Ambiguity in Contemporary Art and Theory


Book Description

It has become commonplace to associate art and aesthetic experience with the category of ambiguity. Indeed, when we talk about art, we cannot do without the dynamic force of ambiguity just as the aesthetic itself cannot do without it. The great efforts to disambiguate aesthetic practices and their associated theories and contexts would eliminate art's unique ability to reshape our knowledge of the world, our sensory encounters with it, and our moral or political positions in it. The essays collected in this volume present different perspectives on this central category and develop interdisciplinary connections. Contributors include Frauke Berndt, Joy H. Calico, Stephan Kammer, Lutz Koepnick, Verena Krieger, Richard Langston, Rachel Mader, Lily Tonger-Erk, Gabriel Trop, and Thomas Wortmann.




Drawing Ambiguity


Book Description

This is the third book in the innovative TRACEY series on contemporary drawing. Drawing Ambiguity builds upon its predecessors, Drawing Now and Hyperdrawing, by proposing that a position of ambiguity, a lack of definition, is not only desirable within fine art drawing but also necessary - having the capacity to enable and sustain drawing practices. What happens if we are ambivalent to what is a drawing, or what drawing is? Russell Marshall and Phil Sawdon bring together multiple perspectives from within and without the fine art drawing field to respond to these questions. Contributors include artist Ilana Halperin, artist-researcher Deborah Harty, artist and founder member of the group Underworld Karl Hyde, the creative collaboration Kreider + O'Leary, artist, writer Michael Phillipson, artist, academic Rob Ward, editors Marshall and Sawdon together with an Introduction by the artist, writer and curator Derek Horton.




Potential Images


Book Description

In Potential Images Dario Gamboni explores ambiguity in modern art, considering images that rely to a great degree on a projected or imaginative response from viewers to achieve their effect. Ambiguity became increasingly important in late 19th- and early 20th-century aesthetics, as is evidenced in works by such artists as Redon, Cezanne, Gauguin, Ensor and the Nabis. Similarly, the Cubists subverted traditional representational conventions, requiring their viewers to decipher images to extract their full meanings. The same device was taken up in the various experiments leading to abstraction. For example, it was Kandinsky's intention that his work could be interpreted in both figurative and non-figurative ways, and Duchamp's Readymades suggested the radical conclusion that 'it is the beholder who makes the picture'. These invitations to viewers to participate in the process of artistic communication had social and political implications, as they accorded artist and beholder symmetrical, almost interchangeable, roles.




Giorgione’s Ambiguity


Book Description

The Venetian painter known as Giorgione or “big George” died at a young age in the dreadful plague of 1510, possibly having painted fewer than twenty-five works. But many of these are among the most mysterious and alluring in the history of art. Paintings such as The Three Philosophers and The Tempest remain compellingly elusive, seeming to deny the viewer the possibility of interpreting their meaning. Tom Nichols argues that this visual elusiveness was essential to Giorgione’s sensual approach and that ambiguity is the defining quality of his art. Through detailed discussions of all Giorgione’s works, Nichols shows that by abandoning the more intellectual tendencies of much Renaissance art, Giorgione made the world and its meanings appear always more inscrutable.




Art and Ambiguity


Book Description




Keys to Drawing


Book Description

Anyone who can hold a pencil can learn to draw. In this book, Bert Dodson shares his complete drawing system—fifty-five "keys" that you can use to render any subject with confidence, even if you're a beginner. These keys, along with dozens of practice exercises, will help you draw like an artist in no time. You'll learn how to: • Restore, focus, map, and intensify • Free your hand action, then learn to control it • Convey the illusions of light, depth, and texture • Stimulate your imagination through "creative play"




Architectural Study Drawings


Book Description

Study drawings play a key role in the exploration and development of architecture in the early stages of design. Yet, these principal tools for graphic thinking have been largely taken for granted in the design professions. This guide brings study drawings into the foreground by analyzing actual drawings used by architects past and present. Architectural Study Drawings is the first source to provide a basis for understanding the primary means of graphic thinking used in the creation of these drawings. It also explains versatile applications of these drawings in architectural practice, teaching, and research. Evaluations of more than 80 drawings and diagrams demonstrate how study drawings are active participants in--rather than passive records of--the designer's graphic thinking. The author probes characteristics and properties of study drawings, in addition to how graphic and cognitive processes combine to guide design decision-making. Drawings of great past architects ranging from Leonardo da Vinci and Le Corbusier to Carlo Scarpa are analyzed. Excerpts are included from recent interviews with five contemporary architects--Joseph Esherick, Helmut Jahn, Robert Stern, Stanley Tigerman, and Peter Eisenman. Readers will learn from these masters how to enhance the value of study drawings in various design situations. Throughout, the author clarifies how theoretical aspects of study drawings relate to actual design practice. Detailed chapters discuss key topics such as: * The theoretical structure of study drawings * Applications for handmade drawings * How to make better use of current computer-aided design (CAD) systems * Examples of drafting room dialogue in practice that help improve design working processes Architectural Study Drawings offers valuable insights that can be applied on the drawing board in the school and office, in teaching of both media and design, and in research and development for CAD systems.




Strategies of Ambiguity


Book Description

There has been a growing awareness that ambiguity is not just a necessary evil of the language system resulting, for instance, from its need for economy, or, by contrast, a blessing that allows writers to involve readers in endless games of assigning meaning to a literary text. The present volume contributes to overcoming this alternative by focusing on strategies of ambiguity (and the strategic avoidance of ambiguity) both at the production and the reception end of communication. The authors examine ways in which speakers and hearers may use ambiguous words, structures, references, and situations to pursue communicative ends. For example, the question is asked what it actually means when a listener strategically perceives ambiguity, which may happen both synchronically (e.g. in conversations) as well as diachronically (e.g. when strategically ambiguating biblical texts in order to make them applicable to moral lessons). Another example is the question whether ambiguity awareness increases the strategic use of ambiguity in prosody. Moreover, the authors not only enquire into effects of ambiguous meanings but also into the strategic use of ambiguity as such, for example, as a response to censorship or as a means of provoking irritation. This volume brings together several contributions from linguistics, literary studies, rhetoric, psychology and theology, and aims at providing a systematic approach to the strategic production and perception of ambiguity in a variety of texts and contexts. The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.




Hyperdrawing


Book Description

In hyperdrawing: beyond the lines of contemporary art, authors and artists come together to explore the potential of what drawing in contemporary art theory and practice might become. In this follow-up to 2007's drawing now: between the lines of contemporary art, Phil Sawdon and Russell Marshall, two of the current directors of TRACEY, curate contemporary drawing within fine art practice from 2006 through to 2010. Four essays and images from 33 international artists collectively explore the boundaries of the hyperdrawing space, investigating in essence what lies beyond drawing - images that use traditional materials or subjects whilst also pushing beyond the traditional, employing sound, light, time, space and technology. Over and above traditional views and practices, the authors and artists in this book recognise and embrace the opportunities inherent in the essential ambiguity of drawing. Practitioners of hyperreal works, 2D3D4D pieces and installations that push beyond photorealism all find their place within this new conception of hyperdrawing as techne, a productive space no longer limited by spatial boundaries.Artists including Catherine Bertola, Layla Curtis, Garrett Phelan, Suzanne Treister and Ulrich Vogl alongside the essays of Emma Cocker, Siun Hanrahan and Marsha Meskimmon provide a contemporary view in both visual and written form of how ambiguity can be used as a strategic approach in drawing research and practice. A gallery in book form, hyperdrawing takes drawing beyond the interaction of pencil and paper and traces contemporary adventures in multiple dimensions and alternate realities.




Strategies of Ambiguity in Ancient Literature


Book Description

Ambiguity in the sense of two or more possible meanings is considered to be a distinctive feature of modern art and literature. It characterizes the "open artwork" (Eco) and is generated by "disruptive tactics" (Wellershoff) and strategies to engender uncertainty. While ambiguity is seen as a "paradigm of modernity" (Bode), there is skepticism regarding its use in the pre-modern era. Older studies were dominated by the conviction that there was a lack of ambiguity in pre-modernity because, according to the rules of the "old rhetoric", ambiguity was seen as an avoidable error (vitium) and a violation of the dictate of clarity (perspicuitas). The aim of the volume is to re-examine the putative "absence of ambiguity" in the pre-modern era. Is it not possible to find clear examples of deliberately employed (intended) ambiguity in antiquity? Are the oracles and riddles, the Palinode of Stesichoros and Socrates (Phaedrus), the dissoi logoi of rhetoric, the ambiguities of the tragedies all exceptions or do they not indicate a distinct interest in the artistic use of ambiguity? The presentations of the conference, which will include scholars from various philologies, will combine a recourse to theoretical concepts of intended ambiguity with exemplary analyses from the field of pre-modern art and literature.