eva Lootz. On the other hand, the theoretical support of the course has been raised as a tour, pretending to be critical and reflective, for the main events of the twentieth century art scene. Clearly they are the thought processes that underlie any artistic fact, materialized in a concrete work of art, managers, ultimately, to justify it. In this sense, the work would be as valid goal-rationalist approach (Cubist, purist, Suprematist, neoplasticists, constructivist, . to the high-tech) as the apparently subjective or irrational (Fauves, Expressionists, Dadaists, surralistas, organismic, . even postmodern and deconstructionist). A second great chapter addressed in the course has been on the so-called historical avant-garde, that is, to all artistic trends isms occurred or basically until the mid-thirties. This stage was a mutual enrichment of different artists and their respective artistic languages; The grouped in associations led them to reflect their findings manifest whose ultimate goal was a true transformation of society. When looking for relationships, in this postwar period, between art and architecture, we can not fail to mention the Guggenheim Museum Wright 1959, authentic sculptural architecture, but also in the same line, the church of Notre-Dame-du-Haut ( 1950-1955) of Le Corbusier. The same applies to the most emblematic work of Louis I. Kahn, the Parliament of Dhaka in Bangladesh (1962-1983), with its extraordinary light effects, or the City of Säynätsalo (1952) Aalto, where the poetic landscape and materials make the work into something different and distant from the "radical modernity"; something like what happens with Eero Saarinen, Hans Scharoun or Utzon. It is a stage in the visual arts an evolution of abstract expressionism (School of N. York) Informalismo European and post-painterly abstraction to then flow into the Op Art and Kinetic Art is experienced, and all it having disappeared completely close link between artists that occurred in the historical vanguards of the twenties and being only a common cultural substrate that serves as food for any art form.

"This book discusses how art can affect the world of business. As art has gained greater acceptance as an investment, it is appearing in a variety of transactions that expand the traditional dealer-gallery-auction house sale form. Art transactions increasingly include many art-secured lending, securitization, and commercial transactions. The presence of art in these transactions is frequently novel to the parties involved, who may be unfamiliar with the unique issues and challenges of the art world. Insurance plays a more significant role in art transactions than it has in the past, including title insurance. Some of the topics include: culture (such as the Elgin Marbles); fakes and forgeries; questions of titles (such as Nazi-looted art); restrictions on materials (such as the ban on ivory); forms of art-secured transactions (such as consignments and secured loans); express and implied warranties on art; and copyright."--

Body art, practiced across the world cultures and throughout history, is the most intimate art form, linking the self, the senses, and the social and political. In recent years, it has proliferated in an unprecedented way, borrowing motifs and practices from many different traditions. Explore their role in expressing personal and cultural identity; their longstanding associations with ritual, theatricality, criminality and beauty; and their recent resurgence via the Modern Primitabe movement and the work of contemporary artists such as Marc Quinn and Rebecca Belmore. The diversity of body arts is chronicled here: from Australian and African traditions of painting and scarification to Chinese footbinding, Russian prison tattoos, Harlem drag balls and the inked designs worn by celebrities such as Tupac Shakur and David Beckham

The transition to post-industr'ism is marked by increasing pol'al concern for the quality of life. The arts, an important determinant of the quality of life, are affected by this transition in the following ways: growth of mass participation in cultural activities; elaboration of the instit'al framework of the arts; formation of a 'culture lobby'; & pol'alization. Decisionmakers in gov, business, res, & educ must begin to take into account, as one entry in their cost-benefit ledgers, the cultural consequences of their actions. A cultural data system is needed to provide information for rational policy-making in the cultural field & to assist those outside the field in understanding their impact on it. A tentative model is constructed to facilitate the monitoring of qualitative, as well as quantitative, changes in the arts in contemporary society. 15 variables are suggested, which, taken together, comprise an index of the state of health of a nation's culture. Ways are proposed by which changes in these variables can be statistically measured. HA.

La migraña es un trastorno muy frecuente que ha afectado a la humanidad desde hace varios milenios. Muchos científicos, políticos y artistas importantes la han padecido. Se hace un análisis de la relación entre la migraña y las obras de destacados pintores compositores y escritores de diferentes épocas, los aspectos de su vida y la influencia de las experiencias migrañosas en su obra; algunos de estos autores tenían conciencia de su enfermedad y la usaron como fuente de inspiración, mencionándola a veces en los títulos de sus obras. ; Migraine is a very common disorder that has affected mankind for several millennia. Many prominent scientists, politicians and artists have suffered from migraine. This is an analysis of the relationship between migraine and the works of art of outstanding painters, composers and writers of different times; some aspects of their lives, and the influence of migranous experiences in their works. Some of these authors were aware of their illness and they used it as a source of inspiration, and often they mentioned it in the titles of their Works.

The purpose of the article is to study the types of artistic creativity in modern fine arts, taking into account the specifics of media arts. The methodology is the cultural-semiotic analysis of the forms of manifestation of visualization of modern art culture. The application of a systematic approach allowed us to study semiotic systems that contribute to the comprehensive disclosure of the problem of the semantics of modern forms of visualization. The scientific novelty of the work is to understand the specifics of the new media arts, taking into account their interactivity, network communication, and virtuality. Conclusions. The interaction of visual art forms and interactive technologies is a combination of artistic manifestations with visualization and programming, so, unlike the processes of classical education, this art practice, in addition to the artist, requires group work of specialists in various fields. Artists working in new forms of visual art play the role of "director" of the project, embodying their own artistic ideas in collaboration with other participants. The actualization of the art of new media is manifested primarily through the expansion of artistic creativity and the creation of multimedia projects that combine VR, AR technology, animation, and traditional shaping and drawing. Therefore, modern visual arts are becoming a powerful tool and communicative tool of modern culture. Today, Ukrainian artists are actively using visual images as central elements of visual culture. Since modern cultural communication significantly influences the formation, providing the composition and translation of cultural values, with the help of visual images artists are able to more accurately express the idea of the work, to make it understandable to the maximum number of viewers.

O presente texto representa uma tentativa de compreender as teorias existentes no campo da arte aplicada à educação e suas principais propostas. Ao esforço de articular o campo da arte com o da educação tem-se dado o nome de Arte-Educação. Evita-se a expressão Educação Artística para afastar confusões teóricas: muitas vezes em seu nome são defendidas atividades onde não há o menor respeito aos métodos artísticos, porque supostamente busca-se o educativo e não o estético. Por Arte-Educação entende-se o ensino de arte em seu duplo aspecto de educação artística e educação estética. Entende-se a educação artística ligada ao fazer arte, à produção de objetos de arte, e por educação estética a apreciação e fruição de arte.

Das gesellschaftliche Leben ist im neuen Jahrtausend - besonders seit der Bankenkrise - spürbar politischer geworden. Die Kunst betreibt und dokumentiert diesen Umbruch, denn anfangs haben vorwiegend junge Künstler und Aktivisten ihre Stimme gegen Globalisierung oder Umweltverschmutzung erhoben. Zunehmend werden auch wieder Arbeiten etablierter Künstler von politischen Themen dominiert. "Art & Agenda" untersucht, wie politischer Aktivismus auf globaler und lokaler Ebene auf die zeitgenössische Kunst als Ganzes einwirkt, und stellt eine Vielzahl von Künstlern vor, die sich lokal oder international politisch und gesellschaftlich engagieren. Manche stehen dabei in der Tradition von Agitprop und der Bürgerrechtsbewegung der 1960er Jahre und arbeiten mit Postern, Urban Interventions oder Grafikdesign. Andere bevorzugen etablierte Ausdrucksformen wie Malerei, Skulptur oder Performance. Die Persönlichkeiten und künstlerischen Praktiken sind dabei so unterschiedlich wie die Themen, die bearbeitet werden, denn je nachdem, aus welchem Kulturkreis die Künstler stammen, unterscheiden sich ihre Anliegen, ihre Techniken und ihre Radikalität stark, abhängig vom jeweiligen gesellschaftlichen und politischen Umfeld.

Die Frage, was Gegenstand einer Verfügung nach Art. 5, Art. 25 und Art. 25a VwVG sein kann, ist auch mit Blick auf die Rechtsweggarantie nach Art. 29a BV zu beantworten, da die Verfügung bis heute das zentrale Anfechtungsobjekt ist, um den (gerichtlichen) Rechtsschutz zu ermöglichen. Entsprechend ist die Auslegung von Art. 29a BV mit derjenigen der Verfügung nach Art. 5, Art. 25 und Art. 25a VwVG zu harmonisieren (und vice versa). Der sachliche Anwendungsbereich von Art. 29a BV, der im Begriff «Rechtsstreitigkeiten» angelegt ist, erfasst Streitigkeiten aus Rechtsverhältnissen. Rechtsverhältnisse zeichnen sich in der Regel dadurch aus, dass Rechte oder Pflichten von Einzelpersonen vom Verfassungs-, Gesetz- oder Verordnungsgeber hinreichend präzis umschrieben werden, sodass diese von einer Verwaltungsbehörde im Anwendungsfall mittels Verfügung nach Art. 5, Art. 25 oder Art. 25a VwVG konkretisiert und einer gerichtlichen Kontrolle zugeführt werden können.