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Genuine Christian Modern Art : Present Roman Catholic Directives on Visual Art Seen from an Artist’s Perspective
No full textThe Professional Problem of the Artist
The professional problem of artists who want to produce art for Christian use is to find artistic solutions that may satisfy both patron and artist. To succeed, the artist needs to know what ecclesiastical patrons need and desire in our time for works yet to be produced.
Ecclesiastical Norms on Art
Since the Roman Catholic Church has explicit, written norms on art, the project is restricted to this Church only. The Second Vatican Council laid down the basis for the present directives in 1963. The conciliar documents encourage contemporary artists to create art for the Church; the premise, however, is
that the new artworks serve liturgy and worship, and are considered suitable by the Church. The translator of the first Instruction to the conciliar text on art, from 1964, summed up in a footnote that in new church buildings the Church expects "genuine Christian modern art" . The question is what these theological normative statements mean in relation to artistic practice.
Survey of Literature
A few scholars have analyzed the ecclesiastical demands in relation to future design and architecture. Lacking are studies that discuss the ecclesiastical norms in relation to future embellishing visual art specifically, as well as those which take the artist's perspective.
Research Question
How can the Roman Catholic directives on art be understood through concepts useful for artists?
Hypothesis
If the Church's directives on art in our time can be legitimately condensed into "genuine Christian modern art", and if these four terms could be given an interpretation that is comprehensible and useful for artists, then artists would have a basic set of guidelines in their future artistic work that may help them provide what the Church needs and requests.
Sources
The sources utilized are theological texts: Roman Catholic normative documents on art from the Second Vatican Council and those issued after the Council.
Methodology and Design of Research
The dissertation consists of:
Part I, Research project terminology, that surveys literature, establishes a theoretical foundation for the project, and defines terminology. Part II, Roman Catholic attitude to and norms on art, that is hermeneutic in approach. It first provides a background for understanding the present norms on art, and then reads the theological documents on art from the perspective of the artist, in order to find criteria for future artworks and art making. Besides, a personal case study is available in Appendix 1, The notion of genuine Christian modern art exemplified by the author's Crucifix Series, which is a practice-based visual analysis of the author's artistic exploration of crucifix forms from 1986 and onwards that was inspired by the "genuine Christian modern art" statement.
Findings
The notion of genuine Christian modern art is suggested as a basic set of interdisciplinary criteria for ecclesiastical art, understood through a related set of terms so that genuine associates to spirituality; Christian to beauty; modern to significance; and art to quality.
Aims
The project aims at contributing to an understanding of what the Roman Catholic Church normatively wants artists to produce in the future; to the interdisciplinary dialogue between theologians and artists; and to the development of theory and methodology of practice-based artistic research in the visual arts
Genuine Christian Modern Art : Present Roman Catholic Directives on Visual Art Seen from an Artist’s Perspective
No full textThe Professional Problem of the Artist
The professional problem of artists who want to produce art for Christian use is to find artistic solutions that may satisfy both patron and artist. To succeed, the artist needs to know what ecclesiastical patrons need and desire in our time for works yet to be produced.
Ecclesiastical Norms on Art
Since the Roman Catholic Church has explicit, written norms on art, the project is restricted to this Church only. The Second Vatican Council laid down the basis for the present directives in 1963. The conciliar documents encourage contemporary artists to create art for the Church; the premise, however, is
that the new artworks serve liturgy and worship, and are considered suitable by the Church. The translator of the first Instruction to the conciliar text on art, from 1964, summed up in a footnote that in new church buildings the Church expects "genuine Christian modern art" . The question is what these theological normative statements mean in relation to artistic practice.
Survey of Literature
A few scholars have analyzed the ecclesiastical demands in relation to future design and architecture. Lacking are studies that discuss the ecclesiastical norms in relation to future embellishing visual art specifically, as well as those which take the artist's perspective.
Research Question
How can the Roman Catholic directives on art be understood through concepts useful for artists?
Hypothesis
If the Church's directives on art in our time can be legitimately condensed into "genuine Christian modern art", and if these four terms could be given an interpretation that is comprehensible and useful for artists, then artists would have a basic set of guidelines in their future artistic work that may help them provide what the Church needs and requests.
Sources
The sources utilized are theological texts: Roman Catholic normative documents on art from the Second Vatican Council and those issued after the Council.
Methodology and Design of Research
The dissertation consists of:
Part I, Research project terminology, that surveys literature, establishes a theoretical foundation for the project, and defines terminology. Part II, Roman Catholic attitude to and norms on art, that is hermeneutic in approach. It first provides a background for understanding the present norms on art, and then reads the theological documents on art from the perspective of the artist, in order to find criteria for future artworks and art making. Besides, a personal case study is available in Appendix 1, The notion of genuine Christian modern art exemplified by the author's Crucifix Series, which is a practice-based visual analysis of the author's artistic exploration of crucifix forms from 1986 and onwards that was inspired by the "genuine Christian modern art" statement.
Findings
The notion of genuine Christian modern art is suggested as a basic set of interdisciplinary criteria for ecclesiastical art, understood through a related set of terms so that genuine associates to spirituality; Christian to beauty; modern to significance; and art to quality.
Aims
The project aims at contributing to an understanding of what the Roman Catholic Church normatively wants artists to produce in the future; to the interdisciplinary dialogue between theologians and artists; and to the development of theory and methodology of practice-based artistic research in the visual arts.acceptedVersio
Karis tegneundervisning: En biografi
Full text linkArtikkelen er en biografi om Kari Liv Brundin Torjussen (1922-) som var tegnelærer i første frihåndsklasse ved Statens Håndverks- og kunstindustriskole (SHKS) fra 1947-1990. Første del tar for seg tiden før hun ble tilsatt som lærer, oppvekst og studietiden under krigen. Hennes elevtid ved SHKS sees i sammenheng med lærerne og deres undervisningsopplegg, med hovedvekt på tegning i 1. Frihånd ved Johan von Hanno. Annen del presenterer hennes virke som pedagog og faglig formidler. Teksten er basert på hennes private arkiv, intervjuer med henne, innsamling av uttalelser fra hennes tidligere elever og en kompilasjon av tilgjengelige kilder. Den er på ingen måte uttømmende, men supplerer Karen Disens prosjekt med samme hovedtittel, som analyserer hennes tegneundervisning ut fra tegnefaglig perspektiv, der elevmaterialet står sentralt. Biografien inngår i jubileumsprosjektet Tegneskolen 200 år ved Kunsthøgskolen i Oslo (KHiO)
Learning to See: Contribution to an Analysis of the Teaching of Free Hand Drawing by Kari Liv Brundin Torjussen at Oslo National College of Art and Design, 1947-1990
No full textThe National College of Art and Design (Norwegian abbreviation: SHKS) in Norway was established in 1818, as a school for educating craftsmen and artists. Until late 20th century, free hand drawing was its foundational subject. Today, this is no longer the case, and the recurrent questions are: Which competences do design students need in free hand drawing, how should this subject be taught, and what should the education curriculum comprise? This paper aims at clarifying the tradition in which free hand drawing is embedded. Asking what the institutional teaching of free hand drawing actually was, reveals that little information is available. This teaching has been demonstrative and oral, therefore, only scarce sources are available. The exception to the rule is Kari Liv Brundin Torjussen (1922-) who has left a personal archive of her teaching work. She taught free hand drawing in the first year design class at SHKS from 1947-1990. This paper represents an initial phase of a broader research project of the institutional history. It presents a brief biography of Kari and the beginning of an analysis of her teaching, based on interviews with her, statements from some of her students, institutional archival material, literature and her personal archive
Ora pro Nobis; Development of Western Meditative Traditions through Form
No full textBidrag til konferansen "The Art of Research; Processes, Results and Contributions", University of Art and Design, Helsinki (UIAH). Tidspunkt: 24.11.2009
Learning to See: Contribution to an Analysis of the Teaching of Free Hand Drawing by Kari Liv Brundin Torjussen at Oslo National College of Art and Design, 1947-1990
Full text linkAbstract: The National College of Art and Design (Norwegian abbreviation: SHKS) in
Norway was established in 1818,as a school for educating craftsmen and artists. Until
late 20
th
century, free hand drawing was its foundational subject. Today, this is no
longer the case, and the recurrent questions are: Which competences do design
students need in free hand drawing, how should this subject be taught, and what
should the education curriculum comprise? This paper aims at clarifying the tradition
in which free hand drawing is embedded. Asking what the institutional teaching of
free hand drawing actually was, reveals that little information is available. This
teaching has been demonstrative and oral, therefore, only scarce sources are
available. The exception to the rule is Kari Liv Brundin Torjussen (1922-) who has left a personal archive of her teaching work. She taught free hand drawing in the first year design class at SHKS from 1947-1990. This paper represents an initial phase of a broader research project of the institutional history. It presents a brief biography of Kari and the beginning of an analysis of her teaching, based on interviews with her, statements from some of her students, institutional archival material, literature and her personal archive.
Keywords: Free hand drawing, teaching tradition, college level
Å lære å se: Bidrag til analyse av Kari Liv Brundin Torjussens (1922-) tegneundervisning
Full text linkInnlegg holdt på vårseminar 11. april 2013 i forbindelse med prosjektet "Tegneskolen 200 år
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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