Arts最新文献

{"title":"Redefining Women’s Bodies from the Perspective of Iranian Contemporary Female Artists","authors":"Paria Karami","doi":"10.3390/arts13060167","DOIUrl":"https://doi.org/10.3390/arts13060167","url":null,"abstract":"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.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"4 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142598019","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Storied Rocks: Portals to Other Dimensions","authors":"Richard Stoffle, Kathleen Van Vlack, Alannah Bell, Bianca Eguino Uribe","doi":"10.3390/arts13060168","DOIUrl":"https://doi.org/10.3390/arts13060168","url":null,"abstract":"Storied Rocks (Tumpituxwinap) is a term of reference used by the Numic speaking tribal elders whom we have worked with for over 60 years on an estimated 200 ethnographic studies. Key to this analysis are the protocols for approaching, interacting, and using the places where Storied Rocks have been located. Concomitant with these traditional protocols are ones established to resolve the curiosity of non-Natives about why they are in a particular place and what they mean. This analysis shares the cultural understandings of tribal representatives who participate in these ethnographic studies. Studies used in the analysis were funded by U.S. federal agencies, supported by federally recognized Native American tribal governments, and composed with the cultural understandings shared and made public by tribally appointed elders to clarify the conundrums that are Storied Rocks.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"244 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142596543","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Staging Statecraft: Dance Festivals and Cultural Representations in Konark, Odisha, India","authors":"Mihika Banerjee","doi":"10.3390/arts13060166","DOIUrl":"https://doi.org/10.3390/arts13060166","url":null,"abstract":"This essay argues that dance festivals are choreographed spaces that shape cultural heritage. The Konark Dance Festival in Odisha, India, is an annual program situated around the Konark Sun Temple, a UNESCO-recognized World Heritage Site. The following explores the interrelationship between the modern space of the temple monument and the modern format of festival dances in Konark. The festival project juxtaposes the monument’s archaeological value with the dances’ cultural value in choreographic neatness, which requires a critical interrogation to determine the negotiations, appropriations, and discomfort these processes otherwise entail. This article also branches out into cultural discourses beyond the stated festival that examine the historical, diplomatic, and touristic networks the dance festival often encompasses. Following the creation of the modern state of Odisha (in 1936) and of the independent nation of India (in 1947), Odisha regional dance forms were remodelled to produce the state dance Odissi, which gained national “classical” recognition in the 1960s and subsequent international repute. Odissi dance has subsequently been formulated and globally circulated as an anthropomorphic symbol of the geopolitical state of Odisha. Through ethnography, visual study, and choreographic analysis, this essay explores the (re)presentational aspects of the region-state in and through dance, which rhetorically inform the staging of the Konark Dance Festival.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"126 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142574358","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Artistic Production in a Necropolis in Motion","authors":"Nico Staring","doi":"10.3390/arts13060165","DOIUrl":"https://doi.org/10.3390/arts13060165","url":null,"abstract":"The present article studies aspects of the artistic production at New Kingdom Saqqara, a necropolis of the ancient Egyptian royal residence city Memphis. Following a brief review of the functions of ancient Egyptian tombs, this article will first set out to scrutinize the tomb-making section of society (e.g., size, membership). Second, the corpus of tombs will be reviewed to uncover the diverse nature of the tomb owners and to investigate access to resources required for tomb making. Third, the article will proceed to place the tombs in spatial and temporal context and reflect on the artistic production in a necropolis in motion.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"14 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142541501","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Towards a Study of Incidental Music Through the Lens of Applied Musicology","authors":"Monika Novaković","doi":"10.3390/arts13060164","DOIUrl":"https://doi.org/10.3390/arts13060164","url":null,"abstract":"In this article, applied musicology is discussed in the context of research on incidental music in Serbia—a task which, to my knowledge, has not been undertaken so far. In recent years, the body of publications on applied musicology has notably expanded, resulting in a number of important articles and a landmark collective monograph. This, in turn, prompted me to view my main research interests—applied music and, in particular, incidental music—through the lens of applied musicology and offer my perspective on the possibilities of regarding incidental music as a field that can benefit from applied-musicological interventions. In this article, I draw attention to challenges that arise once a musicologist sets out to analyse incidental music. I undertake this by (a) presenting what I define as a reconstructive-analytical method in approaching incidental music and (b) utilising the narrative “behind the scenes” of my doctoral research.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"15 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-10-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142536663","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Lebanese Cedar, Skeuomorphs, Coffins, and Status in Ancient Egypt","authors":"Caroline Arbuckle MacLeod","doi":"10.3390/arts13060163","DOIUrl":"https://doi.org/10.3390/arts13060163","url":null,"abstract":"In ancient Egypt, as with many cultures, funerary objects often communicated aspects of access, power, and social status. Lebanese cedar, for instance, was selected as a particularly desirable material from which to craft the coffins of Egypt’s upper echelons. This imported timber was both structurally superior to local woods and had important social and religious significance. For the slightly lower-ranking elite of Egypt, for whom cedar was inaccessible, local wood skeuomorphs that imitated cedar coffins were created in their place. The skeuomorphs enabled these individuals to demonstrate their knowledge of elite styles and tastes, and, due to the power of the image in ancient Egypt, also allowed for them to borrow the religious power of cedar wood to protect and enhance their own coffins. In this paper, a selection of Old to Middle Kingdom coffins are discussed to demonstrate the ways that cedar was emphasized as a construction material by the upper elite and mimicked by the middle and lower elite. This helps to demonstrate both the value of cedar in ancient Egypt, as well as the means by which imagery could be manipulated to gain access to the power of this potent material.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"75 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142486788","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Expanding Understandings of Curatorial Practice Through Virtual Exhibition Building","authors":"Francesca Albrezzi","doi":"10.3390/arts13050162","DOIUrl":"https://doi.org/10.3390/arts13050162","url":null,"abstract":"This article reflects on the translation of gallery space into a virtually immersive experience in an era of remote access. Curators and scholars such as Mary Nooter Roberts, Susan Vogel, Carol Duncan, Tony Bennet, Stephen Greenblatt, Judith Mastai, and Barbara Kirshenblatt-Gimblett have discussed the myriad of ways in which the experience of culturally significant objects and sites in person has been critical to the study of art and its history. Focusing on theories of curation and display, I utilize practice-based examples from six virtual reality (VR) exhibitions produced in three different institutional contexts: the International Journal of Digital Art History’s online gallery, the European Cultural Center’s Performance Art program, and the Digital Humanities program at the University of California, Los Angeles. By documenting and analyzing the extended reality (XR) methods employed and the methodological approaches to the digital curatorial work, I address some of the challenges and opportunities of presenting objects in virtual space, offering comparisons to those faced when building physical exhibitions. I also consider how digital modalities provide a distinctly different paradigm for epistemologies of art and culture that offer greater contextualized understandings and can reshape exhibition documentation and the teaching of curatorial practice and museum studies.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"20 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142451512","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Cross-Cultural Histories and Traditions Between the Cut and Engraved Glass Scenes of the UK and Japan","authors":"Jessamy Kelly","doi":"10.3390/arts13050161","DOIUrl":"https://doi.org/10.3390/arts13050161","url":null,"abstract":"Recent research conducted by Heritage Crafts, a prominent national advocacy organisation dedicated to preserving traditional heritage crafts in the UK, has unveiled a concerning trend: several traditional craft skills teeter on the edge of extinction within the UK. This revelation stems from the Heritage Crafts Red List of Endangered Crafts, an initiative which identifies crafts facing the risk of endangerment. In their recent 2023 publication, Heritage Crafts highlighted the distressing decline of cut and engraved glass craftsmanship in the UK, categorising and placing both brilliant cutting (as endangered) and copper wheel engraving (as critically endangered) on the Red List of Endangered Crafts in the UK. This means that these crafts pose the risk of not being actively practised. In December 2023, the alarming downturn of these crafts in the UK was explored and discussed during a conference held at Edinburgh College of Art (ECA), entitled Edo-Kiriko: The Art of Japanese Cut Crystal. This event explored the cross-cultural connection and exchange that exists between Scotland and Japan, drawing upon a rich historical exchange that saw the transmission of Western-style glassmaking from Scotland to Japan in the 1870s–1880s. It also details the more recent exchange that has been in place between Edinburgh College of Art (ECA) and the Horiguchi Kiriko glass studio in Tokyo, Japan. This modern-day exchange has seen the recent transmission of glass-cutting skills through a masterclass led by Toru Horiguchi at ECA. This paper presents this conference, introducing the invited speakers and creating a commentary on the proceedings and the plenary discussions that unfolded. Focus and discussion will be given to the factors that have contributed to the current decline of cut and engraved glassmaking in the UK and the possible measures that could be taken to support and safeguard this field. The final part of this paper will offer a reflection on the conference proceedings and will conclude by making an urgent call for the future of cut and engraved glass craftsmanship in the UK. It is hoped this paper will draw attention to the urgent need for support from education and funding bodies, to safeguard and protect these vital heritage crafts, which boast a rich history in the UK.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"56 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142451494","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Unseen Truth of God in Early Modern Masterpieces","authors":"Simon Abrahams","doi":"10.3390/arts13050158","DOIUrl":"https://doi.org/10.3390/arts13050158","url":null,"abstract":"God the Father was considered so completely inexpressible and unembodied that his visual appearance in early modern masterpieces has long challenged the theological accuracy of such works. A recent discovery complicates that issue. Albrecht Dürer’s 1500 Self-portrait as Christ is incorrectly considered an isolated example of divine self-representation. It was, in fact, as shown here, part of a long tradition throughout Europe between at least the fifteenth and seventeenth centuries. The praxis, potentially sacrilegious, raises questions about the truth of art at its highest level. To address this conundrum, this article analyzes works by three eminent, but very different, artists: Michelangelo, Raphael, and Dürer. Two current methodologies—visual exegesis and the poetics of making—support the argument. The analysis reveals that there is a fundamental unity to their work, which has not been recognized on account of three popular misconceptions about the nature of art, divinity, and the mind. This article concludes that depictions of God the Father and Christ by these artists are neither heretical nor false because, as the evidence shows, all three were part of a continuous spiritual tradition embedded within their craft.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"44 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142444495","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Exhibiting for Purpose: Finnish Art in Moscow in 1934","authors":"Hanna-Leena Paloposki, Katarina Lopatkina","doi":"10.3390/arts13050156","DOIUrl":"https://doi.org/10.3390/arts13050156","url":null,"abstract":"This article is a case study that illustrates the complex intersection of art, politics, and diplomacy in the interwar period. Based on Finnish and Soviet archival documents and press publications, it examines the entire process of organising a Finnish art show abroad. The exhibition, held from 28 November to 24 December 1934, in Moscow, was seen as a landmark event, drawing significant attendance and fostering Finnish–Soviet cultural exchange. By analysing various factors contributing to its success, we provide a detailed picture of both artistic and political influences, demonstrating how cultural events can transcend mere aesthetic appreciation to become significant diplomatic tools.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"9 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-10-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142383886","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}