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In 1952, the director of East Berlin's Märkisches Museum discovered three drawings by Matthias Grünewald pasted into a Luther Bible. This remarkable find set off a fascinating tale of art‐historical espionage, but also served as a generative moment for the construction of the well‐worn cliché of Grünewald as a revolutionary and peasant sympathizer. I examine the artist's transformation into an embodiment of the GDR's socialist ideals by interrogating East German art historian W. K. Zülch's analyses of the newly discovered drawings, which used formal analysis – rather than historical evidence – to figure Grünewald as an ideological accomplice in the German Peasants' War of 1525. Significantly, Zülch presented the tools of the artist's trade ('Kreidestift und Farben') as a way to reconcile form and political content, offering an alternative Socialist model to the SED's state‐sponsored culture. [ABSTRACT FROM AUTHOR]

An essay is presented which explores the art history discourse and methodology of art historian Mikhail Liebman. Topics discussed include the expertise demonstrated by Liebman on Renaissance art, the influence of Soviet and Socialist foreign policy in the 1960s on art historiography, and the contributions of Liebman to the journal "Bildende Kunst," which tend to focus on German artworks in Soviet museums.

This essay examines an understudied history of reciprocal art exhibitions between Cairo and Moscow during the Cold War period. It focuses on the work of Gamal El Sagini, Inji Efflatoun, and Hamed Owais, and sets out their role in forging new networks of revolutionary art in the Soviet Union. By addressing how post‐colonial art was received and utilized in Soviet Russia, this article uncovers the extent of Soviet cultural engagement with Egypt, the African national liberation struggles, pan‐Arabism, and international solidarity amongst the Second and Third Worlds more broadly. Offering a more complex reading of the processes behind Soviet involvement in the utopian project of socialist worldmaking, this essay argues for the need to assess critically Soviet claims to anti‐imperialism, peace, international solidarity, and friendship. It discusses the role of art in these processes, and addresses the changing definitions of realism, nationalism, and humanism in the socialist world, making a contribution to alternative understandings of post‐war figuration. [ABSTRACT FROM AUTHOR]

The article provides an overview of Léopold Sédar Senghor's African cultural policy. It mentions that that state cultural policy in post independence Senegal shared recognizable features with parallel testing grounds for socialist cultural policies elsewhere on the African continent. It also mentions about his role in reserving state in promoting the arts and other forms of cultural production, in putting cultural programs to work to achieve economic development and social cohesion, and modernising indigenous heritage.

The article explores how visual artistic production was shaped by socialism in Tanzania during the Ujamaa period, by the dismantling of socialism under neoliberal reform. It presents promotion and management of the visual arts from the socialist regime to the postsocialist present, starting with early attempts to decolonize the arts in Tanzania as a strategy for creating a national cultural identity, followed by the rise of local art schools and movements, and an exploration of state patronage of the arts during and after socialism.

The article focuses on the way socialism created a framework for the emergence of postindependence modern art in Angola, Africa. It mentions about Angolan modern art under the cultural-political framework of socialism and relates this to the cultural ideology of Angolanidade as a concept of cultural indigeneity. It also informs on visuality of art produced including public art that is visible in the urban space of Luanda even today to better enable their integration into the national canon-building effort and to foster an aesthetic nationalism.

The article offers information on International Congresses of Africanists that took place on the continent from 1962 to 1973 establishing a place for socialism in African art. It mentions about recurrent, shifting concerns regarding socialism's relevance to the study and making of art in Africa, as well as persistent tensions around socialism's applicability in African contexts. It also mentions that African societies were inherently predisposed to socialism through their traditional structures and philosophies, but that developing socialism required a commitment to interpreting the concept in the context of a decolonizing Africa.

The article focuses on place of socialism in African art. It mentions about the protagonism of African intellectuals and cultural workers in imagining novel relationships between visual culture and radical politics, highlighting a selection of case studies in which the continent is the subject rather than object of socialist thinking. It also informs on cultural influence of the works of African artists and intellectuals on the future of African art and art history, and epistemic imperialism and international solidarity.

This article examines how experimental art staged in East Berlin galleries and city streets from the mid-1970s through the 1980s was used to rethink the relationship between art, social life, and citizenship under socialism. Experimental artists took advantage of the gaps in party control in order to access a second public sphere in which open communication, imagination, and critique were possible—and encouraged. The article situates East Berlin's experimental practitioners as part of a broader pattern in East-Central Europe in which unconventional art incited a localized grassroots glasnost parallel to top-down reforms emanating from the USSR. These conceptual installations, performances, and actions challenged viewers' traditional forms of perceiving reality and, thus, the status quo. Moreover, general audiences were often invited to participate in the process of artistic production as a form of collective action. These practices contributed to a spirit of political ferment across East-Central Europe in which more expansive and participatory forms of socialist citizenship were tested, and later contributed to the possibility for revolution. They retained their relevance in the aftermath of revolutionary change and during the postsocialist transformation as artists continued to insist on art fulfilling a social, critical, and public purpose. [ABSTRACT FROM AUTHOR]

This manuscript describes the significance of the Hungarian‐Soviet artist Béla Uitz's contribution to the definition of Socialist Realism through the development of a style of anti‐imperialist painting based on national form that I call Internationalist Socialist Realism. Relying on previously unpublished archival documents, articles from the Soviet press, and analyses of artworks themselves, the manuscript shows specifically how Uitz developed his internationalist style through transnational encounters with leftist activists in Paris and avant‐garde artists in Soviet Ukraine. It also shows how the artist used his position as a policy maker in the Soviet cultural administration to create a platform for the exploration of the role of national form in Soviet art known as the International Bureau of Revolutionary Artists (MBRKh) and how he used that platform to ensure that Internationalist Socialist Realism became a key component of the official style of visual representation in the early 1930s. The manuscript further demonstrates that while the Soviet state's turn to Russocentrism and Slavocentrism in the late 1930s denuded Internationalist Socialist Realism of many of its radically collectivist, anti‐imperial elements, the cultural apparatus accepted Uitz's core idea that the tactile connection between the human body and the affective materiality of national forms could help catalyze political change and establish connections between different peoples. The manuscript shows that changes in representations of national form in Socialist Realism over time can reveal valuable new insight into the politics of Soviet culture, both during and beyond Stalinism. [ABSTRACT FROM AUTHOR]

The article focuses on African socialism. It mentions that the concept of African socialism share the following two principles first, that socialism exists only in its different vernacular translations, second, that before it is a political ideology it is first and foremost a metaphysics, an ethics, and an aesthetics. It also mentions about Léopold Sédar Senghor's philosophy is the idea that the cosmology of vital force is manifest in the visual language of African classical art, and poetic act that creates the art object, an act that Senghor calls rhythm.

The aim of this article is to connect the history of Red Sport International (RSI) with the history of Constructivist Art in Russia and Czechoslovakia in the years of 1921–1928. It investigates the various ways in which avant-garde artists were engaged in promoting worker sports. It shows then how it differed from traditional sport-themed artworks as Constructivists intended to reject museums and galleries in favour of creating art for proletarian masses. Architectural sketches, photomontages, postcards, photography, film, sport, and artistic magazines were the means by which artistic propaganda of RSI in Russia and Czechoslovakia up to the 1st Spartakiad in Moscow and the 2nd Spartakiad in Prague (1928) evolved. Showing a range of artistic projects made by Constructivists from Vkhutemas school in Russia and Devětsil members in Czechoslovakia this article shows that the ideas of fighting for socialism promoted by RSI took place not only in the field of sports, but also in the artistic field – in the field of physical and visual culture alike. [ABSTRACT FROM AUTHOR]

The art of the socialist period is still an area where Latvian art historians do not linger too long. The reason for this could be partly due to traumatic experiences of this time for many who lived under its system and later the breakdown of the system, but also due to ambiguous perceptions of this period, and methodological and other difficulties dealing with it. Still, researches, explorations and interpretations of socialist art are essential to understanding the genesis of contemporary art, as well as the complexity of modernism and its transition to postmodernism in Eastern Europe. This complexity also derives from geopolitical circumstances, which had a strong impact both on art language and on its relationships with reality. My research is an attempt to contextualise the visionary dimension in modernist and neo-avant-garde art of this region in a broader perspective, including geopolitical relations between art and reality, as well as the role of their power structures. [ABSTRACT FROM AUTHOR]

An interview with Atiqullah Shahid, an Afghani artist who critiques world events through political cartoons is presented. Topics discussed include his interest in political and social news, his goal to irradiate language barrier and allow readers to comprehend the message of the cartoon and the people who misunderstand and misinterpret his cartoon.

The article discusses the representations of Baroque art in socialist Czechoslovakia as seen through the media. Also cited are the use of the Baroque by the country's communist government in the mid-1900s to advance its political and ideological agenda, the move by the government to execute its critics like renowned scholars Václav Cerny and Zdenek Kalista, and such topics as social inequality, political suppression, and counterreformation.

The article presents information on history and opposition of art and society, drama,and magazines.

The article focuses on the restitution of African cultural property. It mentions that certain Western museums claiming the title of universal museums with the vocation of better presenting cultural heritage and the history of peoples, the viewpoint of Africa, which was never consulted. It also mentions that public collections benefit from legal protections against sale or seizure, the fact that they assume other functions when taken out of their original contexts leads us to wonder about their real identity.

The article focuses on the restitution of African cultural property in a North American context. It mentions that the call to action to restitute African art collections is heightened by the global coronavirus pandemic, along with the current asymmetry between stakeholders and museums. It also mentions that many African countries have demanded the return of their art objects for decades since Independence by emphasising on the need for museums to be transparent about their collections of African art.

The article presents an argument for museums in North America to join together and develop a process of restitution regarding Africa's archaeological and colonial-era heritage. It mentions about embracing an open, honest, and transparent dialogue with our African peers about the realities and enduring impact of colonialism and the role of restitution in addressing this history. It also informs on discussions regarding the sustainable development of Africa's cultural sector so that claims for restitution could be effectively made and implemented.

Since the end of the 1990s, post-socialist nostalgia has been a powerful trend in Czech film and television. This article focuses on the examples of Filip Renč’s 2001 musical comedyRebelové(The Rebels) and the Czech television seriesVyprávěj(Tell Me a Story, 2009–2013), which both portray the period around the 1968 Warsaw Pact invasion of Czechoslovakia. Through an analysis of the visual style of the film and television series, as well as a discussion of the way the texts recontextualize the popular culture of the period they portray, the article proposes that Czech post-socialist nostalgia is more fruitfully viewed as “retro”, which is here differentiated from non-nostalgic depictions of socialism through a comparison with the mini-seriesHořící keř(Burning Bush, directed by Agnieszka Holland, 2013). Although retro’s concern with surface and style can be interpreted as apolitical, the author argues that the political agenda of Czech retro texts needs to be understood by the ways they combine a fetishization of the aesthetic trappings of the period with a condemnation of the political system of the time. [ABSTRACT FROM PUBLISHER]

The essay examines the popular Hungarian weekly women's magazine Nők Lapja through the Sixties socialist consumption and the culture of objects and the discourse concerning the image of the socialist woman, not from the perspective of economics or the history of consumption, but from the point of view of cultural history. It focuses on the change of strategy during the Cold War, which from the side of the West signified the use of soft power, while in the East it implied the modification of socialist modernization, in so far as emphasis was shifted from aggressive armament and the conquest of space to everyday prosperity and consumption. The narrower segment under examination is the project in the Sixties that addressed the modernization of the kitchen and the woman of the house, a project which extended to the manufacturing of household appliances aimed at facilitating domestic chores faced by women who also had full time jobs, the introduction of a network of self-service businesses, the expansion of the use of canned food, as well as hygiene, environmental culture and the cultivation of taste. According to the imagery and the texts found in publications of the time, posters and women's magazines, it was not socialist modernism and the official policy of emancipation that confronted the inherited mentality of the masses as a hindering factor, although this is what contemporary official discourse attempted to imply. This mode of discourse, the style in which the modernization of the household and the housewife and the expansion of consumption was communicated through pictures, advertisements and objects conserved old patriarchal topoi in opposition to the official political discourse of emancipation. [ABSTRACT FROM AUTHOR]

This article investigates a transformative encounter between the Chinese artist Xu Beihong (徐悲鴻 1895-1953) and audiences in the Soviet Union during his 1933-1934 exhibitions of Chinese art in Europe. While Xu was exchanging perspectives and addressing questions about Chinese painting, a misreading of one of his paintings sparked in him a reconsideration of content and form that eventually led to the creation of some of the earliest Socialist realist ink-and-color paintings in China. This addition to his repertoire is arguably more significant to his legacy than his most popular works because of the way it heralded the coming Socialist realist evolution in guohua (國畫 national painting) and the manner in which Xu's choices would meet the ideological needs of the Communist Party well before it secured authority over the direction of China's arts. Special attention is paid to situating Xu's personal work vis-à-vis Republican and revolutionary art and explaining how the concurrent political milieu paved the way for both the prestige of his art in popular and cultural memory and the unprecedented stature of his art education methodologies in China's revolutionary times. [ABSTRACT FROM AUTHOR]

In January 1961, the National Council of Culture (CNC), dominated by members of the pre-revolutionary Communist Party, was established as the central cultural organ of the Cuban Revolution. Three months later, the Bay of Pigs invasion prompted Cuba to declare its processes to be motivated by socialism and enter the Soviet ambit. These events combined to raise concerns among members of the Cuban cultural community about the nature of aesthetic practice that would be expected thenceforward. This article sheds light upon the key discussions around aesthetics that raged in Cuba, during the first half of the 1960s, between the dogmatic Marxists of the CNC and those creative practitioners who sought an alternative form of socialism to that which had developed in the Soviet Union. This account covers territory ranging from realism to abstraction and idealism to materialism. In the process, it seeks to add nuance to discussions of Cuban cultural policy and demonstrate that socialist realism is far from the only aesthetic response to socialism. [ABSTRACT FROM AUTHOR]

The essay focuses on the remaining socialist monuments in the 21st century, such as the Mausoleum of Georgi Dimitrov, in postsocialist public spaces in Bulgaria. Topics include the communist ideology behind the monuments, the effect of the monuments on living and nonliving matter as well as governing function of the public spaces, and details related to the monuments "Aliosha" in Plovdiv, Bulgaria, and "The Monument to 1300 Years of Bulgaria" in Sofia, Bulgaria.

The article offers information on the "Modernity, Socialism, and the Visual Arts" conference held from October 6-11, 2013 in Germany, organized by the Kunstarchiv Beeskow. Topics discussed include the archive's place in collective memory, the role of art in defining socialist modernity, and the normativity of Western feminist discourse in the arts.

On 19 September 2011 the Museum of Socialist Art opened its doors in Sofia, the capital of Bulgaria. Previously, the only attempt at exhibiting the communist period in a Bulgarian museum was a short-lived exhibition at the National Art Gallery in 2009, which had provoked enormous interest. In considering the reasons why it took the country 22 years to introduce this controversial period in a museum, this paper concentrates on context, outlining the more recent changes that have occurred in Bulgarian culture and facilitated a renewed attitude and approach. [ABSTRACT FROM AUTHOR]

Copyright of Revista de Filosofía UIS is the property of Universidad Industrial de Santander 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 discusses the contemporary Chinese art in the modern century. It says that the economic crisis made the Chinese artists and critics to realize the impact of globalization to the economy, technology, politics, and culture. It states that in the art world, socialism and modernism have different forms in the new century and young Chinese artists are concerned with the artistic sensitivity and differences such as Western influence, creativity and the market.

The article focuses on the Italian group of artists known as the N group which included artists Toni Costa, Ennio Chiggio, Manfredo Massironi, Edoardo Landi and Alberto Biasi. The article attempts to place the group in a context to explain their socialist politics and motives. It also relates the artists with the "operaisti" (workers), an Italian Marxist group operating at the same time which included philosopher Antonio Negri and influenced the N group.

This paper develops a reflection on the elements that concurred in the late nineteenth century in Bogotá to form the notion of aesthetic canon. For the analysis of documentary sources we will refer to two illustrated publications: El Papel Periódico Ilustrado (Illustrated Newspaper), managed by Alberto Urdaneta, and the Revista Ilustrada (Illustrated Magazine), managed by Pedro Carlos Manrique. Such publications define themselves as platforms for the formation of taste and, within a set of political, religious and cultural conditions, allow us to see new processes in the formalisation of specialised culture through institutions such as the Escuela Nacional de Bellas Artes (National School of Fine Arts). The contribution of these illustrated publications becomes a reference to what will be the relation between art critique and the public, formulating notions of aesthetic appreciation and taste that we understand as programmatic in a project of civilisation. [ABSTRACT FROM AUTHOR]

Copyright of Sociologia Internationalis is the property of Duncker & Humblot GmbH 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.)

In the article, adopting the democratic transformation perspective, the author focuses on art as a specific area of civil society. With an eye on Poland, various forms of artistic activism are analyzed and compared, from artistic vanguard and protest art of the communist period, to the practices of cultural democracy and social art of the present day. In particular, the concept of social art is explained and exemplified with three model projects, each set in a different context - of an open public space, local community and minority group, and each representing a different set of social functions. [ABSTRACT FROM AUTHOR]

The article presents an examination into the life and work of the Vietnamese poet Xuân Diệu during the 1950s. Introductory details are given noting how Vietnamese historiography has previously focused exclusively on dissident artists and their situations while largely ignoring the party loyalist artists. Xuân Diệu's career transition between 1954 and 1958 when the Communist Party took more direct control over the cultural output of the nation is therefore profiled, highlighting his example as an orthodox revolutionary artist.

The transition from state socialism to capitalism brought changes to the Russian cultural sector. Previously entirely sponsored and controlled by the patron state, the cultural organizations had to cope with dramatically reduced budgets. While the state remained the principal sponsor and patron of cultural organizations, the new actors—foreign foundations—provided additional possibilities of funding and introduced a new discourse on arts administration. The foreign concept of “cultural management” became an alternative to a Soviet-type “cultural bureaucracy” and found its partisans among the active part of arts administrators who effectively profited from foreign grants and scholarships and tried their best to integrate into the international community. They are now promoting cultural economy and innovation and are striving for further liberalization of the cultural sphere. But the organization of culture inherited from Soviet times persists. This article provides analyses of interviews with Russian cultural managers devoted to their professional trajectories in the 1990s and 2000s. [ABSTRACT FROM AUTHOR]

The article focuses on the painting "A Letter From the Front," by Aleksandr Laktionov, a Stalin Prize laureate. It explores the significance of the painting in relation to the emergence of the social realism in art after World War II. The author claims that the art piece represented a miniature victory of socialism depicting an intimate view of a Soviet Russian family and neighborhood in a wartime provincial life. A brief historic overview of the art work is also provided. The artistic technique and theme of Laktionov is also explained.

The article explores what happens when artists attempt to control art in order to 'solve' conflicting definitions of art in the post-Socialist condition with the use of two case studies. In the case of Little Warsaw, a Hungarian artist duo, representatives of the ex-unofficial and underground artists were eager to take over the disappearing state control and claim authoritarian power to define the boundaries of art and police fellow artists. In the second case radical Russian artists, such as Oleg Kulik and Alexander Brener, Western artists and curators declared themselves the guardians of standards and norms in their desire to keep the status quo of Cold War art discourse alive and maintain their dominant position within it. The author refers back to the heritage of censorship employed by artists towards fellow artists and to the hidden history of gate-keeping in modern art. [ABSTRACT FROM AUTHOR]

At the last Congress of the GDR's Artists' Association in 1988, the term 'Socialist Realism' was officially replaced by the phrase 'Art in Socialism'. The Congress's participants thus tried not only to do justice to the variety of art, but also to bid farewell to Socialist Realism as an aesthetic concept. But how were these two goals to be accomplished, without changes in the GDR's institutions and power structures? A solution was possible, because the generation of leftist artists, recruited after 1945 to hold office in the new system and build a new socialist art, had been educated or otherwise active in the 1920s. They wanted to re-appropriate the left's modernist traditions, assuming thereby a position opposed to official cultural policy, which required strict accommodation to the Soviet model. This conflict concerning the proper attitude to modern art became the central discourse for the development of art in the GDR. [ABSTRACT FROM AUTHOR]

The article deals with some indications significant for further study of the semiotic range of formgiving in the Croatian culture of the 1950s. Formgiving defined in such a way by Bernardo Bernardi and Zvonimir Radic as a wider and generally understood practice of the creation of plastic environment and as industrial formgiving, has a certain significance in the real circumstances of the socialist concept of production, consumption, and education of the individual. Therefore, formgiving has a distinct social mission within its semiotic range.

The author examines the political and social context of Chinese painting in the early 1950s. The author analyzes several representative works of old gouhua painters who engaged themselves in the so-called caimo or colored ink figure pictures, a highly regarded genre of socialist realism since 1949 Liberation. He also discusses the three interpretations of socialist realism which convey certain historical truths about it.

The article presents a comparative study on the artwork produced in the context of social movements as defended by Mexicans and Chicanos during two decades between the mid-1960s and the mid-1980s. It was found to be part of the same generation of radical social movements that has experienced some significant interchange among movement participants from the U.S. and Mexico, despite the fact that activists shared several elements of Mexican culture and history in such movements. The analysis of 374 pieces of art revealed that key elements of the movements' collective identity and expression of political citizenship were different. Also, movement artists' various aesthetic choices particularly in the deployment of formal elements associated with the Mexican School of art were highlighted.

From Betrachtungen eines Unpolitischen onwards, Thomas Mann made frequent mentions of socialism in his works. Depending on their own political positions, both his detractors and supporters considered him to have undergone a political conversion after the First World War, from conservative monarchist to socialist republican. His public statements became increasingly sympathetic to the Social Democrat cause throughout the period 1918–1933, culminating in two 'Bekenntnisse zum Sozialismus' in Vienna and Berlin in 1932 and 1933 respectively. On closer examination however, his politics during the Weimar Republic throw up many contradictions, not least of which is the continuity they often display with his earlier positions. This article explores Thomas Mann's paradoxical attitude to socialism in the period with particular emphases on his experience of the Munich revolutions in 1918–1919, his reading of Gustav Landauer, his rewriting of Der Zauberberg and his visits to 'Red Vienna'. Der Zauberberg accords socialism a place in Europe's cultural heritage and presents us with the only fully rounded socialist characters in Mann's oeuvre, reflecting his political preoccupations at the time. Ultimately, however, it seems that Mann developed his own idiosyncratic understanding of socialism primarily as a pragmatic, rhetorical tool to be used against the National Socialists. [ABSTRACT FROM AUTHOR]

Explores the social and political implications of the opera "Trouble in Tahiti," written by Leonard Bernstein focusing on postwar consumerism and bourgeois marriage in the U.S. in the 1950s. Inspiration of Bernstein in writing the opera; Reflection of the opera's theme on the political and social philosophy of Bernstein; Significance of the traditional family in the formulation of reactionary politics; Interpretation of the author on the scenes of the opera.

The article consists of three parts. The first part presents the fields of research of the sociology of art, mostly situated on the borders of a few disciplines: sociology, psychology, esthetics and history of art. It is based mainly on the conceptions of S. Ossowski, A. Kloskowska, P. Bourdieu, H. Becker, A. Hauser, J. Wollf, and R. Moulin. Adopting the communicative orientation allows us to analyze the problems connected with the author, work of art, receiver and the institutional world of art. The second part is devoted to theoretical orientation of sociology of art and its methodological implications. The structural approach consists of the analyses of the form and content of the work of art, taking into account its meanings, values and code. The interference of esthetics and semiology seems to be very distinct at this point. The socio-genetic approach, the most famous representatives of which are G. Lukacs and L. Goldmann concentrates on showing the dependency between the construction of the work of art and the place and era when it as created. On the other hand, the functional approach concerns social existence of the work of art and its reception. The author's research on the reception of painting lies within this area. In all these cases, the basic techniques of gathering sociological materials are: analyses of documents and interviews linked with the experiments. The third part sums up the mediation and autonomous character of sociology of art indicating two parallel processes: interdisciplinary character of studies of art and attempts at building a separate field of sociology of art, e.g. by developing sociology of reception or sociology of interpretation. [ABSTRACT FROM AUTHOR]

The article focuses on the restitution of African cultural property. It mention that in June 2020, Congolese-born activist Mwazulu Diyabanza and five others attempted to remove a 19th century Chadian funeral post from the Musée du Quai Branly—Jacques Chirac, wherein he and his fellow protestors proclaimed a collective European and North American complicity and were tried by French courts for group theft of an object of cultural heritage. It also mentions about the distinctions between process and outcome, and the manners in which both can be useful material exercises for developing new dynamics of equity between North American and African institutions.

Analyzes the emergence of a literary form that is oriented to the reality of socialism in East Germany. Involvement of East Germany's authors in projects geared toward the cause of socialist realism; Analysis of the plot of the so-called novel of arrival; Formative influences of the novel of arrival.

The article discusses the paradox and concepts of printmaking based on the perspectives of Colorado Springs Fine Arts Center director Jean Charlot. Charlot stressed that the logical role behind graphic arts should serve as a medium of art to inspire people never to surrender as well as create artworks that focus on the life and works of people. According to the author, claims made by Charlot depict aspects that highlight various senses and relevance of printmaking as a form of social art wherein the evidence of social issues are not visible. It also discusses other opinions of Charlot on different works of art as well as predicts the future of offset presses.