Search

In the history of Mongolian art, the beginning of modern painting is considered in connection with the "First Exhibition of Young Artists" in 1968. Although social-realist paintings developed at the beginning of the 20th century in line with the policies of the party and government, the colors and patterns of some artists' paintings were expressed with new thinking. In Mongolia, the development of modern art has been rapidly developing in recent years in the fields of Cubism, Impressionism, Surrealism, Abstract, and Expressionism, and dozens of works have been created. During this period, the artists and artists of our country kept pace with the global changes and innovations in the field of art studies, created new types of works of modern art, and continued to learn and develop new methods of theory and practice. Since 1990, Mongolia has transitioned from a centrally planned economic system to a market economic system, and individual ideals and freedom have increased not only in the industrial sector but also in the field of painting, and the direction of modern painting has begun to develop rapidly since then. In line with this, in addition to the public access to modern artworks, the need to read, understand, and explain their meaning and content has increased. Moreover, since 1990, the award for the best works of the year of the "Mongolian Art Gallery" has been won by works created in the genre of modern art, which indicates that this genre of art has taken a significant place in the history of Mongolian visual arts. Although modern paintings are being created in large numbers, there is a lack of research that evaluates and analyzes them from the point of view of art studies. In the works of some researchers, the subject of Mongolian modern painting became secondary research and was limited to mention, which is the reason for us to selectively study this topic. The purpose of the research is to analyze the development and classification of modern art of the late 20th and early 21st centuries, which are stored in art galleries. This study aims to create a trend of modernism or monalism that reflects Mongolian traditional thinking. [ABSTRACT FROM AUTHOR]

As an intercultural modern art form, web-based ink and wash cartoons are significant tools to communicate cultural identities in the Chinese context because of their entertaining form, thought-provoking content, and profound cultural connotation. Against this background, the present study investigates the multimodal appraisal systems of 96 web-based ink and wash cartoons, focusing on attitudinal meanings and explicating how the attitudinal resources contribute to the communication of Chinese cultural identities. The analysis of 96 web-based ink and wash cartoons shows that the cultural identities of the Chinese dream, Confucianism, collectivism, and optimism are communicated through the interplay between visual and verbal semiotic resources. The analytical results reveal a series of generic features of the web-based ink and wash cartoons that contribute to the promotion of cultural identities, including the popular theme, minimalist style, positive attitude prosody, and the use of culture-specific metaphor and ideation. These features underpin the strategies for promoting Chinese cultural identities and the shift in national branding policy. The study hopes to provide clues for government, social institutions, and individuals to promote cultural identities effectively through social media. [ABSTRACT FROM AUTHOR]

Background: Around 10% of people with HIV (PWH) exhibit a low-level viremia (LLV) under antiretroviral therapy (ART). However, its origin and clinical significance are largely unknown, particularly at viremias between 50 and 200 copies/mL and under modern ART based on integrase strand transfer inhibitors (INSTIs). Our aim was to characterize their poor immune response against HIV in comparison to individuals with suppressed viremia (SV) and non-HIV controls (NHC). Methods: Transversal observational study in 81 matched participants: 27 PWH with LLV, 27 PWH with SV, and 27 NHC. Activation (CD25, HLA-DR, and CD38) and senescence [CD57, PD1, and HAVCR2 (TIM3)] were characterized in peripheral T-cell subsets by spectral flow cytometry. 45 soluble biomarkers of systemic inflammation were evaluated by immunoassays. Differences in cell frequencies and plasma biomarkers among groups were evaluated by a generalized additive model for location, scale, and shape (GAMLSS) and generalized linear model (GLM) respectively, adjusted by age, sex at birth, and ART regimen. Results: The median age was 53 years and 77.8% were male. Compared to NHC, PWH showed a lower CD4+/CD8+ ratio and increased activation, senescence, and inflammation, highlighting IL-13 in LLV. In addition, LLV showed a downtrend in the frequency of CD8+ naive and effector memory (EM) type 1 compared to SV, along with higher activation and senescence in CD4+ and CD8+ EM and terminally differentiated effector memory RA+ (TEMRA) subpopulations. No significant differences in systemic inflammation were observed between PWH groups. Conclusion: LLV between 50 and 200 copies/mL leads to reduced cytotoxic activity and T-cell dysfunction that could affect cytokine production, being unable to control and eliminate infected cells. The increase in senescence markers suggests a progressive loss of immunological memory and a reduction in the proliferative capacity of immune cells. This accelerated immune aging could lead to an increased risk of developing future comorbidities. These findings strongly advocate for heightened surveillance of these PWH to promptly identify potential future complications. [ABSTRACT FROM AUTHOR]

This paper examines the questions of cultural identity in the surrealist related translation practices led by the China Independent Fine Arts Association (CIFAA) around 1935. It was the first time in the history of modern Chinese art that a group of artists translated 'surrealism' together and that an art association independently translated a modern Western art genre into China. Accordingly, the CIFAA's work evidences that translation has played a vital role in the modernization of Chinese art. In this translation movement, the young artists-as-translators expressed their pioneering art concepts through translation, expressing their desire to be both 'reformers' of Chinese art and 'mediators' of Chinese and Western modern art. As reformers, the artists attempted to innovate Chinese art by introducing surrealism, while as mediators they sought to reconcile the contradiction between their desire for innovation and the mainstream left-wing Chinese expectations of realistic art by adding 'realism' to the Chinese semantic meaning of 'surrealism'. This paper thus argues that the CIFAA's translation of surrealism reflects a complex relationship between translation and the artists' cultural identity, which ultimately conceptualizing an unprecedented 'Chinese surrealism' that is very different from the original Western surrealism. [ABSTRACT FROM AUTHOR]

Pendulum paintings are popular in modern art and social media as a simple way to create beautiful patterns. This article shows how pendulum paintings can be used to connect art with math and science in classrooms of any level. Students use the painting process to collect data. They also use other "messy data" that may be hard to measure or see to make mathematical models that can predict how long the pendulum would swing. Real-world measurements and models used by scientists and engineers often involve messy data from complex systems. The activity can be easily adapted to and differentiated across multiple grade and ability levels. The activity helps students to analyze what they see, to consider variables that may be hidden, and to perceive math as a useful tool in science. The goal of the exercise is not to necessarily find the right answer, but to ask the right questions to make a testable mathematical model. [ABSTRACT FROM AUTHOR]

Copyright of Art-Sanat Journal / Art-Sanat is the property of Art-Sanat 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.)

Using recycled materials to create beautiful artworks has become a bulging trend especially in modern times. Many Nigerian artists now rely on this medium to create award winning art works that also provide them regular income in the process. This paper focuses on the meaning of recycling and analysis of its relevance to modern art. It emphasizes the degree of value its usage has added to the enhancement and acceptance of indigenous art works in Nigeria. In addition, it enables the researcher to enumerate the economic benefits of adopting recycled materials for the creation of artworks by the indigenous artists, government, and the society in general. It further suggests ways of improving on its usage. Finally, the paper suggests ways of ameliorating government's efforts in making waste recycling business more lucrative especially to artists who use them as their medium of creation. [ABSTRACT FROM AUTHOR]

Norwegian artists that began exhibiting their work around 1900–1910 had vastly different career trajectories depending on their gender. The article highlights the career trajectories of five women, all of whom were all students at Harriet Backer’s art school. The women received the same training as the men. A combination of factors (political, economic, social, critical reception, etc.) affected this generation of women artists particularly hard, while the men became central to the development of modern art in Norway.

Over the recent decades, a variety of indices, such as the fractal dimension, Hurst exponent, or Betti numbers, have been used to characterize structural or topological properties of art via a singular parameter, which could then help to classify artworks. A single fractal dimension, in particular, has been commonly interpreted as characteristic of the entire image, such as an abstract painting, whether binary, gray-scale, or in color, and whether self-similar or not. There is now ample evidence, however, that fractal exponents obtained using the standard box-counting are strongly dependent on the details of the method adopted, and on fitting straight lines to the entire scaling plots, which are typically nonlinear. Here, we propose a more discriminating approach with the aim of obtaining robust scaling plots and extracting relevant information encoded in them without any fitting routines. To this goal, we carefully average over all possible grid locations at each scale, rendering scaling plots independent of any particular choice of grids and, crucially, of the orientation of images. We then calculate the derivatives of the scaling plots, so that an image is described by a continuous function, its fractal contour, rather than a single scaling exponent valid over a limited range of scales. We test this method on synthetic examples, ordered and random, then on images of algorithmically defined fractals, and finally, examine selected abstract paintings and prints by acknowledged masters of modern art. [ABSTRACT FROM AUTHOR]

This photo essay is an exploration of how monuments, that try to give coherence to our shared past and identity, can be rethought through modern art. Specifically, it centres on an art festival in Balaguer, Spain, where an art installation titled MONUMENT by the MITO Collective was set up close to an existing monument of a 18th century Spanish conquistador. During the festival, the monument of the conquistador was vandalised and subsequently removed. The photo essay shows that instead of being static symbols, monuments can be lively spaces that encourage us to talk, question the usual stories told by history, and engage more actively with our collective memories. By presenting reactions to the MONUMENT installation, which featured slogans from various social movements, it suggests that monuments can be places where ongoing stories and conflicts are acknowledged. This shift in perspective invites us to keep rethinking how history can be negotiated in public places, making room for a wider range of voices and stories. [ABSTRACT FROM AUTHOR]

Whenever twentieth-century modern art or new contemporary artworks are included amongst displays of ancient Egypt, press statements often assert that such juxtapositions are 'surprising', 'innovative', and 'fresh', celebrating the external perspective they bring to such collections. But contemporary art's relationship with museums and other disciplines needs to be understood in a longer-term perspective. Pairings of twentieth- and twenty-first-century artistic works with objects of antiquity is an activity that has been undertaken for more than a century in what has been a relatively long period of mutually reinforcing influences between modern/contemporary art, museum display, the art market, and Egyptian heritage. Together, they have decontextualised ancient Egyptian culture and shaped the language and perspectives of scholars, curators, and artists. In this paper, rather than considering how artists have been inspired by ancient Egypt, I will give a few examples of how more recent art practices from the late nineteenth century onwards have impacted the language and discourse of Egyptology and its museum representation. Then, using more recent artist engagements with the British Museum, I argue for greater interdisciplinary dialogues between artists and Egyptologists, as both take more critical stances towards research that recontextualises the power and agency of collections, representation, and knowledge production. [ABSTRACT FROM AUTHOR]

The idea of the sublime as an aesthetic category, with its direct relation to our sensibility and contemplative apparatus, can be brought up as a prerequisite for the realization of abstract image. With a view to Modern art in the 19th-20th centuries, the article makes a comparison between the philosophical concepts of sensory perception (Kant, The Critique of the Power of Judgment) and some processes of modern art which highlight three forms of visual expression: painting, photography, and cinema. The article examines the philosophical theory of Immanuel Kant, the work of Wassily Kandinsky - a painter and art theorist, and Wim Wenders - a film director. [ABSTRACT FROM AUTHOR]

Copyright of Art-E is the property of Suleyman Demirel University, Faculty of Fine Arts 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.)

This paper aims to discuss the model for the creation of wayang figures depicting Kekayon Khalifah, specifically focusing on Khalid bin Walid, a renowned figure in leading battles. The method employed involves Artistic Research and Practice Based Research in contemporary art. The focus of this discussion lies in the development of practice-based artistic techniques. Furthermore, it explores the realization of these figures on buffalo skin, portraying the character as a respected warlord by his troops and feared by his enemies. Realization of embodiment through decorations and ornaments on beautiful leather crafts. This leathercraft works will produce artifacts in the form of the Khalid bin Walid paraga puppet. The ornaments and decorations in this work are complemented by the calligraphy of the characters' names. Then an interesting visual is created and can imply a certain message to the audience. Especially when this media is exhibited. Works that can be enjoyed by viewers. So this art can be used as education to the public, both formal and non-formal. [ABSTRACT FROM AUTHOR]

• A multi-analytical approach for the characterization of colored modern paints was developed. • The method allowed to indentify pigments, binding media and additives for the organic and inorganic characterization of reference samples. • Chronological data about modern paint components was obtained by correlating the chemical information with data compiled from books, articles and patents. • Analytical results and chronological information were compiled into integrated charts to estimate the manufacturing period. • The developed methodology was successfully applied to corroborate the estimated date of an artwork presumably produced in 1946. Throughout the twentieth century, the paint industry developed a multitude of new binding media, pigments and additives that improved the appearance, ease of application, and performance of modern industrial paints. Depending on when and where they were first manufactured, and when they were introduced into paint formulations, some of these new paint components could conceivably be chronological markers useful in assigning attribution to specific artists or in the study of forgeries. The aim of this study was to develop a systematic methodology for characterizing organic and inorganic materials in modern paints, and search for potential chronological markers. Colored reference paints manufactured by local companies in Argentina from the 1940s and 1950s were studied with a multi-analytical approach that included Fourier-transform infrared spectroscopy, gas chromatography coupled with mass spectrometry, Raman spectroscopy, X-ray diffraction, X-ray fluorescence and scanning electron microscopy with energy dispersive X-ray analysis. A wide range of compounds was identified due to the complementarity use of the analytical techniques. Historical references, patents, books, and scientific publications about the materials used in that time period provided invaluable information in establishing tentative timelines for modern paint components. This investigation was part of a broader interdisciplinary investigation of Concrete Art, an international art movement of the beginning of the twentieth century, which took place in Argentina and other nearby countries during the 1940s and 1950s. To prove the concept, a micro-sample from "Obra N° 171" by Raúl Lozza was analyzed. Organic and inorganic fractions were studied and the information collected was correlated with developed timelines to support the authentication process. Ultimately, the information from this study may also have a direct impact on the key areas of material characterization, aging behavior, and conservation of works of art made from these products. [Display omitted] [ABSTRACT FROM AUTHOR]

The Romanian art market occupies a relatively modest place in the international context, but it has registered a significant growth in the last decades, attracting more and more attention on the global stage. Like most Eastern European countries, former communist states, Romania is an emerging art market, currently having a small volume of transactions on the world art market. At the moment, most sales of modern art in Romania are made through auction houses, with Artmark the authoritative leader, while contemporary art is mainly sold through galleries. However, the volume and value of transactions remain modest compared to the large international auction houses such as Christie's and Sotheby's. This paper examines the market dynamics, analyzing the activity of art galleries, auction houses, publications and art magazines, what are the quotes of Romanian artists, and other aspects, such as art fairs or data related to the trends of the Romanian art market good, because opportunities exist, including for a young market like the one in Romania. Events such as Art Safari, MoBU, Bucharest Contemporary Art Biennale and Cluj International Ceramics Biennale, etc. contributes to positioning the Romanian art market on the international map, attracting collectors and art critics from all over the world. The perspectives of the Romanian art market are particularly aimed at the function of art as an investment alternative, as there are still many heritage or contemporary art objects at affordable prices for the beginning of a collection, but also for older collectors or those people with solid financial funds who are looking for an alternative to secure savings. The paper concludes that the Romanian art market has the potential to develop and expand significantly in the coming years. [ABSTRACT FROM AUTHOR]

he article explores an innovative approach to establishing a museum of contemporary art in Ukraine using digital technology. The paper delves into the theoretical foundations of digital and virtual museums, emphasizing their role in preserving and promoting contemporary art amidst modern challenges such as pandemics and armed conflicts. The Non-Governmental organization (NGO) 'Museum of Contemporary Art' (established in 2020) aims to create a new professional institution in Ukraine dedicated to contemporary art. Unlike traditional methods where digitization follows the establishment of a physical museum, this project begins with a digital platform that serves as the foundation for a future physical museum. This approach highlights the innovative nature of the project and opens new horizons for museum practices and cultural heritage preservation. The digital platform not only documents existing artworks but also aids in forming a museum from the ground up, based on digitized collections. This initial digital creation preceding physical realization underscores the unique and groundbreaking character of the initiative. The article discusses the practical implications of the digital platform, including the management of art collections, facilitating research, and enhancing public access. It also addresses challenges related to copyright and collaboration with other institutions. Additionally, the article introduces the 'Wartime Art Archive', a project that preserves visual art created during the state of war, highlighting its significance for future generations. This digital platform is poised to become a comprehensive database of Ukrainian contemporary art, uniting works from various autonomous museums and private collections, thus fostering collaboration and accessibility. The ultimate goal is to create an inclusive and expansive representation of Ukrainian contemporary art, leveraging digital tools to overcome physical and logistical barriers. [ABSTRACT FROM AUTHOR]

This contribution explores the representation of the myth of Endymion and Selene in specific artworks from the Global North (especially by Pier Francesco Mola and Anne-Louis Girodet de Roussy-Trioson), focusing on the interplay between light, body, and meaning. The study uncovers the complexity and evolution of Endymion's character, influenced by changing cultural and artistic contexts. It delves into the spatial dimensions of imagination, symbolic associations, semiotics of light, and evolving ideals of masculinity, emphasizing the importance of interpreting the myth through a topographic perspective. Furthermore, it examines how cultural norms and spatial constructs challenge established conventions, introducing disruptive elements within familiar narratives. Endymion's portrayal as a passive figure bathed in Selene's light serves as a focal point for exploring themes of desire, castration symbolism, and the objectification of the male body that reflects broader shifts in artistic sensibilities and cultural norms. [ABSTRACT FROM AUTHOR]

This study delves into a novel approach for energy conservation and environmental pollution reduction through modern environmental art design, guided by the ecological civilization concept and powered by artificial intelligence (AI) technology. The environmental art framework, aligning with the ecological civilization paradigm, is intricately designed. The data acquisition layer employs diverse sensors to gather equipment status, environmental, and pollution data, transmitting it to the executive controller layer via internal WIFI connectivity. The collected data undergoes meticulous analysis and processing within the data layer before reaching the actuator control layer. Leveraging support vector machines in artificial intelligence, the executive controller layer amalgamates the analyzed equipment and environmental data to devise energy-saving equipment and environmental pollution control schemes. Real-time visualization of these outcomes is achieved through the display operation layer. Findings affirm the effectiveness of this method in acquiring pertinent data for modern environmental art design and managing equipment states. Implementation of this approach successfully diminishes power consumption, dust concentration, and formaldehyde levels in the modern environmental art design zone, showcasing its prowess in energy conservation and pollution control. The integration of AI within the ecological civilization framework highlights its potential in fostering sustainable and environmentally conscious practices in modern art creation. [ABSTRACT FROM AUTHOR]

This study considers artworks from across the modern and contemporary period (with a focus on the 1940s onwards) where writing is presented as incomprehensible to the viewer. This can occur, for instance, where issues related to cross-cultural interaction are being addressed, or more generally where the issue of encounter with an otherness of some kind has become the content of the work. While the earlier part of the analysis will focus primarily on artists of European or North American origin, artists of non-Western birth will predominate in the discussion of more recent art. Amongst the artists discussed are Paul Klee, Jackson Pollock, Mark Tobey, Lee Krasner, Zhao Wuji, Cy Twombly, Rasheed Araeen, Xu Bing, Oscar Ho Hing-Kay, and Warren Leung Chi Wo. Egyptian hieroglyphics, the Chinese written language, and Arabic calligraphy are linguistic codes to which the article will also refer. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege 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.)

Although Clive Bell's aesthetic formalism has had a significant impact on development of later modern art theories in the twentieth century, in the last decades its authenticity has been noticeably declined due to many objections raised against it. In spite of significant contributions of scholars to elucidate and resolve shortcomings and ambiguities of Bell's theory of significant form, yet the nature of his key conception 'significant form,' mutually and circularly defined in terms of another controversial term 'aesthetic emotion,' is obscure. In this regard, many vague points in respect to the relationship between aesthetic theory of formalism and modern art can be proposed that need to be addressed. Above all, how Bell's formalism has been construed and employed by Modern theorists and artists, particularly in case of Piet Mondrian as one of the most prominent formalist and modernist pure abstract painters of the first half of the 20th century? Indeed, this article aims at evaluating the authenticity of this hypothesis that ambiguities of Bell's theory of formalism will be resolved, though to some extent, by scrutinizing this theory in the light of Mondrian's theory of Neo-Plasticism; an enriched art theory which is basically shaped by many philosophical doctrines (especially Plato, Hegel, Schopenhauer, and theosophists) and artistic theories (particularly Cubism and De Stijl), artistic movements which they themselves are founded and developed based on tenets of formalism. Therefore, this article aims to further shed light on ambiguities of Bell's theory of significant form. To this end, it firstly attempts to explain the analogies and disparities between Bell's theory and Mondrian's Neo-Plasticism in respect to two key conceptions: significant form and aesthetic emotion, and secondly to further illuminate some of the ambiguities overly discussed by scholars in regard to this polemical theory. The data for this article has been collected by using library research (mainly latest articles and books). However, for the sake of comparison, original and first published version of Bell's theory of formalism, published in his seminal book titled Art, has been used. Analysis and results have been written by using intertextual approach and a descriptive-analytical method to examine Mondrian's account on Bell's key conceptions "aesthetic formalism" and "aesthetic emotion" and the vicious circularity found in their definition. At the end of this article, it becomes evident that there are intimate analogies between Bell's theory of significant form and Mondrian's Neo-Plasticism in respect to conceptions of plastic means (formal elements of his art) and equilibrium, or new harmony. It becomes clear that Mondrian in his writings explicitly refers to Bell's key notions significant form and aesthetic emotion and he defines the former in the light of his Neo-Plastic principles. Moreover, it will be deduced that unlike Bell, Mondrian's rendition of Bell's notions significant form and aesthetic emotion is discharged of any circularity. Lastly, the results of this article clarify the formalist roots of Neo-Plasticism, which have been mostly construed in relation to other artistic theories and philosophical doctrines. [ABSTRACT FROM AUTHOR]

Copyright of Revista Iberoamericana (Liverpool University Press) is the property of Liverpool University Press / Journals 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.)

Alfredo Panizo was a philosopher who served in various capacities at the University of Santo Tomas (UST) during the twentieth century. In 1954, he gave an address at the university that was also published in book form as Art and Morals. In his address/book, Panizo systematically laid out his aesthetics, which offers a criticism of modern art during a time when Edades and other modernists received institutional support from UST. Unfortunately, scholars have neither provided a comprehensive explication of Panizo's aesthetics nor situated it in the broader history of Philippine modern art. This paper aims to address this problem. By employing Gadamerian hermeneutics, the author of the paper offers an interpretation of Panizo's aesthetics that (1) forms a connection between his ideas and S. P. Lopez's thoughts on proletarian art, (2) explicates Panizo's views on beauty and transcendence, and (3) investigates Panizo's position on modern art. Through this paper, the author hopes to add more nuance to the story of modern art in the Philippines. Although much has been written about the modernists, who made UST a springboard for spreading their ideas, scholars have barely looked at what the Dominicans at the university thought about modern art. [ABSTRACT FROM AUTHOR]

Copyright of Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies & Art (08687692) is the property of Logos 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.)

Copyright of Journal of Social Sciences Research / Sosyal Bilimler Arastirmalari Dergisi is the property of ODU Journal of Social Sciences Research 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.)

Copyright of Central Asian Journal of Art Studies is the property of Central Asian Journal of Art Studies 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.)

Copyright of Central Asian Journal of Art Studies is the property of Central Asian Journal of Art Studies 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.)

Copyright of Art Alchemy / Kimiaye-Honar is the property of Advanced Research Institute of the Arts 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.)

This essay explores circular compositions in medieval and early modern art. Delving into the intersection of religious, philosophical, and scientific ideas, the text examines the prevalence of circular depictions in medieval and early modern aesthetics. Utilizing an interdisciplinary approach, the author draws from primary Hermetic and Neoplatonic sources, providing four reasons for this preference. Firstly, this essay explores the scientific understanding of the shape of the universe, planets, and stars. The second reason delves into the psychological, symbolic, and geometric aspects associated with circular compositions, connecting them to Christian cosmological diagrams and symbolism in the visual arts. Furthermore, the essay investigates the conceptualisation of the universe as a mirror reflecting the divine, emphasising the role of beauty in religious art. The essay concludes by examining the visual culture of medieval and early modern periods, tracing the evolution of circular representations from Roman coins and shields to illuminated manuscripts and paintings. The article sheds light on a hitherto underexplored aspect of medieval and early modern cultures, despite its significance in shaping symbolism and organizing iconographic programs within these periods. [ABSTRACT FROM AUTHOR]

Pablo Picasso's Landscape with Billboards (1912) evinces a deep and complex relationship with emergent trademark and related intellectual property law in France. Among the three trademarked logos featured prominently in the work is that for Bouillon Kub. Critics, caricaturists, and the Cubists themselves toyed with the visual and textual rhymes between Cubism and Bouillon Kub. But only Picasso in his Landscape with Billboards engaged deeply with the nascent trademark and design protection laws exploited more forcefully by Bouillon Kub than nearly any other brand. This essay is a small part of a larger chapter on Picasso, Cubism, and the semiotics of trademark, which, in turn, is a part of the book project Art™: A History of Modern Art, Authenticity, and Trademarks. [ABSTRACT FROM AUTHOR]

The Khrushchev Thaw allowed Poland a slightly larger margin of freedom in its cultural exchange with Western Europe than it had since the end of the Second World War. In this newly relaxed political climate, two models of Polish cultural diplomacy emerged in the West. The first constituted the official foreign policy of Poland's communist authorities, while the other remained unofficial, relying on a network of contacts with Poland's government-in-exile. An examination of contemporary Polish art exhibited in Paris during the 1950s and 1960s reveals this dichotomy. The first type of cultural patronage was coordinated in Paris by communist representatives of the Polish Embassy. The second emerged in Paris within Polish political émigré circles. Its key proponents were the Literary Institute (Instytut Literacki), including the intellectual and artistic milieu of the monthly journal Kultura ("Polish-based Culture") and the Lambert Gallery (Galeria Lambert). State foreign policy, funded by the state budget and anchored in agreements between Poland and France on cultural cooperation determined the former, while the latter constituted an oppositional stance against the Eastern Bloc, deriving its strength from the resolve of Polish political émigré circles, their extensive network of sympathetic foreign contacts, and an understanding of the mechanics of the art market. The communist model sought to build a friendly image of Polish culture despite the apparent ideological rift between Eastern and Western Europe. The émigré approach stemmed from a refusal to accept the political division of Europe and involved searching the world of art for evidence of forces in Poland that opposed the political status quo. Finally, the patronage model adopted by communist authorities followed the state-imposed policy of favoring figurative art over Polish abstract art, whereas the model championed by émigré circles pursued the opposite strategy. It showcased unrestrained, spontaneous, and mostly abstract art. It evidenced an affinity for international trends in the art of the time, including abstract expressionism and, in particular, Parisian Art Informel. How can these two strands of cultural diplomacy co-exist? Which resonated more with international audiences? [ABSTRACT FROM AUTHOR]

Incomprehension of and resistance to contemporaneous art have been constant features in the development of modern art. The predictive coding framework can be used to analyse this response by outlining the difference between the misunderstanding of (i) contemporary conceptual/minimalist art and (ii) early modern avant-garde art and by elucidating their underlying cognitive mechanisms. In both of these cases, incomprehension and its behavioural consequences are tied to the failure of the optimal prediction error (PE) minimization that is involved in the perception of such art works. In the case of contemporary conceptual/minimalist art the failure stems from the fact that the encounter results in non-salient visual sensations and generates no PE. In early modern avant-garde art, the occasional inability of viewers to recognize pictorial content using new pictorial conventions reflected the absence of suitable priors to explain away ambiguous sensory data. The capacity to recognize pictorial content in modernist painting, as a prerequisite for a satisfying encounter with such works and ultimately a wider acceptance of new artistic styles, required an updating of a number of expectations in order to optimize the fit between priors and sensations, from low-level perceptual priors to the development of higher-level, culturally determined expectations. This article is part of the theme issue 'Art, aesthetics and predictive processing: theoretical and empirical perspectives'. [ABSTRACT FROM AUTHOR]

This article introduces the concepts and becomings that arise from the idea of collage as a loving and creative journey that has as its aim the composition and re-composition of the self and the world. The meanings of collage are exposed; We review the main names of collage in modern art, combining the thoughts of different authors who embrace difference as a tenet based on the fragments and splinters created by modernity. The similarities and differences between collage and montage are made explicit, as well as the way that collections of objects connect with the motion of cutting, searching and pasting, knowing that the process is as or more significant than the final product. This article also outlines and proposes a review of concepts and historiographical dependencies, even from Amerindian and African knowledge, which precede the establishment of collage as a technique in the field of art. [ABSTRACT FROM AUTHOR]

The benefits of a Christian theopoetics are today as necessary as they are problematic. Modern art and literature have in fact produced, in their own language, an extensive and reflective framework, in which pressing theological questions are embedded, albeit indirectly. In societies dominated for a long time by a Christian culture, and we speak of many centuries, there seems to be a growing need to think «like Christians», but outside the traditional theological repertoire, outside the box of doctrine, revisiting Christian principles and directions in a new and distinct repertoire, and in the sense of communicating as Christians without explicitly using a traditional Christian terminology, which places us in the field of a suggestive narrative creation, where we reframe theologically consecrated themes in the realm of theopoetics. The main issue, in our article, is to problematize the foundations of a Christian theopoetics, since Christianity was constituted as a specific and very powerful narrative linked to the Hebrew theological context: it was constituted as apocalyptic thought. Therefore, this article proposes an analysis of these foundations vis-à-vis the yearnings of a theo-poetics that questions and sometimes opposes a theo-logy. [ABSTRACT FROM AUTHOR]

This article contributes to debates around African cultural heritage preserved in European archives and museum institutions. It offers a critical analysis of the Danford Collection of West African Art and Artefacts (University of Birmingham) that unsettles the collection to reveal its archival silences. Unsettling the archive reveals the power relations underlying practices of accumulation and exhibition. Yet although exposing silences and elisions, it reveals surprising and overlooked presences, such as a rare painting from 1960 by Nigerian artist Clara Etso Ugbodaga-Ngu. The article focuses on Ugbodaga-Ngu's life and work so as to enrich and expand our understanding of the Danford Collection and the way in which the heritage it contains is presented and understood. It sheds light on the way institutions, such as University of Birmingham, have historically gathered material originating from or relating to the African continent and its inhabitants, whether of colonial or more recent production, which in turn reveals the need for more inclusive approaches to reading the archive that recognise the multiplicity of voices therein. [ABSTRACT FROM AUTHOR]

This article is a conversation between two academics, Renate and Astrid, discussing decolonization, the trickster figure, and the work of Indigenous artists. They explore the complexities of terms like "decolonial" and "postcolonial" and the importance of not prescribing universal solutions. They analyze how artists like Kent Monkman disrupt traditional art forms and challenge the colonial narrative. The conversation highlights the need for nuanced approaches to decolonization and the recognition of Indigenous perspectives and agency. The authors also discuss the approach to painting and representation in the work of the Karrabing Collective and artist Kent Monkman, incorporating incongruous elements to challenge traditional notions of art and representation. They touch on the concepts of decolonization, polyphony, and storytelling in Indigenous cultures, reflecting on the challenges of negotiating the colonial legacy in academic disciplines and the art market. The conversation emphasizes the importance of listening, adaptability, and creating hospitable spaces for dialogue and understanding. [Extracted from the article]