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Written in memory of Dan Graham, "Memories in Alteration" considers the important legacy of the artist's work, focusing on the topological and paralogical devices that characterize his discursive and artistic practice. The text adumbrates how the multidisciplinary work of Graham—addressing such diverse cultural phenomena as suburbia, 1960s counterculture, television, and punk music—traced the emergence of a postwar "liberal" order of capitalism and its constitutive technologies of colonization and the domestication of social and urban environments. [ABSTRACT FROM AUTHOR]

The article offers information on artist Sol LeWitt and his work in wall drawings. Topics discussed include a series of wall drawings produced by LeWitt for an exhibition at Torre Bonomo in Italy in 1977; the makeshift, trial-and-error working method of LeWitt; and LeWitt's method of combining shapes and joining dots in the drawings. Also mentioned are LeWitt's artistic process and technique, the critical imagination of LeWitt which focused on ethical dimension of constraints, and the relationship between mapping and subjectivity.

The article explores the meaning of the term painting, as described by the Russian State Academy of Artistic Sciences. It discusses how painting creates an artistic sensory-contemplative unity of spatial relations. It further discusses several characteristics of painting including symbolic expressiveness; and flatness as it gives form to an isolated fragment of material surface. It reports quality of painting being inscribed, because this mode of giving form is realized with the help of inscriptive signs. It suggests that a painting should be distinguished from other forms of non-autonomous inscription in spatial arts.

The article explores meaning of the term space, which refers to the main premise of the formation of the so-called spatial arts, which consists in affirming the possibility of the existence of forms that are built in three dimensions and in time, as described by the Russian State Academy of Artistic Sciences. It explores distinguish between space and formal means of expression in the spatial arts. It reports that surface serves as a boundary of space, which can be read either in front of the surface or behind it, or surface cuts into space, which is especially typical for intersecting planes.

The article explores meaning of the term representational arts, which speak about representation of any real object given form by a human being so that it serves as a sign of another real or imaginary object, as described by the Russian State Academy of Artistic Sciences. It mentions that the representing object, unlike a conventional sign, depicts using forms that are characteristic of its material and structure, a real or imagined visual appearance of the represented object. It reports the problem of representation coincides with the general problems of the construction of an aesthetic and artistic object.

The article explores meaning of the term representation, which in the broadest sense of the term means any real object given form by a human being so that it serves as a sign of another real or imaginary object, as described by the Russian State Academy of Artistic Sciences. It mentions that the representing object, unlike a conventional sign, depicts using forms that are characteristic of its material and structure, a real or imagined visual appearance of the represented object. It reports the problem of representation coincides with the general problems of the construction of an aesthetic and artistic object.

The article examines the French painter Jean Dubuffet, focusing upon how in May 1948 he established the Compagnie de l’Art Brut. Particular attention is given to how the Compagnie de l’Art Brut was a non profit organization dedicated to the discovery and promotion of the genre art brut. Additional topics explored by the author include the pamphlet "Notice de la Compagnie de l'art brut," which outlined the organization's goals and intentions, the publication "L'almanach de l'art brut" and insights on Dubuffet's painting techniques, which were inspired by amateur artists and an organic approach to artmaking.

The article explores meaning of the term unconscious, which refers to are closely tied to the general psychological tendencies of a given period concerning general artistic theories. It mentions unconscious is sometimes called the subconscious, because subconscious events are located under the threshold of consciousness; this sphere is also designated as the subliminal ego. It discusses how the archives of a range of authors demonstrate how extensive the work of poets and writers was in order to choose their characters, rhymes, rhythm, and other aspects of their artistic creations.

The article explores the meaning of the term ornament that is the decoration of a given surface with the necessary condition that the significance of the surface itself, as described by the Russian State Academy of Artistic Sciences.

The article reflects on Bruce Nauman's Minimalist sculpture. It is an art characterized as having resemblance to boxes, benches and portals, created under his chair. The sculpture was described as more or less cubic, grayish in color and simple in texture. It was inspired from the essay "Specific Objects" by Donald Judd and Barbara Rose's "ABC Art" book. However, when the era came wherein the society was against the concept of Minimalism, Nauman had to make a repeat of his creation and came up with two other sculpture. They are "Shelf Sinking into the Wall with Copper-Painted Plaster Casts of the Spaces Underneath" and "Platform Made up of the Space between Two Rectilinear Boxes on the Floor." These served as his vengeance for the cruelty he had experienced during that time.

The article focuses on the works of Robert Rauschenberg. Among Rauschenberg's series of works include the "White Paintings," and the "Black Paintings," done on the Black Mountain in 1951 and 1953, respectively. According to the author, Rauschenberg's works represented the human body, desiring to know the body through its products, such as blood and stains. He also raises questions about the body's anxieties, fantasies and problems. Readings on the "Red Paintings," said that the work enacted the displacement of the body's entire sexual organization into a conglomerate of heterogeneous objects. Photographs of his works from the series were also provided.

The article explores meaning of the term volumetric-spatial construction, which refers to painting where visual form unfolds on a surface. It mentions how volumetric-spatial (v-s) construction may be created by an artist only as an illusion. It discusses if artist decides to stay within the limits of a real representational format from the position of the viewer's perception, he needs to resort to an illusory construction of volume and space—for a three-dimensional object can only be represented on a two-dimensional surface by creating an illusion of v-s construction.

The article explores meaning of the term thinking in images, which refers to are closely tied to the general psychological tendencies of a given period concerning general artistic theories. It mentions that renaissance writers, who were under the influence of the intellectualism of antiquity, were inclined to interpret all kinds of imagistic thinking logically, approximating thinking in images to allegorical thinking, to logical thinking that uses empirical examples or sensory signs. It discusses further development and refinement of the theory of thinking in images took place under the influence of formalist art-historical thinking.

The article explores meaning of the term surface, which refers to the means of expression of the spatial arts, mainly characterized by its two-dimensionality. It mentions as a boundary between what is real and what is represented, surface plays an especially important role in painting. It reports that either the surface of a painting coincides with the image on it, or it pushes the image forward and serves as a background for it, or the image itself breaks through this surface and recedes from it into depth.

The article explores meaning of the term statistical method, which refers as emergence of the term "statistics" in the contemporary sense of that word is connected to the name of Adolphe Quetelet, as described by the Russian State Academy of Artistic Sciences. It mentions that in technical sense it is developed when an artist is transformed into a craftsman. It reports that every form of craftsmanship is essentially standardized. It discusses how in the work of the old masters, a standard often emerged under the influence of many commissions.

The article explores meaning of the term standard, which refers skill to always use one and the same means for conveying a representational form of artistic ideas, as described by the Russian State Academy of Artistic Sciences. It mentions that in technical sense it is developed when an artist is transformed into a craftsman. It reports that every form of craftsmanship is essentially standardized. It discusses how in the work of the old masters, a standard often emerged under the influence of many commissions.

The article explores meaning of the term quantity, which refers to a category that encompasses a range of notions and is closely connected to the more general notion of multitude, as described by the Russian State Academy of Artistic Sciences. It mentions a distinction was made between an intensive magnitude, a magnitude of degree (quantitas virtutis), and an extensive magnitude that measures the positioning of stand-alone elements or parts in relation to each other (quantitas molis). It discusses how quantity relates to quality.

The article explores meaning of the term quality, which does not denote a logical category but rather takes on the role of an evaluative notion , as described by the Russian State Academy of Artistic Sciences. It mentions that criteria for evaluating quality vary not only as to the individual character of those expressing judgment but also as to the cultural background. It discusses how the notion of quality can be used in formal, technical, material, and ideological senses. It reports that evaluation of artwork's formal quality consists in determining how close an artist has come to achieving the goals.

The article explores the meaning of the term Object that is the area of artistic creation one needs to distinguish two possible uses of an object, as described by the Russian State Academy of Artistic Sciences.

The article offers information on dilettante art. Topics discussed include dilettante art refer to artistic creation that lacks professional features; characteristic of dilettante arts such as naive realism; and naturalism lead to the lack of a strictly thought-through composition of an artwork; in sculpture, dilettantism elaborate the surface of the detriment of form. It also mention that in painting and drawing, the dilettantism violate the laws of perspective and lighting and representation of the religious, historical and fantastic worlds as reinterpretations of the works of major artists.

The article offers information on collective artistic creation or collective creativity. Topics discussed include quality of the artwork in bringing collective psychological expressiveness and reflects the ideology of given community or social group; and the use of the term collective creativity to refer to unions of professional artists. It also mention that collective creation also take place sequentially, consideration of every work of art as product of collective work by science, and formation of unions of professional artists to work together.

The article explores meaning of the term plane, which refers to plane in the proper sense is a surface, as described by the Russian State Academy of Artistic Sciences.

The article explores meaning of the term utilitarian constructivism, which refers to arrive at the complete negation of art and mentions how widespread influence of utilitarian Constructivism during the first post revolutionary years should be explained by a difficult economic situation.

The article explores meaning of the term suprematism, which refers to a term derived from the word supremus, created by Kazimir Malevich to denote the system of painting he defended. It mentions that suprematism is the logical conclusion of the analytical path of painting. It reports that suprematism leads painting to the fundamental geometric figures the circle and the square. It discusses how suprematism treats color as the painted surface. It highlights suprematism as conveyed a sense of movement of flat surfaces by superimposing surfaces and thus expressing known spatial relations.

In this article, the author describes his sources of inspiration and passion for writing poems. According to the author, his sources of inspiration include works of jurisprudence and words that are used in laws. The author describes certain poems which are based on people and objects. The author has a passion for writing poems since he first learned to read.