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Copyright of Journal of Nabo is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article contains the conceptual vision of socialist realism as one of the key characteristics of art, transformed in the postmodern cultural era. Social realism is a cultural manifestation of the historical development of Soviet republics, including the Ukrainian SSR. The essence of socialist realism is seen as a manifestation of ideology in the Soviet conditions. Besides, the article considers the phenomenon in the context of postmodernism, relying on the findings of various scholars, and describes the interaction between postmodernism and socialist realism. Despite the general view that postmodernism (literally “coming after modernism”) emerged in the United States and Western Europe in the 1960s-1970s, there could be another way this movement evolved in fine art and architecture. The fact that the artists from the post-Soviet space managed to adapt to the global cultural field of postmodernism so swiftly proves that the totalitarian system failed to eliminate the plurality of opinions. A post-Soviet variant of postmodernism was largely defined by the influence of socialist realism. The recently proclaimed era of post-truth that allegedly started after the new millennium produced fascinating political and artistic experiments in the post-Soviet space. Hence, it would be logical to assume that some previously developed mechanisms were activated there. Post-truth as an instrument of politics in that sense resonates with the socialist realism used as an instrument of class struggle. Research methods include description, synthesis and analysis. [ABSTRACT FROM AUTHOR]

Copyright of Anadolu University Journal of Art & Design / Sanat & Tasarım is the property of Anadolu University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article explores the exhibition dubbed the "Red Show" at Charles Egan Gallery in New York City in December 1954. The exhibition showed the works of painter Robert Rauschenberg, and a group of friends including musician John Cage, choreographer Merce Cunningham, and dancer Carolyn Brown. It notes the argument of Michael Fried in his essay "Art and Objecthood" on the dangerous influence of the theater upon modernist art, claiming it constituted an abrogation of medium specificity.

From the late 19th century to the beginnings of the 21th century, the female figure in the painting art occupies an important political role. In the case of Turkish experience, the feminist art and the female figure experience an enormous development in spite of some difficulties to affront. This paper seeks to apprehend the evolution of female figure together with the rise of woman artists. It can be argued that both social and political messages of "the women" in Turkish painting art reflect widely the problems of the modern society in Turkey. [ABSTRACT FROM AUTHOR]

Today Art advances at a dizzying pace and hosts many subject and tecnique. In our era very favorable rapid consumption of this environment, the arts also inevitably affected. Movement from the fact that another type of technology emerging with every last day occupied all our lives, art is oblivious to these influences. These changes are changing our visual style, senses and aesthetic understanding at the same time. Period, understandings and ways of life change as a result of this change also keeps up with art. In the first quarter of 20th century at the time of plastic arts expanding its boundaries, effects of technology starting with dizzying world of photograph formed by cameras, printing methods, video and computer tecniques and today whole known memorizes are started re-edited. Now, rejecting the speed of technology or stay in the old tecniques pressure on the artist. Artist who applies oil painting or other classical tecniques, technology help artist at any step of work. Today, art don't expect staying behind like everything, it is hard to keep time and staying behind limits artists and following modern art built on the concept of modern artist. [ABSTRACT FROM AUTHOR]

This article discusses the distinction between Figure and Form that Deleuze introduces in Francis Bacon: The Logic of Sensation. He uses the distinction to articulate the difference between two trajectories in modernist painting: the first focusing on sensation, the second on cerebral abstraction. I argue that the distinction between Form and Figure -- and the disjunction of two types of modernist painting initiated by this distinction -- is not as easy to maintain as might appear at first sight. Mapping the lineages of modernist painting from Paul Céézanne to Georges Braque and Theo van Doesburg, the essay argues that the sensuous forces operative in a painting of the Figure are equally at play in the painting of the Form. Modernist painting might therefore be understood as the continuous collapse between Figure and Form, rather than as their strict separation. [ABSTRACT FROM AUTHOR]

The article presents an essay entitled "Passings: Andrew Wyeth--A Modern Painter Against The Ideology of Modernism," by D. Gerry Coulter. It mentions Wyeth's ability to create appealing and contemplative works of art and his ability to persevere amidst disparagement during and after the height of modernism. It also describes the artist's influence in modern Chinese art, where his style has been adopted as a manifestation of the appreciation of his cogitative brevity.

Presents an interpretation of Cubism. Origins of Cubism in paintings; Distinction between autonomous vision and deformation; Characteristics of Cubism.

This article focuses on the Central and Western Desert paintings of Australia, about their complex positioning in relation to the discourse of Western Art. One way of approaching the question of Central and Western Desert Art is to look at what has happened to the category of primitive art. What is at stake in primitive art is precisely the ambiguous status of the geographical Other. This geographical Other produced by the West at the border of its space is given, in modernism, an existence in its own right. For the early modernists, concerned with appropriation rather than with the object itself, the Other was described through race and then through geography. The claimed Other rationality which distinguished Negro Art became the legitimation for an art which critiqued the post-Renaissance perspectival figurative tradition. However, this critique remained within the limits of the given tradition of Western Art. Modernism was, in this sense, an auto-critique of Western Art and therefore could be, and was, understood dialectically as a progressive development within Western Art. The 1940s development of the category if primitive art was aided by a reconstruction of the Other through the mapping of anthropology. Where the early modernists located their difference in race the later modernists located theirs in an idea of distinct sociocultural systems, entities which could be represented through rational perspective and, for anthropologists, understood like any other text through a combination of practical criticism and hermeneutics.

The article presents abstracts on art topics which include the study of the figurative paintings and drawings of On Kawara, the essay examining the employment of transgression in the art of Kara Walker, and the essay exploring early twentieth-century modernism in New York.

In this article the similarities and differences between the representation and treatment of space in video games and in fine arts are explained. The evolution from two-dimensional to three-dimensional video games has been very similar to the development of the linear perspective in painting. In fine arts the importance of the linear perspective diminished after the emergence of Modernism; space became abstract, conceptual, and distorted. In games, however, the linear perspective still holds sway over the representation of space, and so video games are still very much stuck in the 'pre-Modern' era. I will argue in this article that this arrested development is inhibiting video games from being perceived from a cultural and aesthetic perspective. [ABSTRACT FROM AUTHOR]

The article focuses on the painting "Erna Schiling" or "Sick Woman, Lady With Hat", which appears on the cover of the issue and was painted by German expressionist painter Ernst Ludwig Kirchner, who lived from 1880 to 1938. A discussion of the artistic styles and themes which are seen in the painting, and of the goals and artistic styles which were seen in German expressionism, is presented. Kirchner's artistic influences and style and involvement in the German expressionist movement, are discussed.