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Copyright of Journal of Nabo is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hermenéutica is the property of Hermeneutic - Revista Digital de Arte, Critica y Filosofia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of this study is to examine the reflection of today's art practices related to migration according to Barthes' semiotic analysis. In the study, the literature review was used to form a theoretical basis for the phenomenon of migration. In addition, the semiotic analysis method was used in the analysis of visual art practices related to migration. The practices of Halil Altındere (Meatball Airlines), Ai Wewei (The Law of Travel), Tammam Azzam (Bon Voyage: New York, Bon Voyage: Suria) and Bruno Catalano (Parçalar, Venice) were examined with the purposeful sampling method. In all practices, there are indicators such as migrations, exclusion, poverty, being the other, culture, identity, stigma perception and marginalization, as well as the destructive and damaging physical images of the war and conflicts that are experienced today. The phenomenon of migration, the difficulties of migration on social life and the reflections of changes in sociological practices on the individual and society were strongly emphasized. As a result, in these studies, the problems that arise with migration, which have social, cultural and psychological dimensions, have been tried to be made visible from an artistic point of view. It has been revealed that the stakeholders have not developed effective solutions to the problems that arise with migration, and it has been requested to develop the necessary sensitivity regarding migration in the world public opinion. [ABSTRACT FROM AUTHOR]

Copyright of Journal of the College Of Basic Education is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Nabo is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Nabo is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Nabo is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article contains the conceptual vision of socialist realism as one of the key characteristics of art, transformed in the postmodern cultural era. Social realism is a cultural manifestation of the historical development of Soviet republics, including the Ukrainian SSR. The essence of socialist realism is seen as a manifestation of ideology in the Soviet conditions. Besides, the article considers the phenomenon in the context of postmodernism, relying on the findings of various scholars, and describes the interaction between postmodernism and socialist realism. Despite the general view that postmodernism (literally “coming after modernism”) emerged in the United States and Western Europe in the 1960s-1970s, there could be another way this movement evolved in fine art and architecture. The fact that the artists from the post-Soviet space managed to adapt to the global cultural field of postmodernism so swiftly proves that the totalitarian system failed to eliminate the plurality of opinions. A post-Soviet variant of postmodernism was largely defined by the influence of socialist realism. The recently proclaimed era of post-truth that allegedly started after the new millennium produced fascinating political and artistic experiments in the post-Soviet space. Hence, it would be logical to assume that some previously developed mechanisms were activated there. Post-truth as an instrument of politics in that sense resonates with the socialist realism used as an instrument of class struggle. Research methods include description, synthesis and analysis. [ABSTRACT FROM AUTHOR]

The study examines the postmodern philosophy and its reflection on the visual arts in order to reach its different, various, contradictory and shocking shapes and expressions in many cases, the study found that it's a reflection for the development that happened through the formation of human though, the postmodern philosophy defined the art out comes and its manners, and whereas the postmodern community is not real, the postmodern arts are expression for negativity and nonexistence. As well, it is an expression of domination will and power therein, therefore, the art forming was in postmodern phase as radical-criticism for the community, and a criticism for rational and self-modernity, in addition that it's a method to detect the power of production forces and its contradiction which hidden behind modern technologies and ideologist, and this what artist have undermined through liberating him from Illusions of the cultural industry. This study aimed to expose the postmodern philosophy in order to resolve the problems which concerned in understanding art and its philosophical references, and a problematic as such important as this, it was necessary to examine it and define it methodically. [ABSTRACT FROM AUTHOR]

In an articulation of silence, the art of Colombian artist Doris Salcedo calls for the artist's death. Fuelled by the ideas of Jean François Lyotard and Jürgen Habermas, postmodernism challenges the relationship between the artist and the sublime. How does Lyotard's pessimistic view of the postmodern condition impact the metaphysical meaning of silence? This examination will venture to explore a unique perspective that, through silence, threatens the artist. It does so, however, in concert with art. Salcedo introduces an ontological re-imagining of the artist's displacement, which fulfils any void left by silence. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Tikrit University for Humanities is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The design ideas of the postmodern era reflect the general trends of socio-cultural reality, namely the loss of traditional moral guidelines, disharmony and destructiveness combined with absurdity, a sense of crisis, abyss and uncertainty conveyed in signs and in spatial coordinates. Design products become installations in which the viewer is a direct participant, sometimes even the creator. Postmodern design denies finitude, noting the plurality, uncertainty and fluidity of the world. The paradox of postmodern design culture is expressed in a combination of diametrically opposite things, sometimes even mutually exclusive. The era of postmodern design culture has recorded the fusion of "high" and "low" art, the emergence of new trends - neo-conceptual art, art installation, lowbrow art, performance art, digital art, telematic art - has affected. It should be noted the immersion in virtual reality in particular, as a result of the perception of the concept of postmodernism. After all, the purpose of designer items and their perception has already been changed in accordance with the needs of a person in the postmodern world. A striking example is the coronavirus epidemic, which has become the central theme of successful design projects. After all, a protective mask as a medical device becomes the object of design solutions that transform it into a means of selfexpression (fabric masks, masks with pictures), or the manifestation of social characteristics (inscriptions about social distancing, calls for certain actions), or the result of digital achievements. (the ability to measure temperature and monitor body indicators). [ABSTRACT FROM AUTHOR]

The study analyzes the existing and developing ideas of and approaches to the study of the multilevel concept of intermediality and its different aspects, forms, and phenomena considering the existing approaches and definitions. The study aims to reveal the capabilities of intermediality as a potential of innovative artistic creation. Research is conducted using sociocultural research methods including a comparative study of the recently proposed typical intermediality models, analysis of descriptive texts about the factually present models of art synthesis, as well as the context pointing to the presence of lack of correspondence between a particular fragment of text (the content of activity) and the real conditions in which activity is carried out. In the framework of an interdisciplinary comparative study, the emergent field of intermediality and its relationship to cultural practices in different spheres, including education, are defined at the qualitative level. The subject field of the study of intermediality as a key concept of modern culture is evaluated and its specific features in art, including music, are identified. The problems of the formation of synthetic media arts as a reflection of the postmodern perception of the world under the new conditions of digital technology, which transforms any creative cultural text into another type of information, usually of a quoted and multiple nature, are presented for discussion. It is proposed to pay special attention to the formation of “intermedial competence” – the ability to understand and interpret the process of the generation of new meaningful content, which occurs within the semantic modalities and communicative registers. The latter is only possible within the framework of the competence-based approach enshrined in the foundations of the universal system of European, including Russian, two-level higher education. [ABSTRACT FROM AUTHOR]

The question of whether design is art has been asked for generations. Many of the answers can be found in the study of visual communication from its earliest forms to the present day. We know from historical sources that the beginnings of visual communication are in fact images. In the beginning, images carried communication until the creation of the alphabet where written language became the primary carrier of the transmission of ideas. It can be said that the signs used for the written language are the earliest forms of design. What we know as art and the earliest forms of design have long functioned separately. Art is a form of beauty and we see design in written forms. With the occurrence of the first illuminated books in the Middle Ages, images and text merged into a single entity for conveying ideas. Much later in the time of the industrial revolution the written word and the image were used together for a single purpose and that is marketing, while the main tool is design. Design is gaining momentum and is becoming part of everyday human life. At the same time, art as a strong medium of conveying ideas separates itself from its previous primary goal of being beautiful and gives itself a new goal to convey a strong message. With the development of modern and postmodern movements, the classical understanding of art is changing. Throughout this period, design keeps pace with art and they develop together. Throughout this development, both art and design share many similarities, so it is natural to ask whether design is art. [ABSTRACT FROM AUTHOR]

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

Copyright of Journal of Nabo is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Veritas is the property of EDIPUCRS - Editora Universitaria da PUCRS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Dirasat Tarbawiya is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The author, former professor of Howard University, Washingotn DC and editor of the avant-garde journal Arkánum, rethinks the possible conceptualizations of the term avant-garde in reference to his landmark essay from 1981, About the Avant-Garde (I). The original approach focused on the point that the avant-garde did not go on the front, as its name suggested, but rather it went 'away'. The current essay explores further on this idea by adding the dimensions of the essential plurality of the avant-garde, and also a historical dimension of the conceptualization. After the avant-garde, as the author argues, the art world became a sort of anarchic and spontaneous republic of artworks. [ABSTRACT FROM AUTHOR]

Since its emergence in the late 1990s, the cultural paradigm of digimodernism has been regarded as a hybrid product, born out of postmodernism's toxic ashes. Meant both as a partial continuation and as a reaction against its monolithic predecessor, digimodernism brought to light Lyotard's ambivalent legacy of the grand narratives and sought to demonstrate their actuality, despite the few muffled screams of irony and ambiguity, found at the dying heart of postmodernity. Alternatively, the postmodern is seen as a space where capitalism does not necessarily suppress the possibility of emancipation, by means of the Web 2.0-based technology and where it does not always amount to efficiency and profit. By looking at Stephanie Sarley's art, I will attempt not only to conceptualize and illustrate industrial pornography as a metanarrative, with regard to the type of food porn the artist creates, but also to elaborate on the uninterrupted connection between digimodern and postmodern features reflected in her prototypic art and exemplify how the former comes to be inscribed as a technological facet of the latter. The endless narrative form sheds light on a process of alienation from the basic goal of the prescribed mechanisms found at the core of the pornographic industry and labels the metanarrative of Judeo-Christianity as oppressive, against freedom and democracy, while the metanarrative of capitalism is almost reduced to non-existence through Sarley's altogether purely emancipatory, digimodern and postmodern artwork. [ABSTRACT FROM AUTHOR]

Formulation of the problem. The article is devoted to solving that problem in order to find similarities in the art of postmodernism and the philosophy of mysticism of the postmodern period. Analysis of studies and publications is showed the availability of materials in this regard. Architectural postmodernism and philosophical mysticism coincide in the representation of utopianism. The purpose of the study is to reveal the postmodern art (architecture) as a peculiar subjective factor in the designing and construction of utopias in the district of attitudes towards utopias of philosophical mysticism, mysticism as the designing and obtaining higher states of consciousness by artificial methods. Conclusions. The art of postmodernism and the philosophical mysticism of the postmodern period converge on the fact that they create structural space by striking to the maximum freedom and simplicity, demonstrating the embodiment of human consciousness, consciousness not weighted by special practical methods, methods producing the «Highest», highest state. [ABSTRACT FROM AUTHOR]

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

The presented article addresses the ideological and theoretical principles of deconstructivism. The analysis of the relation between the philosophy of deconstructivism and its application in the practical fi eld has revealed that in contrast to the conventional for the classical art history methods of visual, iconographic, technological, documentary, and stylistic analysis of art works, in the postmodern art history appears a deconstruction aimed at the destruction of the «superimposed» connected with historical and cultural tradition. The conclusion is made that the deconstruction of the art works is a matter which has its own execution algorithm. The imitation of this algorithm is not an explanatory scheme, but an understanding process. [ABSTRACT FROM AUTHOR]

This article reflects on the implications of historical change for art, in particular on the relation between the paradigm change from industrial to post-industrial societies, and the change from late modern art to postmodern art. The central narrative of this article is provided by the rise and fall of the international art movement and network New Tendencies which emerged in Zagreb, Croatia in 1961 and lasted till 1978. The background is provided by the unique conditions of postwar Yugoslavia, the gap between the ideology of self-management and its reality, and the increasing fossilisation of the system. Rather than providing a linear history, the article traces relationships between historical processes of different kinds: first, between Yugoslavia in a catch-up process of modernisation and innovative practices in art, such as New Tendencies, and in philosophy, such as the Praxis group, and Korčula Summer school; secondly, after the implications of 1968, Yugoslavia in a state of slow decline, at first invisible, and the rise of new artforms, such as the new art practices. As the social base for a modernist, utopian project such as New Tendencies was slipping away, new art practices emerged which were better capable of reflecting changing times. [ABSTRACT FROM AUTHOR]

Copyright of Arte y Políticas de Identidad is the property of Servicio de Publicaciones de la Universidad de Murcia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

B Mor Presiado b is a lecturer in the Department of Jewish Art at Bar-Ilan University, Israel, where she teaches modern and post-modern art. B Rinat Podissuk Reisner b is an artist, art therapist and lecturer in the programme for art therapy at the Department of Jewish Art at Bar-Ilan University. Prior to this, Jaye worked as a Lecturer/Tutor at the Critical and Theoretical Studies department within The School of Art at The Victorian College of the Arts, The University of Melbourne. [Extracted from the article]

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

The role and influence of Modernism is the focus of this article. Modernism's lasting and unforeseeable influence is due to its key importance to the development of the general conditions of art within modernity. Along with Modernism, the implications of the modern system of art became visible for real. Modernism produced the necessity of rethinking the distinction between "art" and "the aesthetic", based on their original foundations in the 18th century, respectively-a call for a "divorce" after the long-lived marriage between the two, installed by Romanticism. Furthermore so-called postmodernism and today's contemporary art have in fact not, as often assumed, really broken with high Modernism. What we see is rather a transformation of a time-based modus into a more spatially defined approach. The interpretations of Modernism itself are thus being altered, when regarded with a postmodern awareness of its surrounding enunciative space. The interrelationship between the modernisms and what followed, is therefore achieving the character of an entanglement rather than that of a straight and clear development. Modernism's influence, it is finally asserted, is seemingly not at its conclusion, but rather at its reoccurring beginning. [ABSTRACT FROM AUTHOR]

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

Copyright of Art-E is the property of Suleyman Demirel University, Faculty of Fine Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Photography has partaken in the art with different ways and forms since its invention. Photography which was used as a supplementary material previously put itself in appearance in the art world in post modernism and therefore it strengthened its place in the indispensable elements of the art. During the postmodern era, witness function of an event was not valid anymore. During this era, as the originality of the photographic product was corrupted, the view that the art was only focusing on the repeated activity was dominant. Photograph products show themselves especially with recreation of the reality. Postmodernists use the photograph as the most important tool to translate their expressions. Artists preferred the photograph since it is a new discipline and open to many fields; it is easy to access; it is fast, consumption-oriented and reproductive. Cindy Sherman, Sherrie Levine, Barbara Kruger, Richard Prince are among the artists, who used the photograph as a translation tool in appropriation action. [ABSTRACT FROM AUTHOR]

Copyright of Art-E is the property of Suleyman Demirel University, Faculty of Fine Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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

The sense of art has been changing for centuries because of various reasons. In this article that act of changing was studied. In this investigation, three basic terms were identified in terms of space usage on Works of art. The first term started by Ancient Greek art and continued till Giotto and Dürer. The second term of this evolution continued from Renaissance to Cubism. It can be stated that Cubism is the second breakpoint in art after Renaissance and thus,a new spatial perception was determined. Both of these two developments was seen especially on elements of visual art. Art was also quite affected by the social events all around the world in 1960's. This effect caused Postmodern art movements. It can be said that these movements were started by Buren and Asher. These artists aimed to investigate the effects of exhibition galleries on by the works which they used with the space actively. It can be accepted that the third turning point in art history was the Postmodern art works searching for the importance of space in art. Space concept used on all art applications is the main topic of this article. [ABSTRACT FROM AUTHOR]