Subjects -> ART (Total: 882 journals)
    - ART (468 journals)
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    - FILM AND AUDIOVISUALS (125 journals)
    - MUSIC (171 journals)
    - THEATER (92 journals)

ART (468 journals)                  1 2 3 | Last

Showing 1 - 200 of 264 Journals sorted alphabetically
(Pensamiento), (palabra) y obra     Open Access   (Followers: 3)
1895. Mille huit cent quatre-vingt-quinze     Open Access   (Followers: 7)
9ª Arte     Open Access  
A&P Continuidad     Open Access   (Followers: 1)
ABO : Interactive Journal for Women in the Arts, 1640-1830     Open Access   (Followers: 3)
Acta ad archaeologiam et artium historiam pertinentia     Open Access   (Followers: 1)
Acta Artis : Estudis d'Art Modern     Open Access   (Followers: 4)
Aesthetic Investigations     Open Access   (Followers: 3)
African Arts     Hybrid Journal   (Followers: 18)
Afrique : Archéologie & Arts     Open Access   (Followers: 5)
Afterall : A Journal of Art, Context, and Enquiry     Full-text available via subscription   (Followers: 15)
Airea : Arts & Interdisciplinary Research     Open Access   (Followers: 2)
Aisthesis     Open Access   (Followers: 5)
Akra Kültür Sanat ve Edebiyat Dergisi / Akra Journal of Culture Art and Literature     Open Access   (Followers: 2)
American Art     Full-text available via subscription   (Followers: 22)
American Music     Full-text available via subscription   (Followers: 18)
American Society for Aesthetics Graduate E-journal     Open Access   (Followers: 4)
Anales de Historia del Arte     Open Access   (Followers: 5)
Andharupa : Journal of Visual Communication Design & Multimedia     Open Access   (Followers: 3)
ANIAV : Revista de Investigación en Artes Visuales     Open Access  
Animation Practice, Process & Production     Hybrid Journal   (Followers: 4)
Animation Studies     Open Access   (Followers: 7)
Annales islamologiques     Open Access   (Followers: 3)
Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes     Open Access  
Anuario del Departamento de Historia y Teoría del Arte     Open Access  
Anuario TAREA : Revista de estudios sobre el Patrimonio Cultural     Open Access  
Appalachian Heritage     Full-text available via subscription   (Followers: 4)
Appareil     Open Access  
Arbejdspapirer : Professionshøjskolen Metropol     Open Access  
ArcheoArte. Rivista Elettronica di Archeologia e Arte     Open Access   (Followers: 7)
ArcHistoR     Open Access   (Followers: 3)
Archives of American Art Journal     Full-text available via subscription   (Followers: 3)
Archives of Asian Art     Full-text available via subscription   (Followers: 8)
ArDIn. Arte, Diseño e Ingeniería     Open Access   (Followers: 1)
ARS     Open Access   (Followers: 1)
Ars & Humanitas     Open Access   (Followers: 8)
Ars Adriatica     Open Access  
Ars Longa : Cuadernos de arte     Open Access  
Ars Lyrica     Full-text available via subscription  
Art & the Public Sphere     Hybrid Journal   (Followers: 14)
Art & Perception     Hybrid Journal   (Followers: 4)
Art + Law     Full-text available via subscription   (Followers: 11)
Art and Design Review     Open Access   (Followers: 13)
Art Bulletin     Full-text available via subscription   (Followers: 22)
Art Design & Communication in Higher Education     Hybrid Journal   (Followers: 22)
Art Documentation : Journal of the Art Libraries Society of North America     Full-text available via subscription   (Followers: 12)
Art Education     Hybrid Journal  
Art History     Full-text available via subscription   (Followers: 129)
Art History & Criticism     Open Access   (Followers: 12)
Art In Translation     Hybrid Journal   (Followers: 9)
Art Journal     Hybrid Journal   (Followers: 37)
Art Libraries Journal     Hybrid Journal   (Followers: 10)
Art Monthly Australia     Full-text available via subscription   (Followers: 9)
Art Pritas Journal     Open Access  
Art Therapy Online     Open Access   (Followers: 3)
Art Therapy: Journal of the American Art Therapy Association     Hybrid Journal   (Followers: 14)
Art-Sanat Dergisi     Open Access   (Followers: 2)
Art/Research International : A Transdisciplinary Journal     Open Access   (Followers: 4)
arte e ensaios     Open Access  
Arte, Individuo y Sociedad     Open Access   (Followers: 3)
Artefact : Techniques, histoire et sciences humaines     Open Access   (Followers: 1)
Artelogie     Open Access   (Followers: 2)
Artes Humanae     Open Access  
Arteterapia. Papeles de arteterapia y educación artística para la inclusión social     Open Access   (Followers: 3)
Artifact : Journal of Design Practice     Open Access   (Followers: 8)
Artivate : A Journal of Entrepreneurship in the Arts     Open Access   (Followers: 2)
Artl@s Bulletin     Open Access   (Followers: 4)
Artlink     Full-text available via subscription   (Followers: 5)
Arts     Open Access   (Followers: 3)
Arts & Health: An International Journal for Research, Policy and Practice     Hybrid Journal   (Followers: 8)
Arts and Design Studies     Open Access   (Followers: 23)
Arts and Humanities in Higher Education     Hybrid Journal   (Followers: 36)
Arts and the Market     Hybrid Journal   (Followers: 5)
Arts et Savoirs     Open Access   (Followers: 2)
Artseduca : Revista electrónica de educación en las ARTES     Open Access  
ASAP / Journal     Full-text available via subscription   (Followers: 3)
Asian Diasporic Visual Cultures and the Americas     Hybrid Journal   (Followers: 1)
Asian Music     Full-text available via subscription   (Followers: 9)
Asian Theatre Journal     Full-text available via subscription   (Followers: 5)
Athanor     Open Access  
Atrio : Revista de Historia del Arte     Open Access  
AusArt : Journal for Research in Art     Open Access  
Australasian Leisure Management     Full-text available via subscription   (Followers: 2)
Australian and New Zealand Journal of Art     Hybrid Journal   (Followers: 8)
Australian Art Education     Full-text available via subscription   (Followers: 6)
Australian Humanist, The     Full-text available via subscription   (Followers: 3)
Balkanologie : Revue d'Études Pluridisciplinaires     Open Access   (Followers: 5)
Baltic Journal of Art History     Open Access   (Followers: 1)
Barnelitterært forskningstidsskrift     Open Access   (Followers: 1)
Baroque     Open Access   (Followers: 1)
Biography     Full-text available via subscription   (Followers: 20)
Black Camera     Full-text available via subscription   (Followers: 8)
Boletín del Museo Chileno de Arte Precolombino     Open Access   (Followers: 1)
Book History     Full-text available via subscription   (Followers: 118)
BR::AC - Barcelona, Research, Art, Creation     Open Access   (Followers: 4)
British Journal of Aesthetics     Hybrid Journal   (Followers: 21)
Brumal. Revista de investigación sobre lo Fantástico     Open Access   (Followers: 1)
BSAA arte     Open Access  
Buildings & Landscapes: Journal of the Vernacular Architecture Forum     Full-text available via subscription   (Followers: 12)
BUKS : Tidsskrift for Børne- & Ungdomskultur     Open Access  
Bulletin de l'AFAS     Open Access   (Followers: 1)
Bulletin of Kyiv National University of Culture and Arts. Series in Management of Social and Cultural Activity     Open Access  
Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art     Open Access  
Bulletin of Spanish Visual Studies     Hybrid Journal  
Bulletin of the Comediantes     Full-text available via subscription   (Followers: 2)
Cadernos de Arte e Antropologia     Open Access   (Followers: 1)
Cahiers Charlevoix : Études franco-ontariennes     Full-text available via subscription  
Cahiers de civilisation espagnole contemporaine     Open Access   (Followers: 2)
Cahiers de Narratologie     Open Access   (Followers: 3)
Cahiers des Amériques latines     Open Access   (Followers: 2)
Cahiers d’études italiennes     Open Access   (Followers: 5)
Callaloo     Full-text available via subscription   (Followers: 13)
CALLE14 : revista de investigación en el campo del arte     Open Access   (Followers: 4)
Cambridge Opera Journal     Hybrid Journal   (Followers: 4)
Canadian Journal of Art Therapy : Research, Practice, and Issues     Hybrid Journal  
Canadian Review of Art Education     Open Access   (Followers: 1)
Canadian Theatre Review     Full-text available via subscription   (Followers: 2)
Caribbean Quilt     Open Access  
Carte Italiane     Open Access   (Followers: 4)
Cartema     Open Access  
Catharsis : Journal of Arts Education     Open Access  
CeROArt     Open Access   (Followers: 1)
CHINOPERL : Journal of Chinese Oral and Performing Literature     Hybrid Journal   (Followers: 2)
Choreographic Practices     Hybrid Journal   (Followers: 1)
Ciel variable : Art, photo, médias, culture     Full-text available via subscription  
Cinema Journal     Full-text available via subscription   (Followers: 25)
CLARA : Classical Art and Archaeology     Open Access   (Followers: 6)
Cogent Arts & Humanities     Open Access   (Followers: 2)
Collections électroniques de l'INHA     Open Access   (Followers: 1)
Columbia Journal of Law & the Arts     Open Access   (Followers: 2)
Comicalités     Open Access   (Followers: 1)
Comparative Drama     Full-text available via subscription   (Followers: 5)
Conceição/Conception     Open Access  
Concorso. Arti e lettere     Open Access  
Conservatorium / Konservatoryum     Open Access  
Contemporaneity : Historical Presence in Visual Culture     Open Access   (Followers: 4)
Convivium     Full-text available via subscription   (Followers: 1)
CoSMo | Comparative Studies in Modernism     Open Access   (Followers: 1)
Counterculture Studies     Open Access   (Followers: 1)
Critical Arts : South-North Cultural and Media Studies     Hybrid Journal   (Followers: 10)
Critical Interventions : Journal of African Art History and Visual Culture     Hybrid Journal   (Followers: 1)
Critique d’art     Open Access   (Followers: 5)
Cuadernos de arte de la Universidad de Granada     Open Access  
Cuadernos de historia de España     Open Access   (Followers: 3)
Cuadernos de Historia del Arte     Open Access  
Cuadernos de Música, Artes Visuales y Artes Escénicas     Open Access   (Followers: 1)
Culturas. Revista de Gestión Cultural     Open Access  
Dante e l'Arte     Open Access  
DATJournal : Design, Art, and Technology     Open Access  
De Arte     Hybrid Journal   (Followers: 3)
De Arte : Revista de Historia del Arte     Open Access   (Followers: 1)
Demiurge: Ideas, Technologies, Perspectives of Design     Open Access  
Design Journal : An International Journal for All Aspects of Design     Hybrid Journal   (Followers: 33)
Design Management Journal     Hybrid Journal   (Followers: 18)
Design Management Review     Hybrid Journal   (Followers: 14)
Design Philosophy Papers     Full-text available via subscription   (Followers: 11)
Dialectic : A scholarly journal of thought leadership, education and practice in the discipline of visual communication design     Open Access   (Followers: 1)
Double jeu     Open Access  
Drawing : Research, Theory, Practice     Hybrid Journal  
EARI : Educación Artística Revista de Investigación     Open Access  
Eastern Christian Art     Full-text available via subscription   (Followers: 2)
Écosystème     Open Access  
Eighteenth-Century Fiction     Full-text available via subscription   (Followers: 20)
Éire-Ireland     Full-text available via subscription   (Followers: 9)
El Artista     Open Access   (Followers: 2)
El Hilo de la Fabula     Open Access  
EME Experimental Illustration, Art & Design     Open Access   (Followers: 2)
Empirical Studies of the Arts     Full-text available via subscription   (Followers: 3)
Escena. Revista de las artes     Open Access  
Escritura e Imagen     Open Access   (Followers: 1)
Espace Sculpture     Full-text available via subscription   (Followers: 1)
Essais     Open Access  
esse arts + opinions     Full-text available via subscription  
ETC MEDIA     Full-text available via subscription  
Études de lettres     Open Access   (Followers: 2)
Eureka Street     Full-text available via subscription   (Followers: 4)
European Comic Art     Full-text available via subscription   (Followers: 8)
European Medieval Drama     Full-text available via subscription   (Followers: 3)
Exchange     Hybrid Journal   (Followers: 4)
Experiment : A Journal of Russian Culture     Hybrid Journal   (Followers: 7)
Explorations in Renaissance Culture     Hybrid Journal   (Followers: 6)
Feminist German Studies     Full-text available via subscription   (Followers: 6)
Fibreculture Journal     Open Access   (Followers: 9)
FORMakademisk - forskningstidsskrift for design og designdidaktikk     Open Access   (Followers: 2)
FORUM : University of Edinburgh Postgraduate Journal of Culture & the Arts     Open Access  
Forum Modernes Theater     Full-text available via subscription  
Forum+     Open Access   (Followers: 1)
Fragmenta     Full-text available via subscription   (Followers: 1)
Gardens and Landscapes of Portugal     Open Access  
Gazi University Journal of Science Part B : Art, Humanities, Design and Planning     Open Access   (Followers: 2)
George Herbert Journal     Full-text available via subscription   (Followers: 1)
Gesta     Full-text available via subscription   (Followers: 6)
Gradhiva     Open Access   (Followers: 5)
Grafica : Documents de Disseny Gràfic     Open Access  
Green Letters : Studies in Ecocriticism     Hybrid Journal   (Followers: 1)
Harmonia     Open Access  
HAUNT Journal of Art     Open Access   (Followers: 3)
Hemisphere : Visual Cultures of the Americas     Open Access  
Herança : Revista de História, Património e Cultura     Open Access   (Followers: 1)
Heritage & Society     Hybrid Journal   (Followers: 14)

        1 2 3 | Last

Similar Journals
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Arts
Number of Followers: 3  

  This is an Open Access Journal Open Access journal
ISSN (Print) 2076-0752
Published by MDPI Homepage  [84 journals]
  • Arts, Vol. 11, Pages 52: “Wings of Freedom”: Petr Miturich and
           Aero-Constructivism

    • Authors: John E. Bowlt
      First page: 52
      Abstract: The article focuses on the aerodynamic experiments of Petr Vasil’evich Miturich (1887–1956), in particular his so-called letun, a project comparable to Vladimir Tatlin’s Letatlin, but less familiar. Miturich became interested in flight during the First World War, elaborating his first flying apparatus in 1918 before constructing a prototype and undertaking a test flight on 27 December 1921—which might be described as an example of Russian Aero-Constructivism (by analogy with Italian Aeropittura). Miturich’s basic deduction was that modern man must travel not by horse and cart, but with the aid of a new, ecological apparatus—the undulator—a mechanism which, thanks to its undulatory movements, would move like a fish or snake. The article delineates the general context of Miturich’s experiments, for example, his acquaintance with the ideas of Tatlin and Velemir Khlebnikov (in 1924 Miturich married the artist, Vera Khlebnikova, Velemir’s sister) as well as the inventions of Igor’ Sikorsky, Fridrikh Tsander, Konstantin Tsiolkovsky and other scientists who contributed to the “First Universal Exhibition of Projects and Models of Interplanetary Apparatuses, Devices and Historical Materials” held in Moscow in 1927.
      Citation: Arts
      PubDate: 2022-04-20
      DOI: 10.3390/arts11030052
      Issue No: Vol. 11, No. 3 (2022)
       
  • Arts, Vol. 11, Pages 53: The Art of Southern Arabian Daggers: An Emblem of
           Pride Masculinity and Identity

    • Authors: Khadeeja Althagafi
      First page: 53
      Abstract: The long-held tradition of wearing daggers in southern Arabia is in decline. This research examines the rich history of the southern Arabian dagger, outlining its story over time, craftsmanship, and changing use, from a weapon to a ceremonial piece. A significant contribution in the field of visual art is offered, firstly by demonstrating the beauty of this metal artwork form, and secondly by examining the notions of pride, masculinity and identity with regard to southern Arabian dagger wearing. It is argued here that men in this region continue to attach meaning to the dagger. Additionally, existing critical studies, including the various efforts being made to respect and preserve the dagger’s cultural significance, are highlighted. It is contended here that for these reasons, the southern Arabian dagger will not be lost to history.
      Citation: Arts
      PubDate: 2022-04-22
      DOI: 10.3390/arts11030053
      Issue No: Vol. 11, No. 3 (2022)
       
  • Arts, Vol. 11, Pages 54: The Minóy Machine

    • Authors: Joseph Nechvatal
      First page: 54
      Abstract: The author provides a first-hand account, as a founding editor of Tellus Audio Cassette Magazine and contributing writer with Punctum Press, of his discovery of the early noise music of Minóy (pseudonym of the sound artist Stanley Keith Bowsza), and its significance within the history of Machine Art.
      Citation: Arts
      PubDate: 2022-04-22
      DOI: 10.3390/arts11030054
      Issue No: Vol. 11, No. 3 (2022)
       
  • Arts, Vol. 11, Pages 55: Tracing the Oval—Characterisation and
           Construction of Original Danish Eighteenth-Century Strainers from
           Portraits by Jens Juel

    • Authors: Tine Louise Slotsgaard
      First page: 55
      Abstract: Few examples of original strainers for paintings from the eighteenth century or earlier still exist as they have commonly been replaced due to their often-weak construction and inability to expand. Several original strainers, however, are still present in paintings by Danish portrait painter Jens Juel (1745–1802). These preserved strainers provide rare evidence of shape, construction, availability, format, and the production of strainers in the late eighteenth century. By visual analysis of twenty-two paintings, of which seven strainers are preserved, this study characterises the original strainers and their tool marks. Rare markings found on the surface hypothesised to be related to their construction is evaluated in relation to theory of polycentric ovals and layouts on the construction of oval shapes in treatises from the sixteenth to eighteenth centuries. The strainers are very similar and of simple construction with tool marks that correspond with the development in the late eighteenth century. The oval strainers are a construction with given symmetry axes, with two 60° equilateral triangles that the centres of the arcs form when aligned with the major axes. Such a layout would have been published by Christiaan Huygens (1629–1695) and Amédeé François Frézier (1682–1773) by the time of construction by someone in the wood working crafts in Copenhagen, who supplied strainers to Juel’s studio.
      Citation: Arts
      PubDate: 2022-04-27
      DOI: 10.3390/arts11030055
      Issue No: Vol. 11, No. 3 (2022)
       
  • Arts, Vol. 11, Pages 56: From Lugano to Krakow: The Career of Giovanni
           Battista Trevano as a Royal Architect at the Vasa Court in the
           Polish–Lithuanian Commonwealth

    • Authors: Piotr Józef Janowski
      First page: 56
      Abstract: Throughout the 16th and 17th centuries, many builders, artists, and architects living on the shores of Italian lakes decided to settle in Poland. Upon arrival, they pursued brilliant careers in various areas of life. Over time, they became Polonized. This was also the case for Giovanni Battista Trevano, who was active in Krakow in the first half of the 17th century and whose lifetime achievement was to become the royal architect of the Vasa kings. This article presents Trevano’s artistic oeuvre and provides insight into his social, economic, and intellectual status in the new community, including the architect’s offspring, who pursued successful careers in army, church, and state offices throughout the 17th and 18th centuries. These new findings are based on manuscripts that have recently been discovered by the author of the article in both Polish and Swiss archives. They allow for expanding the knowledge of the Trevano family’s genealogy and biography, and correcting some unjustified views in the discourse. On the basis of research on new archival sources, one can conclude that Giovanni Battista Trevano was a prominent architect, who is credited with introducing in Poland the early Baroque style, which soon became dominant in northern European art.
      Citation: Arts
      PubDate: 2022-05-11
      DOI: 10.3390/arts11030056
      Issue No: Vol. 11, No. 3 (2022)
       
  • Arts, Vol. 11, Pages 57: Disruption, Digitalization and Connectivity:
           Asia’s Art Market in Transformation

    • Authors: Sue Hua
      First page: 57
      Abstract: This study investigates the ongoing transformation in galleries, auctions, and museums in Hong Kong, Shanghai, Taipei, and Singapore, where new models for art transactions and exhibiting practices lead to unprecedented evolution in the global art market. While the pandemic hit the art market unprecedentedly, art organizations in Asia are seeing the light at the end of the tunnel as the digitalization of online auctions and virtual art-viewing technology has made up for the cancellation of art events. We are also seeing increased cross-regional and cross-national collaborations in marketing and exhibiting activities. Whether or not it is part of their active strategy, to keep up with the rapid market changes, galleries and auctions must now devote more resources to their digital platforms. Affluent art collectors in this region see art consumption not only as a socially conditioned, symbolic mechanism manifesting wealth and cultural capital but also as an attractive investment vehicle with an increased appetite for the financialization of artworks. What are the benefits and complications of the digitalization of online art transactions and art viewing' How do multi-sited auctions and exhibitions indicate the increased demand for collaboration between commercial art organizations and art institutions' Based on fieldwork and semi-structured interviews with actors in the art markets and secondary Chinese resources, this research generates insights into organizational behaviors in Asia’s art scene and how the art market players actively adapt and persevere via taking on new, entrepreneurial models of operation and speeding up trans-regional and trans-national connectivity with their Western counterparts.
      Citation: Arts
      PubDate: 2022-05-13
      DOI: 10.3390/arts11030057
      Issue No: Vol. 11, No. 3 (2022)
       
  • Arts, Vol. 11, Pages 58: The Art and Architecture of Victor Bohm
           (1900–1981)

    • Authors: Éva Lovra
      First page: 58
      Abstract: The art and architecture of modernist architect and architectural theorist Victor Bohm (Bőhm Viktor, Böhm Viktor) are rare examples of modernism. At the same time, they were unusual for a provincial city—Miskolc (Hungary)—far from the modernist hub Budapest. Bohm worked in Miskolc during the 1930s, created numerous extraordinary buildings and shaped the skyline of this industrial town. He emigrated to the United States in 1939. The architectural language of his Hungarian designs followed modernist trends, a tendency less evident in his American projects. His buildings received architectural awards, and he has become known as a designer of medical and commercial buildings. He was a pioneer in the study of the relationship between architecture and psychology and sought to understand how an architectural design affects people and how the architect’s identity is manifested in their works. None of Bohm’s Hungarian buildings are protected; most of his buildings in Miskolc were demolished. The present study attempts to preserve his modernist, Hungarian legacy.
      Citation: Arts
      PubDate: 2022-05-19
      DOI: 10.3390/arts11030058
      Issue No: Vol. 11, No. 3 (2022)
       
  • Arts, Vol. 11, Pages 59: Curated Desertscapes in Ancient Egyptian Tombs
           and Investigating Iconographies of the Wild

    • Authors: Jennifer Miyuki Babcock
      First page: 59
      Abstract: Because of a long-standing bias toward examining human representation in Egyptian art, scholars have overlooked many details of how wild animals are rendered, at least until recently. Usually, the stylistic differences between animals and humans in ancient Egyptian art are emphasized to support the argument that animals and their environs encapsulate ancient Egyptian ideas of “chaos”, while humans and their cultivated world encapsulate “order”. A closer look at animal representations shows that the same artistic restraints were placed on both human and animal representation, such as with the use of the canon of proportions, strict register lines, and iconicity. This article examines predynastic and early dynastic material and surveys representations of desert animals from Egyptian tombs from the Old Kingdom to the New Kingdom to demonstrate that their artistic treatment is still rule-bound and conforms to a sense of visual order. This paper challenges some of the scholarly interpretations, which assert that dichotomous ideas of chaos and order were represented stylistically and iconographically.
      Citation: Arts
      PubDate: 2022-05-26
      DOI: 10.3390/arts11030059
      Issue No: Vol. 11, No. 3 (2022)
       
  • Arts, Vol. 11, Pages 60: Body and Mind, and Vice-Versa, or the Continuing
           Performative Sexual Revolution in Portuguese Arts

    • Authors: Claudia Madeira
      First page: 60
      Abstract: In Everyday Life in the Modern World, first published in 1968, Henri Lefebvre presents the sexual revolution as the first instance of the cultural revolution. This aspect has remained one of the central themes of contemporary activism, often reflecting the relationship between social and artistic performance, between art and life or even presenting life as art. Hinged on this relationship, we will discuss some Portuguese art works produced between the 1960s and the present: from dictatorship into democracy. These works build a continuing thematic thread related to what has been termed the “intensification of bodies” but also, as we intend to explore in this article, to a necessary “intensification of minds”, concerning eroticism, sexuality and love.
      Citation: Arts
      PubDate: 2022-05-27
      DOI: 10.3390/arts11030060
      Issue No: Vol. 11, No. 3 (2022)
       
  • Arts, Vol. 11, Pages 61: Miniature Painting in Eighteenth-Century England:
           The Case of William Pether (1739–1821)

    • Authors: Dominika Cora
      First page: 61
      Abstract: William Pether (1739–1821) was a painter and skilled draftsman, whose abilities led to his becoming a master of engraving in the mezzotint technique—his prints reproducing works not only by the Dutch masters, such as Rembrandt van Rijn and his pupils Gerrard Dou and Willem Drost, but also by English artists such as Joseph Wright of Derby, Edward Penny, and Richard Hurlstone. An eminent British mezzotint engraver, he was also an underrated painter of miniatures. His artistic activity in this domain has been overlooked by scholars, who have focused on his print production; this study considers all extant miniatures produced by the artist during the period 1760–1820. The aim of this article is to present as many as possible known miniatures painted by this artist and to determine their proper attribution and dates through the use of stylistic analysis, the graphical-comparative method and handwriting research using available works of art and archival materials in the form of letters written by Pether.
      Citation: Arts
      PubDate: 2022-05-27
      DOI: 10.3390/arts11030061
      Issue No: Vol. 11, No. 3 (2022)
       
  • Arts, Vol. 11, Pages 62: Visual Art and Propaganda Ecologies in the Basque
           Country: A Sample of Guernica Motifs from the Benedictine Sticker Archives
           (1978–1989)

    • Authors: Iker Arranz Otaegui, Kevin C. Moore
      First page: 62
      Abstract: The Benedictine Archives at Lazkao contain a multitude of propaganda stickers and related visual media that provide a snapshot of the Basque region’s artful political culture in the 1970s and 1980s. Some of the most compelling examples include several items that remix Pablo Picasso’s Guernica, referencing the famous antiwar painting to become a form of mass-circulated pastiche. This move was somewhat unusual amid the strong nationalist bent of public discourse and art in the Basque Country during this period. Almost entirely unknown outside the region, these materials capture political performance during the decade-long period between the instauration of Spanish democracy (1978) and the fall of the Berlin Wall (1989), when separatist sentiment reached a peak in the Basque Country. This artful visual platform, rendered in the small, focused format of stickers, constitutes a useful index of rhetorical currents within the Basque Country and Spain, as well as an interesting analogue prototype of what we might call, in the twenty-first century, meme culture. Circulated in bars and other public places across the Basque region, and frequently worn upon clothing, the stickers demonstrate a propaganda principle described by Jonathan Auerbach and Russ Castronovo, whereby participants in movements of mass persuasion actively partake in the dissemination and consumption of propaganda. The stickers normally refer to very concrete events (for instance, a one-day celebration, a protest for a concrete situation, etc.). When organized on topics and themes, they create a nonlinear visual account of post-Franco Basque history, providing propaganda narratives that invite performative acts from the audience. This account documents the significance of the vast Benedictine collection for future scholars, analyzing, in detail, four stickers that employ Guernica in their design. It also considers several other representative items from the collections that play on other art forms, as well as pop culture, in their attempt to influence public opinion, politics, and media consumption.
      Citation: Arts
      PubDate: 2022-06-08
      DOI: 10.3390/arts11030062
      Issue No: Vol. 11, No. 3 (2022)
       
  • Arts, Vol. 11, Pages 63: Perspective Studies on Perugino’s and
           Raffaello’s Painted Architecture

    • Authors: Fabio Colonnese
      First page: 63
      Abstract: The architecture that the Renaissance artists depicted in their works constitutes a vast reservoir of formal solutions that influenced (and were reciprocally influenced by) built architecture. Generally painted according to a rigorous perspective structure, most painted architecture can be restituted and modelled to become part of the Virtual Heritage that develops and extends its knowledge to a wider range of people and scholars. These procedures are here applied to some of the works of Pietro Perugino and Raffaello, a master and his student, in order to define their specific approach to composition, perspective, and architecture. The application of these procedures produced some primary results—the architecture restitutions in plan and elevation or section—and some secondary results concerning the way painted architecture was conceived, represented in perspective, and received as well as it was related to actual architecture.
      Citation: Arts
      PubDate: 2022-06-13
      DOI: 10.3390/arts11030063
      Issue No: Vol. 11, No. 3 (2022)
       
  • Arts, Vol. 11, Pages 64: The Waiting-Servant Motif in a Late Antique
           Textile in Chicago: Iconography, Visuality, and Materiality

    • Authors: Katharine A. Raff
      First page: 64
      Abstract: This article explores the use and adaptation of the iconographic motif of the waiting servant, known primarily from late Roman wall paintings, mosaics, and other media, within the sphere of Late Antique furnishing textiles. Taking as a case study a fifth- to sixth-century CE hanging in the Art Institute of Chicago’s collection, the first section argues that the addition of elaborate, multihued architectural settings and floral motifs in this hanging and several comparable examples built upon the existing waiting-servant iconography offer an enhanced message of “the good life” within the household. Such compositional elements were rooted in earlier Greek and Roman artistic traditions, namely architectural polychromy and the visual interplay between artifice and reality. However, they also exemplify the Late Antique “jeweled style”, an aesthetic characterized by dazzling visual and polychromatic effects and an interest in artistic mimicry of other media. Striking visual parallels between the waiting-servant hangings and contemporary painted interiors suggest that textiles were considered on par with permanent media and operated in a system of cross-media artistic exchange. The article concludes with a consideration of the materiality of the Chicago hanging and its potential functions within a Late Antique residence, exploring how its portability as a woven object encouraged its flexible use within the home and allowed it to convey and even amplify particular messages through its juxtaposition with other objects, architecture, or people.
      Citation: Arts
      PubDate: 2022-06-14
      DOI: 10.3390/arts11030064
      Issue No: Vol. 11, No. 3 (2022)
       
  • Arts, Vol. 11, Pages 65: 1905 and Art: From Aesthetes to Revolutionaries

    • Authors: Christina Lodder
      First page: 65
      Abstract: This article examines the impact that the experience of the 1905 Revolution had on the political attitudes of professional artists of various creative persuasions and on the younger generation who were still attending art schools. It inevitably focuses on a few representatives and argues that Realists as well as more innovative artists like Valentin Serov and the World of Art group became critical of the regime and began to produce works satirizing the Tsar and his government. These artists did not, however, take their disenchantment further and express a particular ideology in their works or join any specific political party. The author also suggests that the Revolution affected art students like Mikhail Larionov and Natalia Goncharova, who subsequently became leaders of the avant-garde and developed the style known as Neo-Primitivism. The influence of 1905 can be seen in their pursuit of creative freedom, the subjects they chose, and the distinctly anti-establishment ethos that emerged in their Neo-Primitivist works around 1910.
      Citation: Arts
      PubDate: 2022-06-15
      DOI: 10.3390/arts11030065
      Issue No: Vol. 11, No. 3 (2022)
       
  • Arts, Vol. 11, Pages 37: “Alpha Females”: Feminist
           Transgressions in Industrial Music

    • Authors: Nicolas Ballet
      First page: 37
      Abstract: Recycled, re-engineered and transformed pornography has often been appropriated by many of the industrial music movement’s female personalities who are invested in an anti-censorship discourse. This contrasts with the dominant form of feminism in the 1970s, which railed against the depiction of all aspects of sexuality. Artists Cosey Fanni Tutti, Lisa Carver, Diamanda Galás, Mïrka Lugosi, Antal Nemeth, Diana Rogerson and Jill Westwood challenged the codes of male domination by reconfiguring gender and overturning the violence perpetrated by men within the industrial movement. Following the artistic and cultural context of the 1970s and 1980s, such issues gave rise to the radical performances that are discussed throughout this article.
      Citation: Arts
      PubDate: 2022-02-24
      DOI: 10.3390/arts11020037
      Issue No: Vol. 11, No. 2 (2022)
       
  • Arts, Vol. 11, Pages 38: Global Art Collectives and Exhibition Making

    • Authors: John Zarobell
      First page: 38
      Abstract: Art collectives come into existence for many reasons, whether to collaborate on art making or to generate a space for contemporary art outside of the established channels of exhibition and the art market. These efforts have been captured in recent exhibitions such as The Ungovernables, organized by the New Museum in 2012; Six Lines of Flight, which was launched at SFMOMA in 2013; and Cosmopolis I, organized by the Centre Pompidou in 2017. Artist collectives have received some scholarly attention, primarily as producers of artworks, but their exhibition-making practices have not been explored. Some of the collectives included in these exhibitions have also been very involved in exhibition making themselves. The Indonesian art collective ruangrupa was selected to curate the 2022 edition of documenta. This selection emerges not only from their participation in international biennials and their own exhibition practice in Jakarta—including the organization of regular exhibitions, workshops and film screenings at their compound—but also more ambitions events such as Jakarta 32 °C, a festival of contemporary art and media (2004–2014), or O.K. Video (2006–2018). Another group, the Raqs Media Collective, based in Delhi, curated the Shanghai Bienniale in 2016 and the Yokohama Trienniale in 2020. This paper will connect the local and the global through an examination of art collectives’ community-based work in their own cities, and the way it translates into global art events.
      Citation: Arts
      PubDate: 2022-03-01
      DOI: 10.3390/arts11020038
      Issue No: Vol. 11, No. 2 (2022)
       
  • Arts, Vol. 11, Pages 39: Channelling the Unknown: Noise in Art Ecosystems

    • Authors: Paul Goodfellow
      First page: 39
      Abstract: At both the individual and societal levels, we are entangled within environmental, social, and technological systems that shape our material and emotional states. Contemporary art needs to integrate and challenge the information circulating within these interacting systems to address our increasingly complex lifeworld. This systemic understanding emerged in the 1960s as part of a broader growth in relational thinking within the natural and social sciences, which extended the conceptual boundaries of the artwork. The ecosystem, a model originally developed within ecology, is an example of a systems model as it describes the flow of matter, energy, and information through the physical world. This model has evolved into a powerful analogical tool to describe contemporary culture’s entanglement with nature and technology. The ecosystem model is invoked here to describe how information flows through the artwork. The paper suggests that art is a vital form of communication as it can channel noise or unknown information. This channelling is demonstrated with the artwork, The Creation Myth (1998), by Jason Rhoades. This work anticipated the convergence of natural and technological systems, and it demonstrates the ability of the arts to channel unknown messages or noise, thereby disrupting the dominant signals of contemporary culture.
      Citation: Arts
      PubDate: 2022-03-01
      DOI: 10.3390/arts11020039
      Issue No: Vol. 11, No. 2 (2022)
       
  • Arts, Vol. 11, Pages 40: Between Queen Esther and Marie-Antoinette:
           Courtly Influence on an Esther Scroll in the Braginsky Collection

    • Authors: Sara Offenberg
      First page: 40
      Abstract: There is an Esther scroll in the Braginsky manuscript collection (Braginsky Collection Megillah 7) that was produced in Alsace in the second half of the eighteenth century. The manuscript has not yet caught the attention of scholars, and I would like to shed some light on its artistic design in the context of French noble society. Although its illustrations appear naïve, they are typical of other Esther scrolls of that time and place. Based on contemporary art and textual evidence, I focus on the depiction of women in the megillah, and I argue that the scroll portrays an intimate understanding of the cultural ambience and the decorum of Parisian high society and bourgeoisie during Marie-Antoinette’s lifetime.
      Citation: Arts
      PubDate: 2022-03-04
      DOI: 10.3390/arts11020040
      Issue No: Vol. 11, No. 2 (2022)
       
  • Arts, Vol. 11, Pages 41: The Edge of Heaven: Revelations 12:7-9 and the
           Fall of the Rebel Angels in Anglo-Norman Apocalypse Illustration

    • Authors: Edina Eszenyi
      First page: 41
      Abstract: The article examines the War in Heaven scene depicting the Fall of the Rebel Angels in the 1200s Anglo-Norman group of illustrated Apocalypse manuscripts, key in the development of Apocalypse illustration as far as quality, quantity, and art historical heritage are concerned. The iconography of the crucial War in Heaven scene shows a variety in the manuscript group; the compositions, divided into three well-defined groups at Satan’s pivotal moment of defeat, are depicted in three principal compositional types: one manuscript group focuses on the narrative of the battle, the second fuses the battle and its victorious result, and the third type focuses on the victory itself. The article establishes further subgroups on the basis of compositional similarities, and results occasionally strengthen or weaken existing theories about the traditional grouping of the manuscripts. The highlighted iconographical similarities provide new material for the reconsideration of the manuscripts’ artistic relations and dating.
      Citation: Arts
      PubDate: 2022-03-04
      DOI: 10.3390/arts11020041
      Issue No: Vol. 11, No. 2 (2022)
       
  • Arts, Vol. 11, Pages 42: Grain Architecture in Bourbon New Spain: On the
           Design of Guadalajara and Querétaro’s Alhóndigas

    • Authors: Luis Gordo Peláez
      First page: 42
      Abstract: During the late colonial period, numerous Novohispanic cities embarked on an unprecedented number of projects aimed at reshaping their urban spaces and improving infrastructures, including new facilities for grain storage and supply. The construction of alhóndigas (public granaries), along with other public works and infrastructures, was further propelled by the implementation of Bourbon reforms in Spanish America and the 1780s reorganization of the colonies into intendencias (provinces), as part of the monarchy’s efforts to improve the colonial administration and economy and centralize royal power. The newly appointed royal officials (intendentes) were instrumental in the implementation of these reforms, overseeing tax collection, promoting economic growth and agricultural production, improving mining, and developing a program of public works to embellish and modernize the urban environments and ameliorate the living conditions of their residents in sanitation, public health, water infrastructure, and food supply. This essay explores the projected alhóndigas for two late colonial Mexican cities and how they engaged with contemporary discussions about the efficacy of public works, the circulation of ideals promoted by enlightened reformers on good governance and civic order, issues of artistic and architectural production, and the transmission of a reformist aesthetic agenda from the center to the provinces of New Spain.
      Citation: Arts
      PubDate: 2022-03-07
      DOI: 10.3390/arts11020042
      Issue No: Vol. 11, No. 2 (2022)
       
  • Arts, Vol. 11, Pages 43: Camille Bryen Avant-Gardist/Abhumanist: A
           Reappraisal of an Artist Who Called Himself the “Best-Known of the
           Unknown”

    • Authors: Iveta Slavkova
      First page: 43
      Abstract: French artist and poet Camille Bryen (1907–1977) is usually, and always very briefly, cited as a member of the post-Second World War (1939–1945) lyrical abstraction trend in Paris, often designated as Ecole de Paris or Nouvelle Ecole de Paris, Tachisme, or Informel. Bryen painted hybrids of plants, animals, rocks, and humans, mixing the organic with the inorganic, evoking cellular agglomerations, geological structures, or prehistorical drawings. He emphasized the materiality and the process through thick impasto, visible brushstrokes, and automatic drawing. Along with other abstract painters in post-war Paris, Bryen’s work is usually associated with vague humanist interpretations and oversimplified existentialism. If the above statement is true for a number of his peers, it does not correspond to the way he envisaged his art, and art in general. His views are reflected in his intense theoretical reflection revolving around the term of “Abhumanism”, too often completely ignored in the critical literature. Coined by his close friend, the playwright and writer Jacques Audiberti, Abhumanism claimed the inconsistency of a fallacious and pretentious humanism faced with the rawness and cruelty of recent history, and called for a revision of the humanist subject, including anthropocentrism. Both men considered art, namely painting, as a salvatory vitalist “abhumanist” act. In this paper, which is the first consistent publication on Bryen in English, I will argue that Abhumanism is essential for the understanding of the artist’s work because, separating him from the School of Paris, it is, first, harmonious with his artistic production—paintings and writings; second, it clarifies Bryen’s place in the history of the avant-garde, in the wake of Dada and Surrealism. This essay will contribute to the re-evaluation not only of Bryen’s still underestimated œuvre, but more largely to the reappraisal of the artistic life in Paris after the Second World War.
      Citation: Arts
      PubDate: 2022-03-08
      DOI: 10.3390/arts11020043
      Issue No: Vol. 11, No. 2 (2022)
       
  • Arts, Vol. 11, Pages 44: Antonio Gisbert’s Monument to Spanish
           Liberty: The Production of the Execution of Torrijos and his Companions on
           the Beach at Málaga (1888)

    • Authors: Ann Murray
      First page: 44
      Abstract: The monumental state-commissioned Execution of Torrijos and his Companions on the Beach at Málaga by Antonio Gisbert Pérez has only recently begun to receive earnest scholarly attention in Spanish-language literature after decades of relative obscurity, with no known lengthy discussion in English. Yet, it is a major Spanish history painting, commissioned as a monument to Spanish nation building in the wake of despotic monarchism. It is remarkable for its innovative composition and sensitive portrayal of liberal General José María Torrijos and his men, executed without trial on a Málaga beach in December 1831 for rallying against the absolutist monarch Ferdinand VII. In addition to Torrijos, among the dead were liberal politician Manuel Flores Calderón and the Byronic, Northern Irish-born Robert Boyd, active in the final years (1830–1831) of the Greek War of Independence and who was inspired by Torrijos’ cause. Introducing new material that builds on existing research, this essay offers a detailed analysis of the painting’s content and composition within its historical context. It carefully explores its production as a pivotal example of the Spanish visual culture of war and as a sensitively crafted memorial both to the men portrayed and the struggles of Spanish liberalism during the nineteenth century, a context that links it closely to Goya’s Third of May 1808, against which it is often compared, but which is at odds with the remarkably original composition of Gisbert’s work.
      Citation: Arts
      PubDate: 2022-03-10
      DOI: 10.3390/arts11020044
      Issue No: Vol. 11, No. 2 (2022)
       
  • Arts, Vol. 11, Pages 45: The Hands of Fortune: Margaret
           Bourke-White’s Magazine Photographs of Manual Work in the Early
           Years of the Depression

    • Authors: Barnaby Haran
      First page: 45
      Abstract: In 1931, Fortune published an article entitled ‘American Workingman’, a survey of labor in the midst of the worsening Depression, with an emblematic composite image of hands at work to indicate the manual character and the diverse jobs of industrial work. The picture conveys the polysemy of hands as a synecdoche of labor, and witnesses the prevalence of close-up depictions of hands at work in other Fortune features on specific industries, from which these fragments derived. This article explores the implications of Fortune’s representation of the ‘hands of labor’ at a time of escalating industrial conflict, defined by redundancies, strikes, and protests. If Fortune was a self-styled ‘super-class’ publication for a corporate elite, conceived for the ‘heads’ of industry, then to what extent do these othered hands operate ideologically to represent labor’s compliance at a time of crisis' If abstracted hands were ubiquitous in modernist photography, then Bourke-White’s images also equated a putative subgenre of Communist iconography, in which the hand, or fist, connoted proletarian solidarity and strength. Yet leftist militant agitation provoked antipathy in Fortune, and so I examine the representation of labor in the article and the magazine more broadly as industrial relations intensified in the 1930s. I consider further the extent these automatic hands allude to the narrative of ‘technological displacement’, or workerless factories, as a response to strikes.
      Citation: Arts
      PubDate: 2022-03-22
      DOI: 10.3390/arts11020045
      Issue No: Vol. 11, No. 2 (2022)
       
  • Arts, Vol. 11, Pages 46: Becoming a Part of the Houyhnhnm’s
           Environment

    • Authors: Reiko Goto Collins, Tim Collins
      First page: 46
      Abstract: R. Goto Collins and T. Collins are environmental artists. Their goal is to challenge their own subjectivity through research and practice. Reiko’s interest in relational and collaborative artwork with the more-than-human world goes back to the 1980s. In 2014, she decided to engage a horse (Darkness) as a collaborative partner, with Tim’s support. In this article, the reader will find a reflection on a creative inquiry between a horse, two humans and their shared environment. How a practice (of being with) might reveal an evolving subjectivity (becoming) with a horse' With a foundation of reading and practical testing of Edith Stein’s ideas in we then looked to Charles Sanders Pierce’s work on signs. This would provide a structure that enabled us to appreciate and process the range of signs discovered as we sought to communicate across species. Specific questions include: does Darkness interact with and adapt to changes in his environment' Is he self-aware and evolving through life experience, uniquely engaged with his environment' By recognizing and supporting his life and intelligence, would he reveal a world Tim and I were immersed in but could not perceive' How could we communicate that world through arts-based research'
      Citation: Arts
      PubDate: 2022-03-25
      DOI: 10.3390/arts11020046
      Issue No: Vol. 11, No. 2 (2022)
       
  • Arts, Vol. 11, Pages 47: Crypto-Preservation and the Ghost of Andy Warhol

    • Authors: Jon Ippolito
      First page: 47
      Abstract: For its enthusiasts, the blockchain is an archivist’s dream come true: an immutable historical record that is publicly accessible and immune from censorship. Distributed file systems such as IPFS aim to store creative works in a redundant, networked fashion outside the control of any single cloud provider. Projects designed to work with blockchains such as Filecoin and Arweave propose a dedicated cryptocurrency as financial incentive to support the cost of governing and sustaining this “permaweb”. As dreamy as this picture sounds, many of these promises depend on technologies that have yet to be sufficiently developed or adopted. Rather than forecast the future, we can separate the hype from the reality in the present day by examining a real-life example, namely the 2021 auction of Andy Warhol’s digital art with NFTs. This essay focuses less on blockchain’s general promise as a preservation medium and more on the particular case of the digital Warhols, which both in form and spirit would seem a perfect application of NFTs to preserve historically important works of digital art. Which promises of the crypto-dream of permanent access to digital heritage ring true for this case study, and which are overblown'
      Citation: Arts
      PubDate: 2022-03-31
      DOI: 10.3390/arts11020047
      Issue No: Vol. 11, No. 2 (2022)
       
  • Arts, Vol. 11, Pages 48: Le Corbusier’s Ineffable Space and
           Synchronism: From Architecture as Clear Syntax to Architecture as
           Succession of Events

    • Authors: Marianna Charitonidou
      First page: 48
      Abstract: This article examines Le Corbusier’s architectural design processes, paying special attention to his concept of “ineffable space”. Le Corbusier related “ineffable space” to mathematics, arguing that both mathematics and the phenomenon of “ineffable space” provoke an effect of “concordance”. He also argued that when the establishment of relations is “precise” and “overwhelming”, architectural artefacts are capable of “provoking physiological sensations”. For Le Corbusier, the sentiment of satisfaction and enjoyment that an architectural artefact can provoke is related to a perception of harmony. This article analyzes the reasons for which Le Corbusier insisted on the necessity to discover or invent “clear syntax” through architectural composition. He believed that the power of architectural artefacts lies in their “clear syntax”. Particular emphasis is placed on the relationship of Le Corbusier’s theories of space with those of Henri Bergson and the De Stijl movement. At the core of the reflections that are developed here are Le Corbusier’s “patient search” (“recherche patiente”) and the vital role of the act of drawing for the process of inscribing images in memory. For Le Corbusier, drawing embodied the acts of observing, discovering, inventing and creating. This article also relates Le Corbusier’s interest in proportions and his conception of the Modulor to post-war Italian neo-humanistic approaches in architecture. It intends to render explicit how Le Corbusier’s definition of architecture was reshaped, shedding light on the shift from defining architecture as clear syntax to defining architecture as the succession of events.
      Citation: Arts
      PubDate: 2022-04-04
      DOI: 10.3390/arts11020048
      Issue No: Vol. 11, No. 2 (2022)
       
  • Arts, Vol. 11, Pages 49: ‘The Lucky Country’: How the COVID-19
           Pandemic Revitalised Australia’s Lethargic Art Market

    • Authors: Anita Archer, David M. Challis
      First page: 49
      Abstract: Since its publication in 1964, Australians have used the title of Donald Horne’s book, The Lucky Country, as a term of self-reflective endearment to express the social and economic benefits afforded to the population by the country’s wealth of geographical and environmental advantages. These same advantages, combined with strict border closures, have proven invaluable in protecting Australia from the ravages of the global COVID-19 pandemic, in comparison to many other countries. However, elements of Australia’s arts sector have not been so fortunate. The financial damage of pandemic-driven closures of exhibitions, art events, museums, and art businesses has been compounded by complex government stimulus packages that have excluded many contracted arts workers. Contrarily, a booming fine art auction market and commercial gallery sector driven by stay-at-home local collectors demonstrated remarkable resilience considering the extraordinary circumstances. Nonetheless, this resilience must be contextualised against a decade of underperformance in the Australian art market, fed by the negative impact of national taxation policies and a dearth of Federal government support for the visual arts sector. This paper examines the complex and contradictory landscape of the art market in Australia during the global pandemic, including the extension of pre-pandemic trends towards digitalisation and internationalisation. Drawing on qualitative and quantitative analysis, the paper concludes that Australia is indeed a ‘lucky country’, and that whilst lockdowns have driven stay-at-home collectors to kick-start the local art market, an overdue digital pivot also offers future opportunities in the aftermath of the pandemic for national and international growth.
      Citation: Arts
      PubDate: 2022-04-05
      DOI: 10.3390/arts11020049
      Issue No: Vol. 11, No. 2 (2022)
       
  • Arts, Vol. 11, Pages 50: ‘An Element of Perfection’: The
           Transductive Art of Robert Mallary

    • Authors: Catherine Mason
      First page: 50
      Abstract: In 1969, American artist Robert Mallary (1917–1997) coined the term ‘transductive art’ to describe an approach to art based on the notion of receiving energy from one system and retransmitting it, often in a different form, to another. Long before the realm of techno-art became a recognizable construct, Mallary was interested in a system of relationships, seeking in his words, ‘an element of perfection’ in combinations of materials and technologies to make ‘a beautiful whole’. From his experiments with the Mexican Muralists to assemblage and Neo-Dada sculpture, and finally, his synergistic relationship with the computer, Mallary’s work addressed the place of the human in a technological world. He instigated one of the first American computer art curriculums within a fine art department, developing early examples of software created by artists for use by artists. His espousal of the digital to become a ‘Supermedium’, led him to conceptualise a ‘spatial-synesthetic art’, a multi-media immersive environment combining three-dimensional projected visual elements, motion, and sound. Although unrealised, this system anticipated future VR/virtual reality developments such as the ‘Cave Automatic Virtual Environment’ (CAVE™) system developed at the University of Illinois, Chicago, in 1992. The current review will therefore argue, by example, that Mallary deserves a prominent position in the history of techno-art, and by virtue of both the several emerging influences he had the insight to recognise and bring together and his numerous subsequent contributions as simultaneously an artist, a theorist, and an educator.
      Citation: Arts
      PubDate: 2022-04-06
      DOI: 10.3390/arts11020050
      Issue No: Vol. 11, No. 2 (2022)
       
  • Arts, Vol. 11, Pages 51: A Tale of Three Domes: The Un-Realized cupola of
           St Ignatius of Loyola in Roma

    • Authors: Marco Spada
      First page: 51
      Abstract: The church of St Ignatius of Loyola in Rome, together with the Church of the Gesù, represents the most significant artistic contribution of the Jesuits in the Eternal City. Incorporated in the broader context of the Roman College, and built between 1626 and 1650 following a project by Padre (Father) Orazio Grassi S.J., it is the only one of the great Roman churches without a dome. The projects for the helioscopic dome by Orazio Grassi, the Cortonesque dome by Armando Brasini and the perspective dome by Andrea Pozzo represent the difficult attempt to create a perfectly rational layout for Rome, an ideal scientific and theological city. These projects tell the story of three different ways of conceiving architectural space affecting the city: political manifesto, imaginative introspection and colossal scenography. This paper describes the history of an “impossible” dome, analysing the historical evolution of the project and its three potential authors, three magnificent and idealist designers.
      Citation: Arts
      PubDate: 2022-04-07
      DOI: 10.3390/arts11020051
      Issue No: Vol. 11, No. 2 (2022)
       
  • Arts, Vol. 11, Pages 10: Recto and Verso: The Pictorial Fronts and the
           Marbled Reverses of Two Flemish Panel Paintings

    • Authors: Kathrin Borgers
      First page: 10
      Abstract: From the first third of the 15th century onwards, panel paintings with marbled reverses increasingly appeared in Flemish art. The fronts of these panels primarily depicted religious narrative scenes or portraits. The backs were decorated with an abstract pattern, referred to as marbling. These painted marble facsimiles often differed in terms of design from other examples of stone imitations such as those used on the frame decorations of other panels. Unlike these frames, which suggest a greater illusionistic intention, the marbled reverses appear to function as abstract ornamentation. However, this article proposes that the painted backs are thematically linked to the pictorial narratives of the fronts. The marbled backs of Rogier van der Weyden’s Crucifixion and the Portrait of Margareta van Eyck will be considered in the context of a profane and a theological iconography. Both panels feature a reverse that can be identified as both an imitation of red porphyry and a representation of liquid paint. Metaphysical, material–semantic, and theological references will be revealed in the pictorial examples.
      Citation: Arts
      PubDate: 2022-01-03
      DOI: 10.3390/arts11010010
      Issue No: Vol. 11, No. 1 (2022)
       
  • Arts, Vol. 11, Pages 11: The Architectural Typology of Contemporary
           Façades for Public Buildings in the European Context

    • Authors: Joanna Jabłońska, Małgorzata Telesińska, Agnieszka Adamska, Joanna Gronostajska
      First page: 11
      Abstract: In contemporary architecture, a border between an exterior and an interior—a façade—is variously designed in terms of form, style, response to climate or culture, individual approach or tools used. Despite the diversity and multi-tread theoretical and practical discourse, the
      Authors propose the typology of contemporary façades for public buildings (open to society) in the context of European cities by extracting comprehensive architectural features. The term systematic reflects the complexness of the issue by the newly proposed element. Namely, it is a representation of a particular architectural feature with the use of scale. The elaboration consists of (1) an introduction with a literature review and thesis, (2) our aim and method, (3) a historical background; case studies, and systematics introduction (4) conclusions with typology proposal.
      Citation: Arts
      PubDate: 2022-01-04
      DOI: 10.3390/arts11010011
      Issue No: Vol. 11, No. 1 (2022)
       
  • Arts, Vol. 11, Pages 12: Colour and Light in Berlin and Wrocław
           (Breslau) Department Stores Built between 1927 and 1930

    • Authors: Krystyna Kirschke, Paweł Kirschke
      First page: 12
      Abstract: This paper presents the theoretical assumptions and design praxis concerning colour schemes used in the multi-threaded Moderne, Streamline Moderne and Art Deco styles, which were used in Germany during the interwar period to design commercial facilities. We based our analysis on selected cases of department stores built in the years 1927–1930 in Berlin and Wrocław (Breslau at the time). Streamline Moderne and Art Deco, which was present in Germany alongside Expressionism, operated using a simple spatial structure that followed the precepts formulated by the Bauhaus: it featured rhythmically divided, disciplined facades clad in ceramics, sandstone or travertine, as well as large storefront windows with brass frames. These Modernist compositions were enriched with ceramic or brass cornices and friezes, overhangs and full-figure sculptures that were often gilded. The buildings’ interiors, designed following the principles of efficiency and functionality, had spatially accentuated and colour-marked entrance zones and grand, glazed courtyards that were given an expressive décor via ceramics, stone or exotic wood. The expression of these compositions was underscored by linear illumination and cascade-like chandeliers that formed light sculptures. In our paper, we also presented problems associated with the contemporary revitalisation and reconstruction of such buildings. We specifically focused on research findings that identified original ceramics production technologies and methods that allowed the recreation of the texture and colour of the facade of the A. Wertheim department store in Wrocław.
      Citation: Arts
      PubDate: 2022-01-05
      DOI: 10.3390/arts11010012
      Issue No: Vol. 11, No. 1 (2022)
       
  • Arts, Vol. 11, Pages 13: The Last Flemish Primitive: Jan
           Vercruysse’s Self-Fashioning of Artisthood and National Identity

    • Authors: Anton Pereira Rodriguez
      First page: 13
      Abstract: In 1989, the artist Jan Vercruysse (1948–2018) stated that he was “the last Flemish Primitive”. This comment, despite being only a fragment of a lengthy interview with Carolyn Christov-Bakargiev, became a trope in subsequent writings on Vercruysse. I argue that the statement was part of a deliberate strategy by Vercruysse in shaping his identity as a (Belgian) artist. First, I focus on Vercruysse’s Portraits of the Artist (1979–1984), a series of photographic works in which he uses the genre of the self-portrait—thereby implicitly referring to the Flemish Primitives—as a means to express the constructedness of artistic identity. Second, I explore Vercruysse’s construction of his identity and his relationship vis-à-vis the notion of Belgian art. Finally, the statement uttered in 1989 will be contextualized within the changing political and cultural context of Belgium and Flanders in the 1980s. I demonstrate how the statement can be read as invoking a radically different conception of Belgian art during this period.
      Citation: Arts
      PubDate: 2022-01-06
      DOI: 10.3390/arts11010013
      Issue No: Vol. 11, No. 1 (2022)
       
  • Arts, Vol. 11, Pages 14: About Performance: A Conversation with Richard
           Schechner

    • Authors: Cláudia Madeira, Cristina Pratas Cruzeiro, Anne Douglas, Helena Elias
      First page: 14
      Abstract: Richard Schechner is University Professor Emeritus at New York University (https://tisch [...]
      Citation: Arts
      PubDate: 2022-01-06
      DOI: 10.3390/arts11010014
      Issue No: Vol. 11, No. 1 (2022)
       
  • Arts, Vol. 11, Pages 15: Following the Thread: Elite Iconography on
           Weaving Objects at Poggio Civitate (Murlo)

    • Authors: Nora K. Donoghue
      First page: 15
      Abstract: Evidence for industrial scale production of numerous manufacturing processes has been attested in all phases of occupation at Poggio Civitate (Murlo). A subset of these, tools for the production of textiles and fibers, indicates that textile crafts were manufactured on a large scale as a part of a centralized and organized industry. These industrialized practices occurred within and around the monumental seventh and sixth century BCE complexes which displayed architectural decoration bearing iconographic themes that served to secure the positions of the aristocratic elites. This paper investigates the stamped decoration present on rocchetti and its relationship to the architectural decoration present on the monumental structures of the site. As small moveable objects used by members of the community, rocchetti present an opportunity to investigate the movement of elite images through the non-elite population of a community and their reception of aristocratic ideology presented in monumental structures.
      Citation: Arts
      PubDate: 2022-01-07
      DOI: 10.3390/arts11010015
      Issue No: Vol. 11, No. 1 (2022)
       
  • Arts, Vol. 11, Pages 16: Wall Surfaces as Interfaces: The First Pompeian
           Style

    • Authors: Annette Haug
      First page: 16
      Abstract: This article investigates the role of wall surfaces as an interactive medium in the First Pompeian Style, referring to examples from Pompeii. Five different aspects are investigated in more detail: (1) surfaces and their relation to the core; (2) surface qualities; (3) surfaces as image carriers; (4) surfaces and their relation to the physical space; (5) surfaces and their relation to the social space. These aspects allow for a deeper understanding of the First Style’s ornamental, pictorial and spatial qualities. In this view, surfaces can be conceived as media interfaces.
      Citation: Arts
      PubDate: 2022-01-11
      DOI: 10.3390/arts11010016
      Issue No: Vol. 11, No. 1 (2022)
       
  • Arts, Vol. 11, Pages 17: New Form, New Material and Color Scheme, the
           Exposed Concrete Phenomenon—The Centennial Hall in Wrocław

    • Authors: Jerzy Ilkosz, Ryszard Wójtowicz, Jadwiga Urbanik
      First page: 17
      Abstract: The aim of the article is to present the remarkable changes in architecture that took place in the 20th century. They can easily be called a revolution regarding the architectural form and the color scheme. Progress was being made through the development of reinforced concrete production methods. In the German Empire (Deutsches Kaiserreich), this material quickly found applications in more and more interesting solutions in architectural structures. In Wrocław (formerly Breslau), then located in the eastern German Empire, exceptional architectural works were realized before and after the First World War using new technology. In 1913, an unusual building was erected—the Centennial Hall, designed by Max Berg (inscribed on the UNESCO World Heritage List in 2006). Berg’s work was inspired by the works of both Hans Poelzig and Bruno Taut. On the one hand, it was a delight with the new material (the Upper Silesian Tower at the exhibition in Poznań, designed by H. Poelzig) and, on the other hand, with the colorful architecture of light and glass by B. Taut (a glass pavilion at the Werkbund exhibition in Cologne). Max Berg left the concrete in an almost “pure” form, not hiding the texture of the formwork under the plaster layer. However, stratigraphic studies of paint coatings and archival inquiries reveal a new face of this building. The research was carried out as part of the CMP (Conservation Management Plan—prepared by the authors of the article, among others) grant from The Getty Foundation Keeping It Modern program. According to the source materials, the architect intended to leave the exposed concrete outside of the building, while the interior was to be decorated with painting, stained glass, and sculpture. The stratigraphic tests showed that the external walls were covered with a translucent yellowish color coating. Thus, the Centennial Hall shows a different face of reinforced concrete architecture.
      Citation: Arts
      PubDate: 2022-01-12
      DOI: 10.3390/arts11010017
      Issue No: Vol. 11, No. 1 (2022)
       
  • Arts, Vol. 11, Pages 18: An Interview with Gregory Sholette about the
           Precarious Workers Pageant Project

    • Authors: Cristina Pratas Cruzeiro, Anne Douglas, Cláudia Madeira, Helena Elias
      First page: 18
      Abstract: PrecariousWorkers Pageant[...]
      Citation: Arts
      PubDate: 2022-01-17
      DOI: 10.3390/arts11010018
      Issue No: Vol. 11, No. 1 (2022)
       
  • Arts, Vol. 11, Pages 19: Glass as a Fine Art Medium: Brief History and the
           Role of Adriano Berengo as a Fine Art Glass Impresario

    • Authors: Goshka Bialek
      First page: 19
      Abstract: This article explores the role of glass as a medium in the fine arts rather than as a craft form. It includes a short history of glass as an art medium, the development of glass technologies and their application in the field of fine art. It reflects the distinctiveness of glass as a sculptural medium due to its optical properties and transparency; glass’s inherent characteristics create the unique possibility of using the space both outside and inside a solid object. This article, furthermore, demonstrates the importance of specific individuals in bringing glass as a fine art medium to the fore, in particular Adriano Berengo. Berengo proves exceptional in promoting glass in the field of fine arts and has been particularly effective in encouraging well-known artists to experiment with it as a medium. The article discusses the impact of his efforts to establish cooperation with great names from all over the world, from Ai Weiwei to Tony Cragg and from Jaume Plensa to César, who have passed through Adriano Berengo’s studio.
      Citation: Arts
      PubDate: 2022-01-17
      DOI: 10.3390/arts11010019
      Issue No: Vol. 11, No. 1 (2022)
       
  • Arts, Vol. 11, Pages 20: Art and the City: Contemporary Art Galleries
           Districts in Paris from the End of the 19th Century until Today

    • Authors: Alain Quemin
      First page: 20
      Abstract: The space invested by contemporary art galleries is of utmost importance. Not only is it essential to have suitable premises, but they must also be in the right place: The physical address carries a lot of weight. The benefits to galleries of being concentrated in the same areas are twofold: They are close to their competitors, which means they are close to the art market, and thus, by their collective presence, can boost the market by encouraging collectors to go to the same places built up as art districts. Moreover, the district’s qualifying function comes about through the collective construction of this grouping of galleries from which it benefits. Today in Paris, it is the Marais neighborhood—a sector that started developing in the 1970s but even more in the 1980s and 1990s—that epitomizes the place to be for contemporary art galleries. The implantation of contemporary galleries in Paris clearly results from a historical process that led them from the 8th arrondissement to the Marais, stopping briefly at Saint-Germain-des-Prés (or the 6th arrondissement) mostly for small avant-garde structures. Studying the implantation—here in Paris—of contemporary art galleries over time illustrates the dynamics that gird the installation choices and also shows how alive the urban fabric is. Galleries enter the transformations of the urban fabric, and when they are numerous enough, they also participate directly in its development.
      Citation: Arts
      PubDate: 2022-01-18
      DOI: 10.3390/arts11010020
      Issue No: Vol. 11, No. 1 (2022)
       
  • Arts, Vol. 11, Pages 21: A Bronze Reliquary for an Ichneumon Dedicated to
           the Egyptian Goddess Wadjet

    • Authors: Robert Steven Bianchi
      First page: 21
      Abstract: This is a short introduction to the hieroglyphic nature of ancient Egyptian material culture and its polyvalence using a bronze statuette of a lioness-headed goddess in front of an obelisk (formerly in the Omar Pasha Sultan Collection) as a case study. Because the lioness is not identified by an accompanying inscription, the essay demonstrates methods by which the identification and significance of the image can be unpacked.
      Citation: Arts
      PubDate: 2022-01-20
      DOI: 10.3390/arts11010021
      Issue No: Vol. 11, No. 1 (2022)
       
  • Arts, Vol. 11, Pages 22: Usological Turn in Archiving, Curating and
           Educating: The Case of Arte Útil

    • Authors: Alessandra Saviotti, Gemma Medina Estupiñán
      First page: 22
      Abstract: Since its inception in 2013, the Arte Útil archive has become a collective steadily expanding as a tool for research and a resource for social practitioners. The archive is available for consultation at the website and consists of a growing database of around three hundred case studies that use art as a tool for societal change. It provides artistic strategies, a historical perspective, and a nexus between theory and praxis, besides being a platform to connect artistic projects and “users” from different geographies and contexts. Overall, it has become a nomadic pedagogical device able to trigger the discussion and the analysis of socially engaged art practice, its nature and its context involving not just artists but social agents and communities. As co-curators of the archive and educators, we interrogated ourselves regarding if curating as a social practice could expand the notion of education. Could we embrace the methodology of social practice to curate and generate pedagogical conditions fostering sustainability' Could we go beyond the conventional spaces and dynamics of academia' Could we integrate concepts like co-authorship and co-curating to cross from the arts to collective learning environments' How do we relate with the archive in other local contexts' In the last five years, we have implemented an evolving methodology that addresses all these questions, activating the Arte Útil archive as a pedagogical catalyst. The archive allowed collective experimentation and became a tool to infiltrate social practice both in the academic domain and galleries and museums’ educational ecosystems. In this article, we will analyse two different examples as case studies: from a research and artistic environment, a conversation with Onur Yıldız and Naz Kocadere, co-authors of “Art in use: case studies in Turkey” in May 2018, from a two-day workshop organised in collaboration with the Office of Useful Art at SALT Galata, Istanbul (TR); and from an educational perspective, the recent curriculum developed as part of the International Master Artists Educator (iMAE) in ArtEZ, Armhen (NL).
      Citation: Arts
      PubDate: 2022-01-21
      DOI: 10.3390/arts11010022
      Issue No: Vol. 11, No. 1 (2022)
       
  • Arts, Vol. 11, Pages 23: Our Cherished Moments of Involuntary Realism:
           Charles Harrison, Modernism, and Art Writing

    • Authors: Stephen Moonie
      First page: 23
      Abstract: In May 1969, Charles Harrison reviewed Morris Louis’ exhibition at the Waddington Galleries in London. Months later, he helped to install the exhibition When Attitudes Become Form at the Institute of Contemporary Arts. Harrison also wrote the catalogue text, published in Studio International. Those two texts marked a significant point in Harrison’s career. They were indicative of his disillusionment with modernist criticism, and of his burgeoning interest in the work of post-minimal and conceptual art. In this respect, the two essays mark a transition from modernism to post-modernism in the space between a formalist analysis of the art object and a more dispersed field of artistic practice, where a changed relationship between art practice, criticism, and curating was taking place. However, in the 2000s, Harrison came to reflect upon this cardinal moment. Harrison referred to his recollected experiences of the late 1960s as a ‘cherished moment of involuntary realism’, opening up issues around art writing which remain pertinent to the practice of art history.
      Citation: Arts
      PubDate: 2022-01-21
      DOI: 10.3390/arts11010023
      Issue No: Vol. 11, No. 1 (2022)
       
  • Arts, Vol. 11, Pages 24: When the Sky Is Low and Heavy: David Lamelas and
           Transnational Heritage in Flanders

    • Authors: Elize Mazadiego, Stefaan Vervoort
      First page: 24
      Abstract: In 1992, artist David Lamelas installed Quand le ciel bas et lourd at the temporary exhibition America: Bride of the Sun—500 Years of Latin-America and the Low Countries at the Royal Museum of Fine Arts Antwerp (KMSKA), a show that explored the cultural, economic, and political exploitation of indigenous America by European forces, and its project of colonization and erasure. Lamelas’ work remained a public installation in KMSKA’s garden until March 2021 when it was dismantled as a result of the museum’s years-long renovation. This article examines the work in the context in which it was exhibited and later destroyed as a lens to examine two aspects of contemporary art and history in Flanders. Firstly, it foregrounds the complex, transnational heritage that Lamelas’ work presents and considers its implications upon the local, cultural scene in which it resided from the 1960s to 70s, in the 1990s and in the present. Secondly, the text frames Quand le ciel bas et lourd and America: Bride of the Sun as reverberating with the emergence of nationalism in Flanders and a global, postcolonial discourse in the art world. This article considers how aspects of Lamelas’ work and its elusive meanings over space and time might challenge monolithic understandings of Flemish art.
      Citation: Arts
      PubDate: 2022-01-26
      DOI: 10.3390/arts11010024
      Issue No: Vol. 11, No. 1 (2022)
       
  • Arts, Vol. 11, Pages 25: Sgraffito as a Method of Wall Decoration in the
           Renaissance and Mannerist Silesia

    • Authors: Marzanna Jagiełło
      First page: 25
      Abstract: During the Renaissance and Mannerist periods, in most European countries the fashion for decorating walls with sgraffiti covered a large part of continent, from Portugal to Romania, and from Central Italy to the German countries and Poland. Its popularity in the middle part of Europe peaked in the 16th and 17th centuries. In many regions, sgraffito was the dominant method of decorating buildings. Sgraffito styles were differentiated by design, artistic level, local conditions and investor preferences. In many regions north of the Alps, sgraffito decorations were, on the one hand, a frequently used method of modernizing medieval buildings, and, on the other, a form of expressing views, often religious ones. Everywhere, however, they expressed supranational belonging to the world of a post-medieval, revival community. It was no different in Silesia, where the sgraffiti madness arrived, thanks to artists who came from the northern regions of Italy around 1540 and settled down until the middle of the next century. The research carried out by the author has proven that, for Silesia, sgraffito was an iconic sign of the architecture of that period. In this region, then belonging to the Habsburg Monarchy, sgraffito decorations covered a wide variety of architectural objects, from barns, walls, and gates to tenement houses, manors, castles, and churches. In the case of the latter, research has shown that temples in Gothic style are heavily decorated with sgraffiti, which should be considered a distinctive feature when compared to other regions. At the same time, it was found that the vast majority of them appeared in forms and themes known to us from other countries covered by the sgraffito fashion. The frame composition made in this technique and, most probably modeled directly on the template by S. Serlia (Tutte L’opere d’Architettura et Prospettiva) from 1619, should be considered as the Silesian contribution to the sgraffito heritage as well as oval bossages. While studying Silesian sgraffito, some local technological differences were also noticed. With the advent of the Baroque period, a large part of the sgraffito decoration was covered (and thus preserved) with a new, baroque decorative costume. We still discover them in the present while carrying out conservation works (sometimes multiple) on historic buildings. Many others, those constantly on display, have been restored to preserve their original shape, or have been reconstructed. Various and simultaneously modernized methods are used to implement these works. Their correct selection depends on in-depth knowledge of sgraffito (historical, artistic, technological and technical) and their regional specificity. It also depends on the constant exchange of experiences between all those dealing with sgraffito heritage.
      Citation: Arts
      PubDate: 2022-02-03
      DOI: 10.3390/arts11010025
      Issue No: Vol. 11, No. 1 (2022)
       
  • Arts, Vol. 11, Pages 26: Architecture and Contemporary Visual Culture, the
           Image of Realism and the Realism of Image

    • Authors: Iñaki Bergera, Javier de Esteban
      First page: 26
      Abstract: The rise of visual culture and the role of images in shaping contemporary thought and global society has been a constant since the end of the last century. Called “Iconic turn” in the field of philosophy of perception and image theory, this process has captured increasing attention in diverse academic fields, even in disciplines such as architecture where the role of images has not always been well considered. There is no doubt, however, that the visual nature of architecture makes the image essential in its conception, representation or perception. Within this relationship between architecture and image can be noted a recent change: a progressive attention toward realism as an alternative to an arbitrariness of form whose main consequence has been an uncritical use of images by architects and their consumption by society. The visual nature of some of the most influential works of the British architects Sergison Bates and Tony Fretton are exemplary for this purpose, aware of the importance of images in the shaping of everyday life and in the architectural narratives of the real. These works, in turn, allow us to explore the reciprocal strengthening that this realism as an attitude in being (architecture) and in looking (photography) has for an architectural practice that feeds on images and engenders them.
      Citation: Arts
      PubDate: 2022-02-03
      DOI: 10.3390/arts11010026
      Issue No: Vol. 11, No. 1 (2022)
       
  • Arts, Vol. 11, Pages 27: Color of Tenement Houses Built in the 19th and
           Early 20th Centuries in Wroclaw (Poland)—Research, Restoration and
           Conservation

    • Authors: Przemyslaw Nowakowski
      First page: 27
      Abstract: The article presents an analysis of the color evolution of tenement houses in Wroclaw in the 19th and early 20th centuries. Their various colors, confirmed by research, prove the term “Colorful Wroclaw”, appearing in the 1930s the architectural journals. The considerations were supported, i.e., by iconographic material presenting the varied colors of renovated tenement houses in Wroclaw. The aim of this analysis is to show the role of scientific and conservation research in restoring the historical value of buildings. Examples of tenement house restoration projects show the practical application of scientific research to formulate conservation guidelines and organize renovation work. Renovation work also requires traditional and increasingly modern construction techniques. These historical buildings belong to the country’s cultural heritage. They are usually entered into the Monuments Register and are subject to conservation protection. Restoring their former appearance and character is possible thanks to the participation of national and international institutions. It deals with supporting the flow of knowledge and financial resources. The following research methods were used: archival and literature studies, analytical studies of selected conservation techniques and stratigraphic studies of paint coatings, and case studies when discussing renovation projects for selected tenement houses.
      Citation: Arts
      PubDate: 2022-02-07
      DOI: 10.3390/arts11010027
      Issue No: Vol. 11, No. 1 (2022)
       
  • Arts, Vol. 11, Pages 28: Color in Medieval Castle Architecture in
           Present-Day Poland and Czech Republic

    • Authors: Dagmara Adamska, Przemysław Nocuń, Tomasz Ratajczak, František Záruba
      First page: 28
      Abstract: Colors were ubiquitous in the medieval world, and castles were no exception. While in the eyes of most people their rich color schemes manifested power and wealth, some could also read the more nuanced messages these colors conveyed. The main objective of this paper is to discuss the use and role of color in the interiors of castles of medieval Bohemia and Poland. The picture is complemented by the analysis of color decorations of defensive residences of the Teutonic Order. The discussion takes into account the varying states of preservation and draws from the available written accounts. To present the most complete picture possible, we discuss royal residences, for which unfortunately limited data are available, as well as the better-preserved castles of dukes and knights. We discuss the identified iconographic programs and their chivalric, heraldic, and hagiographic motifs. Within the scope of our discussion are late forms of floral decorations, known as “green chambers”. The numerous examples presented in the paper prove that color was an important tool of visual social communication in castle architecture: it complemented the symbolism, and sometimes carried an independent message.
      Citation: Arts
      PubDate: 2022-02-07
      DOI: 10.3390/arts11010028
      Issue No: Vol. 11, No. 1 (2022)
       
  • Arts, Vol. 11, Pages 29: Hong Kong as a Global Art Hub: Art Ecology and
           Sustainability of Asia’s Art Market Centre

    • Authors: Zoran Poposki, Isaac Hok Bun Leung
      First page: 29
      Abstract: Over the past decade, Hong Kong’s art market has experienced unprecedented growth, emerging as the second largest in the world in 2020 in terms of contemporary art auctions. Factors such as the city’s free-market economy and well-developed infrastructure, as well as its unique position as a gateway to the large and growing Chinese art market, have led to major global art fairs and galleries establishing their presence in the city, in addition to the already present international auction houses. Moreover, the recent opening of M+, Hong Kong’s new museum of visual culture, as part of the West Kowloon Cultural District, is designed to further seal Hong Kong’s position and contribute to the continued growth of its art market. This paper explores the Hong Kong art ecosystem and its sustainability by focusing on leading art market institutions, anchor cultural organizations, and other key actors driving the development of the Hong Kong art system, on both the commercial and the nonprofit side; the effects of the expanding art market on the city’s art scene; the dynamics of the relationship between the Hong Kong art market and the broader Chinese art market; and the key emerging opportunities and challenges to Hong Kong’s future development as Asia’s premier art hub.
      Citation: Arts
      PubDate: 2022-02-07
      DOI: 10.3390/arts11010029
      Issue No: Vol. 11, No. 1 (2022)
       
  • Arts, Vol. 11, Pages 30: Acknowledgment to Reviewers of Arts in 2021

    • Authors: Arts Editorial Office Arts Editorial Office
      First page: 30
      Abstract: Rigorous peer-reviews are the basis of high-quality academic publishing [...]
      Citation: Arts
      PubDate: 2022-02-08
      DOI: 10.3390/arts11010030
      Issue No: Vol. 11, No. 1 (2022)
       
  • Arts, Vol. 11, Pages 31: Hedgehogs and Hedgehog-Head Boats in Ancient
           Egyptian Religion in the Late 3rd Millennium BCE

    • Authors: Julia Clare Francis Hamilton
      First page: 31
      Abstract: Hedgehogs held a special place in ancient Egyptian life like many other desert- and marsh-dwelling animals. Their natural defensive qualities were admired by ancient Egyptians and their bodily parts, notably their hardened spines, were used as ingredients in medico-magical prescriptions. In tomb reliefs of the late 3rd Millennium BCE, hedgehogs are represented being carried alive by offering bearers or as background participants in desert hunting scenes. In later periods of Egyptian history, rattles, small unguent vessels, and scaraboid amulets were made in their shape, all of which are presumed to have had apotropaic purposes. A particular votive object of the Old Kingdom (c. 2686–2181 BCE) is a palm-sized modelled boat with a prow in the shape of a hedgehog head, which has been discovered at sites throughout Egypt. A similar representation of this motif is the so-called ‘Henet’-boat (from the word ḥnt[j]) with a hedgehog head at the prow facing inwards, which is found in late Old Kingdom art. This article reassesses the role of hedgehogs as protective or apotropaic entities and their association with boats, considering how ancient Egyptians understood their ecology and their predation of snakes, scorpions, and similar stinging creatures. An updated list is provided of known representations of hedgehog-head boats, including petroglyphs and as yet unpublished examples from tombs at Giza and Saqqara. The meaning of the ancient Egyptian word ḥnt(j) is also rexamined in relation to the representation of riverine and marsh-water boats in Old Kingdom tombs.
      Citation: Arts
      PubDate: 2022-02-08
      DOI: 10.3390/arts11010031
      Issue No: Vol. 11, No. 1 (2022)
       
  • Arts, Vol. 11, Pages 32: The Embodiment of Artistic Objects in Pablo
           Picasso’s Cubism

    • Authors: Enrique Mallen
      First page: 32
      Abstract: According to Michael Tucker, the breakdown of consciousness in modern art, a breakdown that carries the modern artist backwards to an all-embracing participation with the world, leads to a return to archaic qualities of participation mystique that involves constructive, creative elements of a new vision of reality. This may be observed in Pablo Picasso, who wanted with the help of primitive vision to cleanse painting of the stale and paralyzing conventions that he viewed as a sham compared to the profound truth of art. For the Spaniard, painting at its origins was capable of an expressive force so powerful that even the great classic masters were unable to match it, much less strengthen it. The new art he defended was an art of creation, not imitation. It should follow its own generative principles. I examine the three major periods of Cubism (Cézannian, analytic and synthetic) from this perspective as a process of creativity in which Picasso struggled to find the true real and in the process opened up the possibility for new creations including his own persona.
      Citation: Arts
      PubDate: 2022-02-09
      DOI: 10.3390/arts11010032
      Issue No: Vol. 11, No. 1 (2022)
       
  • Arts, Vol. 11, Pages 33: What Approach to Flemish Annunciations'

    • Authors: Thor-Oona Pignarre-Altermatt
      First page: 33
      Abstract: Through a series of case studies, this paper examines Flemish fifteenth and early sixteenth century paintings of the Annunciation in a domestic setting as an example of how the materiality and the spiritual dimension form two inseparable aspects of devotional practice. After questioning whether these paintings reflect contemporary interiors and practices of domestic devotion, the paper discusses their use as historical sources by addressing the domestic iconography of the Annunciation as a Flemish artistic tradition. It argues that it is necessary to consider these paintings as artworks to understand their primary role as devotional objects.
      Citation: Arts
      PubDate: 2022-02-10
      DOI: 10.3390/arts11010033
      Issue No: Vol. 11, No. 1 (2022)
       
  • Arts, Vol. 11, Pages 34: Ancient Ceramic Culture and Technological
           Characteristics of Xiaopi Kiln Ceramics

    • Authors: Bai Mao Gong, Khunanan Sukpasjaroen, Thitinan Chankoson
      First page: 34
      Abstract: In recent years, the Chinese government has attached great importance to the revitalization of traditional culture, and many traditional ceramic cultures have been revitalized and developed one after another. Xiaopi kiln ceramics is one of the most representative cultural symbols in Jinxi County, Jiangxi Province. Due to local economic backwardness and other reasons, the excavation of Xiaopi kiln ceramic culture has not received due attention. However, with the economic rise of Jinxi County and the people’s pursuit of cultural self-confidence, the development of Xiaopi kiln ceramic culture has been supported by the local government and people. Therefore, entrusted by the Jinxi County Government, combined with the goal of unfolding the Xiaopi kiln ceramic culture, this study uses empirical research methods to carry out sampling statistics on 115 ancient ceramics unearthed using the Xiaopi kiln technique, so as to find out the technical characteristics of Xiaopi kiln ceramics, such as shape, glaze color, decorative pattern, and firing. Through descriptive analysis, this paper summarizes the industry positioning of Xiaopi kiln ceramics, which lays a theoretical foundation for the development of the Xiaopi kiln ceramic culture industry.
      Citation: Arts
      PubDate: 2022-02-11
      DOI: 10.3390/arts11010034
      Issue No: Vol. 11, No. 1 (2022)
       
  • Arts, Vol. 11, Pages 35: Art and Place: Crossing Borders in the Work of
           Perejaume

    • Authors: Deborah Schultz
      First page: 35
      Abstract: In a sequence of drawings from the mid-1990s, the Catalan artist Perejaume (b. 1957) visualizes the migration of art movements across geographical and political borders. In doing so, the artist offers visual forms for intangible journeys through time and space. In sharp contrast to earlier concepts of the development of art, from Vasari’s cyclical model of rise and fall to Alfred H. Barr’s linear ‘Development of Cubism and Art’, Perejaume’s drawings offer a less definitive, more suggestive, visualization of the migration of art movements. By locating his drawings in specific landscapes, the artist gives a sense of the complex spatial relations between art and place. Within his wider practice, Perejaume crosses many borders. Artist, poet, writer and performer, he works in an extensive range of styles and mediums. This paper explores Perejaume’s representations of the migration of art movements, proposing them as alternative visual and conceptual models for the shape of art history.
      Citation: Arts
      PubDate: 2022-02-15
      DOI: 10.3390/arts11010035
      Issue No: Vol. 11, No. 1 (2022)
       
  • Arts, Vol. 11, Pages 36: Quatre Peintres Belges au Travail: Paul
           Haesaerts’s Film on Edgar Tytgat, Albert Dasnoy, Jean Brusselmans
           and Paul Delvaux (1952)

    • Authors: Joséphine Vandekerckhove
      First page: 36
      Abstract: Belgian art historian and filmmaker Paul Haesaerts (1901–1974) made a significant contribution to the promotion of modern Flemish art. In the late 1940s, he started experimenting with the medium of film to practice a new form of lens-based art criticism. The understudied documentary Quatre peintres belges au travail (1952) presents Belgian artists Edgar Tytgat, Albert Dasnoy, Jean Brusselmans and Paul Delvaux at work in their studio. On a large sheet of glass placed in front of the camera, they each paint one of the seasons that also represent a stage in a person’s life. A close reading of this Kodachrome color film sheds light on the context of mid-century art reproductions, mass media and post-war Flemish culture. It also examines in what way this film operates as Haesaerts’s concept of cinéma critique, while raising questions as to the way Haesaerts attempted to reconcile the spatial art of painting with the temporal medium of film.
      Citation: Arts
      PubDate: 2022-02-18
      DOI: 10.3390/arts11010036
      Issue No: Vol. 11, No. 1 (2022)
       
 
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