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The article offers thought that language can be used for writing and presenting historical arts of Africa to disparate audiences by Leslie Wilson, John Monroe, Salia Male. Topics include examines that comments indicate general agreement that scholars continue to reflect critically on the language used in presentations of African arts in museums as well as in universities; reports that language used about the arts has the potential to shape political discourses and thus the lived experiences of people within a country.

The article offers information on Toronto Biennial of Art held at Toronto, Ontario from September 21 to December 1, 2019. Topics include focuses on theme of this biennial that was "The Shoreline Dilemma," that explains its two main exhibition sites, located along Lake Ontario, rather remote from the city's core; and examines that document offers an attempt by the biennial's curators to orient the exhibition in its history and geography.

The first museums of history were installed in ancient palaces in the xvii and xviii centuries. However, the inadequacy of these spaces made it necessary the creation of an independent architecture. In the process to create a new typology the academic impulse was fundamental. Beyond individual efforts like those of Sturm and Algarotti, it would be at the Academy of Fine Arts in Paris where the main idea found its inspiration in the monumental image of the Musaeum of Alexandria. Through constant competitions and institutional exams, over four decades, the museum defined its role and internal organization, represented in highly detailed plans. It was precisely one of his former students, Durand, who took the academic efforts forward, with a rational prototype, contained in his Précis, which unwittingly, provided the basis for the public museums of the nineteenth century. [ABSTRACT FROM AUTHOR]

Abstract: Colour is a key element in paintings but its quantitative analysis is seldom used as an interpretative element in the context of the history of art. Here, we show how this can be accomplished by measuring and analyzing the colours of the paintings of the influential Portuguese painter Amadeo de Souza‐Cardoso (1887‐1918). His last paintings have been classified by art historians as the most successful and are considered a chromatically homogeneous nucleus in his career. However, there are no quantitative data supporting these considerations. To access this we compared 24 of his paintings (1911‐17) using hyperspectral imaging data. From estimates of the number of colours that can be perceived in each painting we show that in the later works Amadeo has expanded the range of colours by including more hues and more levels of lightness. Moreover, the paintings dated from 1917 have similar chromatic distributions in colour space. This colorimetric analysis revealed to be an important tool that provides quantitative support to the hypothesis formulated by art historians. [ABSTRACT FROM AUTHOR]

Theatre scholars and historians assume too easily that theoretical reflection on the performative qualities of the theatre began only in the eighteenth century. In mid-eighteenth century France, writers and philosophers such as Denis Diderot, Jean le Rond D'Alembert, Jean-Jacques Rousseau, Antoine-François Riccoboni, or Jean-Georges Noverre (to name but a few) showed a passionate interest in the aesthetics and the morality of performance practices in dramatic theatre, music theatre, or dance. Compared to this rich diversity of ideas in the eighteenth century, seventeenth-century French writings on theatre and the performing arts seem, at first sight, far less interesting or daring. However, this is merely a modern perception. Our idea of le théâtre classique is still rather reductionist, and often limited to the theatrical canon of Pierre Corneille, Jean Racine, and Molière. It affords a view of the performing arts that is dominated by tragedy and comedy and that, firmly embedded within a neo-Aristotelian poetics, privileges dramatic concerns above performative interests. [ABSTRACT FROM AUTHOR]

The lives of two 19th century cousins, both of whom changed their names to Bernard Berenson, are considered from historical and psychodynamic perspectives, using a psychobiographical method. The Jewish cousins immigrated separately to Boston from Lithuania in 1875 and 1882. One cousin, later calling himself simply B.B., became a world-renowned art historian. The other Bernard became a misanthrope after feeling deeply humiliated by his cousin's family in Boston. Many biographies were written about the famous B.B. The only histories of his cousin Bernard were family stories, as he was the author's great-grandfather. The intersecting lives of these cousins are discussed. Both men faced the challenges of immigration as well as intense anti-Semitism and prejudice in each country in which they lived. These cultural and historical conditions interacted with the cousins' narcissistic vulnerabilities. Their lives demonstrate different manifestations of narcissistic suffering, with B.B's being more consistent with the construct of a 'grandiose narcissist' and Bernard's being more consistent with that of a 'closet narcissist.' The life stories of these two cousins with the same name offers an intriguing instance of a complicated relationship among immigration, prejudice, and narcissism and case examples of the manifestation of how narcissistic suffering can influence lives. [ABSTRACT FROM AUTHOR]

The article examines the development of traditional arts and crafts among Kazakhstan's Uyghurs under the influence of various historical factors. The Uyghurs of Kazakhstan and other Central Asian countries comprise ethnographic group which developed over the last centuries separated from the main Uyghur population in Xinjiang, China, which resulted in emergence of their particular features. The article argues that the transformation of traditional arts and crafts among the Uyghurs of Kazakhstan occurred under the influence of political events, which changed dramatically the life of the entire population of the Russian Empire. With the establishment of Soviet power, the country's rapid industrialization meant that products produced by individuals in workshops could not compete with less expensive and more practical products manufactures at factories and plants. Thus, blacksmiths, and artisanal producers of leather and cloth declined. Nevertheless, certain types of traditional art crafts (jewellery art, production of musical instruments, working out calabash) survived albeit on a limited scale due to the development of national idea, which requires symbols of ethnic culture. Modern artists exploit fantasy and go beyond traditional frames of ethnicity. The article argues that the arts and crafts of the Uyghurs received a new impetus in the Soviet era, despite the threat of a certain loss of ethnic peculiarities. [ABSTRACT FROM AUTHOR]

This article argues that natural philosophy and poetry were complementary arts in the early seventeenth century. Together these arts harnessed the imagination to discover the natural order and to restore a legitimate model of sovereignty. I delineate this complementary relationship in William Shakespeare's The Tempest and Francis Bacon's Instauratio magna. I argue that Prospero's ability to bring both fabled creatures and the natural elements under his sovereign rule dramatizes the complementarity between poetry and natural philosophy that Bacon codifies in his natural philosophical reforms. [ABSTRACT FROM AUTHOR]

Paul Oskar Kristeller famously argued that the modern 'system of the arts' did not emerge until the mid-eighteenth century, in the work of Charles Batteux. On this view, the modern conception of the fine arts had no parallel in the ancient world, the middle-ages or the modern period prior to Batteux. This paper argues that Kristeller was wrong. The ancient conception of the imitative arts completely overlaps with Batteux's fine arts: poetry, painting, music, sculpture, and dance. Writers from the sixteenth century on adopted the ancient conception of the imitative arts and anticipated the views of Batteux by 200 years. Batteux simply popularized the rubric 'fine arts'. [ABSTRACT FROM AUTHOR]

The article offers the author's view on women's needlework and quilt. The author states that the activity of quilting consists of two stages such as designing and sewing. The author notes that women expended their time and care on creating quilts beyond their utilitarian purpose. The author mentions that quilting was a traditional art and is a representative of culture or society.

Long before David Hume (1711-1776) and Jean-Jacques Rousseau (1712- 1778) personally met each other, with disastrous consequences for both, in late 1765-early 1766, they had developed quite different views regarding one of the most important questions present throughout different contexts in 18th century Europe, viz. the question concerning the progress of the arts and sciences. Indeed, the question was as broad as it was important for it had to do with the very foundations of modernity, and more particularly with the establishment of entrepreneurial values, a matter both Hume and Rousseau treated under the heading of 'commerce'. My aim, thus, is to (i) reconstruct both Hume's and Rousseau's arguments concerning the relationship between commerce, progress in the arts and sciences and morality, in order to (ii) propose an interpretation of their falling-out, in the sense that, according to their own arguments concerning such matters, the differences between them were too profound in order for them to be able to establish an amicable relationship. These two points lead me then to (iii) discuss their questions under the light of our contemporary world, which is the aim of a philosophy paper such as this. In other words, the aim of this article is to argue that the differences between Hume and Rousseau can be seen as latent already at the beginning of their carreers, in the sense that it all had to do precisely with the dynamics that modernity was supposed to take: according to Hume, a liberal-progressist direction, whereas according to Rousseau such a direction would entail nothing but a moral breakdown. [ABSTRACT FROM AUTHOR]

In this article, which employs a comparative research method, the creative output of two Lithuanian women artists working on both sides of the iron curtain, the work of Elena Urbaitytė-Urbaitis (1922-2006) and Kazimiera Zimblytė (Kazė) (1933-1999) is juxtaposed for the first time. Attention is drawn to the choices made by artists - to creative searches that happened in the different geopolitical systems: in socialism, the politically controlled planned economy (Lithuania, USSR /Kazimiera Zimblytė) and capitalism, democratic market economy (New York, USA/ Elena Urbaitytė-Urbaitis). Examining and comparing the work of the two authors, the article concentrates on: - The trauma of political emigration and occupation, endured by artists and how it influenced their work; - The distinction between developing creative choices on both sides of the iron curtain - openi n g up (Urbaitytė-Urbaitis) and d i s tanc i n g (Zimblytė); - The distinctions of publicity of creative work on both side of the iron curtain. [ABSTRACT FROM AUTHOR]

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.

There is much in James I. Porter's recent critique of Kristeller's ‘Modern System of the Arts’ that is true and enlightening. But something—some things—of great moment in the history of aesthetics and philosophy of art transpired in the age of the Enlightenment, as badly described, and, no doubt, in some ways as badly misdescribed, as they may have been by Kristeller in his account. And it would be a grave disservice to the history of philosophy to reject the whole package rather than to try to salvage what can be salvaged or repaired. It is that salvage job that I attempt in the present article. [ABSTRACT FROM PUBLISHER]

Abstract: The search of value that developed toward the end of the 19th century may be interpreted as peculiar to Austrian economists seeking to analyze and define the problem of value theory. Nevertheless, this interpretation leaves aside certain other significant disciplines where the idea and methods of the search of value were applied and came to fruition. One of the disciplines alluded to was art history. Alois Riegl, a prominent member of the Vienna School of Art History, created an original and fully applicable theory of monuments resulting from his thoughts on the question of cultural heritage preservation in Austria–Hungary. His theory of value is largely consonant with not only the value theory proposed by the Austrian economists, but also with the current theories of culture economics; in this respect, it is important to note that Riegl''s theory could be interpreted similarly or identically within different disciplines of the Arts. [Copyright &y& Elsevier]

Abstract: In recent years, we have witnessed an international debate about the question of the origins of art. On the one hand, some specialists have suggested that art appeared for the first time at the beginning of the Upper Paleolithic associated to the emergence of Homo sapiens sapiens. From this point of view, Paleolithic art as well as other hallmarks of behavioral modernity were exclusive to anatomically modern humans. On the other hand, some scholars have put into question the traditional paradigm concerning the origins of art and have suggested that artistic objects arose over a long period of time among different species, including Neanderthals. In order to contextualize this debate, we analyze in this article the history of the different interpretations and controversies concerning the question of the origins of art. Taking as reference the French case, we examine the connections between the different theories about art''s origins suggested by Pleistocene art specialists during the last century and the dominant paradigms in human paleontology during the same period. Informed by one another, the question of the origins of art and that of human evolution seems to be inextricable linked. [Copyright &y& Elsevier]

The article discusses how the Argentine literary journal Contorno reflected the political beliefs of the intellectual community of Argentina from 1953 to 1959 during the administration of President Juan Domingo Peron (1946-1955) and during his overthrow in the subsequent Revolution of September 1955. Some of the subjects considered include Argentina's 20th century history of ideas, the historiography of Contorno, the relationship between the arts and politics during the 1950s, and existentialism as a modern aesthetic of the journal during the period.

An analysis of patronage character is of vital importance for proper understanding of the Anatolian Seljuk art. There Are several reasons as of religious, social and political origin encouraged the Anatolian Seljuk patronage to raise buildings. In any case, the concern for building constructions were mostly incurred from a number of reasons rather that a single one. Among them, the political career of patronage had been the primary one. It is also remarkable that architectural artifacts of Anatolian Seljuki patronages had been used as political arguments. The testimonies reflecting political scrambles of Anatolian Seljuki patronages had been frequently blundered on epigraphs and Vakfiye of the period involved. In this study, paralellisms between political career and architectural activities of patronage of the Seljuk period are discussed in the light of some examples. [ABSTRACT FROM AUTHOR]

Swiss art historian Heinrich Wölfflin (1864-1945) is credited for having first made use of double projection of lantern slides in lectures on art history in the early 1900s. While this bit of information is often mentioned, if at all, as of anecdotal value, it has arguably gained more weight in our own image-saturated culture. Wölfflin's lecture hall achievement is not only to virtually inaugurate for art history a systematic descriptive system based on photography, but also to perform pictures of art for the audience to understand art in artistic or visual rather than art historical terms. In order to explain and highlight the element of art in art, art is insufficient. The art-less facsimile of black-and-white photography is better suited for this purpose, by transforming the nuanced and materially captivating art object into a flat binary system of formal contrasts. This article reflects upon Wölfflin's pursuit of the aesthetic or "artistic" element in art by considering his very material and embodied laboratory teaching practice. I suggest that rather than treat Wölfflin as a hardcore formalist, he is better understood as a meta-artist, with the ultimate aim of developing the picture of art from pictures of art for all to see. [ABSTRACT FROM AUTHOR]

In the last decade of the twentieth century a shift occurred in the way western governments defended their cultural policies. New, instrumental arguments were put forward. This collided with the way the arts had learned to see themselves in the twentieth century: autonomous, with a value of their own. This article elaborates this confrontation of the arts and policy in two ways. First, it is shown that the distinction between an instrumental and an intrinsic value of the arts originates in a misperception of recent history. It was the political constellation of the Cold War that made governments in the second half of the twentieth century support the arts to be free and independent. Next, an attempt is made to anchor the value of art in a unique kind of instrumentality. With the help of philosophers and historians of culture, it is argued that the arts should be considered instruments of experience. [ABSTRACT FROM AUTHOR]

AT&T's Bell Laboratories produced a prolific number of innovative digital art and experimental color systems between 1965 and 1984. However, due to repressive regulation, this work was hidden from the public. Almost two decades later, when Bell lifted its restrictions on creative work not related to telephone technologies, the atmosphere had changed so dramatically that despite a relaxation of regulation, cutting-edge projects were abandoned. This paper discusses the struggles encountered in interdisciplinary collaborations and the challenge to use new media computing technology to make experimental art at Bell Labs during this unique time period, now largely lost to the history of the media arts. [ABSTRACT FROM AUTHOR]

Developing from histories of arts administration and arts management, “cultural leadership” has recently become a focus within the cultural sector and the creative industries of the UK. This article interrogates a basic question—what is cultural leadership? Beginning with secondary sources (historical summaries, policy documents, arts/cultural grant applications), we contextualize the developments and practice of cultural leadership as an outgrowth of the discourse around arts/cultural administration and management reoriented to leadership practice in the face of significant crises (financial, administrative) in major British cultural institutions. Drawing upon primary survey and interview data from twelve cultural leadership practitioners, we then reflect upon whom cultural leaders are (career history, motivation, etc.). Turning to practice, we consider cultural leadership as advocacy for, and facilitation of, cultural activity. This is largely based on culture's perceived ability to cultivate individual and group potential. More specifically, we define leadership through descriptions of effects by cultural leadership practitioners, specifically where it taps into affordances (Gibson 1966; Greeno 1994; DeNora 2000) of cultural products (material and otherwise) for world-making activity. We join recent leadership theorists in making use of Heidegger's “Building, Dwelling, Thinking” (Ladkin 2006; Carrol et al. 2008) to contextualize cultural leadership as activity-enabling engagement with cultural artifacts and activities. Through advocacy for, and facilitation of, cultural engagement, cultural leaders are involved in projects that invite others to situations outside “everyday experience that which is from the outset ‘habitual’’ (Heidegger 1975, 147), in attempts to emerge positive affordances from cultural interactions for world-dwelling. Cultural leadership is an activity more explicitly centered around encouraging engagement with various cultural activities, practices, and artifacts in the belief that such engagement may have positive social benefits for those engaged. It is an activity focused on emerging the emergent from cultural interactivity. [ABSTRACT FROM AUTHOR]

The article reports on research which was conducted on science and art by author George Kubler, the author of the book "The Shape of Time: Remarks on the History of Things," which was concerned with art history and art appreciation. A discussion of similarities and differences which were seen in the literary works of Kubler and Thomas Kuhn, the author of "The Structure of Scientific Revolutions," is presented. In the article the author offers her opinions on Kubler's work and theories and on the relevance of Kubler's ideas in 2009.

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.

In this article the author considers aspects of the Vienna School of art history. The central focus of the article is the interpretation of the writings of a number of art historians of the late 19th and early 20th century in light of the complex nature of political and cultural realities of the Austro-Hungarian Empire. Under examination are works by Rudolph von Eitelberger, Alois Riegl, Franz Wickhoff and Julius van Schlosser. Among other topics the article discusses the world exhibition of 1873 and the impact it had on Vienna, Austria.

In 1821 the painter Johann Moritz Rugendas (1802-1858) was appointed to the scientific expedition of the naturalist Baron Georg Heinrich von Langsdorff (1774-1852) to Brazil. On this journey (1822-1825) Rugendas, who was member of a traditional artist family from Augsburg and academically trained, turned towards landscape and genre painting. Due to the support of Alexander von humboldt, who considered him the best illustrator of the "physiognomy of landscapes", 252 paintings from his second trip to America (1831-1846) were bought by the Royal national Gallery in Berlin (Königliche nationalgalerie). The different view on the collection in the course of the XIX century shows, how the work of Rugendas became lost in art history, being considered neither art nor documentation. For the opus of Rugendas it could be shown how he was seen as a representative of Mexican indigenism in 1926 and used for national socialist purposes in 1942. It seems as if the lack of localization enhances the interpretation and misuse (Vereinnahmung) of artworks in different political contexts. [ABSTRACT FROM AUTHOR]

The article presents an exploration into the history of the Arts during the 17th-century, specifically in relation to the 20th-century historiographical paradigm of the "general crisis" of that era. Discussion is given contextualizing the use of the term and a redefinition of the historiographical paradigm is given. The author focuses on the years of 1640 to 1660 where it is asserted that a drastic shift in the representations and conceptions of the visual arts, literature, and music occurred. Final comments are also given comparing the crisis of the 17th-century to other historical eras.

Karl Mannheim and Erwin Panofsky took Alois Riegl's concept of Kunstwollen as their point of departure in the development of the sciences of cultural interpretation. This article seeks to elucidate the very different readings of Riegl made by Mannheim and Panofsky, and to show how the sociological appropriation and transformation of the concept of Kunstwollen was central to the development of Mannheim's sociology of knowledge, and in particular to the analysis of ‘styles of thought’ in his classic study Conservative Thought (1927). The limited reception of Mannheim's synthesis of sociology and art history is interpreted in the intellectual context of Britain immediately after the 1939–45 war. [ABSTRACT FROM AUTHOR]

Lajos Kassák is best known outside of Hungary for his commitment to international dialogue among the avant-gardes of the late 1910s and early twenties, as exemplified by his periodical Today (Ma). Within Hungary, however, he is also recognized for his politically driven activities during the late twenties and early thirties, and specifically, for his role in organizing and promoting the leftist activities of the Work Circle (Munka Kör). The present essay challenges this traditional characterization of Kassák's career trajectory. A careful investigation of the paragon Work Circle project - the photobook From Our Lives (A Mi Életünkből) - demonstrates that Kassák's sustained interest and commitment are neither to purely aesthetic nor to purely political goals, but rather, to the very notion of art's aesthetic potential for political impact. Once we recognize that From Our Lives is a pedagogic project, we can properly understand its impact on the Hungarian worker photography movement: it was essentially an instruction manual for artists on how to construct a socially conscious image. As such, it should be distinguished from other more political works which did indeed serve as showcases for exemplary worker photographs - and even from the explicitly political messages presented in the eponymous exhibitions with which the Work Circle photobook is often mistakenly conflated. The broader applicability and implications for this sort of pedagogic analysis of a work's form and function are discussed. [ABSTRACT FROM AUTHOR]

The article outlines the memories of Kaunas School of Arts in Lithuania. It notes that the country has many higher education institutions from which diverse cultural activities are permitted to evolve. It explores the artistic, cultural and social environment of the period when the school was being established in the city. History shows that the city had to establish schools, form a university, organize a self-reliant government and restore its devastated economy when the country recovered its independence. It also counts on the singularity and character of the country's customs and languages.

The article discusses the thread of progress, which connects the art during the Ottoman era to the modern arts covered in 1980s and 1990s in Turkey. According to the author that though the Western Europe considered modernism as a retrograde of its art development, however, the Turkey regarded it as an appropriate progress of their arts history.

The article discusses the microcultural contexts of art and its history. It states that the history of art was founded as a Western academic discipline upon the work of German theorists in the eighteenth and nineteenth centuries. In addition to pictures created with the observance of the Western concept of art, there are also those which are made outside of the West or in defiance, ignorance, or indifference to the idea of art.

The article focuses on painter Jean-Francois Millet, and the literary passages that inspired him. The author reports that Millet, a 19th century artist, copied whole paragraphs from several writers, including Michel de Montaigne, Bernard Palissy, and Charlotte Bronte. Millet's abstracts, some from known authors, authors not, stretched from the 16th century on. Article topics include the author's opinions on why artistic collaboration is important, as well as Millet's thoughts on art.

This essay examines the circumstances surrounding the first exhibition of Joseph Wright of Derby's epic contemporary history painting View of Gibraltar during the destruction of the Spanish Floating Batteries, 13 September 1782. This intensely dramatic depiction of siege warfare was the centrepiece of a one-man show, held by the artist at Robins's Rooms, Covent Garden, between April and June 1785, an exhibition staged in direct rivalry with the Royal Academy, of whom Wright had fallen foul two years earlier. It is argued that the iconography of the exhibition, in concert with a number of associated publications, deliberately highlighted the confrontations, contests and infighting between artists that were such a marked feature of the London art world of the mid-1780s. [ABSTRACT FROM AUTHOR]

This essay examines the innovative sequence of permanent historical displays created at the National Portrait Gallery under the directorship of Roy Strong in the late 1960s and early 1970s and establishes a series of contexts for them. It looks back to display at the gallery in earlier decades in order to examine how this reflected varying degrees of public engagement. This leads to an exploration of the place of Strong's displays within the cultural politics of the later 1960s, notably their relationship to the policies of Labour Minister the Arts, Jennie Lee. The final context is the development of a popular historical consciousness during the period, a phenomenon in which the visualization of history played a crucial role. [ABSTRACT FROM AUTHOR]

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 author responds to the essay "The Melancholy Art," by Michael Ann Holly. She discusses the oil on linen painting "Mirrored Trees," by April Gornik completed in 2000. She uses the painting to extend Holly's argument to include contemporary works of art as being capable of inspiring a feeling of "melancholy."

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]

The article quotes and discusses several passages from the plays of Euripides which the author believes suggest a familiarity with contemporary developments in monumental painting. The author cautions that the passages she discusses in this article are not gathered from texts, but from play performances of Euripides. She also explores the personal characteristics of Euripides. She states that Euripides was a modernist, an innovator, and an iconoclast like the ancient painters. She considers Euripides as a painter at one time.

There is a perception in British universities and art colleges that art students are not very good at writing, that they don't want to write, and furthermore, that writing gets in the way of the real business of making art. These perceptions are reinforced in much of the literature that has been produced about, and in support of, undergraduate art education in the last few decades. This paper will examine the tensions, both historical and contemporary, between academic practices (such as the academic essay, the dissertation) and fine art studio practices. This translative gap both produces, and perpetuates, a set of binaries: visual/textual, art/literature, words/images, Studio/Art History, making/writing. The net result of which is a resistance to writing from many Art students in Higher Education. I will outline subject specific multidisciplinary strategies used with undergraduate and postgraduate students to harness, and develop, this resistance as both transformational and inventive. [ABSTRACT FROM AUTHOR]

The interdisciplinary study sets out to demonstrate that the blind man can indeed see in the sense of ‘understanding’; that he might understand differently from the ‘seeing’ man, but that he shares with him the Anschauung, which the blind man may evolve from an ekphrasis given by the seeing man. The study is grounded in hermeneutic art history and contrasts ekphrasis with Gadamer's distinction between original, copy and picture. For Gadamer only a picture offers an ‘increase in being’ compared to the original. While ekphrasis may mean being on-site for both the blind and the seeing man, the hermeneutical task the picture poses is that of insight, to transform the ‘I see’ into an ‘I understand’. The article shows that vision can be a discursive construction through a discussion of three pertinent examples from the history of art based on the application of both art historical interpretative procedures and analogous psychotherapeutic/psychoanalytic procedures. [ABSTRACT FROM AUTHOR]

The Western world is in the habit of looking at the history of visual art 'in closeup' - single image by single image - and receiving its information about art history in that uniquely particulate form. But if instead we distance ourselves a little from the history of art, enough to see it 'in long-shot' as it were - i.e. as a more or less continuous, dense flow of images - patterns emerge in the flow which convey new information, which can sometimes be in direct conflict with long-cherished traditional assumptions. If we use the 25,000 plus year of art history in this way as a 'barium tracer meal' for cultural evolution itself, it is unexpectedly revealed as punctuated rather than gradual, driven by alternating phases of open and closed growth in the human ecology, each with its own characteristic pressures of cultural selection. As a result human culture itself has two equally valid but opposite 'fitness landscapes': in the past 500 years the more successful strand in Western civilization has been the Type-A low-cohesion/ high-agility culture associated with a phase of open evolution involving our species relatively rapid transition from a manual to a machine ecology. The West's traditional object-based imagery of painting and sculpture has its origins in that period of accelerating pre-industrial and industrial growth with its characteristic 'economics of plenty' epitomized by a triumphant capitalism. But the newly-emergent event-based imagery of installations and contextual art of the later twentieth and early twenty-first century is now indicating the gradual emergence (or more properly re-emergence) of the Type-B high-cohesion/low-agility pattern, previously associated with so-called 'primitive' cultures, and here with the global consolidation of our new machine ecology in a world increasingly dominated by the economics of scarcity. If that is so, it is probable that the syncretic form of meaning associated with the 'sticky memes' of art will increasingly come to challenge the present cultural dominance of analytic meaning, epitomized by the 'smooth memes' of science. The resolution of that conflict in evolutionary semantics may have a direct bearing on our species capacity to survive into the future. Whether it will be more decisively resolved within the Western or the Eastern group of civilizations seems at present a very open question. [ABSTRACT FROM AUTHOR]

This dialogue is an opportunity for Mark Cheetham, Michael Ann Holly and Keith Moxey to speak together in print for the first time since their edited collection entitled The Subjects of Art History (1998). Concerned, in that volume, with the prospect that 'art history, like many other fields in the humanities, has entered a post-epistemological age', the three editors wrote opening 'position papers' outlining, respectively, their concern for the (Kantian) philosophical imperatives of/in art history, and how the specters of context haunt the writing of the history of art, and the historiography of art history as Hegelian. Overall, their collection was a chance to reassess the role that the philosophies of history of Kant and Hegel and other philosophical, semiotic, queer, postcolonial, psychoanalytic and museological traditions concerned with 'history' have played, and continue to play, in art history's efforts to legitimate its past and predict its future. In many ways, then, The Subjects of Art History was an attempt, from within the discipline of art history, to picture that area of inquiry in an expanded field that we may continue to call art history or might be more usefully designated as visual studies. The dialogue in this issue of the journal of visual culture is an opportunity to continue that conversation. Specifically, it is a chance to rethink the question of the place of both 'aesthetics' and 'history' in and through visual studies. As such, this dialogue seeks to address questions such as: how might visual studies rethink what we thought we already knew? Are both critics and supporters of visual studies right to believe that 'aesthetics' has nothing to do with visual studies? Why might they be right, or wrong? (And if they are wrong, how does visual studies offer us an occasion to engage with aesthetics in new ways?) What status do or should the philosophies of history of Kant and Hegel, say, have in visual studies? How does visual studies affect... [ABSTRACT FROM AUTHOR]

Discusses several discursive practices in the Gendai Bijutsu or contemporary art in Japan. History of Japanese contemporary art; Definition of Gendai Bijutsu; Question raised by the international characteristics of Gendai Bijutsu.

In this paper I argue that the discipline of art history, as commonly practised, is not equipped to investigate and critically engage with the complex artistic practices which take place after modernism. It is my contention that contemporary art history is still indebted to and follows the modern paradigm of cognition, theory, experience, and indeed art: the paradigm of vision. The influence of this paradigm is obvious in such phenomena as the high estimation of visual (as opposed to, for example, performance or conceptual) arts and the focus on visual aspects of what can never be exclusively 'visual' art. In particular, Panofsky's art historical method can be read as a manifestation of the modern paradigm of vision. As I show by means of the example of Smithson's Spiral Jetty, art after modernism does not let itself be restricted to one sense alone. Spiral Jetty is a complex work; we might even call it a system. Different aspects of this system include the sculpture in the Salt Lake, which Smithson completed in 1970; the 35-minute 16mm film which Smithson made; the essay Smithson wrote about the work; the photographs taken by Smithson and Gianfranco Gorgoni of the work and its creation; the sketches Smithson made in preparation; the performance of the work's creation, and so forth. And this extends beyond the work itself to the whole system of essays, photographs, films, projects and so forth which have been produced in response to the work. [ABSTRACT FROM AUTHOR]

Introduces a series of articles on how historical practices and experiences have structured institutionalization processes and organizational fields in the visual and performing arts during the twentieth century.

Outlines a wide range of organizational elements and political, aesthetic, and social issues that have come into play in the development of new dance genres, detailing conditions of access and forms of recognition of hip-hop dance in France. Approaches to breakdancing in France; Historical background of breakdancing; Differentiation and institutionalization.

The study focuses on the bibliographical work of István SÁNDOR (1750-1815), but it also touches upon on his other literary and research activities. Born in a wealthy landowner family and having received outstanding education, István Sándor dedicated his life to literary ambitions. He started publishing literary translations, but his bibliographical interest was revealed already in his first publication in 1778. In the 1780's, he established contacts with many of the most important Hungarian scholars while his personal knowledge was also extending through his reading and a number of trips in Western Europe. The encyclopaedic approach, typical of the age of the enlightenment, started to prevail in his works. In his encyclopaedic work titled "Sokféle" (Miscellaneous) and written by him alone, he published articles in history, linguistics, history of arts and bibliography. Through his research work and international contacts, he realised that Hungarian literature and culture are hardly known abroad. It was in "Sokféle" that he published his first real bibliographical work about the books published in Hungarian language in the 16th century. He first mentioned the bibliographic work in process in one of his articles in 1799. The bibliography, under the title "Magyar Konyvesház" (Hungarian Bibliography) was published in Györ in 1803. The present study attempts to restore Sándor's sources and methodology from the footnotes of the Bibliography as well as the references found in "Sokféle". The Bibliography offers a chronological display of the data of 3,632 Hungarian language books published between 1533 and 1800. For the background research to the Bibliography, Sándor used his own library, did research at the Royal Library in Vienna as well as at libraries in the Hungarian towns of Debrecen and Eger. He had assistance from several colleagues who were sending him titles. Sándor used nearly... [ABSTRACT FROM AUTHOR]

There are reasons to believe that the history of art, from romanticism to the present day, bears out Hegel's remarks that art is a "thing of the past". Arguments that now "anything goes" (A. Danto) provide theoretical grounds that support this view. But both Heidegger and Adorno suggest how Hegel's argument can yield constructive insights into art's critical capacities, even as its distance from non-art appears to vanish. Heidegger and Adorno are heirs of Hegel's romanticism, and while located intellectually within modernism both reveal how modernism is itself a continuation of romanticism. Salient points of contact between Adorno and Heidegger, and also their differences, can be grasped in terms of shared romantic roots. To think of art as having a critical or disclosive power is a transformation of romantic expressivism. The conviction that art is embodied meaning and irreducible to its material elements is a development of Hegel's notion of spirit. Assessing the extent to which postmodern theory confronts or ignores these questions can also clarify its ties to romanticism.

Capital punishment has moved behind prison walls, and its depictions have become rare. At times a demented form of theater, capital punishment was also subject for the visual arts. The three following articles by Norman Green, Samuel Edgerton, and Barbara Jaffee, originally presented on March 28, 2000, as a lecture and slide presentation before the Association of the Bar of the City of New York, explore the impact of artistic depictions of the bloody history of capital punishment and analyze how emerging civilizations have attempted to control and institutionalize the desire for revenge. This symposium links art history, film, and literature in a discussion of capital punishment.