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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 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 analyzes how artists and scientists use emotion as a methodological tool to study participants and cocreate projects. It uses a science and technology studies approach to identify a typology of five emotion assemblages and the material, social, and cultural components that make them operate. These assemblages include or eliminate cultural and environmental context, the role of participants, and artist/researcher reflexivity The paper argues that there is an imperative for artists, designers, and researchers to make deliberate choices as to who or what to include and exclude when working with emotion. [ABSTRACT FROM AUTHOR]

The article "Editorial: Content" in the magazine Imago discusses the relationship between content and form in art. It emphasizes that content shapes form and vice versa. It argues that artworks often fail to adequately convey the intended content. Examples are given of how politicized contemporary art and art education often neglect content and instead use narrow tasks that hinder creative engagement. The article emphasizes the importance of a balanced relationship between content and form in art and art education. The essays in this volume shed light on the art educational theme of content from various perspectives. Fundamental considerations are made regarding the tension between content and form, and action perspectives for theme-oriented artistic work in the context of higher education are presented. Furthermore, it is shown how the content of documentary photographs can be questioned and differentiated from a postcolonial perspective. Another contribution describes an artistic project with elementary school students that focused on the fairy tales of Hans Christian Andersen. Additionally, the question of educational potentials in engaging with artworks is raised. Another text deals with film didactic aspects and demonstrates, using a Greek film, how a specific film aesthetic is created. [Extracted from the article]

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.

The article presents the discussion on Japanese artist Katsushika Hokusai creating the most memorable artwork, Beneath the Waves off Kanagawa. Topics include living in a time of volatility, uncertainty, complexity, and ambiguity (VUCA); and living in an era of digital music streaming, online experiences, and intelligent instruments shaping new patterns of music creation and consumption.

This article presents a writing collaboration between an ethnographer and two artists. It was developed from a one-week residency at Kultivator, which is an artist-led project situated on an organic farm on the Swedish island of Öland. The writing is informed by classical pragmatist philosophy and gives focus to the organic trope of human-environment continuity. Drawing on the writing experiment the article argues that Kultivator is not simply doing organic farming; but building a farm to think-with organically. Kultivator is presented as a way of knowing continuity; and a way of doing organic philosophy also. As such the article suggests this artist-led practice has capacity to stretch artistic practice and its discourse beyond human collaboration. The research contributes an experiential account of artist-led practice in a rural context. Rather than focusing on artworks or 'buildings' this collaboration asks us to consider the way we 'build' our participatory process of living together and the role artistic knowledge can have in doing so. [ABSTRACT FROM AUTHOR]

This article argues that as the market for art rises to prominence both economically and conceptually, the artwork becomes a form of 'fictitious capital' that threatens the ontological status of the object and forces reconsideration of the role of the museum. These issues are examined through the lens of empirical market data, contemporary art, and analytic aesthetics. David Carrier's conception of 'aesthetic atheism' is tested against the background of both recent developments in the art market and creative strategies that stage the disappearance of the artwork. It is argued that the proliferation of spectacular auctions, art fairs, and information about sales prices results in a new object of appreciation: the market itself. The result is that the market is 'aestheticized' and constituted as a unique sphere of social goods in which the values traditionally associated with art are displaced. [ABSTRACT FROM AUTHOR]

In this article, the author who his artist and filmmaker and his utopian vision and his multilayered and conceptual artwork runs deep with theory but is never opaque. It mentions qualities attributed to Latinx peoples and cultures, and believed in the eventual unification of the Americas that celebrated the immigrant and the indigenous, while highlighting regional cultural distinctions. It also mentions juxtaposition is a profound statement on economies, immigration, and cultural identity.

The article reports that artist Annette Messenger has established himself as a major figure in France and abroad through his individual and group exhibitions. It notes that he has received prestigious awards, including the Japanese Grand Prize international arts, Praemium Imperiale, in 2016. It adds that his themes are frequently presented in reproductions and re-hangings of works.

Conversations about art often include broad statements about the stature of artists. Such statements raise questions about the best way to look at the bodies of work of artists. Like individual works of art, bodies of work are artistic objects worthy of appreciation. Through the body of work, we are better able to engage the aspects of creativity that require a long-term perspective. This long-term perspective allows us to look for a range of aesthetic qualities not readily evident in individual works of art. Looking at bodies of work also helps us to appreciate artistic accomplishments unfolding over a lifetime. [ABSTRACT FROM AUTHOR]

The article presents a report on the role of musical manager. Topics discussed include, manager of minor and disabled artists, manager as the representative of artistic collectives, and manager's legal relationship between the manager and the musical artist. Also being discussed is the efficiency and effectiveness of the manager to produce or reproduce and promote musical activities in extremely mutable environment.

The article presents a report on the current regulatory framework in Mexico regarding the rights of author. Topics discussed here include, the articles 4 and 28 of the Federal Constitution, public right to access goods and services provided by state, and monopolies granted to authors and artists for the production of their works.

An experiment was conducted in which the face-name mnemonic was applied to the task of associating 14 artists' names with two styles of their artwork, portraits and thematic paintings. Following study of the 28 items, mnemonic students outperformed "own best method" control students on both immediate and delayed matching tests. Further, mnemonic students maintained that advantage on a two-day delayed "transfer" test that required the identification of "new" paintings by the same artists. In addition to replicating prior positive mnemonic artwork-learning findings, we found that thematic paintings are generally easier to associate with names than are portraits — likely because they are more distinctive, and because they provide a more "target-rich environment" for making mnemonic associations. Implications of our findings for remembering artwork and other picture-word content mnemonically in educational and real-world contexts are discussed. [ABSTRACT FROM AUTHOR]

The article explores several artists who deploy generosity as tactic and strategy including Arianna Richardson, Juliana Capibaribe, and Cristiane Bouger. It outlines the boundaries of thinking, proliferates examples and suggests the seeming boundlessness of the question of generosity. It also considers the inaugural action for a phase of work that will more explicitly pursue generosity as a theme.

A re artworks alive? it is necessary to specify, first of all, what is meant by this question. One answer might point out, cheerfully, that works of art are still being produced, and that older works are still being exhibited, performed, archived, and anthologized, and hence still have an audience, a public, a readership. Art is alive insofar as it is still around and, moreover, insofar as it has a function in the world in which people conduct their lives. It is as if people communicate life to artworks as they brush up against them. Something like this would be the answer to my opening question as proffered by the cultural functionary, who is employed to affirm that art is not only alive, but well. That, however, is not an answer to the question meant here. [ABSTRACT FROM AUTHOR]

Some of our aesthetic experiences are of artworks. Some others are of everyday scenes. The question I examine in this paper is about the relation between these two different kinds of aesthetic experience. I argue that the experience of artworks can dispose us to experience everyday scenes in an aesthetic manner both short-term and long-term. Finally, I examine what constraints this phenomenon puts on different accounts of aesthetic experience. [ABSTRACT FROM AUTHOR]

This article proposes an expansion of the field of Partition Studies to include the work of globally dispersed diasporic artists. Undertaking a detailed study of the work of three contemporary artists, Nilofar Akmut, Zarina Bhimji and Navin Rawanchaikul, this article suggests that the legacies of Partition traverse geographical boundaries and have been inherited by a generation who were not witness to its cataclysmic events. In specific artworks, Partition is variously directly or obliquely referenced, and provides a contextual frame for the construction of personal identities. Exhibited in Britain, these artworks also serve to remind audiences of the consequences of British Imperialism, and propose that the Partition of British India should rightly be included in narratives of British history. [ABSTRACT FROM AUTHOR]

The role of art and artistic processes is one fruitful yet underexplored area of social-ecological resilience. Art and art making can nurture Indigenous knowledge and at the same time bridge knowledge across generations and cultures (e.g., Inuit and scientific). Experiences in two Inuit communities in northern Canada (Cape Dorset and Pangnirtung, Nunavut) provide the context in which we empirically examine the mechanisms through which art and art making may bridge knowledge systems about socialecological change. Art making and artworks create continuity between generations via symbols and skill development (e.g., seal skin stretching for a modern artistic mural) and by creating mobile and adaptive boundary objects that function as a shared reference point to connect different social worlds. Our results indicate how art and artistic processes may bridge knowledge systems through six mechanisms, and in so doing contribute to social-ecological resilience during change and uncertainty. These mechanisms are (1) embedding knowledge, practice and belief into art objects; (2) sharing knowledge using the language of art; (3) sharing of art making skills; (4) art as a contributor to monitoring social-ecological change; (5) the role of art in fostering continuity through time; and (6) art as a site of knowledge coproduction. [ABSTRACT FROM AUTHOR]

The article offers information on artworks of several artists including Endia Beal, Bethany Collins and Abigail DeVille. Topics discussed include marginalization of women by Beal in her works such as "Can I Touch It?," use of various languages in artworks by Collins as an expression of her own racial identity, use of discarded objects in artworks of DeVille, and works of several artists such as Nakita Gale, Deborah Grant, Andre Leon Gray, EJ Hill, Ann Johnson, Eric Mack, and Delita Martin.

Current events have marked the increasing tension between freedom of artistic expression and religious tolerance and sensitivity. While there have been several controversies in the West concerning art critical of Christianity, a more complex dynamic has arisen as some Western artists have created art critical of Islam. Research was undertaken to examine what aspects of artwork lead to the most aversive reactions and desire to ban art and individual differences in response to controversial art. Of particular interest was the response to artwork critical of Christianity in comparison to artwork critical of Islam. Studies 1 and 2 suggest that the artwork that mixes the sacred and profane (whether critical of Christianity or Islam) is particularly likely to elicit a negative emotional response and is more likely to be the target for censorship. Also consistent across Studies 1 and 2 individuals who based their moral foundation on purity and have Christian religious beliefs were more likely to endorse banning said artwork. In Study 3 an even more complex picture emerged in which non-Christians were more likely to endorse banning art critical of Islam in comparison to art critical of Christianity. [ABSTRACT FROM PUBLISHER]

Prussian blue (PB) is an artists' pigment that has been frequently used in many artworks but poses several problems of conservation because of its fading under light and anoxia treatment. PB fading is due to the reduction of iron(III) into iron(II) and depends a lot on the object investigated. Due to the complexity of the structure, the precise physico-chemical mechanisms behind the redox process remain obscure. In this paper, we present a procedure to investigate light- and anoxia-induced fading of PB-paper samples by means of time resolved X-ray absorption spectroscopy performed at the Fe K-edge. A system composed of a visible light source and a flux-controlled environmental cell allowed light, gas and humidity to be modified in situ. The synchrotron X-ray beam was evidenced to induce a reduction of PB and to play a major role in the kinetics. The analysis of the PB fading kinetics of a sample submitted to various gas and light environments showed that both synchrotron beam and anoxia were influencing PB reduction in a correlated way. In comparison, light was found to play a minor role. Finally, we have demonstrated that the type of paper substrate could influence significantly the kinetics of reduction. Several hypotheses to explain the correlation between PB reduction mechanism and substrate are presented. [ABSTRACT FROM AUTHOR]

Critics of the target article objected to our account of art appreciators' sensitivity to art-historical contexts and functions, the relations among the modes of artistic appreciation, and the weaknesses of aesthetic science. To rebut these objections and justify our program, we argue that the current neglect of sensitivity to art-historical contexts persists as a result of a pervasive aesthetic-artistic confound; we further specify our claim that basic exposure and the design stance are necessarily conditions of artistic understanding; and we explain why many experimental studies do not belong to a psycho-historical science of art. [ABSTRACT FROM AUTHOR]

Artists have long explored the way in which we see the world, and they have developed their own tools to portray their vision. The present study investigated whether the compositional information in paintings, an artistic device invented by artists, is utilized when people view paintings. In Experiment 1, we categorized paintings depending on their compositions through experts' ratings. Using the stimuli from Experiment 1, Experiment 2 tested if the compositional information interferes with a target detection task. We found that the false alarms increased when the targets and distracters had the same composition compared to when they were different. Finally, Experiments 3A and 3B examined whether composition information influences the perceptual similarity of paintings. Through a multi-dimensional scaling analysis, we first showed that paintings with the same composition were proximately located in the mental space (Experiment 3A). Using this distance from the MDS analysis, we found that performance on the target detection task decreased as this distance became close (Experiment 3B). These results suggest that people make use of compositions in paintings, thus providing a possible link between artworks and the human visual system. [ABSTRACT FROM AUTHOR]

This paper explores the contemporary art landscape of the Philippines, mapping its multiplicity across local terrains and within definitions of regionality and the art market. It discusses the ruptures that have caused this landscape to shift intermittently, spawning new networks and value structures that are less defined by the frame of ‘nation-based identity’ favoured in the past, and instead locates difference within the experimentation, historiographies, and pace of this contemporary ‘art scene’. It highlights flashpoints and uses case studies across the last five years in particular to illustrate that Philippine artists, art scenes and art markets are highly reflective of cross-civilizational cultural flows, alert to global trends and of their own currency within regional markets. This paper does not seek to provide a comprehensive overview but rather draws a map of some potent changes and significant players in this contemporary landscape. [ABSTRACT FROM AUTHOR]

The article reflects on conceptual artist Liyen Chong's artwork and her essays. It mentions that an image of her artwork in essay titled 'Preparation Form #1" offers an act of self-erasure. It states that statistical claims upon the body are made by the black sunset in the artwork of Chong titled 'Circles and Cycles make statistical claims upon the Body.'

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.