نشریه پیکره
پیاپی 7 (تابستان 1394)

In the realm of art and literature, author and authorship have been, and still are, among the controversial terms. In this respect, the key place of author, in different times and from various aspects, has been on focus. Also, in the contemporary time, certain aspects of literary criticisms concerning the place of author have played a major role in forming new attitudes. By publishing an article entitled designer as author, Michael Rick, a designer and graphic re-searcher, posed a new discussion on graphic design which had not been assert-ed so clearly before. Before publishing this article, the major critical as well as author-centered discussions concerning the place of author dealt with lit-erature. The present study addressed two main questions: What are the limits and aspects of the theory of designer as author? And how are they applied in the design process? The data were collected based on written sources as well as on interviews conducted. The results indicated that the legitimacy of idea of authorship in design is basically rooted in the fact that certain designers, when participainting in a graphic design leav the personal fingerprint a professional character which is readily recognizable by the viewer based on which a given designer is distinguished from another

Representation of Bakhtiari nomadic women’s identity and their salient char-acteristics can be recognized in Bakhtiari ballads, poems and other works. Hard daily activities, special life style and the kind of living in the heart of nature by these brave woven has been an attractive theme for contemporary painters of Iran. As such, the research question of the present study was how Bakhtiari nomadic women’s identity has been represented in contemporary paintings. The study aimed to discover visual representations as well as iden-tity elements in Bakhtiari women; elements such as beliefs, attitudes and the style of visual representation in painting. The results indicate that the con-temporary painters have not limited themselves to an objective impression of nomadic women’s daily activities; but rather, in certain paintings, a subjective atmosphere is also readily recognizable conveying a deep insight expressed through a womanly interpretation. Data were collected based on library sourc-es and the analyzed descriptively.

Among the visual elements, color has a special place in contemporary ur-ban life. Its interactive potentials, nevertheless, have not been realized as it should have been. The key elements of urban views, including frontages of buildings, green spaces, shop windows and shop signs, urban furniture, graffiti and the likes have always been represented with a layer of colour nowadays, with advancement of technology and a wide variety of newly-developed construction materials, taking advantage of color potentials, consistent with the cultural identity of cities, is felt more than any other time. Meanwhile, applying various visual effects of colors in urban views, reasonably, may help prevent many visual anomalies in cities and towns. The impact of color on the quality of urban spaces can be examined both visually and expressively. The present research aimed to study the effective interactive power of color in quality enhancement of urban spaces from functional, sociological, psycho-logical, aesthetic, symbolic and identity aspects. Data were collected based on library source and urban filed studies and were then described analytically.

Interwoven with such concepts as defense, resistance and spirituality, resist-ance art represents the identity and opposition of a nation against tyranny. With growing domain of mass media and the subsequent need to introduce the new dimensions of resistance art, the application of new artistic media, to express the principles of resistance, is required. Taking advantage of various  techniques of impelemetation question in a culture of descriptive analytic way . is it possible to apply the visual as well as concept, content and addresses, conceptual art has provided new capabilities to represent the concepts of resistance in newly defined filed focusing on the conceptual works of Holy Defense Garden Museum and promoting the culture of resistance, the present study has addressed two main questions in a descriptive-analytic way. Is it possible to apply the visual as well as content aspects of conceptual art and modern media to represent deeply-rooted con-cepts such as resistance and altruism? Is there a functional correspondence between resistance art and conceptual art? The results indicated that since there are common elements between conceptual art and resistance art (such as preference of concept and content, application of symbols, ideological art and viewer-based application), conceptual art has the potential to pave the ground for the concepts of resistance art to be represented.