ADE 675 ART IN SOCIAL CONTEXT Prepared for Miss Akmal Ahamed Kamal
Name: Rafiqah Athirah binti Mohd Ridzuan Matric No: 2019728765 Group: ED242 8B Email: [email protected] Lecturer Name: Miss Akmal Ahamed Kamal
ART IN CONTEXT
HOW FORM, THEME AND CONTEXT COME TOGETHER TO MAKE MEANING?
CONTEXT The circumstances that surround the creation of art influence its significance. We need to ascertain. When and where were they created? Why was this piece of art made by the artist? Who or what was it created for? How much significance does it have for the era and society in which it was created?
CONTEXT Jacques Louis David, Death of Socrates, 1787
Jacques Louis David, Death of Socrates, 1787 When and where were they created? Who or what was it created for? What significance does it have for the era and society in which it was created? Paris, France 1787 - right before the French Revolution It was commissioned by the French revolutionary movement' s prominent members, the Trudaine de Montigny brothers. It was created to support the revolutionary principles that took root in France. This was a strong critique of French politics from a well-known artist. It raised questions about the Royals ' authority, which made it contentious.
CONTEXT Chris Burden, Transfixed, 1974
Chris Burden, Transfixed, 1974 When and where were they created? Who or what was it created for? What significance does it have for the era and society in which it was created? Venice, California 1974 - during the Watergate scandal and the Vietnam War. To make a statement about the state of art and American culture. Burden ' s extreme body art expanded the vocabulary of art forms and was very influential in moving art out of the museum and into the world at large
INTRODUCTION OF ART
INTRODUCTION OF ART The study of aesthetic items and visual expression in a historical and stylistic context is known as art history. Painting, drawing, sculpture, architecture, pottery, and decorative arts were traditionally prioritized by the field of art history; however, it now looks at broader facets of visual cultures, such as the different aesthetic and conceptual outcomes connected to an ever-evolving definition of art. The study of things produced by many civilizations throughout history that primarily use visual representations to convey significance, meaning, or utility is referred to as art history.
WHAT DO ART HISTORIANS RESEARCH? Physical proof (Material) Documentary proof (Records) Visual proof (How does it appear?) Style justification (How does the style fit into this particular historical era or stylistic subcategory?
HOW IS ART HISTORY DIFFERENT? Interdisciplinarity exists in art history. Since art appreciation does not investigate historical background, art history and art appreciation are not the same thing. WHY DO WE STUDY ART HISTORY? Teaches us about artistic expression. The artistic drive, various civilizations. To recognise other styles. How to develop a fresh appreciation for history and art.
WHAT DO ART HISTORIANS RESEARCH? Material value Religious value Nationalistic value Psychological value Intrinsic value
FUNCTION OF ARTS
FUNCTION OF ARTS A creative manifestation of the human imagination that engages, expands, and interprets life through the artist' s eyes. Used to offer purposeful expression to various facets of culture, including ideologies, religion, relationships, ethnic identities, politics, and societal changes. The ability to imagine helps us appreciate life. Humans are the only species that can represent the shared physical world using symbols. It is more than just a utilitarian activity, though it might have started out that way.
Art is..... A wooden spoon created by the African Dan tribe. Italian artist Alberto Giacometti' s bronze sculpture "Spoon Woman " from 1926. Left Right One is simply cosmetic, the other is functional.
VISUAL ART IS.... As with Liuia ' r frescoes, they might depict nature. Can be impacted by nature, yet it has the option of representing simply fundamental patterns. As you can see in the image below, American Northwest Coast Indians make stylised animal representations that are challenging to identify to outsiders.
VERBAL ART IS.... Provides untold tales, myths, and traditions Artistic traditions of rural or indigenous peoples, such as drama, poetry, chants, proverbs, riddles, and unwritten stories. The "fine art" of the urban elite and "folk art" of rural cultures serve different purposes.
VERBAL ART IS.... Religious stories that describe how the world came to be. Tales that are narrated as if they are genuine and detail the adventures of heroes. (They might be real) Sometimes in the form of epic poems or rhythmic prose. may describe illustrious occasions in the life of a famous or real person. Fictional, non-historical, or secular storytelling that instruct and amuse. Myths: Legends: Long oral narratives: Tales:
WHY STUDY THE FUNCTION OF ART? •Art, whether it be collective or personal, represents the cultural beliefs, values, and issues of a society. •Cross-cultural analysis of art demonstrates that it reflects various worldviews, religious convictions, political ideologies, social values, familial systems, economic linkages, and historical memories.
FUNCTIONS OF ART Myths: provide explanations for the universe Can establish cultural norms for conduct. Uses verbal art to transmit and maintain a culture ' s norms and values. Cohesion and solidarity may be strengthened, or society may be destroyed. Art provides perceptions into the worldview of a civilization. Art reveals information about gender, kinship, religion, politics, and historical memory. Art can represent social standing, spirituality, and political influence.
ART AND MUSIC Ethnomusicology is a specialised science that studies music in distinct cultural contexts. Scales are used to describe how people hear music. Scale adjustments and systems are referred to as tonality. Recurrent patterns of two, three, and four beats are used to measure traditional European music.
SOCIAL FUNCTIONS OF MUSIC Expresses the concerns of a group. Acts as a powerful means for a social or ethnic group to make its identity known. Can be applied to further social, economic, and political objectives.
MALAYSIAN SCULPTURE ARTIST
MALAYSIAN SCULPTURE ARTIST Year 2010 - 2016
Born in 1985, Mohd Ali Azraie Bebit studied fine art and sculpture at UiTM (Universiti Teknologi Mara) in Malacca, where he was on the Dean ' s list for four straight semesters. Awarded second place in the Khat Art Competition. Harry Potter " participated in the Alyonka Mail Art Project at the Yoshkar-Ola Museum of Fine Arts in Russia. Paris ' s Phil@poste, La Poste Fontenay Aux Roses Cedex To name a few, Honorable Mention at "The 1st NBC Tokyo Screen Print Biennial" in Tokyo. Also in Italy, he participated in the Mail Art "Festa Della storia: la storia siamo noi, conosciamoci e conosciamola " and the 1000 Artists Exhibition (1000 ARTISTI A PALAZZO), World Museum. Meanwhile, back home in Malaysia, he had previously participated in exhibitions at the Johor Art Gallery, the "Potret Merdeka " show organised at the National MOHD ALI AZRAIE BEBIT
PROVOKASI DI ALAM MAYA Metal, LED, DC Motor, LED display board and plywood 183 cm x 183 cm x 305 cm, 2013 According to Ali Bebit, the internet and electronic media have evolved into unfriendly and noisy spaces for argumentative gatherings. Ali mocks the situation in which both parties never listen to each other and, even if they do, never truly comprehend each other ' s language by utilising the metaphor of a cat and a dong to represent two disputing parties.
Samsudin Wahab, who majored in printing and received a Bachelor ' s degree in 2007, (Hons.) UiTM, Shah Alam, Fine Arts. He frequently displays paintings in group exhibitions in Malaysia, and in 2008 he presented a solo exhibition in Kuala Lumpur with the title Enough! Samsudin was given the 15th Australia-Malaysia Visual Arts Residency by Rimbun Dahan in 2009, which resulted in a performance piece, a painting and sculpture show, and other works of art. 2009 Malaysia Emerging Artist (MEA) Award winner. SAMSUDIN ABD WAHAB
KATAK LEMBU SEGAR Katak Lembu Segar, fibre glass, acrylic, enamel paint, metal, fridge, 183 cm x 183 cm x 61 cm, 2013 Samsudin makes comments on greed, corruption, and overconsumption using a shock and tell strategy. A lifestyle increasingly governed by a desire for ruthless material gain and blind affluence adds to this horrible combination. This ugly three can sneakily infiltrate our lives as we progressively become hyperconsumers of the global market. Samsudin describes such accumulation as the pinnacle of greed, the yearning for goods beyond one ' s means, and claims that it was first kindled by hearing reports of accumulated unjust profits by a low-ranking government employee.
Umi baizurah was born in Malaysia ' s Johor in 1975. Attended the Faculty of Art & Design, Universiti Teknologi MARA, Shah Alam, Selangor, Malaysia, and graduated with a BA Hons in Art and Design (Ceramics) in 2000. Took part in a number of group exhibitions in Malaysia, Indonesia, Pakistan, Dubai United Arab Emirate, London, Korea, Singapore, China, and Japan. Her solo exhibition, titled "Tag, " recently took place at Wei Ling Contemporary in Kuala Lumpur, Malaysia. Numerous international honours have been given to her works, which have also been acquired for private and public collections abroad. Her works of art feature twisted forms that are tastefully embellished in vibrant colours and convey societal concerns. UMI BAIZURAH
WHY IS X SO POPULAR Why is X so popular, ceramic on wood stand, 123 x 33 cm, 2013 Why is X so popular is an examination of identity and individuality. It is a collection of ceramic horse busts made of stoneware clay and displayed on carved wooden stands. Umi wonders what the mysteries hidden by the horse are as she interprets it as a symbol of strength, grace, and leadership. By adding ceramic antlers to the horses ' heads, the artist expresses her belief that everyone, especially leaders, has a public image as well as a concealed identity that contains their private information and is shielded from public scrutiny. Umi enjoys using the theme of the hybridization of known objects because it prompts her audience to consider the nature and function of what was intended to be familiar, leading to the discovery of fresh perspectives on topics that were once taken for granted.
Born in Muar Johor, Malaysia, in 1984. has a home and a job in Kuala Lumpur 2013 Solo Exhibition, Transfiguration, Kelana Jaya, Petaling Jaya, Selangor, Malaysia ' s G13 Gallery Exorcismus Persona: Windows Into Haslin Ismail' s Fantasy Worlds, R A Fine Arts, Kuala Lumpur, 2009. 2011 Rimbun Dahan 17th Residency Program, Rimbun Dahan, Kuang. Awards for Residences. 2010 Grand Prize winner, Kuala Lumpur ' s BMS 2010 National Art Gallery. And the Starhill Gallery in Kuala Lumpur ' s Visual Art Award winner. 2016 Grand Prize winner, National Art Gallery Kuala Lumpur In-Print competition. Grant of one thousand dollars from the British Council and Robert Gordon University in Scotland to study printmaking at Gray ' s School of Art and Design HASLIN ISMAIL
THE WAY IT ALL WORKS The way it all works, 2010,mixedmedia, 171x122.5x122cm The closest medium that can convey my journey is books and paper. This installation artwork' s "Family " theme can be seen in the book combination, paper sculpture, popup, cutting paper, and collage.
MURAL ART THE COMMUNICATION THROUGH DRAWINGS
MURAL ART CHOSEN OLD TOWN, IPOH PAPER PLANE OLD UNCLE WITH COFFEE CUP
An internationally renowned artist from Lithuania, Ernest Zacharevic, 29, is most known for creating street murals in Penang in 2012. ERNEST ZACHAREVIC The two most popular images are Boy on Motorcycle and Children on Bicycle. Today, Georgetown ' s murals serve as important cultural landmarks.
The two kids are having a happy time playing with each other while being animated and full of energy. First Impressions Paper aeroplanes are often associated with youthful independence or freedom. Subjective Perception Simple but significant toys from childhood include paper planes. Mass Communication The paper plane symbolises childhood happiness. Clothing with a cartoon print in mass media reflects purity. Artefact The youngster's ability to imagine and fantasise is demonstrated by the way he covers his eyes to present a mystic and heroic appearance. Hand Gestures Children are intimate when they maintain personal space. Space THE CONCEPTS
The experience of comfort and warmth when drinking coffee. Passive Perception White coffee consumption is a way of life in Old Town, Ipoh. Positive Connotative meaning There is a misconception that only senior citizens love coffee. Stereotypes The way an old man looks reflects his lifetime pleasure of coffee. Physical Appearances The customary coffee cup Symbols THE CONCEPTS
MURAL ART CHOSEN ATMOSPHERE, SERI KEMBANGAN KID WITH PINK BALLOON BACKGROUND ROTI UNCLE
Children's imaginary world in pink, representing innocence, and created of candies, demonstrating inventiveness First Impressions Meaning: The presence of children and balloons conveys fun and happiness. Positive Connotation Girls are supposed to wear pink. Stereotype Each person experiences joy differently; the kid is joyful in his fantasy world while the girl is content with the balloon. Subjective Perception Boy sprinting and pointing in the direction of the pink background, suggesting excitement and curiosity to explore that location Hand Gestures THE CONCEPTS
Even though he must commute from place to place on a bike carrying hefty amounts of bread, the roti man is nevertheless active and upbeat. First Impressions The man is shocked to see that their business issues are reflected in how his roti's are crumbling. Facial Expression His roti identifies him as a roti man. Artifacts A man from India should be the one selling roti in the quaint rural areas. Stereotyping A heritage tradition that is exclusive to Malaysia is the culture of the roti man on a bike. Intercultural Communication THE CONCEPTS
THE NATIONAL ART GALLERY
THE NATIONAL ART GALLERY
HISTORY The Malaya Arts Council, led by the late Tan Sri Mubin Sheppard and Frank Sullivan, first proposed the proposal between 1954 and 1956. On June 3, 1958, the BSLN Board of Trustees was established. On August 27, 1958, the National Art Gallery received a two-story building at No. 109, Jalan Ampang, Kuala Lumpur, as a formal allocation from the government. The Yang di-Pertuan Agong's 1959 order establishing the BSLN Board of Trustees
HISTORY The first Prime Minister of Malaysia, YTM Tunku Abdul Rahman Putra Al-Haj, presided at the establishment and official opening of the National Art Gallery. At the Tunku Abdul Rahman Hall, the gallery's debut exhibition took place at the same time as the launch. Local artists from throughout the nation participated as a way to show their feeling of cooperation and unity through their artwork. The government did recognise the importance of the national arts with the founding of the National Art Gallery.
HISTORY Frank Sullivan was chosen to serve as the National Art Gallery's first director. He served as the BSLN Board of Trustees' Secretary concurrently until 1970. In Jalan Tun Razak, Kuala Lumpur, a groundbreaking ceremony for a new National Art Gallery building was place. The Government of Malaysia and Yeoh Tiong Lay (YTL) Company collaborated on a privatisation initiative to construct the new building. In 1998, it was completed.
THE CHRONOLOGY 27 August 1958 - The National Art Gallery Act served as the legal foundation for the National Art Gallery. Mr. Frank Sullivan served as the National Art Gallery's first director. 03 October 2007 - The National Art Gallery Act of 1959 was repealed by the Cabinet through the passage of the National Visual Arts Development Board Bill. 26 November 2007 - The National Visual Arts Development Board Bill's first reading in Parliament. 2008 - The National Visual (Tampak) Arts Development Board Bill was abandoned because some Sabah ethnic groups associate the term "Tampak" with a different meaning. 16 July 2010 - the Cabinet submitting and passing the National Visual Arts Development Board Bill. 11 October 2010 - The National Visual Arts Development Board Bill was given its first reading in the House of Representatives.
SUPPORT MINISTRIES Ministry of Youth and Sports Ministry of Tourism Malaysia The Ministry of Culture, Arts and Heritage The Ministry of Unity, Culture, Arts and Heritage The Ministry of Information, Communication and Culture (April 2009 to May 2013) The Ministry of Tourism and Culture (May 2013 to May 2018) The Ministry of Tourism, Art and Culture Malaysia
THE BUILDING