Философия искусства раннего Фридриха Шлегеля

Cutting Edge of the Contemporary: KNUST, Accra, and the Ghanaian Contemporary Art Movement

Fine art and clothes have been closely connected since art became part of civilization. However, there relationship was one-sided rather than exchanging the essence of each other. In the century, modern art began to change. Artists started intervening clothes in their work as conceptual tools. In the 1960s, Marcel Duchamp started to study `what is fine art?` He tried to perform anti-aesthetic work that denies traditional types and contents of fine art by reconsidering a concept of fine art that started a new chapter of conceptual art in the late century. Conceptual art is about concepts and ideas of the work rather than aesthetic and material concerns for the challenges traditional ideas. Conceptual art asks audiences for more active reactions. For these reasons, semi logical ideas and clothes became very important to conceptual art. This study categorizes and analyzes various roles of clothes in conceptual art. Conceptual arts since 1960 were studied in this research and the works of clothes were intervened were analyzed. The types of using clothes in conceptual art can be divided into `ready made,` `intervention,` `data type,` `language,` and `action and process.` The different types were mixed together rather than used alone. Conceptual artists tried to deliver the characteristics and attributions of modern society through clothes. They expressed criticism of political society, anti war movements, absence caused by death, new lives, violated femininity, changed meanings of marriage, and absence of individual rights under the social system in their work. Clothes played their roles as concepts of various things including violated femininity, illusions of politicians, autocracy, new lives, social systems, and regulations.

Review: <i>How Photography Became Contemporary Art: Inside an Artistic Revolution from Pop to the Digital Age</i>, by Andy Grundberg

This paper aims to highlight the interplay of technology and cybernetics within conceptual art. Just as Lucy Lippard has illustrated the influence of information theory within 1960s conceptual art, this paper traces the technological discourses within conceptual art through to contemporary digital art—specifically, establishing a correlation between Katherine Hayles's mapping of first-, second- and third-wave cybernetic narratives and, respectively, 1960s–1970s conceptual art, 1970s–1990s video art and new media art. Technology is shown to have a major influence on conceptual art, but one often based on historical, social and cybernetic narratives. This paper echoes Krzystof Ziarek's call for a Heideggerian poiesis and Adorno/Blanchotnian “nonpower” within conceptual art and advocates Ziarek's notion of “powerfree” artistic practices within new media and transgenic art.

Aim of the Study: Pakistan has a rich historical background in textiles, which serves as a fundamental component of its cultural heritage. However, textiles are no longer restricted to upholstery and apparel in the contemporary era. These indigenous materials are being integrated into modern-era art practices and utilised in various innovative methods. During the 20th century, numerous artists began to incorporate textile materials and techniques into their work, creatively combining them with their art practices. The goal is to investigate the innovative incorporation of these methodologies into painting, sculpture, and installation art, thereby pushing the boundaries of both artistic mediums. Methodology: This study employs a qualitative research methodology. This exploratory study examines the creative fusion of conventional textile materials and techniques in the work of contemporary Pakistani artists, with a particular focus on how modern artists employ these techniques to produce artworks that reflect the vibrant culture of Pakistan. Few contemporary artists are selected as a case study, for example, Masuma Halai Khawaja, Mussarat Arif, Imrana Tanveer, Mariam Hina Hasnain, Khadim Ali, and Imran Qureshi. Findings: This study examines the integration of textiles and fine arts, also analyzing the impact of this fusion on both genres. Conclusion: This study concludes that modern artists in Pakistan have begun to explore textile media and methods in their artworks, fostering creativity and showcasing both traditional textile craft art and the emerging artistic landscape of Pakistan. This promotes the innovative use of Pakistan's textile craft techniques and fine arts both nationally and worldwide, conveying a favourable image.

Translating Dickinson Serially, or Interpreting the Mysteries of Her "Minor Nation" in the Light of Certain Related Poems Sirkka Heiskanen-Mäkelä (bio) Translation into Finnish Rückübersetzung Lintujen kesän perästä The birds' summer gone vuorossa ruohikon the turn of the grass's heimonvähäisemmän minor nation's säveä messu on. unobtrusive mass / it / is Näe palvelusta ei To see / there / is no ordinance ja siunaus toistetaan and the grace is rePeated niin verkkaan että tiedostuu so slow that / one / becomes aware vain yksinolostaan. only of / one's / solitude Kumminta kuulla on Strangest [Most spectral] / it / is to hear kun hohkaa elokuu when August is burning low ja keskipäivin kuoro tuo and at noontide that canticle jo unta ennakoi. is already presaging repose Hehkeyskin täyteä Even the glowing beauty armosta yhäti in the fulness of grace still enteellisesti korostuu is ominously enhanced piirteissä luonnon nyt. in nature's countenance now According to Emerson, America's great Romantic philosopher and the thinker who most influenced Emily Dickinson, the Romantic artist, whether a poet or a painter, was to go to Nature for his craft. In it alone would the poet realize both his means of expression ("nature offers all her creatures to him as picture-language") and his true [End Page 101] calling as an artist; it is him, the "Sayer," who alone can "articulate" every natural fact and, by doing so, make it "reappear a new and higher form." Similar rules applied to the fine arts, which surely were to "plant gardens lined with lilac trees" but, in doing so, also to reach for a higher, "Transcendental" truth. "In landscapes," Emerson specifies, "the painter should give the suggestion of a fairer creation than we know. The details, the prose of nature he should omit and give the spirit and splendor."1 We may well say that, especially as a nature poet, Dickinson, too, was a Romantic artist, who strove to "paint" (however, in words) views in which the Spirit, immanent in all Nature, shone through the material landscape.2 In these "paintings" even her method, developed over the years, was that of the Romantic artist: first carefully (or even "scholarly") to study the diversity of the natural world and then—or often simultaneously—to look in (or beyond) it for the idea(s) uniting it into a more or less coherent "plan."3 Technically this dual and often dualistic effort is carried out both as analysis of her natural perception, through (mostly metaphoric) description, and as synthesis thereof, through elliptic vocabulary and syntax, often performed within the very same poem. Since a poem was for her, primarily, a cognitive act, an act of "circumference," she did not hesitate to avail herself of (and often also rudely to exploit) all the resources of her native tongue.4 Dickinson's artistic process is best exhibited and understood if we examine her successive "exercises" with some natural motif, resulting in a whole series of thematically and technically related poems.5 Her "outdoors sketchbook," so to say, contains a good number of such exercises: on the aubade of birds (e.g. P783, P1084), on the frog in its pond (P288, P1359, P1379), on the robin on its bough (P500, P1463), etc. P1068 belongs to a similar series (see Appendix). I try here to demonstrate the advantages a Dickinsonian translator may derive from its existence. There are, of course, many other studies of New England's Indian summer which Dickinson made, these being only the ones related to the cricket (and / or the insect world) as indicator of the universal "plan" inherent in nature's metamorphosis. What we, first of all, learn from these sketches is the reason for Dickinson's interest in the "Unnoticed" "population" (P1746) of the grass. These "Creatures," whether nameable or not, are both "faithful" and "final" (P1766); they are "The most important population," as they most innocently enjoy the summer's ecstasies (P1746); but they are also there to close the season and sing its elegy (P1775) when all the other creatures have already deserted. It is only in this context that we fully understand the cricket's thematic portent...

Conceptual art plays a crucial and continuous role in the generation and development of contemporary art, and thus is also the reference point of contemporary art. Conceptual art is an art centered on ideas, and it is dominated by the use of language. These two characteristics have induced three important tendencies of de-materialization, anti-formalism, and anti-visual aesthetics in contemporary art. It is these three tendencies that have led to a new understanding and evaluation of the value of work or labor in contemporary art. Put briefly, contemporary artists pay more attention to the concept value, process value, and Complex Polysensoriality value of art work, rather than the physical object value, commodity value, and visual aesthetic value in the past. These changes are not only caused by art itself, but also have root and basis in techonology, philosophy, society, and the existing condition of human beings, which raises further questions.

In the last decade of his life, Bolzano turned to aesthetics. He planned to write a series of essays on the subject, and drafted several of them for presentation at the Bohemian Royal Society. In the end, two were published: “On the Concept of the Beautiful” (1843) and “On the Classification of the Fine Arts” (1849). The former presents a careful analysis of the concept of beauty, along with a detailed literature survey; the latter, definitions of the concepts of aesthetics, arts, and artworks, along with a proposed classification of the fine arts. This chapter presents a critical introduction to these works. (103 words)

In contemporary art, the representation of the “body”, particularly the female body, has emerged as a crucial site of feminist critique and exploration. This is especially evident in the works of Iranian female artists, who challenge prevailing local and global discourses surrounding female embodiment. This study examines how artists such as Shirin Neshat (b. 1957), Parastou Forouhar (b. 1962), and Shadi Ghadirian (b. 1974) use their art to redefine representations of women’s bodies within the socio-political context of post-revolutionary Iran. The restrictive post-revolutionary environment, marked by mandatory hijab laws and stringent social codes for women, has profoundly impacted artistic expression. These artists navigate this complex landscape, utilizing their work to contest both the imposed limitations and the Western gaze that often reduces Iranian women to stereotypes. By interrogating these artistic representations through a feminist lens, this paper explores the intersection of gender, politics, culture, and artistic expression, examining how these artists contribute to a broader redefinition of the female body in contemporary feminist art. This study employs a qualitative, descriptive–analytical approach grounded in feminist theory, including perspectives beyond Western thought, to analyze how these Iranian artists navigate, subvert, and reimagine traditional representations of women. By analyzing specific works, this study aims to offer a nuanced understanding of how these artists challenge both Iranian and global audiences to reconsider the boundaries of gender, identity, and power within their specific cultural and historical context.

The concept of contemporary art does not emphasize the boundary between art and non-art. It will constantly include non-art objects into the category of art. Contemporary art has thoughts and souls. It focuses on human psychology, society, history and other broad fields. Contemporary artists are often people who are rich in philosophical thinking. They should learn to observe the world in depth and express their thoughts on the world with their works. Since the 20th century, with the awakening of People’s self-consciousness and political consciousness, artists’ exploration and application of body symbols constantly express their reflection and introspection on society, there is also a change in the way of understanding and constructing one’s own identity. The identity issues such as feminism and ethnic minorities have triggered a series of social movements. This article will take the body expression in modern and contemporary art as the incision, and will carry on the research from the following two aspects: 1) taking the body’s plasticity, empathy and sociality as the representatives, the paper analyzes the language characteristics behind the body’s expression; 2) This paper discusses the body as a critical weapon from the perspective of its discourse power, attitude, power and as a tool of identity construction. And through a number of body-related works of art research, analysis of its expression in the context of modern and contemporary art direction. Is a work of art an “organism”? In order to answer this question, we must first clarify the concept of “organism”, which usually refers to living individuals. The Modern Chinese Dictionary simplifies it to “human beings and animals”. The more popular definition in psychology is “the organic matter with the ability to adapt to changes in the environment”. An interpretation closer to the artistic dimension comes from Aristotle, who believed that “poetry is an organism”. Later, Coleridge, an English poet, developed his idea, believing that “the life of a poem originates from the seed of the poet’s inspiration, which unconsciously absorbs the components of external substances acting on the human brain, thereby forming an organic entity that unites content and form, thought and emotion, concept and imagery” (Whistler, 2013). From Coleridge’s point of view, it is obvious that the work of art is an “organism”, which is born from the artist’s inspiration. It is in turn influenced by different kinds of artistic priors and the real world, and is then shaped in the entity. Contemporary art, which we are discussing today, is more “organic” in its “body language”.

The era of Peter the Great was a time of fundamental changes. New reforms and orders were very unfamiliar to Russians, which is why the new Russian state required comprehensive means of glorification of new cultural and political reforms. Planning of new architecture, urban space and composition in pieces of fine art were based on a system of concepts: the concept of glorification of battles and wars won by the Russian army and navy, introducing European traditions in fine arts, introducing the Table of Ranks for service, and bringing European science to Russia. In other words, the creation of art, architecture and country residences was not random. The glorification of new reforms in Russia was the basis for new art. Conceptuality as a basic element of creative culture was founded in the beginning of the XVIII century. It determined the evolution of fine arts for the next several centuries. This is the reason why analysis of architecture and fine arts in the culture of Peter the Great’s era in terms of conceptual art is important. In conceptual art the conception is crucial, not the form. Many prints were made in the first quarter of the XVIII century, dedicated to military victories and the new flourishing city: Saint-Petersburg. These prints were created by invited artists from Europe (A. Schoonebeek, P. Picart) and their Russian apprentices (A. Zubov and I. Zubov). J. Tannauer, L. Caravaque and G. Gzel created conceptual paintings dedicated to Peter the Great’s deeds. The “Petrine Baroque” style of architecture and regular urban planning has determined the evolution of Saint-Petersburg as a European city.

Fine arts, in recent years, with the rapid development of information technology, its diverse artistic expression trends to be more obvious, at the same time, the artistic expression based on multimedia has been paid more attention by the fields. This paper firstly analyzes the general characteristics of art image fusion process in multimedia environment. On this basis, the digital-to-analog conversion (DAC) method of multimedia artistic expression is proposed, which takes the Gauss Pyramid as basis. In order to verify the scientificity of this method, this paper adopts the empirical method to carry on the empirical analysis. The results show that multimedia artistic expression behavior of fine arts based on this method is significant, and has strong practicability and operability.

This paper analyzes the creative heritage of H. Skovoroda, his literary pronouncements on the role of art in the cultural heritage of the reference period. Along with dialectics of philosophical thought of H. Skovoroda, an important principle of his work, namely symbolism, which was inherent not only in Baroque emblematic poetry, but also in the visual art in general at the time, is revealed. Philosophical reflections and symbols of H. Skovoroda were understandable and highly sought not only in the Baroque period, but also throughout the time. It is thus with good reason that philosophical and ethical views of H. Skovoroda influenced the artistic conceptions of many Ukrainian artists, first and foremost those belonging to M. Boichuk, H. Narbuta, V. Krychevskyi, O. Bogomazov, K. Malevich and others.&#x0D; This paper expands the concept of emblematics, symbolism of the Baroque and its quotation in the modern Ukrainian art. It has been brought out that the image symbolism of H. Skovoroda in their creativity expressed the idea of Ukrainian Sacrum, sophistication and cordocentrism. The philosophy of Ukrainian art, based on the idea of Sacrum, as well as on the sacral signatures of the national fine arts, developed its own understanding of both art and artistic concepts that reflected the revolutionary “mythmaking” and transformed the stable Ukrainian archetype into new artistic images.&#x0D; Skovoroda’s teachings have always attracted artists by their uniqueness, the significance of opinions, the depth of spiritual understanding of both the world and man, while his mystical symbolism is still quoted in the works of Ukrainian artists. Skovoroda’s figure is embedded in the historical process of understanding both the man and the world around, and his views can be projected not only onto the past, but likewise onto the present. In Ukrainian fine art and iconography, the philosopher’s dream of the harmony of human existence, the greatness of his spirit and self-knowledge is still maintained.&#x0D; The expressed allegorical nature of Skovoroda’s philosophical meditations is reflected in the symbolism of both the past and contemporary works of art. The illustration of a conceptual idea in terms of images-symbols is kind of “l'instant épié”, which aims at the most adequate expression of the artist’s point of view, when reality is transformed by flair, and everything that the artist’s brush touches rises above everyday life and becomes poetic.

ture from Greece and Rome to the present. In Over the past decades, several authors, among particular, whatever happened in the eighteenth them Paul Oskar Kristeller, Larry Shiner, Pierre century, there is continuity as well as change in the Bourdieu, Terry Eagleton, and Paul Mattick, have Western traditions of all the arts mentioned above, argued that is of recent origin—in fact, as well as in the arts of other cultures as they have that it originated (along with its name) in the traveled from antiquity through the shock of the eighteenth-century West.1 They also note that the modern and of globalization, word 'art,' as we now use it in reference to paintMore often than not throughout this history, ings, sculptures, concerts, and the like, has come various arts have also been combined in such to mean approximately the same thing as 'fine art' forms as drama or public celebrations. And in did then. So they may be taken as claiming that many if not all societies, we have reflected on and art is of recent, Western origin.2 Finally, many of categorized human skills, pleasures, and practices these same authors claim that art has an inherin ways that may initially resemble modern group ently ideological function within modern society. ings of the arts; this adds to the initial implausi Most readers of this journal are familiar with these bility of what Kristeller et al. have to say. Thus, views. I find them persuasive, but with the excepthe ancient Greeks had the Muses (though a close tion of some brief remarks about the descent of look at the variety of arts they sponsored, includ art from fine art, I do not defend them in this aring history and astronomy, quickly shows that they tide.3 Rather, I argue that if they are correct, the did not embody our category of art). Classical In project of defining art is misconceived and should dian society reflected on the nature of rasa (var be abandoned, as should arguments (at least by iously translated as relish and transcendental philosophers) about what should and should not enjoyment) as produced by drama, poetry, and count as art. song.5 I begin by clarifying what I am assuming, for it The authors mentioned in my first paragraph is easy to misunderstand what these authors are are aware of these facts and accept them. What saying. On the surface, they appear to contradict can they mean, then, by saying that fine art, in some well-established facts. Human beings have deed art as we now understand it, originated in been drawing and painting, carving and decorateighteenth-century Europe? What is new, they ing, singing and dancing, telling stories and acting say, is the eighteenth-century idea that what came them out for tens of thousands of years. Likewise, to be identified as the fine arts share a unique as Ellen Dissanayake puts it, we have always been essence, in virtue of which they should be called inclined to make things special.4 We have alfine and distinguished from other activities ways valued a wide variety of skills, whether they such as craft and popular entertainment. Also new promote our survival, facilitate social interaction, is the interlocking set of fine art concepts, in or please and entertain us. Most societies have trastitutions, and practices that formed around this ditions within which standards, training, and critcore notion. Following Kristeller and Shiner, I call ical discussion regulate the practice of such skills, all of this (the arts themselves, plus the concepts,

The purpose of the article is to research and analyse the development of marketing technologies in the fine art market from the ancient times to the beginning of the 21st century. The research methodology consists in the application of comparative, empirical, and theoretical methods. This methodological approach allows analysis of the formation process and the history of the development of fine art marketing, conducting a research of marketing processes during the promotion of works of art on the art market at different periods of human history. The scientific novelty consists in expanding ideas about the fine art market. The article explores for the first time marketing processes on the art market from the ancient times to the beginning of the 21st century. The article analyses for the first time the problems that were formed and overcome during the history of the emergence and development of marketing in the field of culture and art. Besides, for the first time, the theoretical foundations of fine art marketing and the ways of their practical implementation are analysed. Conclusions. The conducted analysis allowed us to determine that even before the emergence of the modern art market as an element of the general capitalist market, the movement of works of fine art already thousands of years ago, in the ancient times contained elements of marketing approaches and technologies. This movement was caused by the processes of sale and purchasing, exchanging, and collecting works of art. In particular, we are talking about the precursors of marketing approaches and technologies aimed at a kind of satisfaction of the demand for works of fine art in society; organisation of classification and collection of works of fine art; examination of their quality and originality; determining the methods of works of art promotion in society. All these methods were already available at that time. In general, we can talk about the existence before the emergence of the modern art market of works of fine art, the so-called «wild market», which in a certain way "regulated" the processes of the movement of works of art in society.&#x0D; Key words: art marketing, art market, works of art «wild market», marketing technologies.