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Arts
Number of Followers: 6  Open Access journalISSN (Print) 2076-0752 Published by MDPI  [258 journals]
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- Arts, Vol. 13, Pages 111: How Many Lives for a Mesopotamian Statue'
Authors: Imane Achouche
First page: 111
Abstract: Among the indicators of the value and power ascribed to statues in Mesopotamia, reuse is a particularly significant one. By studying some of the best-documented examples of the usurpation and reassignment of a new function to sculptures in the round from the 3rd and 2nd millennia BC, our study reveals the variety of motives and methods employed. We hereafter explore the ways in which the status of such artefacts is maintained, reactivated, or adapted in order to secure their agency.
Citation: Arts
PubDate: 2024-06-21
DOI: 10.3390/arts13040111
Issue No: Vol. 13, No. 4 (2024)
- Arts, Vol. 13, Pages 112: Liturgical Spaces and Devotional Spaces:
Analysis of the Choirs of Three Catalan Nuns’ Monasteries during the
Fourteenth and Fifteenth Centuries
Authors: Marta Crispí
First page: 112
Abstract: Choirs in female monastic and convent communities are spaces whose complexity has been highlighted because of their multipurpose and multifunctional nature. Although they are within the community’s private sphere of prayer of the divine office, it has also been noted that they play a liturgical role as the space from which the nuns ‘hear’ and follow the celebrations taking place in the church and even in the choral altars. The devotional–liturgical binomial is joined by other contrasting terms, like esglesia dintra–sgleya de fora, indicating a duality, as follows: the claustration (as an enclosed, internal and private space of the nuns) and the external church accessible to priests and laypeople, as well as private devotion versus community devotion. The Poor Clares of the monastery of Sant Antoni i Santa Clara actually mentioned the choir altar as nostro altar, underscoring the close bonds that joined them to a liturgical table in this private space, as opposed to those of the esglesia defora. The objective of this article is to study the choirs of three female monasteries in Barcelona during the fourteenth and fifteenth centuries—Sant Pere de les Puel·les (Benedictines), Sant Antoni i Santa Clara and Santa Maria de Pedralbes (both Clarissan)—from a holistic standpoint, including spaces, functions, goods, furnishings and decorations.
Citation: Arts
PubDate: 2024-06-25
DOI: 10.3390/arts13040112
Issue No: Vol. 13, No. 4 (2024)
- Arts, Vol. 13, Pages 113: Verification and Establishment of Techniques of
Ajami Artwork
Authors: Ziad Baydoun, Tenku Putri Norishah Tenku Shariman, Fauzan Mustaffa
First page: 113
Abstract: Ajami, a technique of painted wood paneling, was popular in the Ottoman Empire from the 17th to the late 18th centuries. Ajami art became prominent in Syria after the decline of tile production, and it rose to a sophisticated level of art in both local and global markets. Today, however, Ajami art has become almost forgotten and unknown by the modern generation, due to being an exclusive art that can be seen only in palaces, museums, and historical houses. This study investigates the traditional method and techniques of making Ajami, with a focus on the work of a renowned Syrian Ajami art master artisan named Mr. Abdulraouf. The study aims to identify and document the traditional method of Ajami production and determine the materials and techniques used for making Ajami. The study found that Ajami art consists of natural elements that are utilized in four main stages; foundation, design, painting, and finishing. The artisans have a strong preference for floral and geometric designs, influenced by Islamic religious beliefs. The findings of this study could serve as an educational guide to preserve heritage and make it presentable for the present and future generations.
Citation: Arts
PubDate: 2024-06-29
DOI: 10.3390/arts13040113
Issue No: Vol. 13, No. 4 (2024)
- Arts, Vol. 13, Pages 114: ‘Bodhisattva Bodies’: Early
Twentieth Century Indian Influences on Modern Japanese Buddhist Art
Authors: Chao Chi Chiu
First page: 114
Abstract: The first decade of the twentieth century marked a turning point for Japanese Buddhism. With the introduction of Western academia, Buddhist scholars began to uncover the history of Buddhism, and through their efforts, they discovered India as the birthplace of Buddhism. As India began to grow in importance for Japanese Buddhist circles, one unexpected area to receive the most influence was Japanese Buddhist art, especially in the representation of human figures. Some artists began to insert Indian female figures into their art, not only to add a sense of exoticism but also to experiment with novel iconographies that might modernize Buddhist art. One example included the combination of Indian and Japanese female traits to create a culturally fluid figure that highlighted the cultural connection between Japan and India. Other artists were more attracted to “Indianizing” the Buddha in paintings to create more historically authentic art, drawing references from both Indian art and observations of local people. In this paper, I highlight how developments in Buddhist studies in Japan led to a re-establishment of Indo–Japanese relationships. Furthermore, I examine how the attraction towards India for Japanese artists motivated them to travel abroad and seek inspiration to modernize Buddhist art in Japan.
Citation: Arts
PubDate: 2024-06-30
DOI: 10.3390/arts13040114
Issue No: Vol. 13, No. 4 (2024)
- Arts, Vol. 13, Pages 115: Forever Becoming: Teaching “Transgender
Studies Meets Art History” and Theorizing Trans Joy
Authors: Alpesh Kantilal Patel
First page: 115
Abstract: Academics often comment that their teaching affects their research, but how this manifests is often implicit. In this essay, I explicitly explore the artistic, scholarly, and curatorial research instantiated by an undergraduate class titled “Transgender Studies meets Art History,” which I taught during the fall of 2022. Alongside personal anecdotes—both personal and connected to the class—and a critical reflection on my pedagogy, I discuss the artwork and public programming connected to a curatorial project, “Forever Becoming: Decolonization, Materiality, and Trans* Subjectivity, I organized at UrbanGlass, New York City in 2023. The first part of the article I examine how “trans” can be applied to thinking about syllabus construction and re-thinking canon formation for a class focused on transgender studies’ relationship to art history. In the second half, I theorize trans joy as a felt vibration between/across multiplicity and singularity, belonging and unbelonging, and world-making and world-unmaking. Overall, I consider trans as a lived experience and its utility as a conceptual tool. As a coda, I consider the precarity of teaching this course in the current political climate of the United States.
Citation: Arts
PubDate: 2024-07-01
DOI: 10.3390/arts13040115
Issue No: Vol. 13, No. 4 (2024)
- Arts, Vol. 13, Pages 116: Reviving Ancient Egypt in the Renaissance
Hieroglyph: Humanist Aspirations to Immortality
Authors: Rebecca M. Howard
First page: 116
Abstract: In his On the Art of Building, Renaissance humanist Leon Battista Alberti wrote that the ancient Egyptians believed that alphabetical languages would one day all be lost, but the pictorial method of writing they used could be understood easily by intellectuals everywhere and far into the future. Amidst a renewed appreciation of ancient Egyptian hieroglyphics found on obelisks in Italy and the discovery of Horapollo’s Hieroglyphica, which purported to translate the language, Renaissance humanists like Alberti developed an obsession with this ancient form of non-alphabetical writing. Additionally, a growing awareness of the lost language of their Etruscan ancestors further ignited an anxiety among Italian humanists that their own ideas might one day become unintelligible. As Egyptomania spread through the Italian peninsula, some saw an answer to their fears in the pictorial hieroglyphics of the ancient Egyptians, for they perceived, in Egyptian writing, the potential for a universal language. Thus, many created Renaissance hieroglyphs based on those of the Egyptians. This essay examines the successes and failures of these neo-hieroglyphs, which early modern humanists and artists created hoping that a language divorced from alphabetical text might better convey the memory of their names and contributions to posterity.
Citation: Arts
PubDate: 2024-07-08
DOI: 10.3390/arts13040116
Issue No: Vol. 13, No. 4 (2024)
- Arts, Vol. 13, Pages 117: Mural as a Living Element of Urban Space:
Seasonal Dynamics and Social Perception of “The Four Seasons with
Kora” in Warsaw
Authors: Aleksander Cywiński, Anita Karyń
First page: 117
Abstract: Street art, with a particular emphasis on murals, plays a crucial role in shaping the cultural DNA of contemporary cities. A prime example of this is the mural “Four Seasons with Kora” in Warsaw, which is dedicated to the renowned Polish artist Kora (Olga Jackowska). This large-scale mural, which combines the artist’s portrait with a chestnut tree motif, visually changes with the season, influencing the artist’s social perception. This study analyzed murals’ functions in social, cultural, and ecological contexts, highlighting their role in informal education and as a platform for social dialogue and integration. Using research methods such as visual analysis and examining comments and reactions on social media, this work aimed to understand how a mural integrates with its surroundings and is perceived throughout different seasons. The results indicated that the mural has become an important element of public space, not only for beautifying the city but also for stimulating social and cultural reflection.
Citation: Arts
PubDate: 2024-07-10
DOI: 10.3390/arts13040117
Issue No: Vol. 13, No. 4 (2024)
- Arts, Vol. 13, Pages 118: Egyptian Art in Colonized Nubia: Representing
Power and Social Structure in the New Kingdom Tombs of Djehutyhotep,
Hekanefer and Pennut
Authors: Rennan Lemos
First page: 118
Abstract: Monumental rock-cut tombs decorated with wall paintings or reliefs were rare in New Kingdom colonial Nubia. Exceptions include the 18th Dynasty tombs of Djehutyhotep (Debeira) and Hekanefer (Miam), and the 20th Dynasty tomb of Pennut (Aniba). The three tombs present typical Egyptian artistic representations and inscriptions, which include tomb owners and their families, but also those living under their direct control. This paper compares the artistic and architectural features of these decorated, monumental rock-cut tombs in light of the archaeological record of the regions in which they were located in order to contextualize art within its social setting in colonized Nubia. More than expressing cultural and religious affiliations in the colony, art seems to have been essentially used as a tool to enforce hierarchization and power, and to define the borders of the uppermost elite social spaces in New Kingdom colonial Nubia.
Citation: Arts
PubDate: 2024-07-14
DOI: 10.3390/arts13040118
Issue No: Vol. 13, No. 4 (2024)
- Arts, Vol. 13, Pages 119: Postcards and Emotions: Modernist Architecture
in the Films of Pedro Almodóvar and Woody Allen
Authors: Rubén Romero Santos, Ana Mejón, Begoña Herrero Bernal, Carmen Ciller
First page: 119
Abstract: Modernism has emerged as the preeminent iconic representation of Barcelona. However, the process through which this peculiar style has attained its iconic status is an arduous and multifaceted endeavor. This paper examines the challenges inherent in the categorization and periodization of Modernisme, followed by a succinct review of its initial filmic representations, culminating in a comprehensive analysis of two films in which Modernisme assumes a pivotal role: All About My Mother (Pedro Almodóvar 1999) and Vicky Cristina Barcelona (Woody Allen 2008). We conclude that Modernisme’s transformation into a cultural brand is largely attributable to the erosion of its ideological component in favor of a touristic and globalizing gaze.
Citation: Arts
PubDate: 2024-07-14
DOI: 10.3390/arts13040119
Issue No: Vol. 13, No. 4 (2024)
- Arts, Vol. 13, Pages 120: A Green Moment to Share: A Theatrical Laboratory
to Explore Climate Crisis Possibilities within Single Moments
Authors: Nic Bennett, Venese Alcantar, Tulasi Ravindran, Vanna Chen, River Terrell, Kathryn Dawson
First page: 120
Abstract: Many youth experience distress around the climate crisis. However, mainstream environmental messages ignore youth concerns, blame individuals, and suggest techno-fixes rather than addressing root causes. Young people need a way to productively process and collectively engage with their complex feelings about the climate crisis. During the spring of 2023, a group of university students facilitated a Research-based Theatre project to explore their relationship to climate and environmental justice as part of a biannual performance festival of student new work. Specifically, we used Theatre of the Oppressed techniques to slow down and embody participants’ struggles with environmental action. We argue that this process allowed participants to explore how and why they made sense of mainstream environmental messaging about the climate crisis. This paper offers a case study exploring how the interwoven themes of power, positionality, and agency emerged through embodied investigations during the early development of our Research-based Theatre performance. The paper concludes by discussing how Research-based Theatre can embrace a post-activist lens that supports the complexity of sense-making and troubles the over-emphasis on solution as the only response to environmental/climate crisis. Further, we argue for the kin-making possibilities that crisis can teach us when engaged through embodied exploration.
Citation: Arts
PubDate: 2024-07-16
DOI: 10.3390/arts13040120
Issue No: Vol. 13, No. 4 (2024)
- Arts, Vol. 13, Pages 121: The Sublime Divinity: Erotic Affectivity in
Renaissance Religious Art
Authors: Maya Corry
First page: 121
Abstract: In the context of the Catholic Reformation serious concerns were expressed about the affective potency of naturalistic depictions of beautiful, sensuous figures in religious art. In theological discourse similar anxieties had long been articulated about potential contiguities between elevating, licit desire for an extraordinarily beautiful divinity and base, illicit feeling. In the later fifteenth and early sixteenth centuries, in the decades preceding the Council of Trent, a handful of writers, thinkers and artists asserted a positive connection between spirituality and sexuality. Leonardo da Vinci, and a group of painters working under his aegis in Lombardy, were keenly aware of painting’s capacity to evoke feeling in a viewer. Pictures they produced for domestic devotion featured knowingly sensuous and unusually epicene beauties. This article suggests that this iconography daringly advocated the value of pleasurable sensation to religiosity. Its popularity allows us to envisage beholders who were neither mired in sin, nor seeking to divorce themselves from the physical realm, but engaging afresh with age-old dialectics of body and soul, sexuality and spirituality.
Citation: Arts
PubDate: 2024-07-17
DOI: 10.3390/arts13040121
Issue No: Vol. 13, No. 4 (2024)
- Arts, Vol. 13, Pages 122: On Perceiving Molecular Time: Computational
Chemical Simulations and the Moving Image
Authors: Andrea Rassell
First page: 122
Abstract: The perception of time undergoes a radical shift between the human scale and the nanoscale. In an age of rapidly evolving media and scientific technologies, we need to understand how these impact human perception and visual culture. This essay explores computational molecular simulations through the lenses of temporal media theory and moving image practice. Emerging from a creative fellowship with a physical chemistry research group, I focus on two moving image works that depict crystalline structures. One is a nanoscale computational simulation of soot formation and the other is a durational video artwork showing the dissolution of sugar. Computational molecular simulations are shown to produce a feeling of time by smearing an extremely short duration across a longer perceptible duration. This analysis uncovers how the awareness of media as a construct troubles our chronoception (perception of time), while unexpectedly, the screen becomes complicit in scientists’ expert temporal understanding. The videos present vastly different spatial and temporal scales and have different chronoceptive effects: one gives a sense of being within time, the other across time. Ultimately, computational simulations emerge as isomorphic media that have explicit aesthetic properties that connect us to the implicit, abstract energetics of chemical reactivity.
Citation: Arts
PubDate: 2024-07-17
DOI: 10.3390/arts13040122
Issue No: Vol. 13, No. 4 (2024)
- Arts, Vol. 13, Pages 123: Associate/Dissociate: Allusive and Elusive Care
in Veronica Ryan’s Sculpture
Authors: Catherine Spencer
First page: 123
Abstract: Reflecting on the experience of curating Veronica Ryan’s work for the 2021 exhibition Life Support: Forms of Care in Art and Activism at Glasgow Women’s Library, this essay contextualizes the artist’s recent sculptures in relation to the theories, philosophies, and ethics of care that have recently gained increasing prominence in artistic and curatorial practice. Drawing on the philosopher Virginia Held’s understanding of care as inherently intersubjective, it proposes that Ryan’s sculptures model a comparable understanding of caring relations through their associative yet ultimately elusive operations. Ryan is recognized for her use of abstracted organic forms, particularly seeds, pods, husks, and fruits. Since moving to New York from Britain in 1990 and developing a career between the two countries, Ryan has engaged with industrial and mass-produced receptacles, molds, and packing materials, an interest which has expanded to include fishing wire, plastic bottles, and take-away food containers, alongside textiles. Yet, although many of these elements remain identifiable, the resulting works delight in category confusion between organic and prefabricated, instigating uncanny textural effects that engender perceptual uncertainty. Their chains of allusion resist singular, fixed meanings, generating a continual back and forth of association and dissociation that constitutes a sustained meditation on care’s relational complexity.
Citation: Arts
PubDate: 2024-07-18
DOI: 10.3390/arts13040123
Issue No: Vol. 13, No. 4 (2024)
- Arts, Vol. 13, Pages 124: Integrating NFTs into Feminist Art Practices:
Actualizing the Disruptive Potential of Decentralized Technology
Authors: Natalie Ponder
First page: 124
Abstract: The integration of NFT technology into the art market utilizes a two-pronged approach of decentralization and increased accessibility as an equalizing answer to rectify gender discrepancies in the contemporary art world. This is not the first time that technology as an art medium has been used as a feminist tool to disrupt the previously established status quo. Through the exploration of the 1990’s Cyberfeminist Net Art Movement, this article will discuss how female-identifying artists employ technological characteristics such as anonymity and online gender masquerading to answer the exclusionary issues affecting their art practices. Furthermore, it will examine how NFTs work to build upon the previously established revolutionary movement of the 1990s to evolve the contemporary art practices of feminist artists. Additionally, this article will address the impacts of this new digital landscape, where anonymity is preferred and algorithmic ordering is non-existent, as a more pragmatic way of creating, selling, and buying art. Finally, this article will examine how the integration of blockchain technology—entirely machine-operated and free from human manipulation—aims to eliminate the human biases of identifying factors such as gender that can be concealed or fabricated when operating in an online sphere.
Citation: Arts
PubDate: 2024-07-18
DOI: 10.3390/arts13040124
Issue No: Vol. 13, No. 4 (2024)
- Arts, Vol. 13, Pages 125: Fragments of the Liturgical-Musical Codex from
the Archdiocesan Archive of Gniezno (Poland): Source Analysis and
Provenance Hypotheses
Authors: Piotr Wiśniewski
First page: 125
Abstract: This paper discusses hitherto unidentified loose folios of a parchment liturgical and musical book held in the Archdiocesan Archive of Gniezno (Poland), containing the offertory and communion antiphons for the feasts De Trinitate and Corpus Christi. The author provides the codicological description of the leaves (analyzing Latin script, musical notation, ornamentation); identifies the time of their creation (15th century); indicates the type of the liturgical book to which they belong (graduale); seeks a melodic model for them and puts forward provenance hypotheses. He states that the melodics of the antiphons, although closest to the Cistercian tradition, are nevertheless variantly different from the melodic line preserved in foreign and Polish codices. It is possible to narrow down the dating of the leaves thanks to the type of Latin script, the calligraphic ornamentation of the initials and the spelling of certain letters.
Citation: Arts
PubDate: 2024-07-22
DOI: 10.3390/arts13040125
Issue No: Vol. 13, No. 4 (2024)
- Arts, Vol. 13, Pages 126: Visualizing Scale: Inducing Transformations in
Perception through Art and Science
Authors: Joshua DiCaglio, Meredith Tromble
First page: 126
Abstract: In order for scientists and technologists to describe many of their objects, they must observe at a scale that exceeds typical human experience. Atoms and ecologies, microbes and galaxies all exist at scales that require retroactively reconstructing a picture (whether rendered visually, through an alternative visualization, or simply pieced together as a description) of what human perceptual apparatus usually does not observe. Scale is also central to the production of artwork that uses changes in scale to help us examine the world differently, disorient our normalized ways of experiencing, and direct us to new objects and new relations. This article examines these problems of scale as they are shared between art and science, analyzing contemporary artists whose works highlight core aspects of scale. In examining these artworks together, we demonstrate that scale presents one way of clarifying when and how science runs us into basic questions at the core of many artistic practices.
Citation: Arts
PubDate: 2024-07-23
DOI: 10.3390/arts13040126
Issue No: Vol. 13, No. 4 (2024)
- Arts, Vol. 13, Pages 127: “Beyond Quantum Music”—A
Pioneering Art and Science Project as a Platform for Building New
Instruments and Creating a New Musical Genre
Authors: Sonja Lončar, Andrija Pavlović
First page: 127
Abstract: In this text, we discuss the “Beyond Quantum Music” project, which inspired pianists, composers, researchers, and innovators Sonja Lončar and Andrija Pavlović (LP Duo) to go beyond the boundaries of classical and avant-garde practices to create a new style in composition and performance on two unique DUALITY hybrid pianos that they invented and developed to create a new stage design for multimedia concert performances and establish a new musical genre as a platform for future musical expression. “Beyond Quantum Music” is a continuation of the groundbreaking art and science project “Quantum Music”, which began in 2015; we envisioned it as a long-term project. In order to build an experimental dialogue between music and quantum physics, we created the DUALITY Portable Hybrid Piano System. This innovative instrument was essential for expanding the current sound of the classical piano. As a result, new compositions and new piano sounds were produced using various synthesizers and sound samples derived from scientific experiments. The key place for this dialogue between music and science was the Delft University of Technology, the Netherlands, where Andrija Pavlović, as a Kavli artist in residence, and Sonja Lončar, as an expert, spent several months in 2022 collaborating with scientists to compose new music. Later on, we collaborated with the visual artist “Incredible Bob” to develop the idea for the multimedia concert “LP Duo plays Beyond Quantum Music” to be performed at various locations, including the Scientific Institute MedILS Split (Croatia), the Theater Hall JDP Belgrade (Serbia), the Congress Hall TU Delft (the Netherlands), and open-air concerts at the Kaleidoskop Festival (Novi Sad, Serbia) and Ars Electronica Festival in Linz (Austria).
Citation: Arts
PubDate: 2024-07-25
DOI: 10.3390/arts13040127
Issue No: Vol. 13, No. 4 (2024)
- Arts, Vol. 13, Pages 128: Imperial Art: Duality on Tanwetamani’s
Dream Stela
Authors: Christopher Cox
First page: 128
Abstract: In the 7th century BCE, the Kushite king Tanwetamani commissioned his “Dream Stela”, which was to be erected in the Amun Temple of Jebel Barkal. The lunette of the stela features a dualistic artistic motif whose composition, meaning, and significance are understudied despite their potential to illuminate important aspects of royal Kushite ideology. On the lunette, there are two back-to-back offering scenes that appear at first glance to be nearly symmetrical, but that closer inspection reveals to differ in subtle but significant ways. Analysis of the iconographic and textual features of the motif reveals its rhetorical function in this royal context. The two strikingly similar but meaningfully different offering scenes represented the two halves of a Kushite “Double Kingdom” that considered Kush and Egypt together as a complementary geographic dual, with Tanwetamani presiding as king of both. This “Mirrored Motif” encapsulated the duality present in the Kushite ideology of kingship during the Twenty-Fifth Dynasty, which allowed Tanwetamani to reconcile the present imperial expansion of Kush with the history of Egyptian activity in Nubia. The lunette of the Dream Stela is therefore political art that serves to advance the Kushite imperial agenda.
Citation: Arts
PubDate: 2024-07-29
DOI: 10.3390/arts13040128
Issue No: Vol. 13, No. 4 (2024)
- Arts, Vol. 13, Pages 129: Revolutionary Art and the Creation of the
Future: The Afrofuturist Texts of José Antonio Aponte and Martin R.
Delany
Authors: James J. Fisher
First page: 129
Abstract: Afrofuturism (an artistic perspective in which Black voices tell alternative narratives of culture, technology, and the future) and the Dark Fantastic (interrupting negative depictions of Black people through emancipatory interpretations of art) are two interrelated concepts used by Black artists in the Atlantic World to counter negative images and emphasize a story from a Black perspective. Likewise, these concepts have been used to recreate and re-narrate history with an eye towards subverting white supremacist historical narratives. By using Afrofuturism and the Dark Fantastic as lenses through which texts by authors from the African Diaspora in the Atlantic World are examined, an alternative narrative of Black histories and futures concerned with revolution, liberation, and justice can be seen. The two texts that are the subject of this research include José Antonio Aponte’s descriptions of his book of paintings under interrogation in 1812–1813, and Martin Delany’s novel Blake; or the Huts of America (1859–1862), providing images of enslavement that run counter to a white supremacist telling of history. They both imagine alternative pasts and futures for Africa and the Afro-Diaspora involving revolution and magic. These works, though produced at different times and locations in the nineteenth century, offer new ways in which to discuss liberation and freedom in the context of the artistic production of the Atlantic World.
Citation: Arts
PubDate: 2024-07-30
DOI: 10.3390/arts13040129
Issue No: Vol. 13, No. 4 (2024)
- Arts, Vol. 13, Pages 130: “Modern and Contemporary Art: Topical
Abstraction in Contemporary Sculpture” Special Issue Introduction
Authors: Elyse Speaks, Susan Richmond
First page: 130
Abstract: The essays gathered in this Special Issue of Arts concern artists working in the United States and Europe since the 1960s who have leveraged sculptural abstraction to address topical issues without ceding to the classical framework of figuration [...]
Citation: Arts
PubDate: 2024-08-01
DOI: 10.3390/arts13040130
Issue No: Vol. 13, No. 4 (2024)
- Arts, Vol. 13, Pages 131: Nomadic Material Culture: Eurasian Archeology
beyond Textual Traditions
Authors: Caspar Meyer
First page: 131
Abstract: The term nomadic material culture refers to the tools, equipment, and other tangible items associated with communities that are characterized by a high degree of residential mobility [...]
Citation: Arts
PubDate: 2024-08-02
DOI: 10.3390/arts13040131
Issue No: Vol. 13, No. 4 (2024)
- Arts, Vol. 13, Pages 132: Soldiers and Prisoners in Motion in Mesopotamian
Iconography during the Early Bronze Age
Authors: Barbara Couturaud
First page: 132
Abstract: Military images of the ancient Near East during the Early Bronze Age are characterized by one of their main features: the serial reproduction of soldiers and prisoners, side by side, the former clearly identifiable by the visual signs of power they bear and the latter by their humiliation. These images are usually and almost naturally conceived as the ideological prerogative of city-states in conflict for territorial domination or as signs of visual identity intended to reinforce the powers that be. However, the end of the Early Bronze Age is marked by the hegemony of the Akkadian dynasty and the iconographic changes that it generated. While strongly maintaining the military iconographic theme in its visual discourse, it broke with the motif of static parades of prisoners and introduced many details intended to clearly identify the protagonists, the enemies, or the environment of the battles. It could represent a transition from a discourse based on evocative repetition in order to present an ideal to one founded on detailed narration in order to assert the authenticity of an event. This paper investigates the phenomenon of repetition through soldiers and prisoners on images. Analyzing the message lying behind the series of hindered prisoners and battalions of soldiers also underlines the way the change of iconographic discourse during the Akkadian period can be understood, particularly given that the power of the Akkadian dynasty mainly rested on its military victories.
Citation: Arts
PubDate: 2024-08-06
DOI: 10.3390/arts13040132
Issue No: Vol. 13, No. 4 (2024)
- Arts, Vol. 13, Pages 133: Queer Latinx Bodies and AIDS: Joey
Terrill’s “Still Here” and “Once Upon A
Time”
Authors: Alexis Salas
First page: 133
Abstract: Through two interviews conducted two years apart, the author and artist Joey Terrill offer an intimate historical trajectory rooted in the singular voice of the artist through the discussion of artworks in the exhibitions “Joey Terrill: Still Here” and “Joey Terrill: Once Upon A Time: Paintings, 1981–2015”. The method of storytelling, interview, and art representation chronicles the artist’s emotional, intellectual, and embodied experience of illness, queerness, and resistance as an HIV-positive queer Chicano.
Citation: Arts
PubDate: 2024-08-09
DOI: 10.3390/arts13040133
Issue No: Vol. 13, No. 4 (2024)
- Arts, Vol. 13, Pages 76: Through the Eyes of the Beholder: Motifs
(Re)Interpreted in the 27th Dynasty
Authors: Marissa Stevens
First page: 76
Abstract: This paper aims to highlight examples of artistic motifs common throughout Egyptian history but augmented in novel ways during the 27th Dynasty, a time when Egypt was part of the Achaemenid empire and ruled by Persian kings. These kings represented themselves as traditional pharaohs within Egypt’s borders and utilized longstanding Egyptian artistic motifs in their monumental constructions. These motifs, however, were manipulated in subtle ways to send targeted messages to audience(s) of this art. Art historians tend to situate visual styles and motifs within the longue durée of artistic tradition and pick a singular, official, and centralized perspective to narrate the history and reception of that art. In the case of Egypt, this perspective is often that of the king, and there is an assumption that there was a monolithic message sent to his people. But we are not dealing with a homogenous people; a diverse population would have had varied reactions to and interpretations of this visual signaling. By highlighting both the augmentation of traditional motifs undertaken by the Achaemenid administration and the multiplicity of perspectives they held for their audience(s), we can better understand ancient art as being dynamic in function and interpretation, rather than as a static snapshot of carbon-copied royal authority.
Citation: Arts
PubDate: 2024-04-23
DOI: 10.3390/arts13030076
Issue No: Vol. 13, No. 3 (2024)
- Arts, Vol. 13, Pages 77: “Sirens” by Joyce and the Joys of
Sirin: Lilac, Sounds, Temptations
Authors: Andrey Astvatsaturov, Feodor Dviniatin
First page: 77
Abstract: The article is devoted to the musical context of the works of James Joyce and Vladimir Nabokov. Joyce’s Ulysses, one of the most important literary texts of the twentieth century, is filled with musical allusions and various musical techniques. The chapter “Sirens” is the most interesting in this context as it features a “musical” form and contains a large number of musical quotations. The myth of the singing sirens, recreated by Joyce in images and characters from the modern world, encapsulates the idea of erotic seduction, bringing threat and doom to the seduced. Joyce offers a new version of the sea world filled with music, creating a system of musical leitmotifs and lexical patterns within the text. Developing the themes of temptation, the danger that temptation entails, doom, uniting with the vital forces of the world, and loneliness, Joyce in “Sirens” reveals the semantics of music, showing the specific nature of its effect on listeners. Vladimir Nabokov, who praised Ulysses and devoted a lecture to “Sirens”, is much less musical than Joyce. However, he, like Joyce, also refers to the images of singing sirens and the accompanying images of the aquatic world. One of the central, meaning-making signs in his work is the “Sirin complex”, his pseudonym. This sign, which refers to a large number of pretexts, refers in particular to the lilac (siren’) and to the mythological “musical” sirens. As in Joyce’s work, sirens are present in his texts as mermaids and naiads, or as figures of seducers who fulfil their function and bring doom. Joyce and Nabokov are also united by the presence of recurrent leitmotifs, lexical patterns, and the presence of auditory impressions in their text that are evoked by the sound of the everyday world.
Citation: Arts
PubDate: 2024-04-26
DOI: 10.3390/arts13030077
Issue No: Vol. 13, No. 3 (2024)
- Arts, Vol. 13, Pages 78: Reflection and Refraction: Multivalent Social
Realism in the Work of Joaquín Sorolla
Authors: Rachel Vorsanger
First page: 78
Abstract: Joaquin Sorolla’s Social Realist work Sad Inheritance! provides the grounds for this cross-sectional case study into Social Realism in Spain, Spanish politics at the turn of the twentieth century, and affect theory in art. By formally analyzing this work, presenting its differing receptions in France and Spain, and discussing the identity crisis that Spain experienced at the end of the twentieth century, all within the frame of Jill Bennett’s conception of practical aesthetics and affect in art, this article will show how Sorolla produced an image that had differing valences of affect depending on the context in which it was viewed. Through his singular pictorial strategies, Sorolla successfully created an image that was political and sentimental, controversial and appealing, fraught with emotion, and ultimately affective.
Citation: Arts
PubDate: 2024-04-29
DOI: 10.3390/arts13030078
Issue No: Vol. 13, No. 3 (2024)
- Arts, Vol. 13, Pages 79: Performance, Art, Institutions and
Interdisciplinarity
Authors: Rob Gawthrop
First page: 79
Abstract: How have funding, art education, and politics affected the development of performance and interdisciplinary art' In England in particular, performance as an experimental and radical art practice developed largely from underground activities, political action and a range of art forms. Funding bodies, colleges and art institutions eventually accommodated, albeit to a limited extent, this activity. As financial circumstances were sometimes difficult, artists often provided their own support structures and organisations. Some of these became established as they became successful. Performance art split from the theatrical and became defined as live art. In more recent times, conditions shifted again, and critical, experimental, or avant-garde theatre, film, music, etc., found refuge within contemporary art. Performance however, became increasingly confined and restricted by: the regulatory and academic requirements within universities; the need for evidence for some form of public or social purpose by funding bodies; and the increasingly hostile social and political circumstances. This research draws partly from personal experience and reflects on cultural conditions since the 1970s.
Citation: Arts
PubDate: 2024-04-29
DOI: 10.3390/arts13030079
Issue No: Vol. 13, No. 3 (2024)
- Arts, Vol. 13, Pages 80: Was Shostakovich’s Second Cello
Concerto a Hidden Homage'
Authors: Marina Ritzarev
First page: 80
Abstract: Shostakovich’s direct quotation from the Odessan street song “Bagels, Buy My Bagels!” (Bubliki, kupite bubliki!) in his Second Cello Concerto Op. 126 (1966) featured an unusual style, even in relation to some of his other compositions referencing popular and Jewish music. The song is widely known as one of the icons of the Odessa underworld. Shostakovich’s use of this melody as one of the main leit-themes of the Concerto can be compared to the use by the non-Jewish Andrei Sinyavsky of the Jewish pseudonym Abram Tertz, a bandit from the Odessa underworld—the only locus of freedom to tell the truth in a totalitarian society. The time of Shostakovich’s address to this song remarkably coincided with the famous Soviet trial of Andrei Sinyavsky and Yuly Daniel in the fall of 1965 and their final sentencing (February 1966) to years in a Gulag camp. The dramaturgy of Shostakovich’s Concerto, written in the same spring of 1966, demonstrates the transformation of the theme of “Bagels” into a tragic image. The totality of circumstantial evidence suggests that this opus could be the composer’s hidden tribute to the feats of Russian heroic writers.
Citation: Arts
PubDate: 2024-04-29
DOI: 10.3390/arts13030080
Issue No: Vol. 13, No. 3 (2024)
- Arts, Vol. 13, Pages 81: Testing Textual and Territorial Boundaries in
Bulat Okudzhava’s Song “And We to the Doorman: ‘Open the
Doors!’”
Authors: Alexander Zholkovsky
First page: 81
Abstract: This paper contextualizes Okudzhava’s song “And We to the Doorman” (AWD), initially marginal in the Soviet poetic mainstream. It explores its shifts in tone, irregular rhythms, colloquial language, and semi-criminal undertones. AWD’s structure, with uneven stanzas and no clear refrain, reveals underlying symmetry and recurring themes. The meter is predominantly iambic but varies. Unconventional verse endings and various rhyme schemes, including distant chains, characterize its prosody. The narrative touches on social cohesion and class conflict. The style reflects a challenging attitude toward privilege, employing rhetorical devices and indirect threats. The melody aligns with thematic elements, featuring repetitive patterns and a spoken quality. Semantically, AWD presents an ambiguous message on class struggle and moral issues. In sum, this analysis uncovers Okudzhava’s song’s formal complexities, thematic nuances, and stylistic innovations.
Citation: Arts
PubDate: 2024-04-30
DOI: 10.3390/arts13030081
Issue No: Vol. 13, No. 3 (2024)
- Arts, Vol. 13, Pages 82: Tchaikovsky, Onegin, and the Art of
Characterization
Authors: Francis Maes
First page: 82
Abstract: Tchaikovsky enjoyed composing Yevgeni Onegin. He expressed his fulfillment in a famous letter to Sergey Taneyev. What could his enthusiasm convey about the content of the project' Music criticism has taken Tchaikovsky’s words as proof for the thesis that the opera is connected to autobiographical circumstances. In this mode of thinking, the quality of Tchaikovsky’s music is the result of the composer’s identification with the subject matter. Despite the objection of several Tchaikovsky scholars, the autobiographical paradigm remains very much alive in the reception of Tchaikovsky’s music. As an alternative, Tchaikovsky scholarship has explored a hermeneutical approach that would link his music to its context in Russian society and culture. In this paper, I present another possible reaction to Tchaikovsky’s statement: an exploration of the composer’s approach to musical characterization. Analysis of some key scenes reveals that the definition of characters and situations by musical means is more precise than standard interpretations of the opera would concede. This discovery may lead to a new assessment of characterization as a critical tool to refine the definition of Tchaikovsky’s position in European music history. The method may be applied to examples outside his operatic output, such as Serenade for Strings and the Fifth Symphony.
Citation: Arts
PubDate: 2024-04-30
DOI: 10.3390/arts13030082
Issue No: Vol. 13, No. 3 (2024)
- Arts, Vol. 13, Pages 83: Progressive Rock from the Union of Soviet
Composers
Authors: Mark Yoffe
First page: 83
Abstract: This article focuses on the influence of Western progressive rock music on some innovative members of the Union of Soviet Composers, who were open to new trends and influences. These Soviet composers’ interest in progressive rock was not only intellectual, but also had serious practical implications. During the 1970s, several composers made attempts to create original works following various styles of prog rock. Occasionally, they incorporated elements of prog rock into their otherwise experimental compositions. One can see the influences of prog rock in the works of prominent composers such as A. Pärt, S. Gubaidulina, V. Martynov, V. Silvestrov, V. Artemiev, G. Kancheli, and A. Schnittke. After discussing the development of the prog rock tradition in the USSR and dwelling on the peculiarities of prog rock as a genre, I focus on three works created by Soviet composers under the influence of prog traditions: the 4th Symphony for orchestra and rhythm section by Latvian composer Imants Kalniņš, which follows the traditions of symphonic rock; an avant-garde rock opera titled “Flemish Legend” by Leningrader Romuald Grinblat, written to the lyrics by dissident bard Yulii Kim and heavily influenced by the twelve-tone system; and a suite of art-rock songs titled “On the Wave of My Memory” composed by pop composer David Tukhmanov, based on the poems of poets with a “decadent” reputation in the Soviet ideological context. All of these composers had to create within the Soviet ideological restrictions on modern and rock music, in particular, and all of them had to engage in their own trickster-like antics to produce and perform their works. Although they are little remembered today, these works stand as unexpected and singular achievements of Soviet composers during complex times.
Citation: Arts
PubDate: 2024-05-07
DOI: 10.3390/arts13030083
Issue No: Vol. 13, No. 3 (2024)
- Arts, Vol. 13, Pages 84: The Royal Chapel of Pedro I of Castile in the
Christianised Mosque of Seville
Authors: Pablo Gumiel-Campos
First page: 84
Abstract: Pedro I of Castile (1350–1369) founded a royal chapel in the Christianised Mosque of Seville. He intended to house there his body, that of Queen María de Padilla, and their son the Infant Alfonso (1359–1362). This mausoleum is well documented both in the king’s will and in the chronicles of López de Ayala; however, there are no material remains as it was demolished with the construction of the new cathedral in the 15th century. In this article, we seek to produce a state of the art history of the building, a compilation of all the documentary sources that exist for its analysis, and an approach to the problems that hinder its study. We have also tried, unsuccessfully, to put forward a hypothesis about its original location, but we have come up against a dead end. Despite this, we consider it essential to lay all the cards on the table and prevent the mausoleum from falling into oblivion.
Citation: Arts
PubDate: 2024-05-08
DOI: 10.3390/arts13030084
Issue No: Vol. 13, No. 3 (2024)
- Arts, Vol. 13, Pages 85: Scythian Jewelry Meshes and the Problem of Their
Interpretation
Authors: Lifantii
First page: 85
Abstract: This article explores the phenomenon of a specific type of personal adornment worn by members of the Scythian elite in the North Black Sea region in the second half of the 5th century and throughout the 4th century BCE. The discussion juxtaposes the records from 19th-century and early 20th-century excavations with contextual analyses of very recent discoveries from Ukraine, which shed significant new light on the appearance, production, and meaning of Scythian jewelry. The reconstruction of the shape of the jewelry type in question is greatly complicated by two factors: the lack of relevant depictions in the contemporary corpus of Scythian and Greco-Scythian figure scenes and misleading scholarly references to supposed analogies in a Roman-era mosaic, which became the chief reason for the misinterpretations of the ornament’s appearance. Composed of numerous gold or gilded silver tubes; beads; pendants; and, sometimes, “buttons,” this jewelry type is reconstructed in two gender-specific variants in this article: one mesh-like and the other with a cross-chest form. For over a hundred years, scholars have considered only the mesh variant to be the correct reconstruction. As a result, many costume reconstructions of this jewelry form in specialist research and museum displays alike are still proposed without a sufficient evidentiary base.
Citation: Arts
PubDate: 2024-05-09
DOI: 10.3390/arts13030085
Issue No: Vol. 13, No. 3 (2024)
- Arts, Vol. 13, Pages 86: Correction: Bloom (2024). Jewish
“Ghosts”: Judit Hersko and Susan Hiller and the Feminist
Intersectional Art of Post-Holocaust Memory. Arts 13: 50
Authors: Lisa E. Bloom
First page: 86
Abstract: Due to a production error during processing, a number of mistakes appear in the original publication [...]
Citation: Arts
PubDate: 2024-05-11
DOI: 10.3390/arts13030086
Issue No: Vol. 13, No. 3 (2024)
- Arts, Vol. 13, Pages 87: The Spacetimes of the Scythian Dead: Rethinking
Burial Mounds, Visibility, and Social Action in the Eurasian Iron Age and
Beyond
Authors: James A. Johnson
First page: 87
Abstract: The Eurasian Iron Age Scythians, in all their regional iterations, are known for their lavish burials found in various kinds of tumuli. These tumuli, of varying sizes, are located throughout the Eurasian steppe. Based, at least partially, on the amounts and types of grave goods found within these mounds, the Scythians are usually modeled as militant, patriarchal mobile pastoralists, with rigid social structures. Yet, such interpretations are also due to accounts of Scythian lifeways provided by “classical” societies from the Greeks to the Persians, who saw the Scythians largely as barbarians, much like their neighbors to the north of the Greeks, the “Celts”. Despite recent interrogations of the barbarian trope, and the opportunity to dissect the classic formula of large mounds = elevated status, I contend that many studies on Scythian mortuary practices remain monolithic and under-theorized, especially by Western scholars. Drawing upon different conceptual and methodological frameworks, I present alternative, multi-scalar understandings of Scythian mortuary landscapes. Utilizing a spacetime-oriented, dialogical approach supplemented with geographic information systems, I interrogate how and why various meanings and experiences may have intersected in these protean Scythian landscapes of the dead, rather than reducing them to monolithic symbolic proxies of ideological status.
Citation: Arts
PubDate: 2024-05-14
DOI: 10.3390/arts13030087
Issue No: Vol. 13, No. 3 (2024)
- Arts, Vol. 13, Pages 88: A German DJ, Postmodern Dreams, and the
Ambivalent Politics of East–West Exchange at the First Exhibition of
Approximate Art in Riga, April 1987
Authors: Kevin C. Karnes
First page: 88
Abstract: Organized as part of the annual Art Days festival in the capital of the Latvian SSR, the First Exhibition of Approximate Art comprised a cacophonous and provocative mashup of music, dance, performance art, and design. At the center of the event was a demonstration of mixing and scratching records by Maximilian Lenz, also known as Westbam, one of the leading DJs in West Berlin. Mining archival sources in Berlin and Riga, this article reconstructs the complicated path by which the DJ came to perform at the event. It reveals a surprising network of relations and alliances operating in tandem behind the scenes, featuring a Riga artist dedicated to enacting a vision of postmodern performance in his city, an ambitiously networking émigré Latvian living in exile in West Germany, and a pair of Soviet offices under direct control of the KGB, charged with managing cultural exchanges with the West in hopes of currying sympathies for Soviet culture and policy. Complementing and extending research on the “gaps” and “holes” in the Soviet system that sometimes allowed for the staging of otherwise unacceptable works of art, the story of the First Exhibition of Approximate Art reveals how personal connections and interpersonal networks within even the most highly monitored parts of the system itself—the state security apparatus—could open doors for artistic projects unanticipated and even undesired by the bureaucratic state.
Citation: Arts
PubDate: 2024-05-14
DOI: 10.3390/arts13030088
Issue No: Vol. 13, No. 3 (2024)
- Arts, Vol. 13, Pages 89: Reading Cisheteronormativity into the Art
Historical Archives
Authors: Kirstin Ringelberg
First page: 89
Abstract: Madeleine Lemaire (1845–1928) might appear to be a typical “woman artist” of the Belle Époque, a painter of images of fashionable women, equally popular for her watercolor flowers and her skills as a salon hostess, with biographical sketches of her then and now assuming that if she had sex or romance, it was with men. However, a closer look has also revealed Lemaire to be potentially atypical. Unlike her women colleagues, she exhibited salacious nudes; her work was once described as having “a bit of the mustache”; and she generally dodged discussions of either her gender or her sexuality, even though her social group included those who openly flaunted their own non-conformities. Using archival materials, artworks, and contemporary theory to unpack the possibilities presented by Lemaire’s case, I also explore the gains for art history in reconsidering previously female-identified and straight-seeming artists in more fluid gender and sexual terms. What might we discover if we recognize ourselves as the constructors of a cisheteronormative past, reading into the archives the assumptions that our current culture’s binary norms enforce'
Citation: Arts
PubDate: 2024-05-14
DOI: 10.3390/arts13030089
Issue No: Vol. 13, No. 3 (2024)
- Arts, Vol. 13, Pages 90: Symbolist Androgyny: On the Origins of a
Proto-Queer Vision
Authors: Damien F. Delille
First page: 90
Abstract: This article focuses on artistic and aesthetic practices within the idealist and symbolist movements of the late 19th century in France. It investigates how artists and art critics embraced androgynous imaginaries derived from Greco-Roman antiquity and the Platonic myth, transforming them into tools for social and sexual emancipation and giving rise to a proto-queer vision. An analysis of the art of Alexandre Séon, Odilon Redon, Jeanne Jacquemin, and Léonard Sarluis, in conjunction with the symbolist theories of Joséphin Péladan, Gabriel-Albert Aurier, and Émile Verhaeren, reveals an idealistic pursuit grounded in the union of the masculine and the feminine through the act of creation. Through the examination of artworks, contemporary critical discourse, and the personal correspondence of these art figures, this study posits that the androgyne serves as a heuristic model for a queer art history. The ideal androgyne, as theorized in Freud’s psychoanalytic writings, can function as a methodological paradigm in art studies as a tool for visualizing and conceptualizing homosexuality in art.
Citation: Arts
PubDate: 2024-05-20
DOI: 10.3390/arts13030090
Issue No: Vol. 13, No. 3 (2024)
- Arts, Vol. 13, Pages 91: In Place of a Missing Place
Authors: Noam Segal
First page: 91
Abstract: This essay reflects on works chosen from the Sonnenfeld Collection at the Katzen Gallery at American University in Washington, DC—it originally accompanied an exhibition at that gallery in early 2021—to comment on the observations of several generations of Israeli artists on the land and its meaning for the culture and politics of Israel’s coming into existence and evolution during the first 70 years of its existence. Beginning with a pair of photographs of pioneers in the land in the fifteen years before statehood—and conceptually re-purposed by a contemporary Israeli artist in 2008—and moving through decade after decade of engagement with the landscape of Israel in both figurative and abstract modes, with and without humans present within these contexts, veering from brightly colored to virtually colorless images, including paintings and photographs, the essay traces a distance between earlier assertions of presence and the gradual emergence of questions regarding presence, absence, and identity. Israel, in its internal development, is both visually and thus verbally interwoven with the issue of its external relationship with its immediate neighbors and to the shifts between what comprises “internal” and “external”—”this” and “other”—as the context has metamorphosized from the 1930s to the 1950s to 1967 to 1993 to 2000 and to the present.
Citation: Arts
PubDate: 2024-05-20
DOI: 10.3390/arts13030091
Issue No: Vol. 13, No. 3 (2024)
- Arts, Vol. 13, Pages 92: The Affective Byzantine Book: Reflections on
Aesthetics of Gospel Lectionaries
Authors: Joseph R. Kopta
First page: 92
Abstract: The aesthetic qualities of Byzantine Gospel Lectionaries in Middle Byzantine times, afforded by their material construction, fostered an intermedial relationship with the architectural interiors of the churches and chapels where they were used in sacred liturgies. In particular, Byzantine book makers employed discreet reflective materials—particularly albumen and gold—that engendered an aesthetic of liquidity. If we center materiality and aesthetic considerations of the Byzantine Gospel Lectionary, building upon art history’s so-called “material turn”, we can come closer to understanding something of the poetry of the Byzantine manuscript as part of an affective experience—one that was shiny, shimmering, and fluid.
Citation: Arts
PubDate: 2024-05-22
DOI: 10.3390/arts13030092
Issue No: Vol. 13, No. 3 (2024)
- Arts, Vol. 13, Pages 93: Images as a Hint to the Other World: The Use of
Images as Mediators in Medieval and Early Modern Societies
Authors: Roger Ferrer-Ventosa
First page: 93
Abstract: The Middle Ages and Early Modern periods saw the interpretation of reality through symbols, connecting the natural world to the divine using symbolic thinking and images. The idea of a correspondence between the human and universal macrocosm was prominent in various fields such as medicine, philosophy, and religion. Symbolism played a crucial role in approaching divine matters, with symbols serving as a means of direct presence and embodiment. Plato’s influence on Neoplatonist and Hermetic thinkers emphasized the role of dreams and eidola (images) for interpreting the divine. Contemplation of art and nature was an epistemological tool, seeking hidden cosmic harmony and understanding. Christianity embraced worshiping images as representations of the divine, granting believers a way to understand religious concepts. Icons were considered mirrors reflecting the spiritual and divine aspects. The medieval concept of speculum books as mirrors containing all knowledge offered instructional and subjective insights on various subjects. Speculum humanae salvationis illuminated books demonstrated the interplay between the Old and New Testaments, influencing artists like Rogier van der Weyden.
Citation: Arts
PubDate: 2024-05-22
DOI: 10.3390/arts13030093
Issue No: Vol. 13, No. 3 (2024)
- Arts, Vol. 13, Pages 94: Escaping from Confinement: Hell Imagery in the
Shōjuraigōji Rokudō-e Scrolls
Authors: Zhenru Zhou
First page: 94
Abstract: This article explores the pictorial representation of the Buddhist hell in Kamakura (1185–1333) Japan, with a focus on a mid-thirteenth century rokudō-e, or Pictures of the Six Realms, preserved at Shōjuraigōji Temple. The examination revolves around how these scroll paintings convey messages of salvation by representing the symbolic architecture of the hell realm, the lowest level within the six realms. By scrutinizing the visual representation of hell landscapes in four hell scrolls in the Shōjuraigōji set, the study unveils the architectural symbolism of boundaries and pathways. A visual analysis of two hell-tearing narrative scrolls further reveals that the key iconography involves the destruction of the architectural symbols of hell. Through tracing the concurrent processes of constructing and destroying the imaginary space of hell, the study demonstrates that the conceptual and visual construction of hell is coupled with an equally pronounced intent for hell-tearing. Lastly, based on the visuality of the hell-escaping narratives, the medium of hanging scrolls, and the centrality of an Enma scroll within the Shōjuraigōji set, the author proposes a spatial arrangement of this set of fifteen scrolls that could systematically convey the visual massage of “escaping from suffering in the six courses”.
Citation: Arts
PubDate: 2024-05-24
DOI: 10.3390/arts13030094
Issue No: Vol. 13, No. 3 (2024)
- Arts, Vol. 13, Pages 95: Royal Tamga Signs and Their Significance for the
Epigraphic Culture of the Bosporan Kingdom
Authors: Michał Halamus
First page: 95
Abstract: This article examines the phenomenon of the so-called royal tamga signs issued on stone stelae in the Bosporan Kingdom in the 2nd and 3rd centuries CE. Tamgas were symbols commonly used by Eurasian nomads throughout the first millennium BCE. The appearance of tamgas in the northern shores of the Black Sea in the 2nd/1st BCE, followed by their adoption into the Greek epigraphic culture of the kingdom, represents an intriguing example of symbolic integration and another step in the formation of Bosporan culture. Research on cultural interactions between the inhabitants of the Bosporus has rarely focused on epigraphic material in its own right. Analyzing a small group of public stone slabs that feature tamgas, this article contributes to existing studies on numerous private funerary reliefs. Furthermore, the current work aims to incorporate several examples of stelae with royal tamga signs into the growing interest in syncretism, which is occurring in other epigraphic cultures of the Greco-Roman world. The case of the Bosporan Kingdom shows that such processes can also occur in places where no literate culture had previously been firmly established.
Citation: Arts
PubDate: 2024-05-27
DOI: 10.3390/arts13030095
Issue No: Vol. 13, No. 3 (2024)
- Arts, Vol. 13, Pages 96: Transcultural Appropriation and Aesthetic
Breakthrough of Hollywood Film Noir in Contemporary Taiwan Suspense
Thriller Films: A Case Study of Who Killed Cock Robin (2017)
Authors: Xinchen Zhu
First page: 96
Abstract: The production of suspense thriller films has recently surged in Taiwan. These films adopt narrative techniques and visual aesthetics reminiscent of classic and neo-noir Hollywood cinema but also address social issues in Taiwan and represent transcultural aesthetic appropriation of film noir. This article employs a case study approach to examine the narrative and visual style of the Taiwanese suspense thriller Who Killed Cock Robin (2017), using film narratology as a textual analytical framework. This study considers themes, characters, visual style, and narrative structures, focusing on fundamental characteristics of classic film noir and neo-noir. This study reveals that the selected film both appropriates and deviates from the aesthetics of Hollywood film noir. It effectively incorporates aesthetic elements from classic Hollywood film noir and neo-noir, enriching the intricacies of storytelling and character depiction, while also localizing them through complex narrative strategies and nuanced Taiwanese cultural and social elements. The film brings attention to several prevalent issues in Taiwan’s media landscape, including truth manipulation, sensationalism, tabloidization, and conglomerate and political control. The film portrays Yi-Chi as a morally compromised character embodying the detective archetype with classic noir traits, while also reflecting the “Eastern mentality” in Taiwan journalism. Despite his moral compromises, Yi-Chi partly retains traditional virtues, presenting a nuanced view of human nature that blends pessimism and optimism in Taiwan. This approach creates a distinct cross-cultural narrative that resonates emotionally with Taiwanese audiences, while also contributing to the broader global cinematic discourse on film noir.
Citation: Arts
PubDate: 2024-05-28
DOI: 10.3390/arts13030096
Issue No: Vol. 13, No. 3 (2024)
- Arts, Vol. 13, Pages 97: Modernist Antagonisms and Material Reciprocities:
Chase-Riboud’s Albino
Authors: Elyse Speaks
First page: 97
Abstract: This paper considers the material exchange initiated in the early sculptural practice of Barbara Chase-Riboud when she began to incorporate fiber into her bronze sculptures by looking closely at her 1972 work, The Albino. I suggest that Chase-Riboud staked a claim for sculpture as a symbolic site at which material knowledge might be transferred across time and space. The work’s negotiations open western sculptural practice to a hybridized form located within transhistorical associations that rework the alleged specificities of both craft and bronze into sites for the exchange of ideas and practices.
Citation: Arts
PubDate: 2024-05-29
DOI: 10.3390/arts13030097
Issue No: Vol. 13, No. 3 (2024)
- Arts, Vol. 13, Pages 98: Leaving the “Discomfort” Zone: The
Correlation between Politics and New Artistic Practices at the Beginning
of the 19th Dynasty
Authors: Gema Menéndez
First page: 98
Abstract: At the end of the Amarna Period, a process of political and religious restoration began. This attempt at recovery went beyond the strictly official, as the Egyptian society seemed to demand a moral reparation. It was a much-needed change that would encompass all aspects of society and it was imperative that the changes be visible. It is for this reason that visual art would be one of the main means of communication. The artistic image was the propaganda necessary to reconstruct historical memory and religious sentiment. This was most evident in the early years of the 19th dynasty, when, in addition, the need to legitimize the new royal lineage was reflected in private tombs. The Egyptian artist used art to visually consolidate these changes, and the owner of the tomb was keen to do so. This article aims to analyze the artistic changes, mainly in the private sphere, that occurred in funerary art in opposition to the religious changes that had been made during the Amarna Period and that were most evident from the reign of Horemheb until the first half of the reign of Ramesses II. Politics and art intermingled at a time when reconstructing the past and the relationship with divinity was an urgent necessity.
Citation: Arts
PubDate: 2024-05-30
DOI: 10.3390/arts13030098
Issue No: Vol. 13, No. 3 (2024)
- Arts, Vol. 13, Pages 99: Dialogues between Past and Present' Modern Art,
Contemporary Art Practice, and Ancient Egypt in the Museum
Authors: Alice Stevenson
First page: 99
Abstract: Whenever twentieth-century modern art or new contemporary artworks are included amongst displays of ancient Egypt, press statements often assert that such juxtapositions are ‘surprising’, ‘innovative’, and ‘fresh’, celebrating the external perspective they bring to such collections. But contemporary art’s relationship with museums and other disciplines needs to be understood in a longer-term perspective. Pairings of twentieth- and twenty-first-century artistic works with objects of antiquity is an activity that has been undertaken for more than a century in what has been a relatively long period of mutually reinforcing influences between modern/contemporary art, museum display, the art market, and Egyptian heritage. Together, they have decontextualised ancient Egyptian culture and shaped the language and perspectives of scholars, curators, and artists. In this paper, rather than considering how artists have been inspired by ancient Egypt, I will give a few examples of how more recent art practices from the late nineteenth century onwards have impacted the language and discourse of Egyptology and its museum representation. Then, using more recent artist engagements with the British Museum, I argue for greater interdisciplinary dialogues between artists and Egyptologists, as both take more critical stances towards research that recontextualises the power and agency of collections, representation, and knowledge production.
Citation: Arts
PubDate: 2024-05-30
DOI: 10.3390/arts13030099
Issue No: Vol. 13, No. 3 (2024)
- Arts, Vol. 13, Pages 100: Freeport as a Hub in the Art Market: Shanghai
Art Freeport
Authors: Zhang
First page: 100
Abstract: With the soaring interest in art as an alternative investment approach and an asset class, there has been a remarkable rise in the volume of artwork transactions globally. However, trading in the art market differs from the traditional financial market; the cost of taxes, logistics, storage, and other transaction services is enormous for collectors, stimulating the emergence of related businesses, such as warehousing, bonded exhibitions, and art financial services. As an exceptional area serving the offshore economy, art freeports have become an essential venue for art trading and a ‘one-stop-shop’ centre that converges all art market participants. This article critically analyses the current literature and conducts empirical research on Shanghai FTZ International Culture Investment and Development Co., Ltd. (FTZART). It can be concluded that the current research on art freeports is limited and excludes FTZART from those that specialise in storing artworks, overlooking its potential influence in the Asian market. The art freeport has distinctive features that differ from traditional freeport models, and the context, business model, and operations of FTZART match these characteristics. Therefore, as a hub in the art market, the global art freeport agenda should not overlook FTZART, and it is essential to complement this gap in knowledge.
Citation: Arts
PubDate: 2024-05-31
DOI: 10.3390/arts13030100
Issue No: Vol. 13, No. 3 (2024)
- Arts, Vol. 13, Pages 101: Affect and Ethics in Mike Malloy’s
Insure the Life of an Ant
Authors: Gerald Silk
First page: 101
Abstract: This essay examines a little-known but important installation entitled Insure the Life of an Ant, conceived by artist Mike Malloy and displayed at the O.K. Harris Gallery in New York in April of 1972. This provocative and idiosyncratic piece confronted gallery-goers, who became viewer–participants, with the option of killing or saving a live ant displayed like a sculpture on a pedestal, either by pushing a button or not. The artist made the piece, which can function almost like a psychology experiment, to engender a “moral dilemma”. I explore the particular role of affect in a participatory art installation, distinct from response to inanimate art. I investigate the roles of emotion and reason in dealing with the work; whether ratiocination can be considered an “anti-affect”; and how the tension between competing thoughts and feelings helped create a psychological drama. The essay looks at how an art space can operate as a zone of moral exceptionalism to encourage questionable actions. It also locates the piece in relation to the emergence of a more behaviorist art in the early 1970s, as discussed by critic Gregory Battcock, and the larger notion of postmodernism. Other contexts investigated include art and animal rights and issues of sentience and speciesism; social and military violence, including capital punishment and the Vietnam War; the 1961 Milgram experiment; Hannah Arendt’s concept of the “banality of evil” as a Nazi war criminal defense; and other works of art involving maltreatment or violence toward both human and non-human animals, including those by Marina Abramović, Marco Evaristti, and Edward and Nancy Reddin Kienholz.
Citation: Arts
PubDate: 2024-06-04
DOI: 10.3390/arts13030101
Issue No: Vol. 13, No. 3 (2024)
- Arts, Vol. 13, Pages 102: “Lost in Flowers & Foolery”: A
Gendered Reading of the 9th Earl of Devon’s Flower Watercolors
Authors: James Thomas Stewart
First page: 102
Abstract: William Courtenay, 3rd Viscount Courtenay and 9th Earl of Devon (1768–1835), has been most remembered for his romantic relationship with author and slave owner, William Beckford (1760–1844), which scandalized London society in 1784. However, the 9th Earl’s life after this event has received little attention despite his artistic contributions to the built environment of his ancestral home of Powderham Castle in Devon. In the 1790s, he created a series of flower watercolors on paper and cabinets under the supervision of his drawing master, William Marshall Craig (c.1765–1827). These artworks complicate ideas about gendered expectations of amateur artistic subjects, with flower painting being largely understood as a feminine accomplishment. This article explores the Earl’s watercolors in the context of the spaces at Powderham to argue they are evidence of his effeminate behavior and participation in female activities alongside his thirteen sisters. The association of these objects with a man attracted to those of his own sex contribute to studies of queerness, amateur art, and the country house in the late eighteenth century.
Citation: Arts
PubDate: 2024-06-05
DOI: 10.3390/arts13030102
Issue No: Vol. 13, No. 3 (2024)
- Arts, Vol. 13, Pages 103: Sex, Sign, Subversion: Symbolist Art and Male
Homosexuality in 19th-Century Europe
Authors: Ty Vanover
First page: 103
Abstract: There is something queer about Symbolism. Art historians have long acknowledged the links between Symbolist aesthetics and contemporaneous ideas about human sexuality, and even a cursory examination of artworks by male Symbolist artists working across the continent reveals an eyebrow-raising number of muscled nudes, lithe ephebes, and intimate male couplings. The sensual male body could register the artist’s erotic desire, even as he put it forth as an idealized emblem of transcendental truth. But perhaps Symbolism’s queerness extended beyond subject matter. Scholars have argued that Symbolism was in part defined by a subversive approach to visual semiotics: a severing—we might say a queering—of the ties binding a sign to its established cultural meaning. Similarly, male homosexual subcultures were sustained by endowing established signs and pictures with a uniquely queer significance. This paper seeks to tease out the relationship between Symbolist aesthetics and male homosexuality in terms of a shared sensibility towards pictorial interpretation. Taking as a case study the work of the Swedish Symbolist artist Eugène Jansson, I argue that Symbolism held appeal for homosexual artists precisely because queer subcultures were primed to read subversive meaning into normative pictures. Offering a new reading of Symbolism’s sexual valences, I contextualize the movement’s attendant artworks within the broader cultural landscape of homosexual signs and symbols and articulate the parallels between Symbolist approaches to the image and queer modes of seeing in the late nineteenth century.
Citation: Arts
PubDate: 2024-06-05
DOI: 10.3390/arts13030103
Issue No: Vol. 13, No. 3 (2024)
- Arts, Vol. 13, Pages 104: Introduction for Special Issue “Rethinking
Contemporary Latin American Art”
Authors: Gabriela Germana Roquez, Lesley A. Wolff
First page: 104
Abstract: Today’s fleeting spectacles—art fairs, biennials, and NFTs—continue to shape a global consensus about contemporary Latin American art based on practices developed in urban, white, and mestizo middle- and upper-class contexts [...]
Citation: Arts
PubDate: 2024-06-06
DOI: 10.3390/arts13030104
Issue No: Vol. 13, No. 3 (2024)
- Arts, Vol. 13, Pages 105: From Primal Matter to Surrogate Veneer: Wood and
Faux Bois in Picasso’s Cubism
Authors: Christine Poggi
First page: 105
Abstract: In the spring and summer of 1906, while visiting the rural village of Gósol in the Spanish Pyrenees, Picasso executed his first woodcut, made two sculptures out of boxwood, and began to focus on the topoi of wood and the forest as avatars of primal matter and of that which lies beyond civilization. In a subsequent series of paintings, he used wooden supports for images that depict male and female heads that look as if they had been chiseled out of wood. Others represent nude figures in forest settings, with explicitly sexual gestures and poses connoting a range of attitudes. These little studied works provide an optic into Picasso’s early exploration of the emergence of sexual identity as an inner psychic state, but one whose signs can be read through the body. Later, responding to the proliferation of cheap, industrially produced materials, including trompe l’oeil woodgrain wallpaper, Picasso began to treat woodgrain as a mere surrogate, one that marks its distance from actual wood through a variety of painterly and mechanical effects. No longer associated with “primitive” authenticity and the primordial forces of the forest, woodgrain now appears as a false sign open to conceptual play and metamorphosis.
Citation: Arts
PubDate: 2024-06-06
DOI: 10.3390/arts13030105
Issue No: Vol. 13, No. 3 (2024)
- Arts, Vol. 13, Pages 106: An Unlikely Match: Modernism and Feminism in
Lynda Benglis’s Contraband
Authors: Becky Bivens
First page: 106
Abstract: In 1969, Lynda Benglis withdrew her large latex floor painting, Contraband, from the exhibition Anti-Illusion: Procedures/Materials. Looking beyond the logistical problems that caused Benglis to pull the work, I suggest that it challenged the conceptual and formal parameters of the exhibition from its inception. Taking hints from feminism, modernist painting, camp aesthetics, psychedelic imagery, pop, and minimalism, Benglis’s latex pours unify an array of movements, styles, and political positions that have often been treated as antithetical. Although the refusal of traditional binaries was typical of the neo-avant-garde, Benglis’s work was “contraband” because it challenged the inflexible dictum that feminist art and modernist painting are mortal enemies. With Contraband, she drew on abstract expressionist techniques for communicating feeling by exploiting the dialectic of spontaneity and order in Pollock’s drip paintings. Simultaneously, she drew attention to gender through sexed-up colors and materials. Rather than suggesting that gender difference is repressed by abstract expressionist painting’s false universalizing, Benglis shows that modernist techniques for communicating feeling are crucial for the feminist project of understanding the public significance of seemingly private experience.
Citation: Arts
PubDate: 2024-06-08
DOI: 10.3390/arts13030106
Issue No: Vol. 13, No. 3 (2024)
- Arts, Vol. 13, Pages 107: Great-Grandmother, Grandmother, Mother, and Me:
A Search for My Roots through Research-based theatre
Authors: Mette Bøe Lyngstad
First page: 107
Abstract: In this article I present how I use Research-based theatre (RbT) to better comprehend my own roots, history, and multiple selves. The purpose of this research project is also for me to explore RbT before I invite my oral storytelling students to do the same. Using RbT as my central methodology, I have explored my own and others’ narratives by using an aesthetic, arts-based approach. Drama conventions used as research methods serve as a catalyst for opening up creative processes and generating a desire to dig more deeply into stories of my maternal ancestry.
Citation: Arts
PubDate: 2024-06-13
DOI: 10.3390/arts13030107
Issue No: Vol. 13, No. 3 (2024)
- Arts, Vol. 13, Pages 108: Making Space for the Better: Living by the
Sacred Yamuna
Authors: Vrushali Anil Dhage
First page: 108
Abstract: Eviction could hold a different meaning if a home’s immediate surroundings contribute to its residents’ livelihood, especially for informal laborers. This paper explores the notion of the fragility of a home within an expanded space—the space on which a home stands and its surroundings when turned into a contested area. It specifically looks at the slum of Yamuna Pushta in Delhi, which was demolished in 2004. The act uprooted thousands of low-income families who were blamed for polluting the river. The demolition was fueled by new urban visions and planning strategies, political and capitalist ambitions, projections of national pride, and an event-driven approach camouflaged under an environmentalist concern attempting to “clean” the river. Using the photographic works of artist, curator, and activist Ravi Agarwal as a case study, this paper argues the presence of a counternarrative in the works, challenging the projected environmentalist discourse around the river, the slum dwellers. This study further states the dual marginalization of the Pushta residents and the Yamuna by critiquing the economic format of majoritarianism through the growing normalcy and agreeability of the slum demolitions by the urban non-poor disguised as the “greater good”.
Citation: Arts
PubDate: 2024-06-18
DOI: 10.3390/arts13030108
Issue No: Vol. 13, No. 3 (2024)
- Arts, Vol. 13, Pages 109: The Creative Impulse: Innovation and Emulation
in the Role of the Egyptian Artist during the New Kingdom—Unusual
Details from Theban Funerary Art
Authors: Inmaculada Vivas Sainz
First page: 109
Abstract: The present research analyses the role of the Egyptian artist within the context of New Kingdom art, paying attention to the appearance of new details in Theban tomb chapels that reflect the originality of their creators. On the one hand, the visibility of the case studies investigated is explored, looking for a possible explanation as to their function within the tomb scenes (such as ‘visual hooks’) and offering a brief experimental approach. Tomb owners benefitted from the expertise and originality of the artists who helped to reaffirm their status and perpetuate their funerary cults. On the other hand, iconography can include examples of the innate creativity of artists, including ancient Egyptian ones. The presence of such innovative details reflects the undeniable creativity of artists, who sought stimulating scenes which were sometimes emulated by contemporaries and later workmates. Significantly, some of these innovative details reveal unusual poses and daily-life character, probably related to the individuality of the artists and their innovative spirit. In other words, the creative impulse is what leads artists to innovate. In this sense, creativity must be understood as the dynamic of the visual arts that determines constant evolution of styles.
Citation: Arts
PubDate: 2024-06-19
DOI: 10.3390/arts13030109
Issue No: Vol. 13, No. 3 (2024)
- Arts, Vol. 13, Pages 110: Aspects of Coexistence between Art Glass and
Architecture—Façade Graphics
Authors: Alina Lipowicz-Budzyńska
First page: 110
Abstract: One of the key concerns for present-day society is the need to build the environment in which we live in a sustainable way, using green solutions, but without losing the aesthetic values. The following study proves that, when applied in the right way, façade graphics support sustainability. Art glass placed inside the envelope significantly influences a number of aspects related to how a building functions, improving the quality of a given architectural space’s properties. Façade graphics have a considerable effect, as they control the intensity of light penetrating to the interior and provide support sunlight protection. Façade graphics act as a cover that controls how images filter through from the inside to the outside and from the outside to the inside. The graphics may be used to show messaging directed at the public. Art glass located in the external partition has a significant impact on several aspects of the functioning of an architectural object. In the preliminary examination, a few factors that determine the scope of such effect were identified, including the structure of the glass layer and of the image. The objective of this publication is to determine to what degree the structure of an image on glass, and the artistic means associated with it, influence the scope of the visual effect of a glass partition, as well as its functional properties, and how important for the reception of architectural space are the artistic values of glazing, in terms of its form, dynamics, composition, and colours, as well as the means by which the applied image impacts its surroundings. These means result from selection of suitable execution techniques and strategies for shaping the partition. The research concerns aspects of interconnection between graphics and the architectural space; its artistic, compositional, integrating, and covering role. The work is important in further research on the use of facade graphics in the utility and visual aspect.
Citation: Arts
PubDate: 2024-06-20
DOI: 10.3390/arts13030110
Issue No: Vol. 13, No. 3 (2024)
- Arts, Vol. 13, Pages 41: Love Rising: The Transformation of Emotions in
Contemporary Art
Authors: Rebecca Bedell
First page: 41
Abstract: This essay surveys the shifting emotional regimes in Western art from the eighteenth century into the twenty-first, concentrating on the place accorded social affections. In particular, it calls attention to a significant change underway in recent decades as the suppression of the full range of emotions instigated by modernism has been challenged and the tender emotions re-embraced. Important contemporary artists, such as Hank Willis Thomas and Emily Hass, are invoking and exploring themes of love, care, empathy, and concern and, in many cases, making creative use of them to advance social, political, and environmental justice.
Citation: Arts
PubDate: 2024-02-20
DOI: 10.3390/arts13020041
Issue No: Vol. 13, No. 2 (2024)
- Arts, Vol. 13, Pages 42: MoMA Goes beyond the Iron Curtain: The Eastern
European Tour of The Prints of Andy Warhol
Authors: Elena Sidorova
First page: 42
Abstract: In 1990, three years after Andy Warhol’s death and one year after the fall of the Berlin Wall, the Museum of Modern Art (MoMA) organized the first one-man show of this pop artist in Eastern Europe. The Prints of Andy Warhol, although never shown at the MoMA in New York, traveled to the Fondation Cartier pour l’Art Contemporain in Jouy-en-Josas, France, the Národní Galerie in Prague, Czechoslovakia, the Staatliche Kunstsammlung in Dresden, the GDR, the Mücsarnok in Budapest, Hungary, and the Muzeum Narodowe in Warsaw, Poland. The current paper analyzes the cultural–political context of The Prints of Andy Warhol. It first discusses the place of both American pop art and Eastern Europe in MoMA’s International Program (IP) and then explores the organizational challenges, art historical contents, and public reception of the exhibition. The paper concludes by examining the broader impact of The Prints of Andy Warhol on both the growing awareness of American pop art in Eastern Europe and MoMA’s cultural diplomacy in this region after the fall of the Iron Curtain.
Citation: Arts
PubDate: 2024-02-21
DOI: 10.3390/arts13020042
Issue No: Vol. 13, No. 2 (2024)
- Arts, Vol. 13, Pages 43: “Grand Narratives” and
“Personal Dramas”: (Re)reading the Masterpieces by Artemisia
Gentileschi
Authors: Małgorzata Stępnik
First page: 43
Abstract: This article discusses the œuvre of Artemisia Gentileschi, a prominent Baroque painter who was rediscovered by art historian Roberto Longhi in the 1910s. Today, her art is interpreted through various lenses, including art theory, women’s studies, and psychoanalysis. Gentileschi’s paintings are often “read” in close reference to her painful biography, with a focus on the “chiaroscuro” of trauma and its overcoming. Significantly, such biography-oriented approaches seem to be predominant in scholarship on art created by women. The argument presented is that Gentileschi’s works require a thorough re-reading free of “compulsive biographism”, as postulated by Salomon. The focus should shift from an empathic Einfühlung (or empathic projection) towards an objective analysis based purely on art-historical or sociological criteria. This article also explores the presence of the socially mediated and mediatised figure of the artist in fine literature (novels by Banti, Lapierre and Vreeland), cinematic biographies (Artemisia, directed by Merlet, documentaries (Artemisia Gentileschi: Warrior Painter, directed by River), anime (a series titled Arte, directed by Takayuki Hamana), and graphic novels (Ferlut and Baudouin; Siciliano). In this artistic constellation Artemisia is labelled as an art/feminist “icon”, a female genius, and as in numerous scholarly texts dedicated to her, “a victim”. I propose that the discussed literary and visual texts related to Gentileschi be interpreted as symptomatic (in line with Panofsky’s concept of ‘iconology’) of the contemporary mentality, which is filtered through feminist and subaltern thought.
Citation: Arts
PubDate: 2024-02-22
DOI: 10.3390/arts13020043
Issue No: Vol. 13, No. 2 (2024)
- Arts, Vol. 13, Pages 44: Spanishness and Race in North American Monumental
Architecture
Authors: Lauren Beck
First page: 44
Abstract: The representation of Spain, and Spanishness in general, at sites of collective identity in the United States and Canada requires scholarly attention. Many monuments, which range from statues and museums to capitol buildings and national parks, continue to commemorate colonial times despite broader public awareness of the association between colonization and racialized violence, as well as the explicit movement toward decolonization. This commemorative material also demonstrates how non-Spanish settlers have appropriated historical moorings of Spain and its colonial past to reinforce and whitewash their identities in places such as New Mexico and Texas, and even in Newfoundland and Labrador. How monuments are funded and gain public support is another vector that points to the ways that identity—particularly, white identity—informs monumental architecture in ways that exclude people of colour, as well as women, who, when featured in monuments, are usually dehumanized as concepts rather than being the actors of settler-colonialism. This article explores these challenging topics with the aim of articulating a roadmap for future scholarship on this subject.
Citation: Arts
PubDate: 2024-02-23
DOI: 10.3390/arts13020044
Issue No: Vol. 13, No. 2 (2024)
- Arts, Vol. 13, Pages 45: Permission to Cry—Drifts on Research Based
Theatre on Top of an Elephant
Authors: Emilio Méndez-Martínez, Esther Uria-Iriarte, Montserrat González Parera
First page: 45
Abstract: This article aims to propose a critical reflection on what it means to be a professional of drama-based practices. To do so, we promote a process of cooperative creation and research based on our own doubts, contradictions, and concerns about the different roles we play in our practice. The results of this process are presented in artistic form, using dramatic language and metaphor as doors to new spaces for reflection.
Citation: Arts
PubDate: 2024-02-27
DOI: 10.3390/arts13020045
Issue No: Vol. 13, No. 2 (2024)
- Arts, Vol. 13, Pages 46: Gold Artifacts from the Early Scythian Princely
Tomb Arzhan 2, Tuva—Aesthetics, Function, and Technology
Authors: Barbara Armbruster, Caspar Meyer
First page: 46
Abstract: This article explores the extraordinarily rich gold finds from the Early Scythian princely tomb Arzhan 2 in the Republic of Tuva, southern Siberia (late 7th to early 6th centuries BCE), through the methodological framework of the chaîne opératoire (operational sequence), in order to reconstruct the objects’ processes of manufacture. Through an interdisciplinary study of the finds at the State Hermitage in Saint Petersburg, the principal author analyzed tool marks and surface morphologies, which allow for the comprehensive identification and documentation of the numerous techniques employed in the creation of the often very elaborate jewelry, decorated weapons, and other personal ornaments. The production of both individual pieces and extensive series of thousands of identical trimmings attests to the existence of complex craft processes and workshop organizations. The technological aspects of the gold finds impress through their diversity and outstanding quality, both artistically and in terms of their craftsmanship. As this article will demonstrate, the objects present the earliest evidence for a highly specialized goldsmith artform in southern Siberia.
Citation: Arts
PubDate: 2024-02-27
DOI: 10.3390/arts13020046
Issue No: Vol. 13, No. 2 (2024)
- Arts, Vol. 13, Pages 47: La Liga de la Decencia: Performing 20th Century
Mexican History in 21st Century Texas
Authors: Jessica Peña Torres
First page: 47
Abstract: This article describes the development and public performances of La Liga de la Decencia, a new play presented as part of the 2023 New Works Festival at the University of Texas at Austin. Inspired by the cabaret scene and teatro de revista of the 1940s in Mexico City, La Liga de la Decencia combines live performance and video art to explore how hegemonic gender and social norms shaped by the emergent nationalism of postrevolutionary Mexico continue to oppress femme and queer bodies today across the US–Mexico border. Through satire, parody, and dance, La Liga de la Decencia problematizes the social, class, and gender norms as established by the cultural elite and the state. Following research-based theatre as an inquiry process, this article describes how writing and directing this play allowed for a deeper understanding of the dynamics of a historical period. By mixing facts, fiction, and critical commentary, La Liga de la Decencia investigates history through embodiment.
Citation: Arts
PubDate: 2024-02-27
DOI: 10.3390/arts13020047
Issue No: Vol. 13, No. 2 (2024)
- Arts, Vol. 13, Pages 48: Golden Swords of the Early Nomads of Eurasia: A
New Classification and Chronology
Authors: Denis Topal
First page: 48
Abstract: The “ceremonial” forms of swords and daggers—that is, bladed weapons decorated with precious metals—occupy a special place in the culture of the early nomads. For the Scythian period, we know at least 76 ceremonial objects from 61 sites, corresponding to 3.5% of the total sample. More than half of the finds come from the northern Black Sea region (mainly Ukraine). Ceremonial forms are represented in all morphological categories (from daggers to extra-long swords), but their distribution is slightly different. Most akinakai belong to the average and long swords. Most Scythian akinakai in Eurasia belong to the dagger and short sword groups. Although most Scythian swords and daggers fall into the Middle Scythian period, most ceremonial forms belong to the last phase of Classical Scythian culture. This period is a veritable “golden autumn” of Scythia with its huge royal burial mounds and abundance of gold, perfectly illustrating our argument that conspicuous consumption coincides with periods of political and social instability. After the peak of the proliferation of ceremonial akinakai in the third quarter of the 4th century BC, we observe a generation later the complete disappearance of Classical Scythian culture, along with its characteristic weapons, horse harnesses, and animal style.
Citation: Arts
PubDate: 2024-02-27
DOI: 10.3390/arts13020048
Issue No: Vol. 13, No. 2 (2024)
- Arts, Vol. 13, Pages 49: Feeling Is First
Authors: Richard Shiff
First page: 49
Abstract: Within the fields of aesthetics and psychology, there is a long tradition of arguing that affect precedes cognition. A verbalized thought following upon a feeling and associated with it does not translate the feeling precisely or adequately. In fact, as C. S. Peirce would argue, the thought itself projects its own affect, which is independent of its logic. The essence of affect or feeling will always elude linguistic capture. This essay argues that experiences of belief and doubt are affective sensations, and both can be graphed on a scale of sensuous intuition or cognitive guessing (which, again, projects affect). The failure of language to grasp what we refer to as instances of emotion, feeling, sensation, affect, belief, doubt, and the like is more of an intractable problem for philosophical aesthetics than it is for the aesthetics of the art experience. Examples of the art of Cy Twombly, Barnett Newman, Donald Judd, Bridget Riley, and Katharina Grosse are invoked to argue through the gap between thought and feeling.
Citation: Arts
PubDate: 2024-02-28
DOI: 10.3390/arts13020049
Issue No: Vol. 13, No. 2 (2024)
- Arts, Vol. 13, Pages 50: Jewish “Ghosts”: Judit Hersko and
Authors: Lisa E. Bloom
First page: 50
Abstract: This article delves into the underexplored intersection of Jewish identities and feminist art. It critically examines artworks by Judit Hersko and Susan Hiller, aligning with evolving identity constructs in contemporary aesthetics. Concepts like “postmemory” link second-generation Jewish artists to past experiences and unveil the erasure of Jewish women’s memory of Jewish genocide. Analyzing Hersko and Hiller’s diverse works, from landscape photography and sculpture to performance art, it underscores their shared pursuit: illuminating lingering “ghosts” of the Holocaust in modern landscapes. Susan Hiller’s The J Street Project represents an ongoing exploration of loss and trauma beyond the Holocaust in Germany, using archives as a dynamic, evolving phenomenon. Judit Hersko’s art calls for bearing witness to a potential climate catastrophe in Antarctica. The article culminates in the exploration of “The Memorial” (2017), an art project by the activist collective Center for Political Beauty that focuses on the resurgence of overt anti-Semitism in Germany. In essence, Hiller and Hersko confront erasures in history and nature, emphasizing justice and repair. Their art, intertwined with a project addressing contemporary anti-Semitism, serves as a testament to the enduring power of feminist art, reflecting, mourning, and transforming a world marked by historical traumas and war.
Citation: Arts
PubDate: 2024-02-29
DOI: 10.3390/arts13020050
Issue No: Vol. 13, No. 2 (2024)
- Arts, Vol. 13, Pages 51: Murals and Graffiti in Ruins: What Does the Art
from the Aliko Hotel on Naxos Tell Us'
Authors: Elzbieta Perzycka-Borowska, Marta Gliniecka, Dorota Hrycak-Krzyżanowska, Agnieszka Szajner
First page: 51
Abstract: This manuscript investigates the cultural and educational dimensions of murals and graffiti in the ruins of the Aliko Hotel on Naxos Island. Moving beyond their aesthetic value, these artworks are examined as conduits for complex sociocultural and educational discourses. Employing semiotic analysis, particularly informed by Roland Barthes’ conceptual framework, the study offers a multi-layered interpretation of the significance of street art. A systematic approach guided the empirical data collection, entailing the careful selection and categorisation of 76 photographs, eventually honed down to 21 key images for detailed analysis. This set, comprising 6 murals and 15 graffiti pieces, was subjected to meticulous examination to discern both dominant themes and motifs (‘studium’) and the elements evoking personal connections (‘punktum’), thereby facilitating emotional and intellectual engagement. The methodology of the study is tailored to uncover the collective narratives encapsulated within these visual forms, as well as the individual responses they provoke. It probes how personal interpretations are influenced by the viewers’ beliefs and backgrounds, thereby expanding the semiotic analysis to encompass both shared and individual meanings. This balanced analytical approach deepens the understanding of visual expressions as dynamic interactions between the artwork and its audience. It underscores the transformative role of street art in urban environments and its contribution to public art discourse. The impending demolition of the Hotel Aliko ruins underscores the ephemeral nature of street art. The murals and graffiti, as transient custodians of cultural and social narratives, accentuate the fragile nature of this cultural heritage. This critical moment underscores the importance of documenting and preserving such art forms and the stories they encapsulate, highlighting their significant role in shaping community identity and cultural education.
Citation: Arts
PubDate: 2024-03-05
DOI: 10.3390/arts13020051
Issue No: Vol. 13, No. 2 (2024)
- Arts, Vol. 13, Pages 52: Local Fabric: Mid-Century Modernisms, Textile and
Fashion Design, and the Northwest Coast, 1940–1967
Authors: Laura J. Allen
First page: 52
Abstract: In the mid-twentieth century, growing North American textile and ready-to-wear industries vigorously appropriated Native American aesthetics to cultivate a commercial and design identity apart from Europe. Most studies of the circulation of Indigenous idioms in these industries focus on Southwestern or South Pacific regionalisms, and scholarship on studio and commercial fabric and fashion design from the Northwest Coast in the twentieth century is limited. This paper contributes by raising Indigenous and non-Indigenous use of Northwest Coast design forms during the politically turbulent 1940s–1960s and analyzing the impact of this aesthetic vocabulary within broader North American textiles and fashion. Throughout, I engage with the approaches of critical fashion theory and multiple modernisms, considering the frictions of property and power relations within settler-colonial states, then and now. Drawing from study of objects, periodicals, and archival materials as well as first-person perspectives, I contextualize these representations within entangled art, museum, and design worlds in the Northwest Coast, New York City, and the Southwest. My examination illustrates that Northwest Coast artists and art ideas asserted a peripheral but locatable role in mid-century textiles and fashion, facilitating the development of today’s robust Indigenous fashion network on the Northwest Coast and its cultural politics.
Citation: Arts
PubDate: 2024-03-11
DOI: 10.3390/arts13020052
Issue No: Vol. 13, No. 2 (2024)
- Arts, Vol. 13, Pages 53: “Playing” with Color: How Similar Is
the “Geometry” of Color Harmony in the CIELAB Color Space
across Countries'
Authors: Yulia A. Griber, Tatyana Samoilova, Abdulrahman S. Al-Rasheed, Victoria Bogushevskaya, Elisa Cordero-Jahr, Alexey Delov, Yacine Gouaich, James Manteith, Philip Mefoh, Jimena Vanina Odetti, Gloria Politi, Tatyana Sivova
First page: 53
Abstract: In physical environments and cultural landscapes, we most often deal not with separate colors, but with color combinations. When choosing a color, we usually try to “fit” it into a preexisting color context, making the new color combination harmonious. Yet are the “laws” of color harmony fundamental to our shared cognitive architecture, or are they cultural products that vary from country to country' To answer these questions we conducted an experiment with 599 participants aged 18 to 76 from eight different countries, including Algeria (MA = 26.2 years; SD = 8.8; 49 men, 26 women), Belarus (MA = 19.8 years; SD = 9.1; 19 men, 63 women), Italy (MA = 29.0 years; SD = 12.8; 23 men, 67 women), Mexico (MA = 20.0 years; SD = 7.0; 34 men, 23 women), Nigeria (MA = 34.7 years; SD = 10.5; 29 men, 32 women), Russia (MA = 24.6 years; SD = 6.3; 17 men, 72 women), Saudi Arabia (MA = 24.5 years; SD = 8.6; 28 men, 38 women), and Chile (MA = 34.3 years; SD = 15.1; 35 men, 43 women). To create experimental stimuli, we used 10 color combinations composed by the Russian avant-garde artist Mikhail Matyushin and his disciples for the Reference Book of Color (1932) based on shades that were typical in architectural design—yellow ochre, light umber, light ochre, and burnt umber. We removed the “intermediary” linking color from each of the selected color triads and asked participants to adjust the color of this band according to their liking. Mapping 2995 color choices into CIELAB and CIELCh color space to identify their chromatic characteristics (hue, lightness, and chroma), we demonstrate graphically that color triads in different cultures have a different “geometry” in CIELAB color space and on the color circle. We conclude that the revealed patterns of these relationships reflect cross-cultural “shifts” in human perception of color harmony. The analysis presented in this paper will facilitate opportunities for architects, designers, and other color professionals to create culturally specific harmonic color combinations in urban environments.
Citation: Arts
PubDate: 2024-03-12
DOI: 10.3390/arts13020053
Issue No: Vol. 13, No. 2 (2024)
- Arts, Vol. 13, Pages 54: Bridging the Vantage Point of Distance: Reynaldo
Rivera and the Visual Legacies of Queer Spectacle across Time and Space
Authors: Estefanía Vélez
First page: 54
Abstract: Gender impersonators and trans gender-nonconforming people have long been a source of fascination within the visual arts. Nevertheless, illustrators and photographers alike have perpetually instrumentalized the image of the queer subject as a visual shorthand for criminality, freakishness, and deception. Beginning with the broadside illustrations of José Guadalupe Posada, this article examines how visual representations of Latinx queerness and gender nonconformity shifted across the Americas and throughout the late nineteenth century into the late twentieth century. Ultimately, I contend that Reynaldo Rivera’s photography of late-twentieth-century ballroom culture provides a substantial departure from these speculatory conventions by visually legitimizing the lived authenticity of the queer Latinx people who populate his work.
Citation: Arts
PubDate: 2024-03-12
DOI: 10.3390/arts13020054
Issue No: Vol. 13, No. 2 (2024)
- Arts, Vol. 13, Pages 55: Nandanar: Visibilizing Caste in Bharatanatyam
Performance
Authors: Preethi Ramaprasad
First page: 55
Abstract: What are the implications of a bejeweled dancer in fine silk on the proscenium stage performing a piece that undeniably centers caste' As the Bharatanatyam field reflects on the art form’s appropriation from the hereditary dance community, analyzing choreography reveals different bodily representations of caste. Many Bharatanatyam dancers globally perform excerpts of the Nandanar Charitram, by Tamil composer Gopalakrishna Bharathi. The plot traces Nandanar, a Dalit saint who is not allowed in many temples and ends with his immolation, allowing his “purified” self to unite with the Hindu god Shiva. I study performances of the Nandanar Charitram comparing two Bharatanatyam showings and the 1942 film “Nandanar”. To recognize how caste is both articulated and understood, I analyze choreography, interviews conducted with dancers, and forums where audience members share their responses to the works. I use Judith Butler and Dwight Conquergood’s theorization of performativity, acknowledging that while Bharatanatyam choreography is often “iterative”, it has the potential to “disrupt” dominant norms on caste and politics. Nandanar remains the most prominent Dalit figure seen in the Bharatanatyam repertoire. By studying representations of his story, I highlight the relevance of bodily caste politics in the South Asian diaspora today.
Citation: Arts
PubDate: 2024-03-12
DOI: 10.3390/arts13020055
Issue No: Vol. 13, No. 2 (2024)
- Arts, Vol. 13, Pages 56: Interiority, Metamorphosis, and Simone
Leigh’s Hybrid Cowries
Authors: Tiffany Johnson Bidler
First page: 56
Abstract: By way of an analysis of Simone Leigh’s You Don’t Know Where Her Mouth Has Been (2017), this essay argues that by hybridizing the cowrie and watermelon, Leigh creates her own natural history of these biological forms that disorders the rigid taxonomic classification on which systems of discrimination rely. The resulting hybrid cowrie not only defies classification, it also forms a folded architecture that facilitates a Deleuzian reading. The hybrid cowries, by way of their capacious construction and narrow slits, evoke an interiority that enables metamorphosis. By way of the analysis of the works of Cupboard (2014) and Cowrie (Pannier) (2015), the essay further investigates architectural forms. It considers the intricate interactions between the hybrid architecture of natural forms, such as cowries and watermelons, and human-fabricated forms, such as teleuks and crinolines.
Citation: Arts
PubDate: 2024-03-14
DOI: 10.3390/arts13020056
Issue No: Vol. 13, No. 2 (2024)
- Arts, Vol. 13, Pages 57: Violent Raiding, Systematic Slaving, and Sweeping
Depopulation' Re-Evaluating the Scythian Impact on Central Europe through
the Lens of the Witaszkowo/Vettersfelde Hoard
Authors: Louis D. Nebelsick
First page: 57
Abstract: In 1882, the lavishly decorated golden regalia of a steppe nomad warrior prince, which was crafted in the late sixth century BCE in a “bilingual” Scythian–Milesian workshop on the Black Sea coast, was found on the edge of a Lusatian swamp 120 km southeast of Berlin. Its discovery and the ongoing findings of steppe nomad armaments—arrows, battle axes, and swords—in central Europe have led to a lively debate about the nature of Scythian–Indigenous interaction in the Early Iron Age, ranging from benign visions of long-term acculturation to violent scenarios of short-term raiding. In this article, I argue that an analysis of the iconography of the Witaszkowo hoard and new information from excavations at its find spot make it likely that it was sent as a diplomatic gift by Scythian elites to an indigenous leader and deposited by the local community as a votive hoard. An affirmation of the compact chronological range of Scythian artefacts found in the west, growing evidence for the destruction of indigenous strongholds by horse-borne archers, and concurrent evidence for the drastic depopulation of vast landscapes in the second half of the sixth century BCE allow us to envisage the gifting of this hoard as an episode of a fierce and destructive altercation. It is posited that this onslaught was a facet of the western thrust of the Lydian and Persian Empires, and that its extirpative impact was the result of systematic, commercially driven slaving triggered by the concurrent monetisation of the economies of the Black Sea coast. The effects of these raids on Eastern Central Europe’s later prehistoric communities are made manifest by analogies to the disastrous ramifications of the transatlantic slave trade on societies of 16th-to-18th-century West Africa.
Citation: Arts
PubDate: 2024-03-14
DOI: 10.3390/arts13020057
Issue No: Vol. 13, No. 2 (2024)
- Arts, Vol. 13, Pages 58: “[…] Un Tout Petit Peu de
Dufayel”—Picasso, 1910–1914
Authors: Laurence Madeline
First page: 58
Abstract: Picasso twice quoted the name of Dufayel, once in relation with the name of the Louvre and once for the same period of his career, between 1910 and 1914. This essay explores the universe created by the businessman Georges Dufayel in order to understand the role it played in Picasso’s evolving cubism from that of analytic to synthetic.
Citation: Arts
PubDate: 2024-03-21
DOI: 10.3390/arts13020058
Issue No: Vol. 13, No. 2 (2024)
- Arts, Vol. 13, Pages 59: Rethinking Conceptual Parameters of Choreography
(in Social Spaces)—Actualization of Intensities in Discursive Fields
Authors: Kirsi Monni
First page: 59
Abstract: This article aims to take part in the ongoing discussion on the social and political potentialities as well as the conceptual premises of choreography and to contribute to the discussion about world relations in the choreographed movement. The much-used definition of Western choreography is “organized movement in space and time”. Although this definition always applies, it does not specify the world relations and worldmaking capacities of the choreographed movement. The main focus of this article is an ontological rethinking of the basic concepts of choreography: movement, space, time and organization, with the addition of kinaesthetic fields, kinaesthetic and spatial intelligence, virtual and actual realms, striated and smooth spaces (Deleuze and Guattari) and different conceptions of time. By analyzing these concepts, the aim is to provide a view of ontologically elementary units in choreography (such as a change in space, the difference over time and space, and passage to shared actuality), with a wider understanding of the inherent social relationality in choreographed movement. After discussing these topics, a few social choreography events and protests are described to represent different choreographic aims and organizational modes arising from each specific situation. The article concludes by proposing that choreography could be seen as organizing movement in space and time but also as a choreographic actualization of intensities in different discursive fields.
Citation: Arts
PubDate: 2024-03-21
DOI: 10.3390/arts13020059
Issue No: Vol. 13, No. 2 (2024)
- Arts, Vol. 13, Pages 60: Replacing Settler Spaces: The Transformational
Power of Indigenous Public Art
Authors: Megan A. Smetzer
First page: 60
Abstract: Similar to 19th-century steamship travel, 21st-century cruise ships link far-flung communities for visitors to the Pacific Northwest Coast. Contemporary Indigenous artists, like their ancestors before them, have transformed touristic curiosity into economic, educational and cultural opportunities for their communities. Public art has become an increasingly important site for engaging visitors who have only a few hours to spend on shore. This paper compares two public art projects—Juneau, Alaska’s Kootéeyaa Deiyí (Totem Pole Trail) and Vancouver, British Columbia’s Blanketing the City—to explore the multivalent ways in which public art expresses Indigenous sovereignty.
Citation: Arts
PubDate: 2024-03-28
DOI: 10.3390/arts13020060
Issue No: Vol. 13, No. 2 (2024)
- Arts, Vol. 13, Pages 61: Haunted Monasteries: Troubling Indigenous Erasure
in Early Colonial Mexican Architecture
Authors: Savannah Esquivel
First page: 61
Abstract: This essay examines the placement and displacement of Nahua labor in the architectural history of Mexico’s early colonial monasteries. It takes as its point of departure the story of a ghost in the Tlaxcala monastery as told by a Franciscan missionary to analyze the discursive and spatial dimensions of emergent racial ideologies in Mexico’s earliest Catholic missions. While the ghost’s appearance signals the eruption of unresolved tensions between the missionaries and the Tlaxcalans in a cohabited religious complex, the specter also animates settler colonial domination. Cross-referencing Nahuatl and Franciscan documents reveal the ghost story as a whitewashed tale of monastic ritual life wherein the ghost effaces Indigenous labor at precisely the moments and places missionaries deemed it most threatening. In so doing, this study illuminates how racial ideologies were structured discursively and experientially at the missions and contributes to urgent debates about how the history and preservation of Catholic architecture in Mexico conceals and represses the lived experience of Indigenous peoples. Neither the manuscript nor any parts of its content are currently under consideration or published in another journal.
Citation: Arts
PubDate: 2024-03-29
DOI: 10.3390/arts13020061
Issue No: Vol. 13, No. 2 (2024)
- Arts, Vol. 13, Pages 62: The 60 Years of Queer and Trans Activism and Care
Project: Learning to Conduct Archival Research and Write Dramatic Verbatim
Monologues
Authors: Tara Goldstein, Jenny Salisbury
First page: 62
Abstract: This reflective essay describes a research course which provided undergraduate students with an opportunity to conduct archival research on six decades of queer, trans, Black, Indigenous, and People of Colour (QTBIPOC) activism and care that have challenged heteronormativity, cis-normativity, and racism in Canada. While there are many ways to share the findings of archival research, we chose to teach our students how to create dramatic verbatim monologues as the arts-based research method of verbatim theatre required students to use the words of activists themselves to explain why a particular moment of activism and care was needed. Students attended three different workshops during the full-year course from September 2022 to March 2023: a workshop in conducting archival research, a workshop about centring themselves and their communities in their research, and a workshop in verbatim monologue writing. Here, we reflect upon what these workshops taught us about archival research, working with Indigenous archival material, and rupturing systems of oppression in our own bodies. At the end of the course, students reported their take-aways from the course. This included a new understanding that it was possible to conduct research on topics they felt passionate about and that theatre-based research provided them with a way to express the findings of their research in forms other than writing essays. This new-found freedom was life-changing.
Citation: Arts
PubDate: 2024-03-29
DOI: 10.3390/arts13020062
Issue No: Vol. 13, No. 2 (2024)
- Arts, Vol. 13, Pages 63: Applied Theatre: Research-Based Theatre, or
Theatre-Based Research' Exploring the Possibilities of Finding Social,
Spatial, and Cognitive Justice in Informal Housing Settlements in India,
or Tales from the Banyan Tree
Authors: Selina Busby
First page: 63
Abstract: This article draws on a twenty-year relationship of short-term interventions with Dalit communities living in informal settlements, sub-cities and urban villages in Mumbai, that have sought to create public theatre events based on research by and with communities that celebrate, problematise and interrogate sustainable urban living. In looking back over the developments and changes to our working methods in Mumbai, I explore how the projects priorities the roles of the community as both researchers and artists. I consider where a specific applied theatre project, which focuses on site specific storytelling with Dalit communities in Worli Koliwada and Dharavi, functions on a continuum of interactive, participatory, and emancipatory practice, research and performance. Applied Theatre practices should not and cannot remain static, they need to be constantly reformed and as practitioners and researchers we need to constantly re-examine the ways in which we work. This chapter poses two central questions: firstly, can this long-term partnership between practitioners, researchers and artists from the UK and India working with community members genuinely be a space for co-creating knowledge and theatre' And secondly, if so, is this Theatre-based Research or Research Based Theatre' I interrogate Applied Theatre’s potential to create a space of cognitive justice, which must be the next step for applied theatre, along-side its more widely accepted aims of searching for social and spatial justice and which places the community as both artists and researchers. The Dalit social reality is one of oppression, based on three axes: social, economic and gender. The chapter explores how working as co-researchers and the public performance of their stories has been a form of ‘active citizenship’ for these participants and is a key part of their strategy in their demand for policy changes. In looking forward I ask how working in international partnerships with community members can promote cognitive justice and go beyond a merely participatory practice. I consider why it is vital for the field that applied theatre practice includes partners from both the global south and north working together to co-create knowledge, new methods of practice to ensure an applied theatre knowledge democracy. In doing so I will discuss if and how this work might be considered to be Theatre-based Research.
Citation: Arts
PubDate: 2024-03-29
DOI: 10.3390/arts13020063
Issue No: Vol. 13, No. 2 (2024)
- Arts, Vol. 13, Pages 64: Taking the Deer by the Antlers: Deer in Material
Culture in the Balkan Neolithic
Authors: Selena Vitezović
First page: 64
Abstract: Prehistoric communities had strong ties with the animal world that surrounded them—animals were prey, sources of food, and raw materials, but also threats and mysteries, and certain animals often had an important place in the symbolic realm. With the process of domestication and the switch to animal husbandry as the main source of animal food, these relations changed considerably, and a certain dichotomy between “the domestic” and “the wild” may be noted in numerous past communities. When it comes to the Neolithic period in the Balkans, domestic animals had an important place in subsistence and economy, and it seems that cattle had a particularly prominent symbolic role. Wild species preserved some of their significance in both subsistence and symbolic realms, especially cervids (red deer, roe deer, and fallow deer). In this paper, the place of deer in the material culture of the Neolithic communities in the Balkans will be analysed: skeletal elements of deer were used for the production of diverse items, including non-utilitarian ones, or were part of ritual depositions, and deer representations are encountered in other materials, such as clay figurines. The symbolic meaning of deer cannot be reconstructed with certainty; however, it is probable that deer were tied with territoriality and the landscape.
Citation: Arts
PubDate: 2024-03-30
DOI: 10.3390/arts13020064
Issue No: Vol. 13, No. 2 (2024)
- Arts, Vol. 13, Pages 65: The Protection of Monuments and Immoveable Works
of Art from War Damage: A Comparison of Italy in World War II and Ukraine
during the Russian Invasion
Authors: Cathleen Hoeniger
First page: 65
Abstract: This article compares the safeguarding of monuments and immoveable works of art in Italy in the first years of World War II to the on-site protection undertaken in Ukraine during the Russian invasion and explores whether traditional or more innovative methods are being employed in Ukraine. Both the planning in advance of war and the implementation of protective measures amidst substantial obstacles are considered. The focus is placed on fixed works of art in churches and public statues. Special attention is given to the vulnerability of churches and their ornamentation during war.
Citation: Arts
PubDate: 2024-03-31
DOI: 10.3390/arts13020065
Issue No: Vol. 13, No. 2 (2024)
- Arts, Vol. 13, Pages 66: “Spaces of Silence” and “Secret
Music of the Word”: Verbo-Musical Minimalism in the Poetry of
Gennady Aygi and Elizaveta Mnatsakanova
Authors: Olga Sokolova, Vladimir Feshchenko
First page: 66
Abstract: Two major poets of the Russian Neo-Avant-Garde—Gennady Aygi and Elizaveta Mnatsakanova—created textual works that transgressed the limits of language and the borders between the arts. Each pursued their own method of the visualization and musicalization of verbal matter, yet both share a particular musical sensibility, which guarantees the integrity of the linguistic structure of their verse, despite the fragmentation and logical incoherence of its elements. The atonal (serial) musical tradition has a special significance for these experimental poetics of minimalism. Mnatsakanova, herself a musicologist, who was friends with Dmitri Shostakovich, not only used the techniques of contemporary music composition in her visual and sound poetry, but also collaborated with electronic musicians in her recorded poetry performances. Aygi experimented with language, not only crossing the boundaries between music and poetry, but also between sound and silence. For him, music was a way of expressing pre-verbal subjectivity and reproducing signs of meaning that are hidden from ordinary perception. In his poems, Aygi brought together Chuvash folk music with experimental techniques of minimalism, correlating his own work with such Soviet unofficial composers as Andrey Volkonsky and Sofia Gubaidulina. This paper will address the issues of transmutation between verbal, visual, and sound art in poetic minimalism of the Soviet-era underground.
Citation: Arts
PubDate: 2024-03-31
DOI: 10.3390/arts13020066
Issue No: Vol. 13, No. 2 (2024)
- Arts, Vol. 13, Pages 67: The Power of Convening: Towards an Understanding
of Artist-Led Collective Practice as a Convener of Place
Authors: John David Wright
First page: 67
Abstract: In recent years, there has been a growing interest in artist-led collectives with high-profile recognition within contemporary art mega festivals, prizes, and biennials. Yet, these amorphous entities and initiatives tend to be framed either through their politically motivated actions or as a critique of the notion of the single author or ‘artist-as-genius’ mythology. This article builds upon this discourse to shift the emphasis onto both interpersonal and socio-political relationships that constitute artist-led collectives in order to explore their complex role in convening and placemaking and what this might mean for both policymaking and research.
Citation: Arts
PubDate: 2024-04-05
DOI: 10.3390/arts13020067
Issue No: Vol. 13, No. 2 (2024)
- Arts, Vol. 13, Pages 68: From Leonardo to Caravaggio: Affective Darkness,
the Franciscan Experience and Its Lombard Origins
Authors: Anne H. Muraoka
First page: 68
Abstract: The function of affectivity has generally focused on post-Council of Trent paintings, where artists sought a new visual language to address the imperative function of sacred images in the face of Protestant criticism and iconoclasm, either guided by the Council’s decree on images, post-Tridentine treatises on sacred art, or by the Counter-Reformation climate of late Cinquecento and early Seicento Italy. This essay redirects the origins of the transformation of the function of chiaroscuro from objective to subjective, from corporeal to spiritual, and from rational to affective to a much earlier period in late Quattrocento and early Cinquecento Milan with Leonardo da Vinci. By tracing the transformation of chiaroscuro as a vehicle of affect beginning with Leonardo’s Virgin of the Rocks, it will become evident that chiaroscuro became a device used to focalize the viewers’ experience dramatically and to move viewers visually and mystically toward unification with God under the influence of the Franciscans.
Citation: Arts
PubDate: 2024-04-06
DOI: 10.3390/arts13020068
Issue No: Vol. 13, No. 2 (2024)
- Arts, Vol. 13, Pages 69: Correction: Peña Torres (2024). La Liga de
la Decencia: Performing 20th Century Mexican History in 21st Century
Texas. Arts 13: 47
Authors: Jessica Peña Torres
First page: 69
Abstract: In the original publication (Peña Torres 2024), (Belliveau and Lea 2016) was not cited and its related reference was also omitted [...]
Citation: Arts
PubDate: 2024-04-07
DOI: 10.3390/arts13020069
Issue No: Vol. 13, No. 2 (2024)
- Arts, Vol. 13, Pages 70: Social Choreography as a Cultural Commoning
Practice: Becoming Part of Urban Transformation in Une danse ancienne
Authors: Johanna Hilari, Julia Wehren
First page: 70
Abstract: This article examines social choreography as a cultural commoning practice that is embedded within a relational structure between different institutions, the people involved, and specific socio-cultural contexts. The artistic research project Une danse ancienne by French choreographer Rémy Héritier and their team is presented as a case study of this practice. This collaborative choreography is based on a dance performance and social gathering that is reactivated every year by the same dancer in the same peri-urban site in a metropolitan area of Lausanne, Switzerland. Une danse ancienne holds strong relationships to temporalities, to the changing urban space, and to communal processes of documentation. Its relational choreographic structure and sharing practices are analyzed against the concepts of ‘expanded choreography’ and ‘cultural commoning’. This article, therefore, discusses social choreography as a cultural commoning practice that involves interactions with different social groups and institutions and practices of sharing and communal documentation. This article shows how, as social choreography, Une danse ancienne reflects upon urban transformation through cultural commoning practices.
Citation: Arts
PubDate: 2024-04-09
DOI: 10.3390/arts13020070
Issue No: Vol. 13, No. 2 (2024)
- Arts, Vol. 13, Pages 71: A Child Burial from Kerch: Mortuary Practices and
Approaches to Child Mortality in the North Pontic Region between the 4th
Century BCE and the 1st/2nd Century CE
Authors: Porucznik, Velychko
First page: 71
Abstract: This article discusses a poorly studied child elite burial discovered in 1953 at the necropolis of Panticapaeum, situated near the modern city of Kerch, Crimea. A reassessment of previous research is urgently needed since it did not offer an analysis of Bosporan society from the perspective of childhood studies in general and local approaches to child mortality in particular. This fresh approach sheds new light on social structures and transformations within the northern Black Sea region. A broad chronological and geographical perspective is provided in order to detect changing mortuary rituals regarding deceased children in relation to shifting socio-political situations among North Pontic Greek and non-Greek societies. A survey of current social interpretations concerning the (in)visibility of children in the mortuary customs, particularly between the 4th century BCE and the 1st/2nd century CE, is followed by a detailed description of the history of research in the Panticapaeum necropolis. A comprehensive analysis of the grave goods that accompanied the deceased child is also provided. The discussed material suggests that a new form of elite self-representation, expressed through mortuary rites, appeared around the turn of the first millennium. This included a different approach to deceased children, whose ascribed status and expected, yet unfulfilled, social roles were frequently displayed by the family through the funerary ceremony.
Citation: Arts
PubDate: 2024-04-10
DOI: 10.3390/arts13020071
Issue No: Vol. 13, No. 2 (2024)
- Arts, Vol. 13, Pages 72: Queer Nightlife and Contemporary Art Networks: A
Study of Artists at the Bar
Authors: Joseph Daniel Valencia
First page: 72
Abstract: This article positions queer nightlife as a central vehicle in the lives and practices of queer Latinx artists working in Los Angeles over the past decade. It highlights how queer nightlife has provided a generative space for art making and community building in LA and considers how the usage of queer nightlife as a frame of study ruptures existing art historical and curatorial methodologies relative to Latinx art. I closely analyze works by artists rafa esparza, Sebastian Hernandez, and Gabriela Ruiz drawn from the gay bars and streets of downtown and East Los Angeles to underscore the radical and sophisticated ways by which these artists create art, community, and opportunity. By critically examining three case studies––Escandalos Angeles (2018), a performance by Hernandez and Ruiz at Club Chico in Montebello, California; Nostra Fiesta (2019), a storefront mural by esparza, Ruiz, and friends at the New Jalisco Bar in downtown; and YOU (2019–ongoing), a queer party directed by Hernandez and launched at La Cita Bar in downtown––I reveal how queer nightlife has served as an incubator for these artists to come together, express themselves, and generate a sense of joy and freedom from the struggles of everyday life.
Citation: Arts
PubDate: 2024-04-10
DOI: 10.3390/arts13020072
Issue No: Vol. 13, No. 2 (2024)
- Arts, Vol. 13, Pages 73: Yes, It Is Polyphony and a Map: Revisiting the 72
Verses of St. Martial
Authors: Laura Steenberge
First page: 73
Abstract: The enigmatic 72 Verses for St. Martial is one of the many works by Ademar de Chabannes (989–1034) crafted to promote the false narrative that St. Martial of Limoges, rather than being a third-century bishop, was actually a first-century apostle. The composition is visually striking due to the acrostic formed from the first letter of each tercet, MARCIALIS APOSTOLVS XRISTI, and its two overlapping melodies, one in black ink and the other in red. The relationship between the two notations is the subject of debate: Paul Hooreman’s conclusion that they are two variations of the same monophonic chant is countered by Manuel Pedro Ferreira, who argues that Hooreman’s reasoning is insufficient to rule out polyphony. I use Ferreira’s assessment as a jumping-off point for the current analysis, which investigates the compositional processes underlying the creation of the 72 Verses. Hooreman describes many details in the chant as subject to disorganization, scribal error, lack of ability, etc., but when the chant is analyzed polyphonically, these problems resolve. Beyond the music itself, the chant’s unusual polyphonic structure features reveals that the chant is structured around medieval maps, moving between a mappa mundi and the celestial spheres.
Citation: Arts
PubDate: 2024-04-17
DOI: 10.3390/arts13020073
Issue No: Vol. 13, No. 2 (2024)
- Arts, Vol. 13, Pages 74: “Only in The History of the Formation of
the Self-Conscious Soul Did Bugaev Reveal His Ideas about Music”:
Music in the System of Andrei Bely
Authors: Mikhail Odesskiy, Monika Spivak
First page: 74
Abstract: Symbolism distinguished itself in world culture in that its representatives were inclined to a dialogue and intersection of different types of art. In Russian literature, one of the brightest examples of such a synthesis is the work of Andrei Bely (Boris Bugaev; 1880–1934). The aim of the present article is to consider the writer’s ideas about music itself. As the main source we use Bely’s treatise The History of the Formation of the Self-Conscious Soul. Bely in his Symbolist articles of the 1900s laid down the idea of musical art as an antinomy, which emphasized the troubling importance of the problem, but did not principally imply any positive answer. However, in his anthroposophic treatise The History of the Formation of the Self-Conscious Soul (1926–1931), enormous in volume and scale of the material, the author’s antinomical understanding of music was transformed into a structure which is extremely complicated, but consistent. That is why Andrei Bely does not apply the word “antinomy” to music, but he extensively uses the musical term “counterpoint” (together with other musical terms). Whereas the word “antinomy” pointed at some irreconcilable conflicts, on the contrary, a “counterpoint” introduces these clashes into the frame of a single structure of a system, thus reconciling them. Accordingly, the romance “It is so sweet to be with you” by Mikhail Glinka (called in The History “the greatest genius”) contains, in Andrei Bely’s texts, the message of a wide spectrum.
Citation: Arts
PubDate: 2024-04-19
DOI: 10.3390/arts13020074
Issue No: Vol. 13, No. 2 (2024)
- Arts, Vol. 13, Pages 75: Resonating Reflections: A Critical Review of
Ethnosymbolic Dynamics in Les Six’s Music Nationalism Movement
Authors: Xuewei Chang, Marzelan Bin Salleh, Jifang Sun
First page: 75
Abstract: Les Six and their mentors stirred a debatement of French nationalist music in the early 20th century. However, this movement faced serious criticism and mockery from various quarters and eventually fell apart amid challenges. This critical review explores the ethnosymbolic dynamics within the nationalism music movement of Les Six, and drawing upon ethnomusicological perspectives, the study examines how their compositions reflected and resonated with French national identity and cultural heritage. By analyzing primary sources, scholarly literature, and musical compositions, this article meticulously uncovers the chain reactions generated in the process of constructing national identity and cultural identity within this movement by examining the French societal backdrop, musical traditions, as well as the relationships and attitudes among relevant figures in this movement. The conclusions highlight the multifaceted nature of ethnosymbolism in their work, shedding light on the complexities of national identity construction through music.
Citation: Arts
PubDate: 2024-04-22
DOI: 10.3390/arts13020075
Issue No: Vol. 13, No. 2 (2024)
- Arts, Vol. 13, Pages 34: Analytical Listening and Aesthetic Experience in
Music Criticism
Authors: Srđan Teparić
First page: 34
Abstract: In this article, I discuss the methodological and contextual aspects of writing music criticism, drawing cues from applied musicology and autoethnography. The challenge for any music critic is the question of the relationship between objective and subjective approaches. I analyze the relationship between analytical listening and aesthetic experience, using the examples of two music reviews of Ivo Pogorelić’s piano recitals that I wrote. The interpretations of this pianist are suitable for the analysis precisely because he is commonly seen as an unconventional, even controversial pianist, and his interpretations of romantic music are often regarded as examples of anti-academicism and even deconstruction of pianistic canons accumulated during the 20th century. Against that term, I will talk about liberation, which is perhaps a more suitable label for Pogorelić’s modernist approach to performance.
Citation: Arts
PubDate: 2024-02-14
DOI: 10.3390/arts13010034
Issue No: Vol. 13, No. 1 (2024)
- Arts, Vol. 13, Pages 35: Jewelry, Accessories, and Decorative Elements of
Women’s Funeral Costume of the First Half of the 6th Century BCE in
the Territory of Forest-Steppe Scythia
Authors: Iryna Shramko
First page: 35
Abstract: Among the antiquities of the archaic period of Forest-Steppe Scythia, a group of elite burials of women, possibly endowed with priestly functions during their lifetime, stands out. Until recently, only two unrobbed burial complexes were known to contain the main burials of women of high social rank, in whose graves golden costume elements were found—primarily expressive details of headdresses. The barrows (kurgans) were discovered at the end of the 19th century when amateur excavations were actively carried out on the right bank of the Dnipro. As a result of research conducted by the author at the Skorobir necropolis (in the area of the Bilsk fortified settlement, on the left bank of the Dnipro), two similar graves were recently discovered, which provided new material that significantly expanded the known geographical distribution of this phenomenon. The materials are closely analogous to the previously discovered elite female burials of the Middle Dnipro (barrow 100 near the village of Syniavka, barrow 35 near the village of Bobrytsa) and allow us to highlight a number of stable elements of the funeral costume of noble women and the sets of objects that complemented them. In this article, we consider the social and cultural significance of female attire in elite burials and delimit the chronological framework of this previously understudied phenomenon within the first half of the 6th century BCE. The new finds offer unprecedented insight into the form and meaning of one type of female headdress which researchers have tried to reconstruct for over a century.
Citation: Arts
PubDate: 2024-02-15
DOI: 10.3390/arts13010035
Issue No: Vol. 13, No. 1 (2024)
- Arts, Vol. 13, Pages 36: A Distinct Form of Socio-Political and Economic
Organization in the Pazyryk Culture
Authors: Karen S. Rubinson, Katheryn M. Linduff
First page: 36
Abstract: The Pazyryk Culture, situated in the Altai Mountains of Russia, Kazakhstan, Mongolia, and China, flourished for a relatively short period: 5th–3rd centuries BCE. A series of burial grounds from the later phase, 4th–mid-3rd centuries BCE, to be studied here reveal the remains of three groups of individuals of high, mid, and lower status. Within the limiting topographical and environmental confines of the local region, in contrast to the vast grasslands of the steppe and the deserts and oases of Central Asia, it is possible via the analysis of material culture and with reference to ethnographic studies to see nuances of interaction among these three groups and the regions immediately adjacent during this short period. Aided by modern scientific techniques, including DNA and isotopic analysis, together with analysis of excavated and often frozen remains, it is also possible to map out a heterarchical set of relationships within the hierarchical framework. The model developed in this unique landscape might be tested elsewhere in Eurasia as it extends the application of the notion of nonuniform socio-political organization among pastoralists noted for Bronze Age societies in the Eurasian steppe to the late Iron Age.
Citation: Arts
PubDate: 2024-02-17
DOI: 10.3390/arts13010036
Issue No: Vol. 13, No. 1 (2024)
- Arts, Vol. 13, Pages 37: Viewpoints/Points of View: Building a
Transdisciplinary Data Theatre Collaboration in Six Scenes
Authors: Dani Snyder-Young, Michael Arnold Mages, Rahul Bhargava, Jonathan Carr, Laura Perovich, Victor Talmadge, Oliver Wason, Moira Zellner, Angelique C-Dina, Ren Birnholz, Halle Brockett, Ezekiel D’Ascoli, Donovan Holt, Sydney Love, George Belliveau
First page: 37
Abstract: Data now plays a central role in civic life and community practices. This has created a pressing need for new forms of translation and sense-making that can engage diverse publics. Research-based Theatre (RbT) has proven to be an effective approach to delivering qualitative data to community stakeholders. We extend this tradition by proposing “community-engaged data theatre”. This approach translates quantitative data into theatrical language to engage communities in deliberative conversations on relevant issues. Community-engaged data theatre requires bridging multiple disciplines and involves creating new definitions and shared vocabularies in discourses that formerly have had little overlap in meaning. In this article, we share key insights from our initial experiments in which we adapted quantitative and qualitative data to devise a pilot piece in collaboration with a local community partner. In this essay, we communicate our collaborative process in polyvocal, artistic form. We edit and adapt materials from our conversations and creative practices into scenes illustrating how we taught and learned from each other about data science, participatory modeling, material deliberation and Composition to pilot our lab’s first community-engaged data theatre prototype.
Citation: Arts
PubDate: 2024-02-18
DOI: 10.3390/arts13010037
Issue No: Vol. 13, No. 1 (2024)
- Arts, Vol. 13, Pages 38: The Discursive Power of Digital Popular Art
during the Russo-Ukrainian War: Re/Shaping Visual Narratives
Authors: Kot, Mozolevska, Polishchuk, Stodolinska
First page: 38
Abstract: Twenty-first century digital technologies and popular visual art have transformed the ways military conflicts are experienced, narrated, and shared. It demonstrates that digital platforms have become arenas for constructing visual narratives that influence public perception and engagement with the conflict. Through a multimodal and visual analysis of over 950 digital artworks shared on Instagram during the first three months of the Russian full-scale invasion of Ukraine, this study investigates how these artworks form specific visual narratives which contribute to portraying the new wartime reality while also constructing images of the self and the other through heroization, victimization, dehumanization, and other strategies. All these visual narratives jointly represent the complexity of the war reality and form an epistemic understanding of the conflict. This study highlights the important function that popular visual art on digital platforms such as Instagram plays in shaping perceptions of the Russo-Ukrainian War, particularly in expressing emotions, conveying traumas, and influencing public opinions.
Citation: Arts
PubDate: 2024-02-18
DOI: 10.3390/arts13010038
Issue No: Vol. 13, No. 1 (2024)
- Arts, Vol. 13, Pages 39: Im/Materiality in Renaissance Arts
Authors: Kate van Orden, Lisa Pon
First page: 39
Abstract: The inspiration for this Special Issue on Im/Materiality in Renaissance Arts arose from two convictions: (1) that sensual experiences and the physicality of creation must be a part of our accounts of the past, and (2) that crosstalk among scholars of music, literature, art, and architecture can reveal both the historiographical gaps endemic to specific disciplines and the critical tools each specialty brings to the project of incorporating living, breathing artists, builders, poets, singers, players, worshippers, scientists, and others into histories of the Renaissance arts [...]
Citation: Arts
PubDate: 2024-02-19
DOI: 10.3390/arts13010039
Issue No: Vol. 13, No. 1 (2024)
- Arts, Vol. 13, Pages 40: Arts and Refugees: Multidisciplinary Perspectives
(Vol. 2)
Authors: Marco Martiniello, Elsa Mescoli
First page: 40
Abstract: Published in 2019, the Special Issue entitled “Arts and Refugees: Multidisciplinary Perspectives” gathered together a set of articles exploring the role of art created and performed by refugees settled in urban European contexts [...]
Citation: Arts
PubDate: 2024-02-19
DOI: 10.3390/arts13010040
Issue No: Vol. 13, No. 1 (2024)
