Arts最新文献 - Book学术

Tracking Change in Rock Art Vocabularies and Styles at Marapikurrinya (Port Hedland, Northwest Australia) 马拉皮库里亚（澳大利亚西北部黑德兰港）岩石艺术词汇和风格的变化

IF 0.5

Arts Pub Date : 2025-10-13 DOI: 10.3390/arts14050123

Sam Harper

引用次数: 0

Food Labels as Media and Artistic Artifacts—A Case Study of Muszynianka Water Labels 食品标签作为媒介和艺术品——以Muszynianka水标签为例

IF 0.5

Arts Pub Date : 2025-10-13 DOI: 10.3390/arts14050122

Patrycja Longawa, Andrzej Adamski, Jacek Wiśniowski

引用次数: 0

History and Overview of the Unique Architecture of Pipe Organs in St. Mary Magdalene’s Church in Wrocław (Poland) from the Middle Ages to the Present Day 中世纪至今Wrocław（波兰）圣玛利亚抹大拉教堂独特管风琴结构的历史与概述

IF 0.5

Arts Pub Date : 2025-10-02 DOI: 10.3390/arts14050121

Karol Czajka-Giełdon, Krystyna Kirschke

{"title":"History and Overview of the Unique Architecture of Pipe Organs in St. Mary Magdalene’s Church in Wrocław (Poland) from the Middle Ages to the Present Day","authors":"Karol Czajka-Giełdon, Krystyna Kirschke","doi":"10.3390/arts14050121","DOIUrl":"https://doi.org/10.3390/arts14050121","url":null,"abstract":"The historical pipe organ, an instrument of vast scale and complex construction, has a significant connection to liturgical celebration and to the history of European churches. It is also one of the few musical instruments considered to be a work of architecture. The evolution of organ building, especially in the seventeenth to nineteenth centuries, required deep knowledge of musical culture and technology. The significance of this relationship is illustrated by the example of the former and present organs of the church of St. Mary Magdalene in Wroclaw (Breslau). The first church organs appeared here in the Middle Ages, and as will be shown, in subsequent eras, their location, form, and décor were changed according to evolving cultural and liturgical mandates as well as changes to the structure of the church architecture. The history of the specific organs of the church of St. Mary Magdalene is the product of a rich history of monumental construction, reconstruction, conservation, and restoration, and it is poised to offer a continuation of this tradition in the present and future of the parish and in music history with proposed restorations and renovations of their historic space and instruments.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"85 1","pages":"121"},"PeriodicalIF":0.5,"publicationDate":"2025-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145254566","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}

引用次数: 0

Casa da Arquitectura and the Liminality of Architecture Centers: Archives, Exhibitions, and Curatorial Strategies in the Digital Shift 建筑之家和建筑中心的阈限：数字化转型中的档案、展览和策展策略

IF 0.5

Arts Pub Date : 2025-10-01 DOI: 10.3390/arts14050120

Giuseppe Resta, Fabiana Dicuonzo

{"title":"Casa da Arquitectura and the Liminality of Architecture Centers: Archives, Exhibitions, and Curatorial Strategies in the Digital Shift","authors":"Giuseppe Resta, Fabiana Dicuonzo","doi":"10.3390/arts14050120","DOIUrl":"https://doi.org/10.3390/arts14050120","url":null,"abstract":"This study explores the evolving role of architecture centers in the digital age by analyzing the case of Casa da Arquitectura (CdA) in Porto, Portugal, a hybrid institution that functions as both archive and museum. Positioned within the broader context of museum digitization and liminality theory, the research investigates how CdA navigates the spatial, social, and procedural shifts inherent in digital transformation. Drawing on qualitative methods, including in-depth interviews with key personnel and on-site observations, the study examines the institution’s strategies in acquisition, curation, and exhibition design. The findings highlight CdA’s innovative approach to archival visibility, the creation of a multipurpose digital platform (“edifício digital”), and the integration of archival acquisitions with exhibition practices. These practices illustrate a condition of triple liminality of the digital museum concerning its process, position, and place. The study also discusses how digitization reconfigures the museum’s organizational model in terms of accessibility and curatorial complexity. By analyzing CdA’s operational and curatorial choices, the paper discusses how digital museums can act as speculative, process-oriented spaces that challenge traditional boundaries between archive and exhibition, physical and virtual, institutional and public.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"39 1","pages":"120"},"PeriodicalIF":0.5,"publicationDate":"2025-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145254637","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}

引用次数: 0

From Silos to Synergy: Redefining Collaboration in the Performing Arts and Museum Sectors 从孤岛到协同：重新定义表演艺术和博物馆部门的合作

IF 0.5

Arts Pub Date : 2025-10-01 DOI: 10.3390/arts14050119

Christos A. Makridis

{"title":"From Silos to Synergy: Redefining Collaboration in the Performing Arts and Museum Sectors","authors":"Christos A. Makridis","doi":"10.3390/arts14050119","DOIUrl":"https://doi.org/10.3390/arts14050119","url":null,"abstract":"The arts sector—museums, theaters, and orchestras—in the United States and Europe faces increasing financial and operational challenges, from declining attendance to reduced public and private funding. While these organizations have historically pursued their goals independently, their future may depend on fostering collaboration across these traditionally siloed institutions. By pooling resources, expertise, and, most importantly, audiences, cross-disciplinary partnerships can amplify the impact of cultural institutions while addressing shared challenges. For instance, museums and performing arts organizations could collaborate on immersive experiences that integrate visual and performing arts, attracting a broader and more diverse audience base. Similarly, joint programming and shared digital platforms could reduce overhead costs and expand outreach. These partnerships also enable the arts to present a unified case for public and philanthropic support, leading to greater collective societal impact. Drawing on successful examples of cross-sector collaboration, this paper explores practical strategies for fostering synergies among arts institutions. By working together, the arts can not only enhance their resilience in a challenging environment but also redefine how cultural experiences are created and consumed, ensuring their relevance and vibrancy for future generations.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"125 1","pages":"119"},"PeriodicalIF":0.5,"publicationDate":"2025-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145254512","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}

引用次数: 0

Resisting Chauvinist Stereotypes: The Impertinence of Russian Painting at London’s International Exhibition of 1862 抵制沙文主义的刻板印象：1862年伦敦国际展览会上俄罗斯绘画的无礼

IF 0.5

Arts Pub Date : 2025-09-30 DOI: 10.3390/arts14050118

Rosalind Polly Blakesley

{"title":"Resisting Chauvinist Stereotypes: The Impertinence of Russian Painting at London’s International Exhibition of 1862","authors":"Rosalind Polly Blakesley","doi":"10.3390/arts14050118","DOIUrl":"https://doi.org/10.3390/arts14050118","url":null,"abstract":"The Russian empire’s displays of applied and decorative art at the Great Exhibition of 1851 and its immediate successors have long galvanised scholars for their semantic complexity. By contrast, Russia’s first selection of paintings for this fiercely competitive arena, shown at London’s International Exhibition of 1862, failed to ignite the public imagination and has largely evaded the historian’s gaze. While the three-dimensional artworks provided a recurrent source of wonderment for their superlative craftsmanship, stupendous materials, and often hyperbolic proportions, the paintings were apparently flat in every sense of the word: derivative, lacklustre, and incapable of capitalising on the opportunity that international exhibitions offered to present a national school. The dismissive comments they attracted set the tone for many later accounts, embedding the idea that Russian painting prior to the twentieth century was of limited consequence—a perception that would prove convenient to those asserting the originality of the avant-garde. Yet renewed consideration of Russia’s display of paintings in 1862 suggests that their critical reception speaks to concerns that went well beyond the pictures’ supposed obligation to represent a national school. Notably, a small but significant number of history and portrait paintings by academically trained and often well-travelled artists challenged notions of Russians as primitive and parochial. The technically adventurous of these parried the belief that Russian art was insufficiently mature to experiment in painterly effect. Most audacious of all, they broached unspoken national boundaries by daring to suggest that Imperial Russian artists could innovate in areas on which the success of British painting rested. The attitudes towards Russian painting in 1862 thus invite fresh scrutiny, revealing as they do a disruptive arena in which aesthetic rivalries and chauvinist sensibilities came to the fore.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"157 2 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2025-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145254690","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}

引用次数: 0

Music and Narrative: Philip Glass’s Post-Minimalist Technique in The Hours Interacts with the Structure of the Film 音乐与叙事：菲利普·格拉斯在《时时刻刻》中的后极简主义手法与电影结构的互动

IF 0.5

Arts Pub Date : 2025-09-29 DOI: 10.3390/arts14050117

Bomin Wang

引用次数: 0

Human Skeletons in Motion, Defleshed Animals in Action and Transformation of Species in Northern Tradition Rock Art 运动中的人骨、运动中的动物和北方传统岩石艺术中的物种转换

IF 0.5

Arts Pub Date : 2025-09-25 DOI: 10.3390/arts14050116

Trond Klungseth Lødøen

引用次数: 0

Wrapping Up “Through the Eyes of Those Who Are No Longer”: Paolo Taviani’s Leonora addio (2022) 《逝者之眼》结束语：保罗·塔维亚尼的《莱奥诺拉·迪奥》（2022）

IF 0.5

Arts Pub Date : 2025-09-24 DOI: 10.3390/arts14050115

Marco Grosoli

{"title":"Wrapping Up “Through the Eyes of Those Who Are No Longer”: Paolo Taviani’s Leonora addio (2022)","authors":"Marco Grosoli","doi":"10.3390/arts14050115","DOIUrl":"https://doi.org/10.3390/arts14050115","url":null,"abstract":"The first film signed by Paolo Taviani without his brother Vittorio (who died in 2018) in more than 60 years, Leonora addio (2022) recapitulates and condenses an entire career by recounting the grotesque (real-life) journey of the burial, cremation, exhumation, transfer (from Rome to Sicily) and re-burial of Luigi Pirandello’s corpse over more than ten years, as well as by showing in the last thirty minutes an adaptation for the screen of “The Nail” (“Il chiodo”, the last novella by the renowned Sicilian writer). A quintessential testament film refracting the writer’s death in Vittorio’s (one of the film’s many Pirandello-esque mirror games) and alluding to the intellectual legacies of either, Leonora addio daringly thematizes the exploitation of cultural value as well as its political implications—particularly in the specific Italian context and, implicitly yet unmistakably, in the present day too. My paper will analyse Leonora addio paying particular attention to how this subtext intersects the film’s “testamentary” surface, to Deleuze’s “crystal images” (pervasively informing the structure of Leonora addio), to the film’s many nods to Kaos (a 1984 Pirandello adaptation for the screen by the Taviani, analysed mainly through the lens of Lacanian gaze theory) and to the role of death in both films.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"86 1","pages":"115"},"PeriodicalIF":0.5,"publicationDate":"2025-09-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145134621","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}

引用次数: 0

Exploring the Interface Between Orality, Text and Images: An Interplay of Black Drawings and Unfired Clay Figures Within the Depths of the Sierra Mixe of Oaxaca, Mexico 探索口头，文字和图像之间的界面：在墨西哥瓦哈卡州山脉深处的黑色绘画和未烧制粘土人物的相互作用

IF 0.5

Arts Pub Date : 2025-09-23 DOI: 10.3390/arts14050114

Leslie F. Zubieta Calvert

引用次数: 0