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The article focuses on the city of Lagos in West Africa and its significance in human development and modernity. It discusses how Lagos has been a hub of economic, political, and artistic activities for centuries, and how it has inspired artistic production by various creative minds. It examines the works of contemporary visual artists who has depicted Lagos in their artworks, analyzing paintings, sculptures, and drawings that represent the physical aspects and realities of the city and highlights the historical, geographical, cultural, and cosmopolitan nature of Lagos, as well as the challenges and joys of living in the city.

Metabolism holds potential as both a crucial topic and an analytical tool for our current biopolitical moment, for understanding the agency and significance of material forces as they move into and through bodies. From this vantage point, this article suggests practicing a metabolic gaze by reading together metabolism and contemporary art. It discusses ways of defining metabolism that might be productive in helping to produce tools and touchstones for metabolic readings, before presenting examples of artworks that might be interestingly illuminated by light of this sign. [ABSTRACT FROM AUTHOR]

The article focuses on the concept of "debordering" in woodcut printmaking practice in an inter-Asian context, exploring how artists from East and Southeast Asia challenge and dismantle borders through their artwork. Topics include the political manipulation of borders, the formation of borders from various factors, and the role of woodcut printmaking in connecting marginalized communities and promoting dialogue across regions.

The museum exhibition, Indo + Caribbean: The Creation of a Culture, which ran at the Museum of London Docklands, offers a captivating and insightful exploration of the rich heritage and diverse traditions of the Indo-Caribbean community. Through a combination of artefacts, personal miscellany, for example, jewellery, letters petitioning the government from planter Sir John Gladstone, contracts, shipping company records, postcards and papers from the Parliamentary Archives and artworks, the exhibition provides a decent, albeit not exhaustive, overview of the historical, cultural and social aspects of Indo-Caribbean identity. [ABSTRACT FROM AUTHOR]

This paper analyzes Italian artist Auro Lecci's contribution to pioneering media art, beginning with his paintings and ending with his computer artworks (1969–1972). As the author suggests, Lecci's paintings were already characterized by an algorithmic method that the artist went on to develop in his computer-generated works. The paper first discusses the plotter drawings Lecci created at the Computing Center of the University of Pisa (CNUCE), and then focuses on his last computer art project, made at the University of Massachusetts in Amherst, to suggest connections between Lecci's work and artificial intelligence. [ABSTRACT FROM AUTHOR]

The article focuses on the Diocesan Museum of Sacred Art in Vitoria-Gasteiz, Spain, which houses a collection of religious art with international significance, sourced from over 400 parish churches in the surrounding region. Topics include the museum's organization into various sections based on stylistic and chronological developments, materials used in the artworks, and the diverse origins of the artwork ranging from local to international artists and donors.

This article examines the narrator's viewing of Jerusalem and Judea, the Jerusalem Temple, and the high priest's performance of the liturgy in the Letter of Aristeas (§§83–120). The first section considers the aesthetics that Aristeas views as operative in Jerusalem and demonstrates how his art-critical analysis of Jewish objects reveals them to follow Greek aesthetics more closely than Alexandrian artworks, which instead bespeak imperial excess. The second section proposes that, although he may appear to be on a military reconnaissance, the Letter highlights Aristeas' experience of witnessing and being overwhelmed by the high priest Eleazar performing the liturgy. In concluding, it suggests that Aristeas' mind-altering experience of viewing the liturgy in Jerusalem has great import for the narrative of the Torah's translation into Greek. Telling the story of a Jewish translation involves a Greek transformation. [ABSTRACT FROM AUTHOR]

The article offers information on the use of data for action and the questioning of predictive models through artworks: The Life of C.B. and Les connus connus, les inconnus connus et les inconnus inconnus, created in 2010 by French artists Christian Boltanski and Julien Prévieux. Topics include the artists' exploration of statistics and insurance technology, challenging established statistical knowledge and the link between knowledge, prediction, and action.

This article conceives of landscape as something that is colonised, acted upon and defined through cultural and artistic processes. It makes reference to an EU-funded project based in different European countries which sought to research how art education can become infused with principles and values found in Education for Sustainable Development. The article describes the theoretical framework, training and implementation of lessons by teachers involved in this research project and finally offers a creative response to artworks produced by students during three lessons delivered by participating teachers. [ABSTRACT FROM AUTHOR]

An introduction is presented in which the editor discusses a special issue exploring the intersection between Surrealism and the sacred, featuring artworks by collaborative visual artists Ryan M. Pfeiffer and Rebecca Walz.

The article focuses on the exploration of Louise Bourgeois's artworks, particularly her Spider sculptures, in the context of Surrealism and personal history. Topics include the symbolic significance of the Spider sculptures as an ode to her mother, Bourgeois's engagement with Surrealist ideas and rejection of them later in life, and the influence of Parisian Surrealist circles on her artistic development in the 1930s.

The employment of digital technology in recent instances of artwork replication raises important questions about the perceptual and ontological distinction between original and copy, for the latter is purported to be even more authentic than an original that has undergone alterations. Such instances challenge not only Benjamin's claim about the loss of aura but also Goodman's distinction between autographic and allographic arts. The article proposes to rethink the original/copy dualism from the perspective of the cult image. In the devotional traditions of Graeco-Roman polytheism as well as Christianity and Buddhism, cult images are approached not as representations, but as animated entities endowed with thaumaturgic powers that can be ritually transferred onto copies. From this perspective, replication is not about reproducing more or less faithfully the original, but engendering a double as effective as the original. Finally, the bearing of this perspective on contemporary works of art is considered. [ABSTRACT FROM AUTHOR]

This paper aims to explore the Painting Classification in art teaching under Machine Learning. Based on Emotional Semantics and Machine Learning, the Emotional Semantics of the traditional image are expounded. Firstly, Emotional Semantics are applied to figure painting in art teaching. Then, the convolutional sparse automatic encoder model is introduced in Painting Classification. Finally, the accuracies of the Painting Classification of the Support Vector Machine classifier (SVMC) and that of the Naive Bayes classifier are compared, and the relevant conclusions are drawn. The accuracy of Painting Classification is positively correlated with the scale of painting. After analysis, the painting set is classified in a ratio of 2 : 1, with 2/3 as training set and 1/3 as test set, which is conducive to the good accuracy of classification. In Machine Learning, proper whitening can improve the accuracy of Painting Classification to a certain extent. However, when the whitening treatment coefficient is selected, it cannot be too large, and the average pooling is more accurate than maximum pooling. After the comparison of the new SVMC, the Naive Bayes classifier, and the convolutional sparse automatic encoder, the convolutional sparse automatic encoder has the highest accuracy of Painting Classification. Therefore, the Painting Classification in art teaching under Machine Learning is explored, which is of great help to the classification work of students or teachers in the future. [ABSTRACT FROM AUTHOR]

The article discusses the historical evolution of graphic analysis in paintings, exploring various methods artists have employed to diagrammatically represent the underlying structure and forms of artworks. It delves into 19th-century approaches to schematic drawings, contrasting two types of analytical schemas utilized by artists like David Sutter and Walter Crane in dissecting the compositions of artworks.

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My aim in this article is to explore the role of perspectivism—roughly, the view that works of art prescribe a certain perspective—in aesthetic cognitivism and in the ethical evaluation of art, particularly as it features in the value-interaction debate. Although I am critical of perspectivism's capacity to shoulder an artwork's cognitive and ethical value, I find some of the arguments mounted against it, most notably those by Ted Nannicelli, misdirected, and I present several arguments against them. However, because my aim is to show that both aesthetic cognitivism and ethical criticism should move beyond a concern for the perspective, I offer a different criticism of perspectivism to demonstrate how it should be modified if it is to make a more substantial contribution to the ethical evaluation of art. I conclude by providing a sketch of what I call ethically minded criticism of art, that is, one that is concerned not with a perspective that a work advances but with revealing work's cognitive and ethical insights, that is thus better suited to promoting art's educational and cultural value. [ABSTRACT FROM AUTHOR]

The article presents the discussion on destroying the artwork and removing it from the cultural landscape. Topics include conflict arising from the forced co-ownership demonstrating the artist's interest somewhat protected through copyright law; and recognizing in American legislative history during the Civil War in the first military code of conduct a clause.

In a recent paper, James Edwin Mahon (2019) argues that literary artworks—novels in particular—never lie because they do not assert. In this discussion note, I reject Mahon's conclusion that novels never lie. I argue that a central premiss in his argument—that novels do not contain assertions—is false. Mahon's account underdetermines the content of literary works; novels have rich layers of content and can contain what I call 'profound' assertions, and 'background' assertions. I submit that Mahon therefore fails to establish that novels never lie. [ABSTRACT FROM AUTHOR]

This article argues for the value of using formal models within the (digital media) artwork. Eschewing the antiformalism common to much of postmodernism, it argues for a more active engagement with formal concerns. Without embracing the totalizing theories of late modernist formalism, or discarding the idea of "the concept," the author argues for a more formal approach to the making of the (digital media) artwork. The goal is to point to models that can be used to intimately connect form and concept rather than treat them as separate or warring entities. The article critically explores three very specific digital media artworks that endeavor to bridge the gap between formalism and conceptualism, each pointing to indicative (but not exhaustive) methods for reuniting form and concept. [ABSTRACT FROM AUTHOR]

Slow looking is an increasingly prevalent strategy for enhancing visitor engagement in the gallery, yet there is little research to show why looking at artworks for longer should be beneficial. The curator of a recent exhibition of Pierre Bonnard at the Tate Gallery in London encouraged viewers to look slowly in order to enrich their experience of Bonnard's paintings. This article explores some of the reasons why Bonnard's work, in particular, rewards the viewer who spends more time studying it. The authors draw on various scientific studies of the ways in which observers process color contrasts, spatial configuration and figure-ground segregation in artworks and in everyday vision. They propose that prolonged interactions with works of art can facilitate perceptual learning, and they suggest ways in which these effects could be empirically studied using psychological methods. [ABSTRACT FROM AUTHOR]

The article presents the discussion on the artworks from Jingyuan Zhang relocating to Xining of Qinghai province in Northwest China with the parents after the outbreak of the Cultural Revolution.

An interview with St. Louis artist Van McElwee, whose "Time Fork: World B" is on exhibit at Laumeier Sculpture Park in Sunset Hills, Missouri, is presented. Topics include talks about how Time Fork: World B evolve from an idea into an artwork and what conceptual framework and physical components had to come into play.