Search results
Results from the WOW.Com Content Network
In art, appropriation is the use of pre-existing objects or images with little or no transformation applied to them. [1] The use of appropriation has played a significant role in the history of the arts ( literary , visual , musical and performing arts ).
These efforts led to the 1994 Writing Thru Race conference, a gathering of Indigenous and racialized writers in Vancouver, hosted by the Writers' Union of Canada. Keeshig-Tobias addressed the gathering on the opening night of the event. Writing Thru Race is now considered to be a major milestone in race politics and literature in Canada. [13] [14]
Art is a symbol of cultural heritage and identity, and the unlawful appropriation of artworks is an affront to a nation's pride. Moira Simpson suggests that repatriation helps indigenous communities renew traditional practices that were previously lost, this is the best method of cultural preservation.
Aestheticians and art philosophers often engage in disputes about how to define art. By its original and broadest definition, art (from the Latin ars, meaning "skill" or "craft") is the product or process of the effective application of a body of knowledge, most often using a set of skills; this meaning is preserved in such phrases as "liberal ...
Literature – the art of written works. Fiction – any form of narrative which deals, in part or in whole, with events that are not factual, but rather, imaginary and invented by its author(s). Poetry – literary art in which language is used for its aesthetic and evocative qualities in addition to, or in lieu of, its apparent meaning.
The Art Law Podcast – The Art Law Podcast hosts discussions about topics at the intersection of art and law with art lawyers Steve Schindler and Katie Wilson-Milne and their distinguished guests. Warfare of Art & Law – The goal of Warfare of Art and Law is to start conversations about issues revolving around the arts, the law, and culture.
The dehumanization of art refers to the removal of human elements from these works, eliminating the content, but keeping the form. In his work, Ortega explains how the untrained eye, which is used to seeing only content in traditional paintings, must find a new approach to viewing the work of art.
The CDWA was created by the Art Information Task Force (AITF), which encouraged dialog between art historians, art information professionals, and information providers so that together they could develop guidelines for describing works of art, architecture, groups of objects, and visual and textual surrogates.