In the twenty-first century, we are continually confronted with the existential side of technology—the relationships between identity and the mechanizations that have become extensions of the self. ...Focusing on one of humanity’s most ubiquitous machines, Automotive Prosthetic: Technological Mediation and the Car in Conceptual Art combines critical theory and new media theory to form the first philosophical analysis of the car within works of conceptual art. These works are broadly defined to encompass a wide range of creative expressions, particularly in car-based conceptual art by both older, established artists and younger, emerging artists, including Ed Ruscha, Martha Rosler, Richard Prince, Sylvie Fleury, Yael Bartana, Jeremy Deller, and Jonathan Schipper. At its core, the book offers an alternative formation of conceptual art understood according to technology, the body moving through space, and what art historian, curator, and artist Jack Burnham calls “relations." This thought-provoking study illuminates the ways in which the automobile becomes a naturalized extension of the human body, incarnating new forms of “car art" and spurring a technological reframing of conceptual art. Steeped in a sophisticated take on the image and semiotics of the car, the chapters probe the politics of materialism as well as high/low debates about taste, culture, and art. The result is a highly innovative approach to contemporary intersections of art and technology.
The artistic tradition that emerged as a form of cultural resistance in the 1970s changed during the transition from socialism to capitalism. This volume presents the evolution of the Moscow-based ...conceptual artist group called Collective Actions, proposing it as a case-study for understanding the transformations that took place in Eastern European art after the fall of the Berlin Wall. Esanu introduces Moscow Conceptualism by performing a close examination of the Collective Actions group’s ten-volume publication Journeys Outside the City and of the Dictionary of Moscow Conceptualism. He analyzes above all the evolution of Collective Actions through ten consecutive phases, discussing changes that occur in each new volume of the Journeys. Compares the part of the Journeys produced in the Soviet period with those volumes assembled after the dissolution of the USSR. The concept of “transition” and the activities of Soros Centers for Contemporary Art are also analyzed.
The tagged research problem (the outputs of the written text in conceptual art) dealt with a comparative analytical study in the concept of conceptual art trends (land art - body art - art - ...language).
The study consisted of four chapters. The first chapter dealt with the theoretical framework, which was represented in presenting (the research problem), which raised the following question: What is the role of the written text in the transformations of the conceptual arts?
The first chapter included (the importance of research) and (research objectives) seeking to conduct comparative research in the written text within the trends of conceptual art as a moving phenomenon in art, and to reveal the variable written text in the trends of conceptual art. As for the limits of the research, it focused on studying the concept of the written text in the works of conceptual art trends and their outputs, by analyzing their illustrated works from the period 2002-2013 in Europe and America. The chapter also included (defining terms) The second chapter: which is represented by the theoretical framework, contains two topics: The second chapter: which is represented by the theoretical framework, contains two topics:
The first topic: an introduction to the concept of writing in the visual field. Conceptual art also dealt with the cognitive and artistic root. As for the second topic, it included: the written text in conceptual art
The third chapter (procedural framework): is concerned with research procedures, defining the research community and selecting the research sample from it, the number of which is (5) models, from the directions of conceptual art, then the research tool and sample analysis.The fourth chapter: includes the results of the analysis of samples for each direction, then the results of the comparative analysis, conclusions, recommendations and proposals, and a list of sources and translation of the research summary in English.
"Part art history essay, part experimental fiction, part theoretical manifesto on the politics of equivalence, Helicography examines questions of scale in relation to Robert Smithson’s iconic 1970 ...artwork Spiral Jetty. In an essay and film made to accompany the earthwork, Smithson invites us to imagine the stone helix of his structure at various orders of magnitude, from microscopic molecules to entire galaxies. Taking up this invitation with an unrelenting and literal enthusiasm, Helicography pursues the implications of such transformations all the way to the limits of logic. If other spirals, from the natural to the man-made, were expanded or condensed to the size of Spiral Jetty, what are the consequences of their physical metamorphoses? What other equivalences follow in turn, and where do their surprising historical, cultural, and mechanical connections lead? This book considers a number of forms in order to find out: the fluid vortices of whirlpools, hurricanes, and galaxies; the delicate shells of snails and the threatening pose of rattlesnakes; prehistoric ferns and the turns of the inner ear; the monstrous jaws of ancient sharks; a baroque finial scroll on a bass viol; a 19th-century watch spring; phonograph discs and spooled film; the largest open-pit mine on the planet. The result is a narrative laboratory for the “science of imaginary solutions” proposed by Alfred Jarry (whose King Ubu also plays a central role in the story told here), a work of fictocriticism blurring form and content, and the story of a single instant in time lost in the deserts of the intermountain west."
"What if all works of art were better understood as functioning apparatuses, entangling their human audiences in experiences of becoming? What if certain works of art were even able to throw the ...brakes on becoming altogether, making nothings rather than somethings? What would be the ethical value of making nothing, of stalling becoming; and how might such nothings even be made? Some Ways of Making Nothing: Apophatic Apparatuses in Contemporary Art borrows its understanding of apparatuses from quantum mechanics and the process philosophy of Alfred North Whitehead, and its understanding of nothing from apophatic (negative) theology. It then proposes a new way of understanding art, applying this understanding to artworks by Arakawa and Gins, Robert Fludd, David Crawford, Joshua Citarella, William Pope.L, and Haim Steinbach. Philosophy, physics, theology, and media theory are traversed and involved in order to understand art differently so that it might be made to matter more."
Children's fairy tales are the first steps of learning through entertainment. Storytelling stimulates morality, creativity, and early awareness. Then comes the role of illustrations to raise the ...value of the story, and refer it to visual worlds, and helping the reader to imagine events and coexist with their heroes. However with the change of the elements of the modern era, and children’s tendency towards technology, and their great dependence on it as a source of learning and enjoyment, the need increased to search for new methods to reduce the gap between the child and reading, and to emphasize the role of the artist in imagining the story through the artworks accompanying the text. This research revolves around the art of illustrations, that has developed in recent years, and the emergence of new artistic trends, styles and techniques in addition to the classic style of presenting children's stories, some of which were associated with conceptual arts and postmodern arts. Artists who are passionate about children's fairy tales have been interested in re-presenting new visions for these two-dimensional and three-dimensional stories, we can see these works in exhibitions and public and specialized children's art museums. This research presents an analytical study in the development of telling children’s fairy tales as a creative stimulus for the works of contemporary artists through the development of art movement, to reach the features of renewal in the field of visual storytelling, and the cultural role of art museums in the communication between children and contemporary conceptual works of storytelling.
Visual art has gone beyond the continuous evolution of the formative process, with the emergence of many schools of art, of which conceptual art was one, the art that relied on concept and content as ...a bridge of communication between artist and recipient .The everyday art of textile is based on craftsmanship, which includes some performance experiences that are an indication of artistic and current reality. What is the Goddess of the area of conceptual art is to change the concept of artistic and aesthetic experience in the textile crown, where the outcome of the experience produced is the idea of textile work that is most effective. The idea of work requires a lot of interacting expertise, including expertise to house a meaning or meaning that helps to describe the idea of textile work .Research objectives :The aim of the research is :1.Highlighting the art of concept and distance from what is familiar in the formation of textile artefacts .2. Advancing conceptual art in updating the form and content of textile artefact . The importance of research:1 .Keep abreast of scientific developments in the plastic arts.2 . Strengthen the role of the field of textile art in spreading a spectrum of serious artistic and intellectual styles.3 . Opening the horizons of the fairy of shaping the weavers. 4 .Release the weaving artist's freedom without barriers or restrictions that prevent him from exercising his activities with full will and strength, to achieve his place in his own world .It is strictly assumed that:1) Conceptual art thought and philosophy can be used to update the form and content of the textile work2) Conceptual art can be one of the foundations for enriching the textile workThe search limits:Objective boundaries: research deals with the themes of conceptual art (body language, art, language and language of the earth), from Taoul's area of tissue formation of Porterian, flowers found in nature, and at times the introduction of writings 2) Human boundaries: research is a visual experience of the researcherUsed yarn: cotton thread... Tall used: Noll.. Counting filaments in the poison: 5 a fraction in the poison, with the use of textile materials to remove the textile artefactsKeywords : Textural narration_Contemporary_ Extractive_ Conceptual Art.
In April 1972, one year before his accidental death, Robert Smithson cautioned: “The artist isn’t in control of his value.” He did not seem to speak for Sol LeWitt, who emphasized the transformation ...of the traditional production conditions of an artwork by promoting the idea in favor of its execution in his Paragraphs on Conceptual Art (1967). Moreover, the artist challenged the sale conditions of artworks through offering certificates and instructions in an art market largely dominated by unique objects. The essay tackles the critical market success of LeWitt’s series of Wall Drawings within a time span of nearly twenty years, between 1968 and 1987, by tracking the myth of conceptual art’s negation of the artwork as commodity within a system adjusting to capitalist modes of production.
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