著者

鉢呂 光恵 Mitsue HACHIRO 藤女子大学人間生活学部保育学科

出版者

藤女子大学

雑誌

藤女子大学紀要. 第2部 (ISSN:13461389)

巻号頁・発行日

vol.49, pp.185-193, 2012-03-31

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Sherrie Levine is one of the most well-known postmodernism artists in the United States. In 1981, Levine rephotographed the photos of "Allie Mae Burroughs" (1936) by Walker Evans. This work, "After Walker Evans" (1981) brings out the "difference" of 45 years as presented by the "differences" in images between Evans's photographs and her own. Reproduction techniques were widespread in the 1980s, and Levine turned her cool gaze on the "real" world to produce simulation works that instantly change like a television screen. This "After Walker Evans" series drew considerable attention from critics. Through her works, Levine has added another aspect to the diversity of Contemporary art.

著者

相原 啓寿 Keiji AIHARA 藤女子大学人間生活学部保育学科 FUJI WOMEN'S UNIVERSITY

出版者

藤女子大学

雑誌

藤女子大学紀要 第2部 (ISSN:13461389)

巻号頁・発行日

vol.45, pp.83-93, 2008-03-31

著者

鉢呂 光恵 Mitsue HACHIRO 藤女子大学人間生活学部保育学科

巻号頁・発行日

vol.49, pp.185-193, 2012-03-31

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Sherrie Levine is one of the most well-known postmodernism artists in the United States. In 1981, Levine rephotographed the photos of "Allie Mae Burroughs" (1936) by Walker Evans. This work, "After Walker Evans" (1981) brings out the "difference" of 45 years as presented by the "differences" in images between Evans's photographs and her own. Reproduction techniques were widespread in the 1980s, and Levine turned her cool gaze on the "real" world to produce simulation works that instantly change like a television screen. This "After Walker Evans" series drew considerable attention from critics. Through her works, Levine has added another aspect to the diversity of Contemporary art.

著者

杉浦 篤子 Atsuko SUGIURA 藤女子大学人間生活学部保育学科 Department of Erarly Childhood Care and Education Faculty of Human Life Sciences Fuji Women's University

巻号頁・発行日

vol.52, pp.113-120, 2015-03-31

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Numerous art-related publications are provided in the form of children's picture books. The Art play Book (various authors) published by the Centre Pompidou in Paris is a well-known example of this. In Japan, a variety of art books and art picture books have also been published in the form of children's illustrated works, some of whose high sensibilities have earned them the label of modern art. Modern and other forms of art are often seen as difficult to grasp; in this context,the present study involved investigation of the potential to enjoy art through children's picture books and discussion of their role as media for modern art.

著者

金田一 仁志 Hitoshi KINDAICHI 藤女子大学人間生活学部保育学科非常勤講師 日本俳優連合(西田敏行代表理事) 日本演劇教育連盟全国委員 Department of Early Childhood Care and Education Faculty of Human Life Sciences Fuji Women's University Japan Actors Union Japan Educational Drama Association

出版者

藤女子大学

雑誌

藤女子大学人間生活学部紀要 = The bulletin of the Faculty of Human Life Sciences, Fuji Women's University (ISSN:21874689)

巻号頁・発行日

no.53, pp.107-115, 2016

著者

大畑 耕一 KOH-ICHI OH-HATA 藤女子大学人間生活学部保育学科

出版者

藤女子大学

雑誌

藤女子大学紀要 第2部 (ISSN:13461389)

巻号頁・発行日

no.39, pp.97-104, 2002-02-14

著者

鉢呂 光恵 Mitsue HACHIRO 藤女子大学人間生活学部保育学科非常勤講師

巻号頁・発行日

vol.50, pp.129-138, 2013-03-31

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In 1981, Sherrie Levine rephotographed the reproduced photos of "Allie Mae Burroughs" (1936) by Walker Evans. This work, "After Walker Evans" (1981), drew considerable attention from critics. This work by Levine attempted to meditate on the developing reproduction techniques' influence on art, and her work can be called unique with regard to the following two points. 1) Levine's work is not merely a reproduction of the original artwork but her own photography that is different from the original, and intended to present viewers with a difference between the original and her own, bringing out the contrast between the two and setting a new perspective. 2) The grainy simulation image of her works do not only turn a cool gaze on but also forms the index to the 1980's.

著者

小山 充道 Mitsuto KOYAMA 藤女子大学人間生活学部保育学科

出版者

藤女子大学

雑誌

藤女子大学紀要 第2部 (ISSN:13461389)

巻号頁・発行日

no.48, pp.159-176, 2011-03-31

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The graffiti is a psychological act that is close to being instinctive in human beings. In this paper, we analyzed graffiti from nine viewpoints. The subjects comprised 84 undergraduate women enrolled in Childcare courses. All had shown a long-term interest in infants and handicapped children, and had many opportunities to see pictures drawn by children. Subjects were asked to respond to the following nine questions: "When do you draw graffiti?," "Where do you draw graffiti?," "What equipment do you use when you scribble?," "What graffiti do you draw?," "What feelings do you have when drawing graffiti?," "What meaning does the graffiti have for you?," "What meaning does the graffiti have?," "When did you start drawing graffiti?," and "Do you think that there are any differences in the graffiti drawn by children and that by adults?" As a result, we found the following. Subjects tended to draw graffiti simply when the spirit moved them, or when they had time. Graffiti was drawn in the blank spaces of a notebook or on any paper at hand. The subjects usually used a mechanical pencil or pencil to draw graffiti. Many subjects drew pictures of cartoon characters and animals, human faces and so on. The purpose of the graffiti was to kill time or to encourage a change of pace. A majority of subjects responded that they drew graffiti most frequently as a high school student. This was followed in order of frequency by junior high school student, elementary school student, undergraduate and finally infant. After puberty, the use of notebooks increased and there was an increase in subjects who described their motive in drawing graffiti as a diversion.