Fine Art Painting

«گفتگوی پیش‌ رو از سری مصاحبه‌های بخش مستندسازی پروژۀ کیوریتوریال «طراحی معاصر اصفهان» است که به کیوریتوری امیر رجایی باغسرخی از سال 1394 شروع شده و شامل برگزاری نمایشگاه از آثار هنرمندان معاصر اصفهان با موضوع طراحی و محوریت فیگوراتیو انسانی بوده است. این مصاحبه با همکاری خانم عاطفۀ یزدانی به عنوان دستیار کیوریتور در گالری «تام» اصفهان به مدیریت خانم ساناز اسلامی انجام شده است.
حجت امانی متولد مرداد 1357 شهر الیگودرز استان لرستان است، او کارشناسی نقاشی را از دانشگاه هنر اصفهان و کارشناسی ارشد را در رشتۀ پژوهش از دانشگاه شاهد اخذ کرد؛ سپس تحصیلات خود را در مقطع دکترا در رشتۀ تاریخ تطبیقی-تحلیلی با تأکید بر هنر معاصر خاورمیانه در دانشکده هنرهای زیبای دانشگاه تهران ادامه داد.

ABSTRACT

One increasingly reads about different aspects of the death of philosophy. One reason or cause being its institutionalization, as just another academic discipline, while research universities demand their tenured professionals to produve endless streams of really irrelevant publications, resulting in dealing with more detailed, microscopic issues and fabricated ‘problems’. The professionalization of philosophers created other problems of this socio-cultural practice.
The dying out of philosophy is not only cased by external social and cultural factors, but also by internal factors such as its methods and those concerning its subject-matter.
I have explored the above in the context of meta-philosophy. In the process I also investigated the nature, the subject-matter and theories of philosophy of art, aesthetics and theory of art. It is mostly about these explorations of art that the contents of this piece is concerned with.
All this is an exercise with words as the verbal means are the traditional instruments of doing philosophy. These tools not only enable the doing of philosophy but also creates limitations and limits to philosophizing. This will remain the case until the discourse develops other (for example visual, auditory, computational, etc) means to develop its many levelled and multi-dimensional practice - and in the process questions and overcomes its anthropo-centered bias.

David Mabb
‘Announcer’
Printed newspaper, produced in an edition 2000
This publication was produced to accompany David Mabb's exhibition 'Announcer', Focal Point Gallery, 12 April to 12 July 2014.
ISBN 978-1-907185-17-5
Free
http://www.focalpoint.org.uk/printed_matter/publications/
"This exhibition marks the culmination of Mabb’s work which, for over fifteen years, has investigated the utopian socialist concerns in Morris’ designs by contrasting them with other forms of modernist and utopian production. The main gallery space was dominated by a new installation of paintings entitled Announcer. Composed of thirty large canvases, the work covers three walls of the space and surrounds the audience. Each canvas is pasted with pages from facsimile editions of the Kelmscott Chaucer, a collection of works by Geoffrey Chaucer published by the Kelmscott Press [1896], which Morris founded and worked on as a typographer and designer. Onto this surface are painted enlarged recreations of El Lissitzky’s Constructivist illustrations from Vladimir Mayakovsky’s book of revolutionary poems For the Voice [1923]. In this work, the publications cease to be objects that can be held and digested, instead becoming an environment. Rather than simply combining the designs, Announcer interweaves and juxtaposes them. Sections of the Kelmscott Chaucer are left unpainted to disrupt the geometric Lissitzky designs. A dialogue is created between the two, which are simultaneously frozen, but never fixed, unable to fully merge or separate".
See also https://www.academia.edu/11592255/Announcer
https://www.academia.edu/15684201/The_Background_Speaks_David_Mabbs_Announcer_and_the_Emergence_of_Information

EXTRACTS FROM A CONVERSATION WITH PABLO REY
By Carles Lapuente, (Poet).

Conversation centered on art, culture, artistic creation and more, between Pablo Rey (Artist Painter) and Carles Lapuente (Poet). On the occasion of the publication of the book: 'Pablo Rey: Paintings 1996 - 2008' edited by SAP | https://www.pablorey-art.com/

The advancement of computer technology for digital artistry in this 21 st century has availed new-media technologies for enhancing design practices in technical and vocational studies through the development of sophisticated graphic-application software. Unfortunately, these software are very challenging to learn and employ for creative design practice especially at the Basic and Senior High School levels of education in Ghana. Microsoft Office word belongs to the category of general-purpose application software, developed principally for word processing. Unfortunately , many of its users are oblivious of its capabilities for creative motif and pattern designing. It is embedded with shape designing tools that can be manipulated and modified to create intricate patterns for advancing variety of design concepts. The researcher has explored these tools and adopted them for creating fascinating kente design concepts, based on the design-based research approach. This paper therefore presents a descriptive account of how to use angular and linear shapes in Microsoft Word to create motifs and patterns to develop ideas for kente designing that can be employed by Ghanaian indigenous kente designers to foster idea development to enhance their trade.

Sanat, antik çağlardan günümüze kadar olan süreç içerisinde birçok alanda var olmuştur. Sanatın, farklılaşmalar ve kırılmalar dâhilinde gerçekleştirdiği gelişim süreci içerisinde sanatçılar, çeşitli sebeplerle farklı sergileme yöntemleri tasarlama çabası içerisine girmişlerdir. Tasarlanan sergileme yöntemleri; bienaller, çalıştaylar gibi farklı mecralarda ve farklı sanat dallarında çeşitli şekillerde gelişip değişmiştir. Bahsedilen değişim tarihsel süreç içerisinde teknolojinin gelişiminden faydalanmış; üretilen eserler fotoğraf makinesi aracılığı ile kopyalanabilir, sanal uzamda tasarlanabilir ve çoğaltılabilir hale gelmiştir. Bu durum, bir anlamda eserin biricikliğini yitirmesine, o eserin üretim aşamasında sanatçı tarafından esere yüklenen anlamından çıkarak başkalaşmasına ve çeşitli alanlarda farklı anlamlarda algılanabilir hale gelmesine neden olmuştur. Meydana gelen durumun en önemli örneklerinden birisi giyim sektöründe gözlemlenmektedir; dijital ortamda yeniden canlandırma yöntemi ile giysi üzerine basılan sanat tarihine mal olmuş eserlerin, müşterinin giysiyi alarak üzerine giymesi sonucunda başkalaşarak, bir tüketim malzemesi haline geldiği kabul edilebilir. Bu çalışmada da, biricikliğini koruyan aynı zamanda giyilebilen ve yaşamın içinde olabilen eserler bağlamında alternatif bir sergileme yöntemi ortaya konması amaçlanmaktadır. Araştırmada yöntem olarak, doküman analizi yöntemi kullanılmış olup aynı zamanda sunulan amaca uygun gerçekleştirilen sanat uygulamalarından örnekler ortaya konmuştur. Sonuç olarak, sanat eserinin biricikliği bağlamında eserin zaman ve mekâna bağlı kalmadan rastlantısal bir boyutta dolaşması ve sergilenmesi konusunda önerilerde bulunulmuştur.

Anadolu Üniversitesi, Güzel Sanatlar Fakültesi, Resim Bölümü, Eskişehir / Türkiye. Özet Bu bildiri 2013 yılında başlayan ve 2016 yılında tamamlanan, Anadolu Üniversitesi Bilimsel Araştırma Projeleri Komisyonunca desteklenen Toplum Sanat İlişkisi ve Süreç tez projesinin uygulama kısmı olan Kamusal Alanda Diyalog Sergisi'nin gelişim süreci ve sonuçlarını ele almaktadır. Tez projesinin genelinde, sanatçı-izleyici ve sanat çalışması arasındaki ilişkilere dayalı fikirler ve uygulamalar ele alınmış, resim sanatıyla kamusal alan yaratılabilir mi sorusu üzerinde durulmuştur. Bu doğrultuda özellikle yeni tip kamusal sanat, ilişkisel estetik ve toplum temelli sanat olarak tanımlanan sanat çalışmaları incelenmiştir. Proje kapsamında, Anadolu Üniversitesi Güzel Sanatlar Fakültesi Resim Bölümü öğrencileri ve öğretim elemanlarından oluşan 19 kişi, Eskişehir'de yaşayan, şehre katkı sağlamış ve bir şekilde Eskişehir'e mal olmuş olan 24 kişinin portre resimlerini yapmış, portrelerden oluşan bir sergi hazırlanmış ve sergiden sonra portreler asıl sahiplerine, porteleri yapılan kişilere hediye edilmiştir. Buradaki asıl önemli konu, bütün bir sürecin aslında birer nesne olan tuval resimlerine bağlı kalmasından çıkarak, resim sanatı aracılığıyla ilişkiler yaratmaya odaklanmaktır. Sonuç olarak, proje ve sergi ile gündeme gelen resim sanatının ilişkiler yaratma üzerindeki etkileri ortaya konmuş olup, bundan sonraki çalışmalar için öneriler sunulmuştur. Çalışmanızı 100-150 kelime ile özetleyiniz. Anahtar Kelimeler: Yeni tip kamusal sanat, İlişkisel estetik, Toplum, Sanat, Eskişehir. Abstract This paper deals with the developmental process and results of the Dialog in Public Sphere Exhibition, which was supported by Commission of Anadolu University Scientific Research Projects, and which was the practice part of the Society-Art Relation and Process Thesis Project which started in 2013 and ended in 2016. In general, in the Thesis Project, the ideas and practices in the triangular combination of Artist-Audience-Art were dealt with and the question of whether public space can be created with art of painting was examined. In this respect, especially the new genre public art, relational aesthetics and community based art works were searched. In the context of the project, 19 participants who consisted of the students and academicians of Anadolu University Fine Arts Faculty Painting Department students painted the portraits of 24 people who lived in Eskisehir, who contributed to the city and who were somehow identified with Eskisehir. The exhibition was prepared with these portraits. The main thing here is focusing on creating relations through painting art. As a result, the concepts which came to the agenda with the present project and exhibition were described, and recommendations were made for future studies.

Trends in student persistence and retention capture the attention of academic administrators, but it is in each faculty member's classroom where the greatest opportunity for supporting students' success occurs. This guide presents strategies that every faculty member can implement to fuel their students' educational attainment.

The Eiffel Tower was built in 1887–89 to celebrate the centennial of the French Revolution. It was painted a number of times by Robert Delaunay in a Cubist manner around 1911-12. In Mabb’s appropriations of Delaunay’s Eiffel Tower paintings, Tatlin’s Tower has replaced the Eiffel Tower. Tatlin’s Tower, though never actually built, was initially designed and planned by Vladimir Tatlin as a monument to the Russian Revolution of 1917 and as the home for the Comintern, also known as the Third International (1919–1943), an international Communist organization. Mabb’s paintings was made in in the late 1980s and framed during 2011 in fabrics designed by the 19th Century designer, writer and Communist revolutionary, William Morris.

Catalogue at
https://www.academia.edu/12034546/Elegies_to_the_Third_International

The installation Long "Live the New!" Morris & Co. Hand Printed Wallpapers and K. Malevich’s Suprematism, Thirty Four Drawings, including covers, addendum and afterword is made from a combination of two books: a Morris & Co. wood block printed wallpaper pattern book from the 1970s containing 45 sample wallpaper designs by William Morris, the 19th Century English wallpaper, textile and book designer, poet, novelist and Communist; and the Russian artist and pioneer of abstraction Kazimir Malevich’s Suprematism, Thirty Four Drawings, published in 1920. Pages from Malevich’s book, including its front cover and afterword, have been painted (or, for the afterword, pasted) sequentially over the pages and front cover of the Morris & Co. wallpaper book. This interleaves the two designs, which are formally ‘merged’ together, ceasing to be objects that can be held and becoming an installation of paintings. But another transformation also takes place. The ‘politics of form’, the aesthetic investigation of the ideological intersections and differences of the two books, re-visions the world out of its constituent historical elements. Morris’ once utopian wallpaper designs are recharged with political meaning by their dialectical juxtaposition with Malevich’s Suprematist drawings and vice versa. This suggests a way of reinterpreting the past, through a restaging and reconfiguring of key moments in the history of art and design, that investigates what a visual language of change might look like. Long Live the New! questions both the rose tinted medievalism of Morris and Malevich’s idealised Suprematism.

http://www.redwedgemagazine.com/online-issue/long-live-the-new

David Mabb, 'About Two Worlds', 2015, acrylic paint, varnish, pencil, facsimiles of El Lissitzky’s 'About Two Squares' and William Morris’ Kelmscott Press 'The Wood Beyond the World' mounted on linen. Painting 1 (the Maid), 100 x 155 cm, Paintings 2-15, 80 x 70 cm. Photography: Peter White.

Mabb presents a work in two parts. In the first part, pages from a facsimile edition of William Morris’ Kelmscott edition of his late romance 'The Wood Beyond the World' has been overlaid with enlarged recreations of pages from Russian artist El Lissitzky’s acclaimed book 'About Two Squares'. In contrast, in the second part, Mabb has also overlaid Edward Burne Jones’ illustration of the Maid from 'The Wood Beyond the World' onto a facsimile edition of 'About Two Squares'.
Morris and Lissitzky both used their art to promote their socialist politics. Yet, whilst Morris saw beauty in the past, wanting to elevate Victorian society from the ugliness imposed by industrial manufacturing, for Lissitzky, the Russian revolution and the rapid advancement of science and technology meant the old world was no longer recognisable. He sought an entirely new visual language that could express the socialist world he believed he was helping to construct. Mabb draws our attention to the different directions of Morris and Lissitzky’s influences. Although on the surface they become collaborators, their designs remain distinct, never able to fully merge or separate.

این مصاحبه از مجموعه مصاحبه‌های بخش نظری پروژۀ کیوریتوریال «طراحی معاصر اصفهان» به کیوریتوری امیر رجایی باغسرخی است. تمرکز این پروژه بر روی نگرش نسل‌های مختلف هنرمندان تجسمی شهر اصفهان در جغرافیای ثابت و زمان معاصر است. بخش نمایشگاهی این پروژه به نمایش آثار هنرمندان هنرهای تجسمی اصفهان پرداخته و در بخش نظری آن تلاش می‌شود آراء و نظرات آن‌ها مورد بررسی قرار گیرد. «پریسا عباسی» متولد سال 1364 در شهر اهواز و پرورش ‌یافتۀ اصفهان است. او که فارغ‌التحصیل کارشناسی نقاشی است؛ چندی پیش نمایشگاهی با عنوان «آنچه در من و تو پنهان شده» در گالری «اکنون» اصفهان به مدیریت خانم «الناز رجبیان» برگزار کرد که همین مسئله بهانه‌ای شد تا در محل گالری گفت‌وگویی با او پیرامون آثار و نگرشش نسبت به طراحی و نقاشی انجام شود. مطلب پیش‌رو خلاصه‌ای از این گفت‌وگوست.

Comparison of two images: [main image]: John Martin: The Bard (ca. 1817), by GIMP: contrast enhanced in the rock area & light areas delated & color removed & Retinex filtering. [inset]: Henry Holiday: Illustration (1876) to chapter The Beaver's Lesson in Lewis Carroll's The Hunting of the Snark, detail.

Henry Holiday's Snark illustrations and John Martin's "The Bard":
- https://www.academia.edu/9885417/The_Bellman_and_the_Bard
- https://www.academia.edu/9923718/Henry_Holidays_Monsterspotting
- https://www.academia.edu/10251338/Monsters_and_Monstrances
- https://www.academia.edu/12586460/The_Bard_the_Baker_and_the_Butcher

The advancement of computer technology for digital artistry in this 21st century has availed new-media technologies for enhancing design practices in technical and vocational studies through the development of sophisticated graphic-application software. Unfortunately, these software are very challenging to learn and employ for creative design practice especially at the Basic and Senior High School levels of education in Ghana. Microsoft Office word belongs to the category of general-purpose application software, developed principally for word processing. Unfortunately, many of its users are oblivious of its capabilities for creative motif and pattern designing. It is embedded with shape designing tools that can be manipulated and modified to create intricate patterns for advancing variety of design concepts. The researcher has explored these tools and adopted them for creating fascinating kente design concepts, based on the design-based research approach. This paper therefore presen...

گفت‌وگوی پیش‌رو از مجموعه مصاحبه‌های هنرمندان و اساتید هنرهای تجسمی اصفهان است که بخش نظری پروژۀ نمایشگاهی «طراحی معاصر اصفهان» به کیوریتوری (نمایشگاه‌گردانی) امیر رجایی باغسرخی را تشکیل می‌‌دهد و سعی دارد به آراء و نظرات هنرمندان این شهر پیرامون مباحث مختلف هنر از جمله دیدگاه‌های آن‌ها به مقولۀ طراحی بپردازد. این گفت‌وگو با همکاری خانم حسن‌زاده در محل گالری «نگرش» اصفهان به مدیریت آقایان علی استدلال و احسان قاسمی انجام شده است. «جمال صابری» متولد 1341 در اصفهان، طراح، نقاش و مدرس هنرهای تجسمی است. او علاوه بر شرکت در نمایشگاه‌های نقاشی، سابقۀ تدریس در هنرستان‌ها و دانشگاه‌های اصفهان و عضویت در انجمن نقاشان اصفهان را نیز دارد.