Journal Description
Arts
Arts
is an international, peer-reviewed, open access journal promoting significant research on all aspects of the visual and performing arts, published bimonthly online by MDPI.
- Open Access— free for readers, with article processing charges (APC) paid by authors or their institutions.
- High Visibility: indexed within ESCI (Web of Science), and other databases.
- Rapid Publication: manuscripts are peer-reviewed and a first decision is provided to authors approximately 35.5 days after submission; acceptance to publication is undertaken in 6.9 days (median values for papers published in this journal in the first half of 2024).
- Recognition of Reviewers: reviewers who provide timely, thorough peer-review reports receive vouchers entitling them to a discount on the APC of their next publication in any MDPI journal, in appreciation of the work done.
Impact Factor:
0.3 (2023)
Latest Articles
Lebanese Cedar, Skeuomorphs, Coffins, and Status in Ancient Egypt
Arts 2024, 13(6), 163; https://doi.org/10.3390/arts13060163 - 22 Oct 2024
Abstract
In ancient Egypt, as with many cultures, funerary objects often communicated aspects of access, power, and social status. Lebanese cedar, for instance, was selected as a particularly desirable material from which to craft the coffins of Egypt’s upper echelons. This imported timber was
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In ancient Egypt, as with many cultures, funerary objects often communicated aspects of access, power, and social status. Lebanese cedar, for instance, was selected as a particularly desirable material from which to craft the coffins of Egypt’s upper echelons. This imported timber was both structurally superior to local woods and had important social and religious significance. For the slightly lower-ranking elite of Egypt, for whom cedar was inaccessible, local wood skeuomorphs that imitated cedar coffins were created in their place. The skeuomorphs enabled these individuals to demonstrate their knowledge of elite styles and tastes, and, due to the power of the image in ancient Egypt, also allowed for them to borrow the religious power of cedar wood to protect and enhance their own coffins. In this paper, a selection of Old to Middle Kingdom coffins are discussed to demonstrate the ways that cedar was emphasized as a construction material by the upper elite and mimicked by the middle and lower elite. This helps to demonstrate both the value of cedar in ancient Egypt, as well as the means by which imagery could be manipulated to gain access to the power of this potent material.
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(This article belongs to the Special Issue Ancient Egyptian Art Studies: Art in Motion, a Social Tool of Power and Resistance)
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Expanding Understandings of Curatorial Practice Through Virtual Exhibition Building
by
Francesca Albrezzi
Arts 2024, 13(5), 162; https://doi.org/10.3390/arts13050162 - 20 Oct 2024
Abstract
This article reflects on the translation of gallery space into a virtually immersive experience in an era of remote access. Curators and scholars such as Mary Nooter Roberts, Susan Vogel, Carol Duncan, Tony Bennet, Stephen Greenblatt, Judith Mastai, and Barbara Kirshenblatt-Gimblett have discussed
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This article reflects on the translation of gallery space into a virtually immersive experience in an era of remote access. Curators and scholars such as Mary Nooter Roberts, Susan Vogel, Carol Duncan, Tony Bennet, Stephen Greenblatt, Judith Mastai, and Barbara Kirshenblatt-Gimblett have discussed the myriad of ways in which the experience of culturally significant objects and sites in person has been critical to the study of art and its history. Focusing on theories of curation and display, I utilize practice-based examples from six virtual reality (VR) exhibitions produced in three different institutional contexts: the International Journal of Digital Art History’s online gallery, the European Cultural Center’s Performance Art program, and the Digital Humanities program at the University of California, Los Angeles. By documenting and analyzing the extended reality (XR) methods employed and the methodological approaches to the digital curatorial work, I address some of the challenges and opportunities of presenting objects in virtual space, offering comparisons to those faced when building physical exhibitions. I also consider how digital modalities provide a distinctly different paradigm for epistemologies of art and culture that offer greater contextualized understandings and can reshape exhibition documentation and the teaching of curatorial practice and museum studies.
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(This article belongs to the Special Issue Framing the Virtual: New Technologies and Immersive Exhibitions)
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Open AccessConference Report
Cross-Cultural Histories and Traditions Between the Cut and Engraved Glass Scenes of the UK and Japan
by
Jessamy Kelly
Arts 2024, 13(5), 161; https://doi.org/10.3390/arts13050161 - 20 Oct 2024
Abstract
Recent research conducted by Heritage Crafts, a prominent national advocacy organisation dedicated to preserving traditional heritage crafts in the UK, has unveiled a concerning trend: several traditional craft skills teeter on the edge of extinction within the UK. This revelation stems from the
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Recent research conducted by Heritage Crafts, a prominent national advocacy organisation dedicated to preserving traditional heritage crafts in the UK, has unveiled a concerning trend: several traditional craft skills teeter on the edge of extinction within the UK. This revelation stems from the Heritage Crafts Red List of Endangered Crafts, an initiative which identifies crafts facing the risk of endangerment. In their recent 2023 publication, Heritage Crafts highlighted the distressing decline of cut and engraved glass craftsmanship in the UK, categorising and placing both brilliant cutting (as endangered) and copper wheel engraving (as critically endangered) on the Red List of Endangered Crafts in the UK. This means that these crafts pose the risk of not being actively practised. In December 2023, the alarming downturn of these crafts in the UK was explored and discussed during a conference held at Edinburgh College of Art (ECA), entitled Edo-Kiriko: The Art of Japanese Cut Crystal. This event explored the cross-cultural connection and exchange that exists between Scotland and Japan, drawing upon a rich historical exchange that saw the transmission of Western-style glassmaking from Scotland to Japan in the 1870s–1880s. It also details the more recent exchange that has been in place between Edinburgh College of Art (ECA) and the Horiguchi Kiriko glass studio in Tokyo, Japan. This modern-day exchange has seen the recent transmission of glass-cutting skills through a masterclass led by Toru Horiguchi at ECA. This paper presents this conference, introducing the invited speakers and creating a commentary on the proceedings and the plenary discussions that unfolded. Focus and discussion will be given to the factors that have contributed to the current decline of cut and engraved glassmaking in the UK and the possible measures that could be taken to support and safeguard this field. The final part of this paper will offer a reflection on the conference proceedings and will conclude by making an urgent call for the future of cut and engraved glass craftsmanship in the UK. It is hoped this paper will draw attention to the urgent need for support from education and funding bodies, to safeguard and protect these vital heritage crafts, which boast a rich history in the UK.
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(This article belongs to the Special Issue Art Glass Studies for a Changing World—The International Year of Glass)
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Open AccessArticle
Dramatic Scenes and Monstrous Animals: On the First Exhibition of Chinese Art in the USSR
by
Olga Kozhura
Arts 2024, 13(5), 160; https://doi.org/10.3390/arts13050160 - 18 Oct 2024
Abstract
This article reconstructs the story of the “Chinese Painting Exhibition” in the USSR, brought to Moscow and Leningrad in 1934 by the prominent Chinese artist Xu Beihong. The exhibition covered a period from the Han dynasty up to the 1930s, and, for the
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This article reconstructs the story of the “Chinese Painting Exhibition” in the USSR, brought to Moscow and Leningrad in 1934 by the prominent Chinese artist Xu Beihong. The exhibition covered a period from the Han dynasty up to the 1930s, and, for the first time, presented Chinese art to the Soviet audience. Before arriving in the USSR, the show toured Europe, where it was extremely popular and considered the first successful attempt to present Chinese art in the West. In contrast, the exhibition’s perception in the Soviet Union was rather contradictory. The reasons for that could be found in the ongoing Soviet artistic discourse and preconceived vision of Chinese art. Based on archival materials, this study reveals the process of the exhibition’s organization and focuses on the image of China and Chinese art constructed by its curators. Additionally, this article examines the reception of the show by both professional and mass Soviet audiences in conjunction with the Soviet ideology towards fine art, foreign art exhibitions of the 1930s, and existing narratives on China, which shaped the optic of Soviet visitors.
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(This article belongs to the Special Issue Cultural Diplomacy and Informal Artistic Relations in East Central Europe in the 20th Century: A Global Perspective)
Open AccessArticle
Abstract Subjects: Adia Millett, Abstraction, and the Black Aesthetic Tradition
by
Derek Conrad Murray
Arts 2024, 13(5), 159; https://doi.org/10.3390/arts13050159 - 17 Oct 2024
Abstract
The Oakland, California-based artist Adia Millett is among an ever-growing generation of Black artists who have embraced abstraction in their creative production. Her approach is significant, considering that one of the more pernicious dimensions of art history has been its omission of African-American
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The Oakland, California-based artist Adia Millett is among an ever-growing generation of Black artists who have embraced abstraction in their creative production. Her approach is significant, considering that one of the more pernicious dimensions of art history has been its omission of African-American painters from the history of late-modernist American abstraction. In this 2024 interview, scholar Derek Conrad Murray and Millett exchange ideas about the intersection of Blackness and abstraction. Identity and representation have always been a thorny terrain throughout the history of American art, from the nineteenth century to the present—and Black artists’ commitment to reflecting on racial injustice dubiously rendered their work incommensurate with the aesthetic dictates of post-war abstraction. Since the 1990s, there has been an increase in corrective efforts dedicated to recuperating Black artists who have fallen through the cracks of history. As a result, the twenty-first century has seen an acknowledgment of many artists who were overlooked—and a blossoming of formalist abstraction among recent generations of contemporary Black artists. As articulated in this interview, Adia Millett, like many of her peers, has resisted the falsehood that abstraction is beyond her purview—and has embraced abstraction while refusing to abandon the complexities of Blackness.
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(This article belongs to the Special Issue New Articulations of Identity in Contemporary Aesthetics)
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The Unseen Truth of God in Early Modern Masterpieces
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Simon Abrahams
Arts 2024, 13(5), 158; https://doi.org/10.3390/arts13050158 - 17 Oct 2024
Abstract
God the Father was considered so completely inexpressible and unembodied that his visual appearance in early modern masterpieces has long challenged the theological accuracy of such works. A recent discovery complicates that issue. Albrecht Dürer’s 1500 Self-portrait as Christ is incorrectly considered an
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God the Father was considered so completely inexpressible and unembodied that his visual appearance in early modern masterpieces has long challenged the theological accuracy of such works. A recent discovery complicates that issue. Albrecht Dürer’s 1500 Self-portrait as Christ is incorrectly considered an isolated example of divine self-representation. It was, in fact, as shown here, part of a long tradition throughout Europe between at least the fifteenth and seventeenth centuries. The praxis, potentially sacrilegious, raises questions about the truth of art at its highest level. To address this conundrum, this article analyzes works by three eminent, but very different, artists: Michelangelo, Raphael, and Dürer. Two current methodologies—visual exegesis and the poetics of making—support the argument. The analysis reveals that there is a fundamental unity to their work, which has not been recognized on account of three popular misconceptions about the nature of art, divinity, and the mind. This article concludes that depictions of God the Father and Christ by these artists are neither heretical nor false because, as the evidence shows, all three were part of a continuous spiritual tradition embedded within their craft.
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(This article belongs to the Section Visual Arts)
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Shaping New Identities in the First Intermediate Period (2160–2050 BC): Archers and Warriors in the Iconography of Upper Egypt
by
Juan Carlos Moreno García
Arts 2024, 13(5), 157; https://doi.org/10.3390/arts13050157 - 11 Oct 2024
Abstract
The First Intermediate Period was a time of cultural innovation and social competition. The collapse of the monarchy and the cultural productions it sponsored paved the way for the emergence of new artistic and cultural expressions, better adapted to a context of fragile
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The First Intermediate Period was a time of cultural innovation and social competition. The collapse of the monarchy and the cultural productions it sponsored paved the way for the emergence of new artistic and cultural expressions, better adapted to a context of fragile authorities and competing local powers. Warfare between rival regional polities became frequent, so tomb scenes and funerary stelae from Middle and Upper Egypt began depicting military actions and men posing as archers. Moreover, local authorities sought the support of local levies and fellow citizens to strengthen and legitimate their fragile rule. Therefore, many monuments and inscriptions celebrate successful command, effective leadership, and caring about one’s city and its inhabitants. These conditions favoured the emergence of cultural innovations and social values aiming to express new identities. Depicting weapons, mainly bows, was crucial in this respect in some areas of Southern Egypt and echoed comparable phenomena occurring in neighbour regions like Nubia and the Levant.
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(This article belongs to the Special Issue Ancient Egyptian Art Studies: Art in Motion, a Social Tool of Power and Resistance)
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Exhibiting for Purpose: Finnish Art in Moscow in 1934
by
Hanna-Leena Paloposki and Katarina Lopatkina
Arts 2024, 13(5), 156; https://doi.org/10.3390/arts13050156 - 7 Oct 2024
Abstract
This article is a case study that illustrates the complex intersection of art, politics, and diplomacy in the interwar period. Based on Finnish and Soviet archival documents and press publications, it examines the entire process of organising a Finnish art show abroad. The
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This article is a case study that illustrates the complex intersection of art, politics, and diplomacy in the interwar period. Based on Finnish and Soviet archival documents and press publications, it examines the entire process of organising a Finnish art show abroad. The exhibition, held from 28 November to 24 December 1934, in Moscow, was seen as a landmark event, drawing significant attendance and fostering Finnish–Soviet cultural exchange. By analysing various factors contributing to its success, we provide a detailed picture of both artistic and political influences, demonstrating how cultural events can transcend mere aesthetic appreciation to become significant diplomatic tools.
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(This article belongs to the Special Issue Cultural Diplomacy and Informal Artistic Relations in East Central Europe in the 20th Century: A Global Perspective)
Open AccessArticle
‘The Cultural Mediator between the North and the South, the East and the West’: The 1930 Official Exhibition of Austrian Art in Warsaw
by
Irena Kossowska
Arts 2024, 13(5), 155; https://doi.org/10.3390/arts13050155 - 6 Oct 2024
Abstract
This article explores the official exhibition of Austrian art held in May 1930 at The Society for the Encouragement of the Fine Arts in Warsaw. Showcasing 474 artworks by 100 artists, the exhibition spanned the years 1918–1930, a period marked by Austria’s efforts
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This article explores the official exhibition of Austrian art held in May 1930 at The Society for the Encouragement of the Fine Arts in Warsaw. Showcasing 474 artworks by 100 artists, the exhibition spanned the years 1918–1930, a period marked by Austria’s efforts to overcome post-war political isolation. The article examines the exhibition’s rhetoric and its critical reception in Warsaw within the broader context of Polish–Austrian diplomatic relations, influenced by Austria’s challenging political and economic situation and the priorities of the Second Polish Republic. The introductory essay in the exhibition catalogue, authored by Hans Tietze, emphasized Vienna’s seminal role as a cultural center at the crossroads of European artistic trends. This approach aligned with the cultural diplomacy of Johannes Schober’s government, which aimed to underscore a rhetoric of openness to the cultures of other nations, particularly the successors of the Habsburg Empire. This contrasted with the later identity policy of the Bundesstaat Österreich, which elevated Tyrol as emblematic of the core German–Austrian identity constructed in the new state. The analysis reveals that the exhibition represented the peak of Polish–Austrian cultural relations during the interwar years, suggesting the potential for broader engagement. However, this potential was short-lived, ultimately thwarted by the Anschluss of Austria to Germany in 1938.
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(This article belongs to the Special Issue Cultural Diplomacy and Informal Artistic Relations in East Central Europe in the 20th Century: A Global Perspective)
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Open AccessArticle
Sound and Perception in Ridley Scott’s Blade Runner (1982)
by
Audrey Scotto le Massese
Arts 2024, 13(5), 154; https://doi.org/10.3390/arts13050154 - 5 Oct 2024
Abstract
This paper discusses the renewal of the conception of film sound and music following the technological advances of the late 1970s. It analyses the ways in which film sound and music freed themselves from traditional uses and became elements to be designed creatively.
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This paper discusses the renewal of the conception of film sound and music following the technological advances of the late 1970s. It analyses the ways in which film sound and music freed themselves from traditional uses and became elements to be designed creatively. The soundtrack composed by Vangelis for Blade Runner (1982) is exceptional in this regard: produced in parallel to the editing of the film, it forged an intimate connection between sound and image. Through the method of reduced listening put forward by Michel Chion in Audio-Vision (2019), this paper scrutinizes the specific ways in which sound shapes the perception of the image and narrative in Blade Runner. The first part of this paper analyses how sounds come to replace music to characterize moods and atmospheres. Ambient sounds create a concrete, sonically dense diegetic world, while music is associated with an abstract, extra-diegetic world where spectators are designated judges. This contrast is thematically relevant and delineates the struggle between humans and replicants; sound and music are used for their metaphorical implications rather than in an effort for realism. The second part discusses the agency of characters through the sonorousness of their voices and bodies. Intonations, pronunciation, and acousmatic sounds anchor characters’ natures as humans or replicants to their bodies. Yet, these bodies are revealed to be mere vessels awaiting definition; in the third part, we explore how sound is used to craft synaesthetic depictions of characters, revealing their existence beyond the human/replicant divide.
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(This article belongs to the Special Issue Film Music)
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Close Encounters of the Feathered Kind: Orpheus and the Birds
by
Zofia Halina Archibald
Arts 2024, 13(5), 153; https://doi.org/10.3390/arts13050153 - 5 Oct 2024
Abstract
Birds were observed in divinatory rituals in antiquity. This was the most significant process that regularly involved looking closely at birds. At the same time, birds were intimately connected to human perceptions of the natural world and, through their capacity to ascend skywards,
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Birds were observed in divinatory rituals in antiquity. This was the most significant process that regularly involved looking closely at birds. At the same time, birds were intimately connected to human perceptions of the natural world and, through their capacity to ascend skywards, with the supernatural world. By studying two neighbouring areas connected by the myth of Orpheus and divinatory birds, we can begin to appreciate the role of birds (and bird-like beings) in the culture of Macedonia and Thrace. Birds played a central role in prophecy (ornithomancy). Literary, archaeological and zooarchaeological data from the 6th to 4th centuries BCE provide the means of uniting different types of evidence. The literary and archaeological evidence provides a broad perspective for understanding the still-limited zooarchaeological data. Birds of prey were among the key divinatory creatures regularly observed, while cranes and a variety of lacustrine and meadow birds were among those most regularly observed and hunted. Winged creatures (human–animal hybrids) form some of the most important creations of the human imagination in southern Europe, with distinctive local variants in Macedonia and Thrace.
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(This article belongs to the Special Issue Animals in Ancient Material Cultures (vol. 3))
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Calculated Randomness, Control and Creation: Artistic Agency in the Age of Artificial Intelligence
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Mariya Dzhimova and Francisco Tigre Moura
Arts 2024, 13(5), 152; https://doi.org/10.3390/arts13050152 - 2 Oct 2024
Abstract
The recent emergence of generative AI, particularly prompt-based models, and its embedding in many social domains and practices has revived the notion of co-creation and distributed agency already familiar in art practice and theory. Drawing on Actor-Network Theory (ANT) and its central notion
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The recent emergence of generative AI, particularly prompt-based models, and its embedding in many social domains and practices has revived the notion of co-creation and distributed agency already familiar in art practice and theory. Drawing on Actor-Network Theory (ANT) and its central notion of agency, this article explores the extent to which the collaboration between the artist and AI represents a new form of co-creation and distributed agency. It compares AI art with artistic movements such as Dada, Surrealism, Minimalism and Conceptual Art, which also challenged the notion of the autonomous artist and her agency by incorporating randomness on the one hand and rule-based systems on the other. In contrast, artistic practice with AI can be described as an iterative process of creative feedback loops, oscillating between order and disorder, (calculated) randomness and calculation, enabling a very specific kind of self-reflection and entanglement with the alienation of one’s own perspective. Furthermore, this article argues that most artistic projects that explore and work with AI are, in their own specific way, a demonstration of hybridity and entanglement, as well as the distribution of agency between the human and the non-human, and can thus be described as a network phenomenon.
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(This article belongs to the Special Issue Artificial Intelligence and the Arts)
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Gothic Locks: Pioneering Drawings for Hydraulic Works in 16th-Century Holland
by
Merlijn Hurx
Arts 2024, 13(5), 151; https://doi.org/10.3390/arts13050151 - 2 Oct 2024
Abstract
Just as Gothic cathedrals have long dominated the perception of medieval architecture, the spectacular drawings of the German lodges have shaped our view of the medieval design process. However, their towering importance has diverted scholarly attention from alternative drafting practices and reinforced the
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Just as Gothic cathedrals have long dominated the perception of medieval architecture, the spectacular drawings of the German lodges have shaped our view of the medieval design process. However, their towering importance has diverted scholarly attention from alternative drafting practices and reinforced the view of a homogeneous Gothic design practice based on quadrature. Historians generally accept that in the 16th century a new Renaissance graphic language challenged and ultimately replaced the Gothic tradition north of the Alps. However, this antagonistic narrative of one dominant practice superseding the other needs to be re-examined because hitherto neglected drawings for other types of buildings reveal that medieval drafting practice was more varied and open to new developments than is often believed. This paper will examine three rare sets of architectural drawings, together consisting of over thirty sheets, made for three stone sluices in the provinces of Utrecht and Holland between 1556 and 1563. They show that for technically demanding hydraulic works, drawings directed every step of the process, from enabling discussion of the most suitable design to guiding the stonemasons in the execution of the work. Moreover, they demonstrate that for such projects, Gothic masters did not adhere to tradition but engaged with new design methods, using scale, colour, and multiple views to convey all aspects of the project, thus indicating that changes in style and method were not always interrelated.
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(This article belongs to the Special Issue Paper-Thin: Imagining, Building and Critiquing Medieval Architecture)
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Judith Leyster’s A Boy and a Girl with a Cat and an Eel: An Intersectional Approach
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Elizabeth Sutton
Arts 2024, 13(5), 150; https://doi.org/10.3390/arts13050150 - 1 Oct 2024
Abstract
In A Boy and a Girl with a Cat and an Eel, concerns about class, decorum, and civility intersected with contemporary dialogue about the distinction between humans and animals, specifically, how human children needed to be educated to be distinguished from the
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In A Boy and a Girl with a Cat and an Eel, concerns about class, decorum, and civility intersected with contemporary dialogue about the distinction between humans and animals, specifically, how human children needed to be educated to be distinguished from the wild, uncivilized state of animals and peasants. Both animals held significance surrounding behaviors that separated the moral from the immoral; cats and eels were pets and food, and they were used in baiting pastimes: cat clubbing and eel pulling. Paired with the children, Leyster’s choice of animals raised multiple moral questions and allowed for multiple interpretations, making the work widely appealing and setting Leyster apart in a tight market for genre paintings. These layers of possible meanings continue to make the work compelling today and shed light on how visual culture reflected and reinforced human–animal and social class distinctions.
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(This article belongs to the Special Issue Human-Animal Interactions in Western Art)
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The Distributed Authorship of Art in the Age of AI
by
Paul Goodfellow
Arts 2024, 13(5), 149; https://doi.org/10.3390/arts13050149 - 30 Sep 2024
Abstract
The distribution of authorship in the age of machine learning or artificial intelligence (AI) suggests a taxonomic system that places art objects along a spectrum in terms of authorship: from pure human creation, which draws directly from the interior world of affect, emotions
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The distribution of authorship in the age of machine learning or artificial intelligence (AI) suggests a taxonomic system that places art objects along a spectrum in terms of authorship: from pure human creation, which draws directly from the interior world of affect, emotions and ideas, through to co-evolved works created with tools and collective production and finally to works that are largely devoid of human involvement. Human and machine production can be distinguished in terms of motivation, with human production being driven by consciousness and the processing of subjective experience and machinic production being driven by algorithms and the processing of data. However, the expansion of AI entangles the artist in ever more complex webs of production and dissemination, whereby the boundaries between the work of the artist and the work of the networked technologies are increasingly distributed and obscured. From this perspective, AI-generated works are not solely the products of an independent machinic agency but operate in the middle of the spectrum of authorship between human and machine, as they are the consequences of a highly distributed model of production that sit across the algorithms and the underlying information systems and data that support them and the artists who both contribute and extract value. This highly distributed state further transforms the role of the artist from the creator of objects containing aesthetic and conceptual potential to the translator and curator of such objects.
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(This article belongs to the Special Issue Artificial Intelligence and the Arts)
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Open AccessEditorial
Arts—Update on the Aims and Scope
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Andrew M. Nedd
Arts 2024, 13(5), 148; https://doi.org/10.3390/arts13050148 - 26 Sep 2024
Abstract
Arts was launched in 2012, with Dr [...]
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Designed Segregation: Racial Space and Social Reform in San Juan’s Casa de Beneficencia
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Paul Barrett Niell
Arts 2024, 13(5), 147; https://doi.org/10.3390/arts13050147 - 26 Sep 2024
Abstract
In the 1840s, San Juan, Puerto Rico witnessed the construction of an institutional building dedicated to “beneficencia” (social welfare)—the Casa de Beneficencia. This facility sheltered a diverse population, including orphaned children, women, the mentally ill, and the unhoused. An early plan of the
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In the 1840s, San Juan, Puerto Rico witnessed the construction of an institutional building dedicated to “beneficencia” (social welfare)—the Casa de Beneficencia. This facility sheltered a diverse population, including orphaned children, women, the mentally ill, and the unhoused. An early plan of the architectural complex by Spanish engineer Santiago Cortijo reveals a design emphasizing bilateral symmetry, clear spatial organization, and functionality for housing residents, shaping their daily routines and assigning them work tasks. Notably, Cortijo’s plan divided wards not only by gender and age but also by race, with separate spaces designated for “blancas/os” (whites) and “gentes de color” (people of color). This article examines the social delineations of Cortijo’s plan and explores the implications of a building that functioned as a nineteenth-century institution dedicated to reformist ideas of social welfare within San Juan’s colonial context, paying close attention to its embedded racial and gendered order.
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(This article belongs to the Special Issue Race and Architecture in the Iberian World, c. 1500-1800s)
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How Did 19th-Century Alphorns Sound? A Reconstruction Based on Written Accounts of Its Musical Timbre
by
Yannick Wey
Arts 2024, 13(5), 146; https://doi.org/10.3390/arts13050146 - 25 Sep 2024
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This paper reconstructs the sound of 19th-century alphorns based on contemporary written descriptions, which allows for a better understanding of literature and compositions that quoted and imitated the alphorn throughout the 19th century. In the absence of sound recordings, historical documents and literary
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This paper reconstructs the sound of 19th-century alphorns based on contemporary written descriptions, which allows for a better understanding of literature and compositions that quoted and imitated the alphorn throughout the 19th century. In the absence of sound recordings, historical documents and literary sources provide valuable insights into the timbre of these traditional Alpine instruments. The research examines descriptions from 19th-century texts, comparing them with modern understandings of musical timbre. By analyzing the language used to describe the alphorn’s sound, the study identifies recurring descriptors and contextualizes them within the broader acoustic environment, including the influence of natural sounds like waterfalls and echoes. Historical sources reveal a complex perception of the alphorn’s timbre, described in terms of its resemblance to muted trumpets and a blend of brass and woodwind qualities. Authors such as Hermann Alexander von Berlepsch and François-Joseph Fétis provided detailed accounts, noting contrasting characteristics like “rough”, “soft”, “sharp”, and “melodious”, which varied with the listener’s distance from the instrument. These descriptions highlight the alphorn’s unique sound profile, distinct from modern perceptions that emphasize a warmer, fuller timbre. The findings underscore the importance of considering ecological and psychoacoustic contexts in the study of historical musical instruments.
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‘Archetypal Load of Tension’: Idiosyncratic Idioms of Surrealism Created by Aleksander Krzywobłocki and Margit Reich-Sielska in the 1930s in Lviv
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Irena Kossowska
Arts 2024, 13(5), 145; https://doi.org/10.3390/arts13050145 - 24 Sep 2024
Abstract
This article examines the artistic contributions of two members of the ‘artes’ group, active in Lviv (Lwów during the interwar period) from 1929 to 1935: Aleksander Krzywobłocki (1901–1979) and Margit Reich-Sielska (1900–1980). Situated within the ‘artes’ milieu, which emerged as the most cohesive
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This article examines the artistic contributions of two members of the ‘artes’ group, active in Lviv (Lwów during the interwar period) from 1929 to 1935: Aleksander Krzywobłocki (1901–1979) and Margit Reich-Sielska (1900–1980). Situated within the ‘artes’ milieu, which emerged as the most cohesive community among phenomena with a surrealist profile in the history of Polish art, their creative endeavors have faded from the collective memory of subsequent generations of art historians and critics, both within and beyond Poland. With the aim of elucidating the distinctive characteristics of Krzywobłocki and Sielska’s artistic attitudes, deeply rooted in the cultural landscape of interwar Galicia, this study explores their work as both manifestations of the avant-garde milieu in Lviv and contributions to the transnational surrealist movement. This examination takes a relational approach, considering their artistic output within a framework of trans-local and trans-regional connections. Drawing upon the works of various surrealists active in different European centers, I juxtapose the artistic approaches of Krzywobłocki and Sielska with other practitioners of the movement to highlight both convergences and differences in their expressions. By situating their artistic profiles within the broader modalities of surrealism as a polycentric movement and within the unique cultural context of Lviv—a city marked by its multiethnic, multicultural, and multiconfessional character—I argue that their imaginings should be classified as idiosyncratic idioms of surrealism. This hybrid expression, which developed on the peripheries of European artistic hubs, is primarily distinguished by an ‘archetypal load of tension’—a continual quest for archetypal content that has been lost in the modern world.
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(This article belongs to the Section Visual Arts)
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Open AccessArticle
The Fold as a Design Strategy: Analogy between Architecture and Issey Miyake’s Work
by
Marta Muñoz and Ángel Cordero
Arts 2024, 13(5), 144; https://doi.org/10.3390/arts13050144 - 23 Sep 2024
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There is a notable similarity between the objectives of Architecture and Fashion Design. Both disciplines aim to protect and establish a sense of identity for their users. Similarly, analogous design strategies may be employed. One such strategy is the fold. The act of
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There is a notable similarity between the objectives of Architecture and Fashion Design. Both disciplines aim to protect and establish a sense of identity for their users. Similarly, analogous design strategies may be employed. One such strategy is the fold. The act of folding a surface results in the formation of a three-dimensional volume. The intrinsic two-dimensionality of the surface gives rise to the formation of space, which is characterised by three dimensions. The air that is trapped by the envelope provides the necessary space for the users. In the context of clothing, the enclosed space is relatively limited and personal. In contrast, in the field of Architecture, the space is of a larger scale and serves a collective purpose, accommodating a variety of activities. Consequently, the processes of designing a building or a piece of clothing are analogous, differing only in terms of scale, time, and materials. The employment of the fold as a point of departure for architectural and Fashion Design projects entails a comparable design process in which concepts such as continuity, superposition, and faceting are associated with this folded mechanism. Consequently, the resulting outcomes, particularly those pertaining to mass and aesthetic perception, exhibit notable similarities.
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