Al-Masry, M., Al-Nahari, N. (2022). Aesthetic values in Assemblage art and their role in stimulating artist and recipient interaction. International Design Journal, 12(1), 217-230. doi: 10.21608/idj.2022.210336
Marwa Al-Masry; Nour Nasser Ayed Al-Nahari. "Aesthetic values in Assemblage art and their role in stimulating artist and recipient interaction". International Design Journal, 12, 1, 2022, 217-230. doi: 10.21608/idj.2022.210336
Al-Masry, M., Al-Nahari, N. (2022). 'Aesthetic values in Assemblage art and their role in stimulating artist and recipient interaction', International Design Journal, 12(1), pp. 217-230. doi: 10.21608/idj.2022.210336
Al-Masry, M., Al-Nahari, N. Aesthetic values in Assemblage art and their role in stimulating artist and recipient interaction. International Design Journal, 2022; 12(1): 217-230. doi: 10.21608/idj.2022.210336
Aesthetic values in Assemblage art and their role in stimulating artist and recipient interaction
1Faculty of Applied Arts, Helwan University, Egypt
2College of Designs and Arts, Princess Nourah Bint Abdulrahman University, Kingdom of Saudi Arabia, Nnalnahari@pnu.edu.sa
Abstract
The emergence of the art of assembly in the modern art movement appeared at the beginning of the twentieth century; The spread of assemblage art coincided with the emergence of Dada artists who depend on the technique of (ready-made things), raising them to the level of works of art. Such as the work of the artist Marcel Duchamp (1886-1969 AD) (The Fountain), in which he used a (toilet) signed in the name of the toolmaker (where (Dadaism) as you can see (Al-Qara Ghouli, 2018) contributed to strengthening the ideas of this art in the art of the second half of the twentieth century. Starting with the Pop Art, which was called neo-Dadaism, as a result of its influence on the Dadaism (Duchamp) that adopted the technology of ready-made things and opened the way for possibility of producing art with any available material. Then followed the emergence of multiple technologies in the post-modern stage, which paved the way for the emergence of Assemblage art (Smith, 2000). And assembling art took the pace of postmodern art formation, through its aesthetic and structural characteristics associated with the effectiveness of technology, because the products of this art touched the levels of simplicity and ease of the recipient, and his sense of a kind of aesthetic values through ideas and multiple technical media for the work performed, was the style of And the artist's technique is an active role. And a prominent presence in highlighting the aesthetic values of assemblage art, and the recipient was able to understand those aesthetics due to its simplicity and feeling that it was close to it, and from here the research goal came to identify the role of aesthetic values in assemblage art in enhancing the interaction between the artist and the recipient، By building a questionnaire that was distributed through the intentional sample to the audience of the 1/3/2021 exhibition of assemblage art in Riyadh (Kingdom of Saudi Arabia) and their number reached (117) individuals. Art, which contributes to the development of artistic awareness of the recipient. Problem:Research answers these questions: 1- What are the aesthetic values required in contemporary assemblage art from the viewpoint of the recipients?2- How do the aesthetic values (cultural and social) in contemporary assemblage art contribute to the development of artistic taste?3- What are the mechanisms for activating the reciprocal relationship between the artist and the audience in assemblage art? Methodology: Descriptive analytical method. Objective: Identifying the most important aesthetic values required in contemporary assemblage art from the viewpoint of the recipients and how aesthetic values (cultural and social) in contemporary assemblage art contribute to the development of artistic taste. Results: The most important aesthetic values of the works of assemblage art from the artists' point of view are the value of the culture of difference and the consolidation of the values of environmental preservation and recycling, and the consolidation of the values of innovation, in the formation of the idea and the employment of things in a way that improves the reciprocal relationship between the artist and the recipient. It was also found that the most important aesthetic values required in contemporary assemblage art from the viewpoint of the recipients are: visual visual values, followed by innovative values (creativity and originality), followed by the impact value (the effect of work on the recipient's conscience). It was found that the aesthetic values (cultural and social) in art Contemporary synthesizer contribute to the development of the artistic taste of the recipient. And that the aesthetic values in assemblage art contribute to the development of artistic awareness among the recipient, and it was found that the most important mechanisms that contribute to activating the reciprocal relationship between the artist and the public in assemblage art are the adoption of the responsible authorities for artistic talents in the field of assemblage art, and the provision of encouraging support to artists and the public to hold exhibitions of assemblage art.
Friedman, Martin and others,(1988). Sculpture inside outside, Walker art center. Minneapolis rixxoli, New York.
Judith (2010). Sculpture today. Phaidon, New York, collinsk.
kalb, Peter (2004). history of modern art – prentice hall. inc – new jersey. p 439
Manfred, schneckenburger (2000). art of the 20th century ( part II ) – taschen – kolen. p: 457, 458
Robert, Atkins (1990). Art Speak. Abbeville Ruess, New York.
Schwitters, Kurt, Joseph Cornell, Robert Rauschenberg, and Dave McKean, by Paul Watson. (2016). A Brief History of Assemblage Art. (lazaruscorporation.co.uk).
Walker, John. (1992) "Assemblage Art". Glossary of Art, Architecture & Design since 1945, 3rd. ed. Retrieved February 7, 2012.
Hassan, Ahmed Hafez; Farraj, Hassan Mahmoud; Hamid, Aladdin (2011). The art of assembly and its relationship with plastic media for glass remnants in enriching metal works, Journal of Specific Education, Assiut University, p. (20), pp. 546-569.
Hussein, Mohieldin Ahmed (1981). Creative values. Cairo: House of Knowledge.
Khalif, Ahmed Mankhi (2015). Sculptural formation between assemblage art and environmental art, a comparative analytical study. Published research, Journal of the College of Education, (p. 21). pp. 339-368.
Khaled, Abul-Majd Ahmed Adam (2003). Electrodeposition as an experimental approach to combine metallic and non-metallic ores in novel formulations, PhD thesis, Faculty of Art Education, Helwan University.
Zahraa, Abdullah Abdel Rahim (2008). Pop as an entrance to the creation of an assembly art for a plastic painting. Master's thesis, Department of Art Education, College of Education, King Saud University.
Al-Sibai, Howaida (2008). Postmodern art in Egypt and the world, Cairo: The Egyptian General Book Organization.
Ahmed Abdulaziz Ali (2006). Expression in assemblage art as an introduction to employing various materials in woodwork. PhD thesis, Faculty of Art Education, Helwan University.
Smith, Edward Lucy (2000). Postmodern art. I 1, translated by: Fakhri Khalil, The Small Encyclopedia, Baghdad: House of General Cultural Affairs.
Smith, Edward Lucy (1995). Art movements after World War II. Translation: Fakhri Khalil. Baghdad: House of General Cultural Affairs.
Adel, Tharwat Othman (1996). Collage artwork as input to enrich expression in photography. Master's Thesis, Department of Art Education, Helwan University.
Abdelaziz, charity; Disagreement, Muhammad; and Sharaf, Dalia (2019). The effectiveness of an electronic course based on an analytical study of visual values and aesthetic concepts of postmodern arts for developing artistic taste. The Egyptian Journal of Specialized Studies - Issue (22 (April), pp. 15-46
Orabi, Asaad (2001). The intermarriage of art genres in postmodernism. Article in Al-Funoon Technical Monthly Newspaper, Issue (4) April-April, Kuwait: The National Council for Culture, Arts and Letters.
Ghaffar, Muhammad (2020). Aesthetic education and its importance in developing the creative talents of the individual. Al-Nass magazine, Algeria, volume (7), number (2), pg. 412-431
Al-Fatni, Abeer Ahmed (20121). The concept of sustainability and synthesis in the artwork to enrich the aesthetic and formal dimensions of the architectural body of the sustainable museum. International Journal of Humanities and Social Sciences, p. (20), pp. 271-299
Karagoli, Anwar Ali (2018). Stylistic and technical dimensions in contemporary assemblage art. Babylon University Journal of Human Sciences, Volume 26, Issue 9, pp. 117-139
Muhammad, Rabab Hassan (2016). Attributes of assembling art as a source for design fantasy fashion. Journal of Specific Education Research, vol. (44), p. (10). P.254-P.251-290
Muhammad, Abd Allah Ismail Muhammad (2015). Attributes of the portrait in contemporary collage art. Scientific Journal of the EMSEA Association for Education through Art. p.(4), pp. 33-55