IF 0.5

Arts Pub Date : 2025-07-22 DOI: 10.3390/arts14040081

Jorge Marum, Maria Neto

引用次数: 0

IF 0.5

Arts Pub Date : 2025-07-21 DOI: 10.3390/arts14040079

Rachel Cecília de Oliveira

{"title":"Difficulties of Difference","authors":"Rachel Cecília de Oliveira","doi":"10.3390/arts14040079","DOIUrl":"https://doi.org/10.3390/arts14040079","url":null,"abstract":"This article examines the persistent conceptual and structural obstacles that pluralism faces within the Euro-United-Statesian art system, particularly in the fields of criticism, art history, and aesthetics. The study situates its inquiry within broader debates around the politics of difference and the decolonization of knowledge, aiming to understand how theoretical frameworks historically incorporated plurality in ways that ultimately neutralize its disruptive potential. Methodologically, the article combines philosophical analysis with a critical rereading of canonical texts by figures such as Clement Greenberg and Arthur Danto, juxtaposed with insights from Indigenous, Black, and decolonial thinkers. The findings suggest that pluralism, while rhetorically embraced, is frequently rendered compatible with a teleological and universalizing narrative that privileges Western aesthetic trajectories. As a result, forms of difference are tolerated only insofar as they can be translated into hegemonic terms. The article concludes by advocating for critical practices that sustain rather than resolve difference, calling for frameworks capable of embracing dissonance, incommensurability, and multiple ontologies without collapsing them into sameness. In doing so, it repositions the contemporary struggle over meaning in art not as a problem to be overcome, but as a necessary symptom of epistemic plurality.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"23 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2025-07-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145026077","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

The Buades Gallery: A Tube of Oil Paint Open to the World Mercedes Buades and Her Support for Spanish Conceptualism, 1973–1978 布德斯画廊：向世界开放的油画管梅赛德斯·布德斯和她对西班牙概念主义的支持，1973-1978

IF 0.5

Arts Pub Date : 2025-07-21 DOI: 10.3390/arts14040080

Sergio Rodríguez Beltrán

{"title":"The Buades Gallery: A Tube of Oil Paint Open to the World Mercedes Buades and Her Support for Spanish Conceptualism, 1973–1978","authors":"Sergio Rodríguez Beltrán","doi":"10.3390/arts14040080","DOIUrl":"https://doi.org/10.3390/arts14040080","url":null,"abstract":"The Buades Gallery (1973–2003) was not merely a commercial space in Madrid. In the history of art in Spain, it served as a professional and political node for Spanish conceptualism, an art form which, due to its idiosyncrasies, required its own channels of distribution. This article seeks to examine the trajectory of Mercedes Buades in alignment with this movement, re-evaluating her role from a feminist perspective and highlighting the importance of certain agents who have traditionally been invisibilised. To this end, a theoretical approach is adopted, following the sociology of art and the social history of art, paying particular attention to the contributions of Enrico Castelnuovo, Pierre Bourdieu and Núria Peist. These frameworks enable an analysis of the role of the gallerist as a structuring agent within the artistic field, capable of generating symbolic capital and establishing dynamics of production, circulation and consumption in the context of post-Franco Spain, a country that lacked a consolidated museum infrastructure at the time. Even so, Mercedes Buades established a model of gallery practice that, beyond its commercial dimension, contributed decisively to the symbolic configuration of contemporary art in Spain and formed part of a network of artistic visibility that promoted experimental art.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"42 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2025-07-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145026071","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

Conversations with the Ancestors: Pursuing an Understanding of Klamath Basin Rock Art Through the Use of Myth, the Ethnographic Record, and Local Artistic Conventions 与祖先的对话：通过使用神话，民族志记录和当地艺术惯例来追求对克拉马斯盆地岩石艺术的理解

IF 0.5

Arts Pub Date : 2025-07-17 DOI: 10.3390/arts14040078

Robert James David

{"title":"Conversations with the Ancestors: Pursuing an Understanding of Klamath Basin Rock Art Through the Use of Myth, the Ethnographic Record, and Local Artistic Conventions","authors":"Robert James David","doi":"10.3390/arts14040078","DOIUrl":"https://doi.org/10.3390/arts14040078","url":null,"abstract":"Past archaeological practices have resulted in a distorted history of Native American cultures based upon western-biased research. This has been especially apparent in the rock art of the Klamath Basin in southern Oregon and northern California. In response to this, Native and non-Native scholars are striving to develop a counter-discourse that both challenges and replaces western constructs in research on Native American communities. The result of this approach is a growing trend within the discipline that has come to be called “Indigenous Archaeology.” Critical to this approach is that Native voices are transported from the margins of the research to its center, where they are intended to replace the Western colonialist narrative. Unfortunately, Native American tribal communities have been the targets of federal assimilation policies for the past few centuries, and as a result, much of their cultural knowledge unwittingly carries forward this distorted past. In this paper I explore a framework built upon ethnographic accounts of shamanism and rock art, along with a robust familiarity with local myth, and how this provides a foundation of traditional cultural knowledge against which to compare and evaluate the interpretive statements made in contemporary tribal members about rock art and other sacred material culture.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"70 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2025-07-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145026074","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

Mural Painting Across Eras: From Prehistoric Caves to Contemporary Street Art 壁画跨越时代：从史前洞穴到当代街头艺术

IF 0.5

Arts Pub Date : 2025-07-16 DOI: 10.3390/arts14040077

Anna Maria Martyka, Agata Rościecha-Kanownik, Ignacio Fernández Torres

{"title":"Mural Painting Across Eras: From Prehistoric Caves to Contemporary Street Art","authors":"Anna Maria Martyka, Agata Rościecha-Kanownik, Ignacio Fernández Torres","doi":"10.3390/arts14040077","DOIUrl":"https://doi.org/10.3390/arts14040077","url":null,"abstract":"This article traces the historical evolution of mural painting as a medium of cultural expression from prehistoric cave art to contemporary street interventions. Adopting a diachronic and interdisciplinary approach, it investigates how muralism has developed across civilizations in relation to techniques, symbolic systems, social function, and its embeddedness in architectural and urban contexts. The analysis is structured around key historical periods using emblematic case studies to examine the interplay between materiality, iconography, and socio-political meaning. From sacred enclosures and civic monuments to post-industrial walls and digital projections, murals reflect shifting cultural paradigms and spatial dynamics. This study emphasizes how mural painting, once integrated into sacred and imperial architecture, has become a tool for public participation, protests, and urban storytelling. Particular attention is paid to the evolving relationship between wall painting and the spaces it inhabits, highlighting the transition from permanence to ephemerality and from monumentality to immediacy. This article contributes to mural studies by offering a comprehensive framework for understanding the technical and symbolic transformations of the medium while proposing new directions for research in the context of digital urbanism and cultural memory.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"32 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2025-07-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145026073","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

An Analysis of Audio Information Streaming in Georg Philipp Telemann’s Sonata in C Major for Recorder and Basso Continuo, Allegro (TWV 41:C2) 格奥尔格·菲利普·特曼C大调直奏鸣曲与连续低音快板奏鸣曲中的音频信息流分析（twv41:C2）

IF 0.5

Arts Pub Date : 2025-07-15 DOI: 10.3390/arts14040076

Adam Rosiński

引用次数: 0

Redefining Women’s Bodies from the Perspective of Iranian Contemporary Female Artists 从伊朗当代女艺术家的视角重新定义女性身体

IF 0.5

Arts Pub Date : 2024-11-07 DOI: 10.3390/arts13060167

Paria Karami

{"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}

引用次数: 0

Storied Rocks: Portals to Other Dimensions 有故事的岩石通往其他空间的入口

IF 0.5

Arts Pub Date : 2024-11-07 DOI: 10.3390/arts13060168

Richard Stoffle, Kathleen Van Vlack, Alannah Bell, Bianca Eguino Uribe

引用次数: 0

Staging Statecraft: Dance Festivals and Cultural Representations in Konark, Odisha, India 上演国家机器：印度奥迪沙科纳克的舞蹈节和文化表征

IF 0.5

Arts Pub Date : 2024-11-04 DOI: 10.3390/arts13060166

Mihika Banerjee

{"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}

引用次数: 0

Artistic Production in a Necropolis in Motion 运动中的殡仪馆中的艺术创作

IF 0.5

Arts Pub Date : 2024-10-30 DOI: 10.3390/arts13060165

Nico Staring

引用次数: 0

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