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31.
Umetnost in uničevanje
Martina Vovk, 2006, izvirni znanstveni članek

Opis: In conventional notions of art, the concept of destruction usually carries a negative connotation and is not associated with creative acts. However, it can be demonstrated that destruction has, on several levels, from summons to the destruction of canonised values of traditional art (historical avant-gardes, Futurism, Dadaism) and more conceptually grounded reflections about the demolition of the notions of traditional art (Duchamp, abstraction of 'pure painting' to the extreme limits of the medium) to the actual violent and destructive acts in creation (the diverse neo-avantgarde practices, Body Art, Viennese Actionists, YBA, 'idiocy,' etc.), been continually appearing in the development of art at least since the beginning of the 20th century. In the changed prerequisites for art from the 1960s onwards, the perception of artwork requires knowledge of theory and history of art, 'an atmosphere of artistic theory, a knowledge of art history: an artworld' (Danto), which elevates an object from common reality into the artistic sphere. According to the institutional theory, the recognition of artwork takes place procedurally within the art world, which Danto defines as an 'institutionalised discourse of reasons,' as an interpretation of the meaning of a work that takes into account the current critical and historical perception that motivated the work; only such interpretation allows the registration of a certain work as artistic. In the discourse of reasons in the conceptualisation of the work The Burning Cross-i.e., in the interpretations of meaning that accompanied the work at its origin-several possibilities can thus be indicated. Medved interprets The Burning Cross as a deconstruction of a uniform meaning and criticism of logocentrism, which denies the cross the superordinate meaning of a Christian symbol and establishes it rather as a meta-linguistic symbol, which opens the possibility of the shaping of meaning. To this interpretation we would like to attach ours, which recognises in the The Burning Cross a workof art that signalises the cognition of the extreme degree of metaphysical nihilism and which in the symbol of the cross, this traditional supreme symbol of Christianity, detects a vacated symbolic spot of transcendence, which concurs with the basic realiyation of the post-modern period - that there is no metaphysical guarantee of being. Such an interpretation, which like Medved's takes into consideration the development of the iconography of the cross in the entirety of Veryel's work to date, allows us to sum up the meaning of Veryel's iconography of the cross in three degrees (symbol recognition, symbol cleansing, establishment of meaning). Alongside such conceptual interpretations of the work there also appear readings which analyse The Burning Cross from a sociological point of view andfrom the standpoint of performance theory (Milohnić); the latter examines the work within the framework of performances in Slovenia from the 1990s that trigger a 'moral panic.' Through the discourse of reasons-i.e., through interpretations of the workćs meaning that recognise the latter as a part of an other world-the world of art-a world of interpreted things-the work is entered into the catalogue of art. This is also proven outwardly by the acceptance of the work into the institutionalised frame of the art world-the international art exhibitions. Outside the discourse of reasons concerning themeaning of the work, however, the perception and acceptance of the work proves to be much more problematic because of the destructive procedure employed. In its reactions to the event in the media, the wider public disqualifies the work as non-artistic, as vandalism, propagation of religious intolerance, ideological and political incitation and even psychopathology. The discourse of the disqualification of the work The Burning Cross seemingly normalises only when the work is declaratively entered into the institution ofart, which informally guarantees the work its autonomy, or more likely, whenan immunisation against the (alleged) provocative intention of the authorsis achieved through the mechanism of the legal system.
Najdeno v: ključnih besedah
Povzetek najdenega: Zadetek v naslovu
Ključne besede: umetnost, uničevanje, institucionalna teorija, sodobna umetnost, percepcija umetnosti, Goreči križ
Objavljeno: 10.07.2015; Ogledov: 2387; Prenosov: 28
URL Polno besedilo (0,00 KB)

32.
Srednjebizantinski slonokoščeni skrinjici iz Pirana in Kopra
Nataša Golob, 2005, izvirni znanstveni članek

Najdeno v: ključnih besedah
Povzetek najdenega: ...rozetne skrinjice, bizantinska umetnost, srednji vek, ikonografija, mitologija, slovenska Istra, ...
Ključne besede: rozetne skrinjice, bizantinska umetnost, srednji vek, ikonografija, mitologija, slovenska Istra
Objavljeno: 10.07.2015; Ogledov: 1799; Prenosov: 29
URL Polno besedilo (0,00 KB)

33.
Likovna izpovednost in zakramentalna simbolika dveh prizorov iz cikla fresk v Marija Gradcu pri Laškem
Tomislav Vignjević, 2005, izvirni znanstveni članek

Najdeno v: ključnih besedah
Povzetek najdenega: ...likovna umetnost, zgodovina umetnosti, ikonografija, freske, Marija Gradec pri...
Ključne besede: likovna umetnost, zgodovina umetnosti, ikonografija, freske, Marija Gradec pri Laškem
Objavljeno: 10.07.2015; Ogledov: 1600; Prenosov: 11
URL Polno besedilo (0,00 KB)

34.
Uporaba likovnih tehnik v predšolskem obdobju
Svetlana Vukmirović, 2013, diplomsko delo

Najdeno v: ključnih besedah
Povzetek najdenega: ...vzgoja, likovne tehnike, likovne dejavnosti, likovno izražanje, umetnost, ...
Ključne besede: predšolska vzgoja, likovna vzgoja, likovne tehnike, likovne dejavnosti, likovno izražanje, umetnost
Objavljeno: 10.07.2015; Ogledov: 5434; Prenosov: 577
.pdf Polno besedilo (1,25 MB)

35.
Ko gledamo s prsti in dlanmi: umetnost skozi dotik
Ilaria Raschini, 2014, magistrsko delo

Najdeno v: ključnih besedah
Povzetek najdenega: Zadetek v naslovu
Ključne besede: tip, tipni prikazi, tehnike za izdelavo tipnih prikazov, umetnost, prilagojeni muzeji
Objavljeno: 10.07.2015; Ogledov: 2256; Prenosov: 170
.pdf Polno besedilo (3,45 MB)

36.
Kiparske tehnike in likovne dejavnosti v drugem starostnem obdobju
Anja Šekli, 2014, diplomsko delo

Najdeno v: ključnih besedah
Povzetek najdenega: ...drugo starostno obdobje, umetnost, likovna ustvarjalnost, kiparstvo, ...
Ključne besede: drugo starostno obdobje, umetnost, likovna ustvarjalnost, kiparstvo
Objavljeno: 10.07.2015; Ogledov: 2531; Prenosov: 173
.pdf Polno besedilo (351,86 KB)

37.
Odnos profesorjev razrednega pouka do uporabe grafičnih tehnik pri pouku likovne umetnosti
Maja Pegan, 2014, diplomsko delo

Najdeno v: ključnih besedah
Povzetek najdenega: ...materiali, grafični pripomočki, tiskanje, grafika in likovna umetnost, ...
Ključne besede: grafika, vrste tiska, grafične tehnike, grafični materiali, grafični pripomočki, tiskanje, grafika in likovna umetnost
Objavljeno: 10.07.2015; Ogledov: 2360; Prenosov: 81
.pdf Polno besedilo (982,37 KB)

38.
Uporaba lutk ter primerjava njihove vloge med prvim in drugim starostnim obdobjem v koprskih vrtcih
Metka Potokar, 2014, diplomsko delo

Najdeno v: ključnih besedah
Povzetek najdenega: ...gledališka umetnost, lutke, otroci, otroška igra, lutkovne dejavnosti, ...
Ključne besede: gledališka umetnost, lutke, otroci, otroška igra, lutkovne dejavnosti
Objavljeno: 10.07.2015; Ogledov: 1557; Prenosov: 94
.pdf Polno besedilo (389,12 KB)

39.
Poslušanje glasbe in likovno ustvarjanje
Ana Subič, 2014, diplomsko delo

Najdeno v: ključnih besedah
Povzetek najdenega: ...otroške risbe, glasba, umetnost, poslušanje glasbe, likovni razvoj otrok, ...
Ključne besede: otroške risbe, glasba, umetnost, poslušanje glasbe, likovni razvoj otrok
Objavljeno: 10.07.2015; Ogledov: 3083; Prenosov: 245
.pdf Polno besedilo (439,85 KB)

40.
Origami in ustvarjalnost predšolskih otrok
Anja Kumer, 2014, diplomsko delo

Najdeno v: ključnih besedah
Povzetek najdenega: ...origami, papir, umetnost, zgibanje, ustvarjalnost, uporabnost, ...
Ključne besede: origami, papir, umetnost, zgibanje, ustvarjalnost, uporabnost
Objavljeno: 10.07.2015; Ogledov: 2397; Prenosov: 177
.pdf Polno besedilo (508,64 KB)

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