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İslâm idare merkezinden oldukça uzakta ve daima Hıristiyan kimliğini muhafaza eden bir yarımadada sıkışıp kalmış İspanya İslâm toplumunun patronları ve sanatçıları, İslâmî kültürel bir kimlik oluşturup bu kimliği savunmak için sanat ve mimariye şiddetle bel bağlayacaktı. Bu yedi yüzyılda (2./8. yüzyıldan 9./15. yüzyıla kadar) ortaya çıkan birçok üslubun ardındaki biçimsel yapılar ve bilinçli anlamlar alabildiğine farklı olsa da Endülüs sanatları, hem İslam merkezleriyle bağlantıyı koparmamak ve hem de mütecaviz yabancı bir kültürün ve dinin varlığına direnme adına etkili biçimler oluşturma ihtiyacı gibi aynı gizli gerilimle bir araya getirilmiştir. Elhamra Hükümdarlık Sarayı ve Kurtuba Ulu Camii… Her iki yapı muhtelif tarihi dönemleri temsil eder, fakat aynı zamanda Endülüs’teki sanat ve mimarinin sürekliliğinin ne olduğunu bize hatırlatır: kültürel bir kimlik yaratma ve onu koruma gerekliliği; varlığın idraki ve ötekinin mecbur bırakılması

The status of the bangwa sculpture in question here has changed many times as it moved from the Grassfields of Cameroon to Berlin, from Paris to New York and Washington and back to Paris: first a religious artifact linked to a cult, it became the object of ethnographic studies, the symbol of Cameroonian people’s submission to the German power before it was celebrated as an exceptional work of art. Its displacement in the Western imaginary is fairly representative of the reception of African arts in the West and enables to rethink the issue of their perception a few months after the opening of the musée du quai branly dedicated to the arts of Africa, America, Asia and Oceania in Paris.

In the article, the author discusses the history of the African American art movement in the U.S. as of mid-2014. He claims that in the early 1960s, he and other artists like Barbara Jones, Carolyn Lawrence and Jae Jarrell established the group Organization of Black American Culture (OBAC) artists' workshop. He also cites the formation of the African Commune of Bad Relevant Artists (AfriCOBRA).

The article discusses the history and development of live art in Great Britain as experienced by the Arts Council of Great Britain (ACGB) from 1968 to 1973. It traces the beginnings of the introduction of live art in the experience of the ACGB Drama Panel in 1965. It notes the events that were held by new groups to promote performance art starting in 1970. It mentions the establishment of the Experimental Projects Committee by the ACGB.

The article presents an overview of the key concepts and discussions that are contained in George Kubler's book "The Shape of Time: Remarks on the History of Things," which was concerned with art history and the study and appreciation of art. The relationship between the concepts and historical and art debates that were conducted at the time the book was written and since the book was written is examined. A discussion of reaction to Kubler's book which was seen among the artistic community and the intellectual community is presented.

The Northwest Coast culture area has a rich tradition of mobile or mobiliary art, including stone sculpture, which has yet to be broadly compared to the equally widespread regional rock art tradition. Three case studies where we compare rock art images to mobile art show the value of this approach. These include Tsagiglalal, a Protohistoric death cult guardian spirit figure; the Woodworm and Raven images in Alaska's Pictograph Cave; and the Beaver Bowl, a bas-relief petroglyph carved in the Portland Basin section of the lower Columbia River. Comparison of these pictographs and petroglyphs to mobile pieces opens up new understandings of these ancient images, and illustrates a new line of enquiry for rock art scholars in many other areas of the continent. [ABSTRACT FROM AUTHOR]

The paper shows how, in the fresco cycle of the Last Days and Last Judgement in the Cappella Nova at Orvieto (painted from 1499), Luca Signorelli was able to construct a position of authority for himself as a painter within both a history of salvation and a history of art. Taking as a starting point the special position Signorelli occupies in Vasari's 1568 edition of the Lives, the author analyses the range of pictorial means by which the painter is inscribed as both author and visionary: through the ordering of the history of judgement/salvation as begun and left unfinished by Fra Angelico, through the development of novel, temporally self-conscious pictorial vocabularies, often associated with the antique, and through juxtaposition with established ‘guides’ poetic and painterly. Parallels are also adduced with other painterly manifestos of artistic authority of the same period, though the cycle is arguably unique in its scale and ambition and peculiarly ‘prophetic’ of further developments within the history of art. [ABSTRACT FROM AUTHOR]

This essay discusses the author's response to the subject, "The Fate of the Arts." Essays on the subject focus on radical diversity and narratives of the past, terminating in a present crisis. There is no abstract essence to the arts-activity, no guarantee that what the present has will continue. However, backward glances take the place of projection toward a future, in the context of which, modern social practices such as religion, politics, art and intellectual, play a telling role in the career of arts.

Discusses the developments of the competitive process on the art markets in Italy during the Renaissance and in The Netherlands in the seventeenth century. Characteristics of art markets; Selection of strategies by artists; Changes in selection system through changes in demand and in supply in Italy; Role of Academia del Disegno in the transformation.

The article presents a study focusing on the theories of art. The study aims to resolve know the relation of art to reality, its history, and its function in the social life. Two approaches were used during the study, the scientific methods and viewing it in an ethical point. The results of the study showed that art is a product of highly civilized people and therefore has the characteristics of where it started. It has three stages of development which include the undifferentiated condition, application of aesthetic principles, and the product of the art.

The article offers a list of contributors for this periodical. The list includes: Catherine De Lorenzo, an art historian; Eileen Fry, a fine arts slide librarian at Indiana University; Jennifer B. Joffee, an adjunct instructor of art history at the University of St. Thomas, St. Paul, Minnesota; and Graham Smith, professor of art history at the University of St. Andrews and editor of the international quarterly "History of Photography."

The article presents a commentary on the history of arts. According to the author, the history of the arts is not similar to viewing, studying, questioning, and imitating past artworks. She said that art's history is not a history of all artworks that have been created in the past. The author also gives emphasis on the obligation of education to determine which ways of teaching are appropriate for the subject of art's history.

Arts in the late nineteenth and early twentieth centuries were regarded as a source of deep personal meaning and public cohesion. The hope was held that it would reflect the highest ideals of humanity and in effect, would serve as an alternative expression of transcendence in a secular society. Yet, by the end of the twentieth century, it was clear that the arts had failed to achieve this promise. Today, arts turned in on themselves in a confusion of subjectivity. In this article, the evolution of arts is discussed.