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The article offers information on Anthony Vidler's career as a pivotal figure in American architectural theory from the 1970s to the 2000s. It discusses Vidler's influential essays, notably "The Third Typology," which initially outlined distinctions between modern and postmodern architecture but later questioned its own conceptual framework.

In my response to Michael W. Clune's A Defense of Judgment , I express some reservations about the notion of "community" that Clune invokes when he describes the sort of aesthetic judgment characteristic of a community of experts. More exactly, I ask whether a community focused on works of art and coming into being in a situation determined by modernism in the arts can ever cohere in quite the way that Clune needs it to, whether it can (or should even want to) attain the kind of sureness characteristic of, say, a scientific community. [ABSTRACT FROM AUTHOR]

The article explains how shame and modernist aesthetics engaged with one another in queer ways in Minimalist interiors in Manhattan, New York City in the 1970s. Topics discussed include Minimalist interior's refusal of conventional decoration and furnishings in favor of relationality aligned with the gay liberation agenda, evasion by Minimalist designers of interiors as a queer strategy, and queer tactics that counter conventional norms on gender, lifestyle, fashion and interior design.

The idea of modern art presupposes the rise of historicism and the sense of progress since the Enlightenment. Once art, however, conceives itself as progressive and hence modern, it is confronted by the paradoxes of progress: progress renders the modern obsolete at the same time as it seeks to give itself meaning by positing a goal, a destination that would be the end purpose and hence the end of progress. As a consequence, modern art is impelled to constantly transcend its own achievements and limits in a utopian quest for the artwork of the future, the ultimate work of art. But what happens to art when the grand art-historical narrative of modernism collapses? I argue that the 'modern' mutates into the 'contemporary' and that art now defines itself not in relation to the future but to the present. Contemporary art understands itself as operating in the present, that is, as an art for the present. It finds its destination now in the latest institutionalization of the paradoxes of progress: the museum of contemporary art. [ABSTRACT FROM AUTHOR]

The article focuses on Ramón Gómez de la Serna's manifesto, "The Concept of the New Literature," which outlined the principles of avant-garde literature and emphasized the importance of (auto)biographical and embodied writing. Topics include the manifesto's impact on literary innovation, Gómez de la Serna's role as a subversive avant-gardist, and the manifesto's influence on modernist aesthetics and the representation of fluid identities in literature.

In the process of cataloging the estate of modernist artist Almada Negreiros, many preparatory drawings for several of the author's public artworks are currently being identified. The volume and complexity of his prolific work imply that sometimes it is hard to connect specific documents and artworks of research and preparation to their respective final works. Recently, one particular drawing proved to be the key for understanding several other documents, simultaneously contributing to clarify the artist's methodology when preparing for the large‐scale stained glass behind the altar of Igreja de Nossa Senhora de Fátima. This article presents these new advances. [ABSTRACT FROM AUTHOR]

Modernist Buddhist movements receptive to new social and intellectual developments have emerged around the globe since the late nineteenth century. This study probes the origins of Chinese modernist Buddhist thought, including its sources, features, and transformations. Through a survey of writings by turn-of-the-century Chinese intellectuals, I show that Liang Qichao 梁啟超 (1873–1929) was, in 1902, the first Chinese person to advocate modernist Buddhism. His ideas drew not only from Japanese modernist Buddhism, but also from Confucian discourse and from Western thought without Japanese mediation. Liang's Buddhist thought incorporated features such as rationalism, social engagement, egalitarianism, and detraditionalization. He argued that if it were properly understood and practiced, Buddhism would strengthen China's social order and could even transform the world into a "pure land" (jingtu). Liang's modernist conception shaped later Chinese Buddhist movements, but only after it was cannibalized and its parts were modified for the purpose of reviving traditional Buddhism. [ABSTRACT FROM AUTHOR]

The article focuses on Lionel LeMoine FitzGerald's deep connection to his hometown of Winnipeg, which greatly influenced his artistic development and subject matter. Topics include his preference for painting local scenes, particularly in his neighborhood of St. James-Assiniboia, his meticulous documentation of his own residence and surroundings, and his pursuit of capturing the essence of everyday life through his modernist approach to art.

While the drive toward homogeneous and pure visual languages was at the foundation of early twentieth-century utopian modernist art systems, the Dadaist and Surrealist reaction to this utopianism took the form of extreme and often violent hybridity. Marcel Duchamp's 1913 "readymade" of a bicycle wheel placed atop a kitchen stool is a paradigmatic manifestation of the linguistic hybridity characteristic of post-utopian twentieth-century art. In the 1920s Francis Picabia made paintings constructed of separate and discrete layers of images, which, when viewed together, produced an unsettling visual "monster." Picabia's practice of superimposition was a significant forerunner of prevailing contemporary practices in postmodern painting. In his essay "Postmodernism, or the Cultural Logic of Late Capitalism," philosopher Fredric Jameson (1991) identifies pastiche as one of the main characteristics of cultural production in the age of postmodernism. Pastiche is defined as a work of art consisting of motifs borrowed from one or more sources, an incongruous hodgepodge of materials, forms, and images. In this age of pastiche, what are the options open to artists—to endlessly quote, imitate, or parody existing images and styles, or to construct a new and significant system of meaning? To discuss the centrality of the principle of hybridity in postmodern art—and in my own artistic practice of the past fifty years—I summoned Theolonius Marx, a fiction of my imagination who helped me handle the dilemmas of conceptual art in the 1970s. In this "conversation," Theolonius and I ponder how hybridity has placed a challenge to utopian modernist concepts, and what the conditions are for it to thrive today as a relevant and sustainable medium. [ABSTRACT FROM AUTHOR]

The article explores its provocative analysis of the ideological transformation in photography's history, challenging narratives around Bauhaus influences. Topics include the impact of Soviet photographic strategies, the shift from political to individual expression in postwar US avant-garde, and the contrasting trajectories of artists like Moholy-Nagy in Chicago and Enrique Gutmann in Mexico, raising questions about the global impact of Bauhaus ideas.

Daniel Albright's book, Music's Monisms, explores the concept of 'monism' in relation to musical modernism. The book provides a wealth of reflections and references, offering a comprehensive understanding of literature and music. However, the book's focus on monism is not thoroughly examined and often takes a backseat. Albright argues that modernist music challenges the boundaries between language and languagelessness, questioning the dichotomies that shape our thinking and organization of the world. While the book presents intriguing insights, it lacks theoretical rigor and fails to fully grapple with the complexities of modernist art and aesthetics. The text also critiques Joseph N. Albright's book, Music's Monisms: Schoenberg, Wagner, and the Philosophy of History, particularly the chapter on Wagner. The author highlights the naming dynamics in Wagner's work and asserts that musical meaning is always uncertain. However, the author criticizes Albright for not addressing the political complexities of Wagner's legacy, such as his revolutionism and anti-Semitism. The text suggests that a more deconstructive reading could have been achieved through a deeper engagement with Nietzsche's writings, which heavily influenced Wagner's operas. Overall, the text emphasizes the historical and political implications of the book's analysis of Wagner's music. [Extracted from the article]

The purpose of the work is to investigate the influence of modernism artistic currents, in particular cubism, in the work of the Ukrainian battle artist L. Perfetskyi, analysing the artistic manner and the relevance of the interpretation of historical events. The research methodology is based on the application of a set of methods: general theoretical - analysis, systematisation, generalisation of the researched sources; historical-retrospective - for studying the stages of artistic creativity and works of the artist; art critic - for the analysis of the general creative style and artistic manner of the artist. The scientific novelty of the work lies in the generalisation and systematisation of the creative heritage of L. Perfetskyi in the realm of battle painting, which vividly reflects the days of the armed struggle of Ukrainians for independence at the beginning of the 20th century; attention is also focused on the relationship between the direct participation of the artist himself in combat operations and his service in the ranks of the Army of the Ukrainian People's Republic with subsequent creative activity, which influenced the formation of the artist's original style in combination with the stylistics of cubism and other modernist searches. Conclusions. As a result of the conducted research, it was established that despite the partial loss of the artist's heritage, those works that have survived testify to the unparalleled talent and artistic originality of the artist, who was a witness of real events and masterfully embodied all that in artistic works. L. Perfetsky joined the cohort of Ukrainian combat artists and at a high artistic level managed to recreate some of the most difficult periods of Ukrainian history, which is supported by his personal view of these events as a direct participant. In addition, from an artistic point of view, the works of L. Perfetskyi are marked by artistic appeals and searches among the modernist European currents of cubism, which was constantly reflected in the increased expression and dynamics of the paintings. All this fills the content of his works with realism, capable of conveying the truth of what has been seen through many decades. [ABSTRACT FROM AUTHOR]

This article proposes a new articulation of the field of global-modernist art history by way of three case studies: The influence of canonical African sculpture on early Cubism, the emergence of modern art in late-colonial South Asia, and Nigerian modernism around the moment of independence in 1960. Drawing on research by Joshua I. Cohen, Suzanne Preston Blier, Partha Mitter, Geeta Kapur, and Chika Okeke-Agulu, I argue that this growing field of inquiry is structured by observed parallelisms between practices that are separated by great geographical and cultural distances—parallelisms that are unavoidable, yet also potentially misleading. Rather than adopt a model either of unidirectional influence or amalgamating hybridity to systematize this field, I instead apply a disjunctive, diagrammatic formalism for which I borrow the notion of "scheme transfer" from Alfred Gell and Pierre Bourdieu. This is a way to articulate the transmission of specific formal and structural traits (for example, from the coast of West Africa to Paris) as being contingent and reversible rather than inevitably hierarchizing. Following suggestions in the work of Leo Bersani and Eduardo Viveiros de Castro, I thus recommend the mutability of the diagrammatic—or, to put it differently, a revised, non-totalizing structuralism—as a means of navigating the perils of the comparative enterprise. [ABSTRACT FROM AUTHOR]

Once again it is time for a reckoning about the status of modernist art in Western Europe and North America. However we frame it, it's now perceived, in artist studios and academic programs alike, as just one formation among others, with no special claim on art practice or art history. No longer central, the field is relative not only to other modern arts in other geopolitical regions but also to all other art-historical fields. In short, it is neither the aesthetic epitome nor the historical gateway that most old-school modernists have believed it to be. This isn't news in other fields; that it might be for many modernists is one more sign that we have fallen behind. [ABSTRACT FROM AUTHOR]

This article explores the relationship between decolonization and the Cold War in the context of modernist studies. It discusses the connections between decolonization, global civil rights movements, and the Cold War superpowers, as well as the role of cultural diplomacy in the global south during the Cold War and its impact on literary production. The article reviews several books that offer new perspectives on African and Chinese literature, emphasizing the importance of considering non-imperial networks in global literary history. These books challenge traditional aesthetic categories in modernist studies and provide a more nuanced understanding of the interactions between Western and Eastern Bloc forms of imperialism and Afro-Asian solidarity movements. [Extracted from the article]

The article outlines some aspects of Vaska Emanuilova's work such as: the theme of the restorative current of modernism known as neoclassical art in France and its cultural prerequisites; the theme of women in sculpture; the theme of the primitive and its specific role in the genesis of Bulgarian modern sculpture and painting from the 1930s. [ABSTRACT FROM AUTHOR]

The magician's top hat, standardized handwriting, calligraphic flourish and ink blot of Man Ray's cover for the new series of Littérature in 1922 open questions of style in both fashion and writing. The cover's emblem-like visual components resonate not only with questions of style and cultural sophistication in such magazines as Monsieur and La Gazette du bon ton, but also with contemporary Dada squabbles with Cubism, and with a Paris Dada bugbear" Gustave Lanson's magisterial text, Histoire de la littérature française (1894). In his 1924 Manifeste André Breton deftly capitalized on Lansonism in order to turn it against its own premises and devices. Finally, Man Ray's emblem points to questions at the time of authenticity, authority and falsity. [ABSTRACT FROM AUTHOR]

No mito da América Latina elaborado por José Vasconcelos em La raza cósmica , o lugar ocupado pelo Brasil é decisivo. Já para outros dois intelectuais ligados à Revolução Mexicana, Pedro Henríquez Ureña e Alfonso Reyes, o país lusófono tem uma posição mais incerta na Nuestra América. Reconstituo inicialmente o ambiente pós-revolucionário que alimentou projetos culturais concorrentes. Presto atenção especialmente a La raza cósmica , procurando avaliar a importância do Brasil na imagem da América Latina então elaborada. De maneira complementar, busco verificar a repercussão do livro entre modernistas brasileiros, chamando a atenção para uma dimensão da circulação de ideias ainda pouco explorada: a das trocas intelectuais entre países periféricos. Interessa-me, em particular, explorar as mudanças que a elaboração sofre, o que pode indicar tanto as afinidades como as diferenças entre os dois ambientes. Brazil plays an important role in the myth of Latin America created by José Vasconcelos in La raza cósmica. On the other hand, the country is not as relevant for the Nuestra América imagined by two other intellectuals sympathetic to the Mexican Revolution: Pedro Henríquez Ureña and Alfonso Reyes. Initially, I reconstitute the postrevolutionary context from which competing cultural projects appeared. Paying special attention to La raza cósmica , I evaluate the role of Brazil in the idea of Latin America they create. I also appraise the booḱs impact among Brazilian modernists, drawing attention to an undervalued dimension of the circulation of ideas: that between peripherical countries. I am particularly interested in exploring the changes that the approach undergoes, which could indicate both affinities as well as differences between the two environments. [ABSTRACT FROM AUTHOR]

The article relates taxidermy to oil in the subculture associated with the oil sands in the Canadian West. Kitsch as it relates to postmodernism, and postmodernism to oil, share a sense of melancholy; an affect which is explored through the author's own practice as a visual artist and in the work of Claire Morgan, an artist from the UK. The affect of oil, and its implications as to mortality on the landscape are examined through an engagement with objects considered as 'remains' sourced from the local area, generally in or near the town of Fort McMurray. The author, expanding on past work, proposes a mode by which the subculture of oil workers might be engaged in environmental narratives, necessitating attentiveness to issues of class. The author's artwork describes her own personal experiences in the region and the experiences of members of her community. This article is an attempt to contextualize and elaborate on specific experiences of oil culture; the 2016 Horse River (Fort McMurray) wildfire is a focal point. [ABSTRACT FROM AUTHOR]

Charles Baudelaire is a very important figure not only in contemporary French poetry but also in the transformation of the general aesthetic perception. He conceives of modernist aesthetics as a "counter" value that subverts all established notions of goodness, beauty, symmetry, or order. Thus, a completely different approach transforms the perception of reality. In literary terms, this has manifested itself in works that are difficult to understand, lack the idea of unity, and exclude the traditional reader. In Turkey, especially within the Second New Wave, Ece Ayhan, who enables the comparative perspective of this article, constitutes a remarkable example in terms of having the same sensibility as Baudelaire, but in completely different times and places. Ece Ayhan, just like Baudelaire, is on a different line in terms of his sense of aesthetics and his perception of the world. This different line has often resulted in a problematic and distant relationship with the reader and has closed the way for a detailed analysis of his thoughts and works. This study aims to defend the diversity and breadth of modernism's possibilities by focusing on Baudelaire's and Ayhan's similar reflexes on self-awareness, rejection of authority, urban neurosis, aestheticization of evil, fragmented conceptions of reality, and their problematic relationship with the reader. In this way, it will be possible to draw holistic conclusions about Turkish modernist aesthetics and to evaluate its multi-layered structure. At the same time, with the two names mentioned, this interesting connection between Turkish and French literature will be revealed. [ABSTRACT FROM AUTHOR]

The article is devoted to the problem of postmodernism in the works of Ukrainian composers of the late XX century. It shows out the specifics of musical postmodernism in Ukrainian composers' creativity. In the process of the research there was highlighted a state of art history on this problem; the specifics of postmodernism emergence and its aesthetics formation in the national art were studied; the main creative methods in composers' works were generalized; the typical features of new musical vocabulary were systematized. In the article the following methods were used: source studies, historical, analytical, methods of analysis, synthesis, comparison, abstraction, theoretical generalization. The article is one of the first attempts in the world context which highlights the postmodern paradigms of Ukrainian music. This scientific paper determines the characteristic features of Ukrainian musical vocabulary. In it there was proved that musical art of the late XX century has undergone significant changes under the influence of deep processes in social, moral, spiritual spheres. Domestic music has entered a qualitatively new round, synthesizing all the experience of previous epochs, national and European musical traditions, combining them with a specifically Ukrainian mentality. All these affected the formation of national musical postmodernism, which was characterized primarily by polystylistics, stylistic allusions in both classical and folklore discourses, fragmentation and spontaneity in the creation of musical forms, conceptual authorial ideas. [ABSTRACT FROM AUTHOR]

The relevance of the article lies in the fact that in the 21st century the distance learning of vocal arts is becoming increasingly important in the postmodern period. The article characterizes the role and importance of educational innovations in the development of music education during distance learning. The author indicates the most important tasks, the solution of which involves the use of educational innovations during distance learning vocal art in the postmodern period. Along with this, such main directions of innovation activities as the formation of new content of the educational process, assimilation of new pedagogical technologies, and the creation of new varieties of educational institutions are influencing. The topic of the article is relevant in the international context, since examples of relevant innovations at the university level consider a "universal" approach to teaching vocal methodology (with coverage of "child" and "adult" periods as interrelated components), the use of media technologies to find professional information, the study of priority aspects of singing in distance vocal training in the postmodern period. The article presents innovations in vocal arts distance learning in the postmodern era; the use of innovations in vocal arts instruction; the renewal of present-day vocal arts institutions in the postmodern era: the vocal arts distance learning process in the twenty-first century. [ABSTRACT FROM AUTHOR]

The article reviews the exhibition "Beirut and the Golden Sixties" that was held in Musée d'art contemporain de Lyon in France from September 14-December 31, 2022 which features paintings, sculpture, multimedia and archival materials revisits in the development of Modernism in Beirut, Lebanon.

Its premise is that the interpretive framework of American film after the 1950s was strongly shaped by the Cold War; the end of the Cold War is assumed to have changed those aesthetic interventions because it changed how Americans saw themselves and their country's new role in the world. Looking back upon the Cold War, it is highly ironic that the cultural initiatives of the early Cold War, covered by Barnhisel's book, partly stemmed from the desire not to have the United States defined abroad only by its popular culture. It uses popular films produced before and after 1989 to demonstrate the shift in how various popular film genres changed in their plots, symbolism, choice of heroes and villains, and portrayal of American life after the end of the Cold War. [Extracted from the article]

The development of art in Austria after 1918 remains little explored; the main focus of research continues to be fin‐de‐siècle Vienna. Where interwar Austrian modernism is studied at all, interest is mostly limited to the municipal housing sponsored by the Social Democratic council. The main concern of this essay is to examine the reasons for this inconsistency and comparative neglect. It explores the ways in which the historiography of Austrian post‐war modernism has been informed by wider historical assumptions, about the role of the First World War as a cultural‐political caesura, for instance, or by ambivalence about interwar Austrian history and its slide into fascism, or valorization of the avant‐garde. A comparison is also drawn with accounts of art in interwar Czechoslovakia, where modernist practices are much celebrated since they have assumed a legitimating function for Czech and Slovak culture in the present. [ABSTRACT FROM AUTHOR]

The aim of this study is to examine the reflection of today's art practices related to migration according to Barthes' semiotic analysis. In the study, the literature review was used to form a theoretical basis for the phenomenon of migration. In addition, the semiotic analysis method was used in the analysis of visual art practices related to migration. The practices of Halil Altındere (Meatball Airlines), Ai Wewei (The Law of Travel), Tammam Azzam (Bon Voyage: New York, Bon Voyage: Suria) and Bruno Catalano (Parçalar, Venice) were examined with the purposeful sampling method. In all practices, there are indicators such as migrations, exclusion, poverty, being the other, culture, identity, stigma perception and marginalization, as well as the destructive and damaging physical images of the war and conflicts that are experienced today. The phenomenon of migration, the difficulties of migration on social life and the reflections of changes in sociological practices on the individual and society were strongly emphasized. As a result, in these studies, the problems that arise with migration, which have social, cultural and psychological dimensions, have been tried to be made visible from an artistic point of view. It has been revealed that the stakeholders have not developed effective solutions to the problems that arise with migration, and it has been requested to develop the necessary sensitivity regarding migration in the world public opinion. [ABSTRACT FROM AUTHOR]

The article analyzes the interaction between creator and audience that occurs in the new modes of art practices. Within this field, experimenting with technology is accompanied by emergence of new art forms and genres. Thus, it seems appropriate to view technologies as a mediator in the dynamic process of communication between the creator and viewer. In this context, a number of innovative projects were considered that emerged in the art practices of the recent decades. The choice of the projects is determined by the specific expressive means and by the features of interaction of these means on the basis of contemporary technologies. Creation of these projects resulted from the ideas and achievements of the 1970s-1990s. At first, it was "pure" experimentation, aimed at expanding the range of new expressive components and testing them. Afterwards, modern art products created within this direction are mature and complete. To evoke the interest of the audience, the use of multimedia and installations based on interactive technologies are employed. Technologies stimulate further evolution of art, i.e. they contribute to forming the new genres, and trends. It was concluded that technologies constitute a toolkit that de facto serves as a catalyst enabling practical realization of the artistic polylogue within the creative process: from the point when the idea is conceived, through its fulfillment in the creator's design and up to its presentation when its communicative models of influence aimed at the art communities are activated. [ABSTRACT FROM AUTHOR]

By focusing on a specific case study, a commission the Italian modernist artist Gino Severini received in late 1920 from British patrons and collectors Sacheverell and Osbert Sitwell to decorate a room in the family's castle at Montegufoni, Italy, this article sheds new light on the transnational networks of exchange and circulation characterizing the contemporary art world in the interwar period. Through an examination of unpublished correspondence with Severini's Parisian dealer, Léonce Rosenberg, the different expectations and agendas at play in this commission are exposed, as well as the artist's resulting negotiations with national identities and cultural diversity, questioning a paradigm of centre–periphery relations. I suggest leaving behind accepted interpretations of Commedia dell'arte characters in the context of the postwar 'return to order' to focus on Sacheverell Sitwell's taste and his writings on Southern Baroque art. From this perspective, Montegufoni becomes a site of cultural exchange and contamination. [ABSTRACT FROM AUTHOR]

This essay reads Barbara Guest's poem "The View from Kandinsky's Window" from her 1989 collection Fair Realism alongside Wassily Kandinsky's own theories of form and abstraction. It argues that Guest's poetic reinvention of historic avant-garde aesthetics on the page can be taken as an exemplary case for new feminist theorizing of the avant-garde as a set of decentered, provisional, and heterogenous practices. Guest's engagement with Kandinsky is initially situated in the context of Clement Greenberg's criticisms of the painter throughout the 1940s. According to Greenberg's formalism, Kandinsky is shown to have "failed" due to his provincialism, eclecticism, and disharmonizing of scale. Guest's poem can be seen as valuing and accentuating each of these qualities and in so doing it presents a subtle defence of Kandinsky's aesthetics and becomes an example of the kind of intermedia contamination which Greenberg's theorizing on "pure" modernist painting had attempted to delimit. Guest's counter interest in "de-limiting" the work of art--removing boundaries imposed by period, style, and media--is contextualized within debates on the "limit" within avant-garde aesthetics. [ABSTRACT FROM AUTHOR]

This article examines the neglect of animation in film criticism and theory, focusing on the 1960s and 1970s. Contrary to popular belief, it was the rise of modernism that was primarily responsible for that neglect, not scholars’ excessive focus on realism. Unlike the prewar modernists who celebrated animation, the postwar avant-garde sought to distance itself from it. This was due to two historic changes: a new animation culture concerned with visual education and social messages and high modernism’s disenchantment with collectivist politics. In order to unearth this conflict of sensibilities, this article examines the work of avant-garde critic Annette Michelson. [ABSTRACT FROM AUTHOR]

In this article, we discuss how the Brazilian artist Denilson Baniwa redefines the relationship between Brazilian modernism and indigenous cultures in his work. The article is divided into four sections. The first section examines the Eurocentric perspective of indigenous art and how non-European artifacts were historically evaluated based on binary categories that discriminated between true art and utilitarian objects without artistic value. The second section briefly presents the modernist movement in Brazil. The third section discusses the influence of modernist primitivism on several Brazilian modernists. Finally, the last section reflects on how Baniwa deconstructs modernism through his work, highlighting some of his selected works and proposing a re-antropophagy movement. [ABSTRACT FROM AUTHOR]

It is seen that art has been interpreted in different ways by passing periods throughout history. In order to get out of the current situation, to gain a new search and attitude, an art movement was either born as a reaction to another art movement or was further developed and gained a different dimension. Based on this situation, the "Rumi" motif, which has a very old history and is used in many art branches, especially in the art of illumination, has been stylized with the influence of the "Cubism" art movement, one of the 20th century art movements, and a new motif has been created. The motif was given the name "Kutri", which means life force. A cloak, which is thought to be able to show the motif in the most beautiful way, was designed, and the “Kutri” cape was pinned with the felt pinning technique. The cloak, which required a wide fabric surface for its preparation, was named “Kutur” and the resulting design was defined as “KutriKutur”. In this study, which means the space that contains life, the aesthetic structure of "Rumi" and the importance given to form by "Cubism" were tried to be emphasized. [ABSTRACT FROM AUTHOR]

This article interprets the formation of personal value orientations in the context of the artistic perception of the world. Personality is formed in the process of socialization and self-realization. Every person in the world is an individual, and individuality is formed in the process of acquiring value orientations, as well as in the conditions of cultural and educational development. Thus, an individual perceives the world and the environment in own way. His or her idea is a consequence of the value perception of the world, which arose as a result of certain life experience and educational activitiy. Human has a value attitude to oneself, to people, to art, to work, to society and state, and such an attitude is formed individually for everyone, but on equal conditions. After all, each individual has own characteristics, own worldview, dreams, and ideas. The perception of art is phenomenological in the formation of value orientations of human. After all, works of art are already a consequence of a certain value representation of a creator, which is interpreted through the work of art. In the course of our research the integration method of synthesis and the analysis of figurative structure, and, the characteristic of works of art are used. The methods of synthesis, analysis and interpretation contribute to the scientific perception of works of art that influence the formation of human values to culture. The results of our study reveal that in general, value attitude are formed throughout a person's life. [ABSTRACT FROM AUTHOR]

The very intimacy between Marsh and Brooke, which facilitated Marsh and James's affective kinship, drawing them closer after Brooke's death, becomes a point of rivalry and contestation between Marsh and Brooke's mother, driving them further apart after Brooke's death. After this review, Marsh had a hand in virtually all of Brooke's publications, and by the autumn of 1912 Marsh encouraged Brooke to make Marsh's flat at Gray's Inn his London I pied-à-terre i , as Marsh had done for other writers and artists, including E. M. Forster and Elliott Seabrooke. Coming from James, this explanation helped to put Marsh "in sympathy" with Mrs. Brooke's perspective, acknowledging, "she can't I'm sure forgive me for having drawn a Rupert who is not hers."[68] Decades later, Marsh echoes this proprietary language in his autobiographical account of Mrs. Brooke's objections to his memoir: "Rupert was hers, not mine, and it was outrageous that a single one among his friends, especially one of comparatively recent standing, should take on himself to determine the manner in which he should be presented to the world" ( I A Number of People i , 307). These letters not only celebrate Brooke as a poet, but also celebrate Marsh's proud affection for Brooke, which, in turn, inspires I in James i an identificatory affection for Marsh - Rupert is "splendid" not just as a poet, but in being the worthy object of Marsh's generous emotion. [Extracted from the article]

The author examines a series of diagrams produced by gallerist René Block in the 1980s that aimed to provide a genealogy for the nascent field of sound art. She assesses the broad narratives presented in these schematics and the people and practices omitted. She then compares them to other modernist diagrams, including Alfred H. Barr Jr.'s 1936 chart for the Museum of Modern Art asserting the trajectory of abstraction. Finally, she measures Block's diagrams against today's expanded field of sound art. [ABSTRACT FROM AUTHOR]

The disenchantment of experience and the development of scientist objectivism limit the scope of objective knowledge to science and relegate the human realm to historicist relativity, which leads to the crisis of modernity. The late modern return to immediate experience as a condition that is antecedent to dualism comes as a response to the crisis and attempts to cure the diremption of experience. T.S. Eliot's and Theodor Adorno's accounts of immediate experience and the possibility of developing a vision of the whole out of it are compared to determine which response is more consistent and handles the crisis adequately. This may offer a possible way out of the crisis and indicate the role that art can play in restoring experience. Art may either work to recreate the lost totality of experience as Eliot's Murder in the Cathedral does or show alienated objectivity as a product of experience as another possible route to restoring experience. [ABSTRACT FROM AUTHOR]

The purpose of the article is to determine the key ideas and attitudes of the era of postmodernism in the context of the rejection of metanarratives. The research methodology consists in the application of methods of analysis and synthesis, systematisation of facts, comparison, and generalisation of research outcomes. The scientific novelty lies in an attempt to understand the transformative changes of the key ideas of postmodern era and to mark the role of metanarratives in the context of the concepts of ideal, truth, and universality. Conclusions. Postmodernism has found alternative ways of spiritual growth. Besides, new forms of relations between people and society have been built. Postmodernism has «rehabilitated» the previous cultural and artistic tradition, which was actively destroyed during the 20th century: realism, academicism, and classicism. Postmodernism combined the experience of the past with the experience of the present; it can be seen as a change in cultural periods. However, mutual reflection of similarities and repetitions have displaced the categories of metanarratives (objectivity, reality, truth, universality, and ideal). Thus, JeanFrancois Lyotard, postmodernist thinker, and French poststructuralist philosopher defined postmodernism as distrust of metanarratives. The term «metanarrative» replaced the concept of «philosophy of history». Metanarratives linked historical events into a single story that had spanned long periods. The use of the term «metanarrative» in the era of postmodernism indicated the emergence of a new way of understanding history, culture, and art in accordance with the postmodern concept of truth. [ABSTRACT FROM AUTHOR]

This paper offers a critical consideration of the proliferation of art museums situated in shopping malls in China. Creating interventions of art and the art museum within retail structures can be conceptually understood as a synthesis development model, whereby the combination of art and commerce is adopted by real estate enterprises in China. The operational characteristics of mall museums reflect a growing tendency for art to be used instrumentally to align with everyday life: an aestheticisation of the ordinary. In the late twentieth century, postmodernism placed great emphasis on the blurring of boundaries between art and everyday life, signalling the collapse of the distinction between high art and mass/popular culture [Baudrillard, Jean. 1983. Simulations. New York: Semiotext; Featherstone, Mike. 1990. Consumer Culture and Postmodernism, 64–80. London: SAGE Publications]. Nonetheless, through the example of the Chi Shanghai K11 Art Mall, this paper considers public engagement practices where 'art is for the masses' within such structures to explore whether curatorial strategies and art practices are influenced through a constant adaptation into 'art museum retail'. It also aims to consider whether the development of these 'persuasive spaces' thus has the potential to include experimentation and knowledge production. [ABSTRACT FROM AUTHOR]

It is commonly assumed that we come to know the world best by observing it and that innovation is a human centred phenomenon. However, the objective of this review is to synthesise literature that emphasises the under examined, yet crucial, role that materials and tools exert in generating embodied perception; a diffractive pattern experienced as a passage of intensity sensed in the body of the painter when interacting with the material aspects of painting. Drawing on new materialist philosophies, recent creative practice research and the practices of three contemporary painters: Bracha Ettinger, Jude Rae and Paul Ching-Bor, this review examines how this complex phenomenon, known as the 'minor gesture', occurs in the painting process. It concludes that common painting strategies activate this phenomenon and demonstrates that innovation has its origin, not only in the intentional acts of the painter, but also in embodiment during the painting process. [ABSTRACT FROM AUTHOR]

This article investigates the nature of perceptual and actual spaces created and occupied by painting. The focus is on two artistic projects taken up by the author that incorporate sculptural elements and site-specific explorations to create a series of work. The body of work retains characteristics unique to painting. These projects are situated against the background of a similar trend in contemporary painting that sees many painters taking their painterly gesture outside of the bounds and flat surface of the canvas. This investigation is also a search for establishing theory-practice relation as the author's own practice is analysed with the support of Maurice Merleau-Ponty's phenomenological theory of embodied perception. This theory proposes the radical notion that sensation is an active reflective process and vision works in unity with different tactile and kinaesthetic senses. Reflective analysis of author's evolving practice – from the two-dimensional flat canvas to expansive installations on the terrain of a Himalayan village – opens up a productive opportunity for exploring how contemporary paintings incorporate and respond to space. Application of pigments through gestural brushstrokes on appropriate surfaces and strategically positioning these painted surfaces following compositional rules are ways of creating paintings in an expanded space. [ABSTRACT FROM AUTHOR]