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The artice presents the discussion on peaceful scene of "Father Biart" engrossed in a book, as depicted by Henry van de Velde. Topics include highlighting the artist's transition from Neo-Impressionism to applied arts and architecture; and van de Velde's meticulous painting style, his shift to Art Nouveau and modernism, and his comprehensive design approach at Villa Bloemenwerf.

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.

The target article discusses the definition of "esotericism" within the study of Western esotericism. The authors argue that previous definitions have been rigid and propose fluid definitions that can be applied with flexibility and complementarity. They briefly mention global approaches but do not engage with them extensively. The article also explores the role of agency and prototypes in defining esotericism, with a focus on Islamic esotericism or al-bāṭiniyya. The authors' approach is criticized for sidelining non-European agency and for taking a normative view of Western esotericism. The article concludes by discussing the author's own research on al-bāṭiniyya as an Islamic prototype of esotericism and proposing four principles of Islamic esotericism. [Extracted from the article]

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]

In the spring and summer of 1906, while visiting the rural village of Gósol in the Spanish Pyrenees, Picasso executed his first woodcut, made two sculptures out of boxwood, and began to focus on the topoi of wood and the forest as avatars of primal matter and of that which lies beyond civilization. In a subsequent series of paintings, he used wooden supports for images that depict male and female heads that look as if they had been chiseled out of wood. Others represent nude figures in forest settings, with explicitly sexual gestures and poses connoting a range of attitudes. These little studied works provide an optic into Picasso's early exploration of the emergence of sexual identity as an inner psychic state, but one whose signs can be read through the body. Later, responding to the proliferation of cheap, industrially produced materials, including trompe l'oeil woodgrain wallpaper, Picasso began to treat woodgrain as a mere surrogate, one that marks its distance from actual wood through a variety of painterly and mechanical effects. No longer associated with "primitive" authenticity and the primordial forces of the forest, woodgrain now appears as a false sign open to conceptual play and metamorphosis. [ABSTRACT FROM AUTHOR]

In 1969, Lynda Benglis withdrew her large latex floor painting, Contraband, from the exhibition Anti-Illusion: Procedures/Materials. Looking beyond the logistical problems that caused Benglis to pull the work, I suggest that it challenged the conceptual and formal parameters of the exhibition from its inception. Taking hints from feminism, modernist painting, camp aesthetics, psychedelic imagery, pop, and minimalism, Benglis's latex pours unify an array of movements, styles, and political positions that have often been treated as antithetical. Although the refusal of traditional binaries was typical of the neo-avant-garde, Benglis's work was "contraband" because it challenged the inflexible dictum that feminist art and modernist painting are mortal enemies. With Contraband, she drew on abstract expressionist techniques for communicating feeling by exploiting the dialectic of spontaneity and order in Pollock's drip paintings. Simultaneously, she drew attention to gender through sexed-up colors and materials. Rather than suggesting that gender difference is repressed by abstract expressionist painting's false universalizing, Benglis shows that modernist techniques for communicating feeling are crucial for the feminist project of understanding the public significance of seemingly private experience. [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]

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

The Cubist painter George Keyt became, in the three books of verse he wrote while unable to paint, Sri Lanka's first Anglophone Modernist poet. His enquiry into the limits of representation, cognized through an alignment of literary with visual art, became central to Sri Lankan lyric. Although poems in this line take up the argument that Western art is an aesthetic branch of colonialism, their indebtedness to Modernist painting (and Modernist poetry) makes for self-questioning, intertextual and cross-generic encounters. As Sri Lankan poets wonder how, in a borrowed, contaminated language, to depict, analyse and memorialize complex and traumatic experiences, they turn repeatedly to visual art (invoked as a metaphor, but also as a model). Comparing works by Lakdasa Wikkramasinha, Indran Amirthanayagam, Parvati Solomons Arasanayagam and her mother Jean Arasanayagam, we see how the appearance of visual art in a Sri Lankan poem makes possible transactions between identity and otherness, experience and aesthetics. This essay extends the "dialogic poetics" of Jahan Ramazani to argue that these Anglophone lyrics of the Global South engage painting as a means of achieving a poetic reflexivity that is also a historical situatedness. [ABSTRACT FROM AUTHOR]

Copyright of Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-Artes) 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 Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-Artes) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article focuses on the comparison between the German writer Thomas Mann and the Slovenian writer Ivan Cankar, a topic that has not yet been treated in Slovenian comparative literature. Since the early works of both authors belong to the same time, i.e. the fin de siècle period, there are probably a number of similarities which the article cannot, of course, fully treat. It therefore focuses on the question of the function of art and the role of the artist in society at the turn of the century. The analysis shows that the differences between the two are rooted in the different cultural and social contexts in which the authors worked, and are related to the function of art in each society at the time. However, the similarities emerge more at the level of the texts themselves, which thematise in a very similar way the function of art and the role of the artist. In particular, this is about going beyond the aesthetic conception of literature and seeking a socially effective legitimation and positioning of the writer in modern society. [ABSTRACT FROM AUTHOR]

Picasso twice quoted the name of Dufayel, once in relation with the name of the Louvre and once for the same period of his career, between 1910 and 1914. This essay explores the universe created by the businessman Georges Dufayel in order to understand the role it played in Picasso's evolving cubism from that of analytic to synthetic. [ABSTRACT FROM AUTHOR]

This study delves into the intricate relationship between temporality and spatiality within the realm of in-game photography, aiming to dissect its unique methodology and uncover its vast potential. While in-game photography shares fundamental elements of temporality and spatiality with classical photography, it carves out a distinct niche by virtue of its association with virtual environments. Temporal considerations reveal commonalities between in-game and classical photography, as both capture specific moments in time, akin to the concept of the decisive moment. However, the arresting of temporal progression within the game, accomplished by halting or pausing the gameplay, introduces a novel facet to photography. In-game photography’s capacity to exist within the ‘extended present’ creates a more manageable and distinctive approach to temporal freezing, redefining the notion of the decisive moment, which posed technical, aesthetic, and philosophical challenges in modernist photography. Spatiality, intricately intertwined with temporality, assumes an ergodic structure within in-game photography, offering a multitude of photographic possibilities. Within this framework, photographer can navigate along x, y, and z axes, transforming the camera into a mechanical eye that unveils the invisible and alternative facets of the subject. This newfound freedom introduces an additional layer of engagement between the photographer and the virtual environment, a feature scarcely attainable in classical photography [ABSTRACT FROM AUTHOR]