IF 0.5

Arts Pub Date : 2026-06-01 DOI: 10.3390/arts15060123

Catherine Asquith

{"title":"Women Art Collectors and Legacy: Two Case Studies Examining the Legacy-Building Strategies of Australian Women Art Collectors of Contemporary Art","authors":"Catherine Asquith","doi":"10.3390/arts15060123","DOIUrl":"https://doi.org/10.3390/arts15060123","url":null,"abstract":"This paper examines two Australian women art collectors of contemporary art, Sydney-based Gene Sherman, and Melbourne-based Naomi Milgrom, each of whom is subject to case study analysis, interrogating their role and participation in arts-related scenarios, to highlight collector behaviour and discern legacy building strategies and mechanisms. Using observations from these trajectories and case study scholarship of historically significant women collectors as a category of evidence, in addition to theoretical concepts to frame the analysis, I argue that women collectors hold inherent ambitions to construct a legacy. By employing strategic mechanisms in the form of publishing and archiving protocols, collaborative exhibitions with museums and institutions, and philanthropic initiatives, women collectors advance legacy building. Further, women collectors develop innovative and unorthodox programs incorporating multi-disciplinary approaches to facilitate legacy. Finally, I assert that women collectors leverage their positions, connections, and collections to support these legacy-building aspirations. Through a consideration of the women collectors’ active engagement with the art market, together with a comparative analysis of historical collector behaviour present within the relevant literature, this study has revealed several key findings. Collector behaviours discerned in the case studies comprise clearly articulated and intentional legacy building, sustained archival practices to preserve histories, innovation, collaboration with actors to facilitate legacy, and assertive leveraging of position, status and collections to strengthen legacy objectives.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"25 1","pages":"123"},"PeriodicalIF":0.5,"publicationDate":"2026-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148285620","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

Kasimir Malevich, Maria Dzhagupova and a Contested Portrait of Elizaveta Iakovleva 卡西米尔·马列维奇，玛丽亚·扎古波娃和有争议的伊丽莎白·雅科夫列娃肖像

IF 0.5

Arts Pub Date : 2026-05-29 DOI: 10.3390/arts15060118

Alexander Lisov, Willem Jan Renders

引用次数: 0

Aesthetics of Thrownness in Experimental Black Cinema: Torque, Ecstasy, and Glitch 实验性黑人电影中的投掷美学：扭力、狂喜与故障

IF 0.5

Arts Pub Date : 2026-05-29 DOI: 10.3390/arts15060115

Rebecca Anne Sheehan

{"title":"Aesthetics of Thrownness in Experimental Black Cinema: Torque, Ecstasy, and Glitch","authors":"Rebecca Anne Sheehan","doi":"10.3390/arts15060115","DOIUrl":"https://doi.org/10.3390/arts15060115","url":null,"abstract":"This article theorises an “aesthetics of thrownness” in experimental Black cinema through three recurring aesthetic figures—torque, glitch, and ecstasy—that materially rupture cinematic continuity and perceptually dislodge spectators from immersive viewing. Taking Arthur Jafa’s account of the “barometric pressure” of Black artistic presence in white-dominant art spaces as a starting point, the essay reframes this experience through Martin Heidegger’s concept of Geworfenheit (thrownness), arguing that these works do not merely present the problem of anti-Blackness but stage its atmospheric mechanics as felt experience. Close readings of Jafa’s Love is the Message, the Message is Death (2016), Kahlil Joseph’s Until the Quiet Comes (2012), featuring Storyboard P., and Ja’Tovia Gary’s An Ecstatic Experience (2015), alongside Christopher Harris’s Speaking in Tongues (2024), show how torque, glitch, and ecstasy produce a visceral estrangement that both mimics and contests the command of Black social death theorised by Afro-pessimists. Torque twists bodies, evading frontality, and editing away from linear narrative capture; glitch renders the origins of embodiment uncertain across body, camera, and platform; ecstatic processing displaces the image “outside itself,” foregrounding mediation as atmosphere. These ruptures “throw” the white gaze from default authority, generating politically productive breakdowns that expose liberal ideas of universal equality as structurally compromised by anti-Blackness.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"27 1","pages":"115"},"PeriodicalIF":0.5,"publicationDate":"2026-05-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148285625","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

A Comparison of Byzantine and Armenian Church Music in Terms of Musical Parameters 拜占庭和亚美尼亚教堂音乐在音乐参数方面的比较

IF 0.5

Arts Pub Date : 2026-05-29 DOI: 10.3390/arts15060117

Kutup Ata Tuncer, Seçil Soytok Nalçacı

{"title":"A Comparison of Byzantine and Armenian Church Music in Terms of Musical Parameters","authors":"Kutup Ata Tuncer, Seçil Soytok Nalçacı","doi":"10.3390/arts15060117","DOIUrl":"https://doi.org/10.3390/arts15060117","url":null,"abstract":"In this study, we compare Byzantine and Armenian church music, focusing on musical parameters such as notation systems, modal structure, rhythmic concepts, and liturgical practice. Both traditions, which took shape within the shared cultural heritage of Anatolia, share fundamental common characteristics such as the eight-mode (Octoechos/oot tzayn) system, a monophonic vocal-based structure, and a text-based rhythmic approach; however, they have developed distinct characteristics under the influence of historical, political, and cultural dynamics. Conducted using comparative historical research methods, this study involved a literature review based on primary and secondary sources. The findings reveal the following: while the Byzantine tradition followed an evolution from Ecphonetic to Neume to modern notation, the Armenian tradition developed the Khaz–Hampartsum notation system; the distinction between authentic and plagal modes exists in both traditions, yet the correspondences established with the Turkish makam system at the theoretical and microtonal (cent) levels are approximate; and regarding rhythmic structure, both traditions share a text-driven, free-flowing organization in which liturgical prosody takes precedence over fixed meter, with such variation as exists operating at the level of ornamentation and performance practice rather than underlying rhythmic principle. During the Ottoman period, both traditions experienced deep interaction with Turkish makam theory; the Chrysanthos reform in Byzantium and the Hampartsum notation in Armenian music is concrete evidence of this interaction.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"22 1","pages":"117"},"PeriodicalIF":0.5,"publicationDate":"2026-05-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148285626","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

Ivo Pannaggi: A “Muscovite from Marche” Between Mechanical Art and Constructivism 伊沃·潘纳吉：一个“来自马尔凯的莫斯科人”，介于机械艺术和构成主义之间

IF 0.5

Arts Pub Date : 2026-05-28 DOI: 10.3390/arts15060114

Valentina Parisi

引用次数: 0

Visual Nature: Multiperspectivity on Peru’s South Coast 视觉自然：秘鲁南海岸的多视角

IF 0.5

Arts Pub Date : 2026-05-27 DOI: 10.3390/arts15060113

Carolyn Dean

{"title":"Visual Nature: Multiperspectivity on Peru’s South Coast","authors":"Carolyn Dean","doi":"10.3390/arts15060113","DOIUrl":"https://doi.org/10.3390/arts15060113","url":null,"abstract":"Imagery produced by the Indigenous peoples of south-coastal Peru (100 BCE–700 CE) frequently paired plants, animals (human and otherwise), and what have been called mythical or supernatural entities in predator–prey relationships. The dyads suggest that the Nasca and their Paracas predecessors understood the biosphere as both the source and product of energy flow in which all entities functioned as both takers and givers. The perspectivist concept of multinaturalism reveals the ways south-coastal imagery visualizes commonality beyond domains; plants, animals, supernaturals, the living, and the dead all participated in the necessary give and take of life energy. Employing a holistic, ecosystemic perspective, artisans utilized visual analogy to emphasize this commonality across their different natures. Although predators and prey might appear antagonistic, ultimately, in cosmic terms, the pairings perform as complements, and so serve to remind viewers of their reciprocal obligations: takers must give, and givers must take. Yet, despite emphasizing equilibrium, takers dominated the south-coastal pictorial corpus. In the end, such imagery served the interests of high-status males who themselves took on powerful “taker” abilities, suggesting that they and their actions revved the cosmic engine to the benefit of all beings.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"27 1","pages":"113"},"PeriodicalIF":0.5,"publicationDate":"2026-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148285699","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

Visual Arts: Future Perspectives and Contributions to Sustainability Within the Saudi Society 视觉艺术：对沙特社会可持续发展的未来展望和贡献

IF 0.5

Arts Pub Date : 2026-05-26 DOI: 10.3390/arts15060112

Maria de la O. Fernandez Raposo

{"title":"Visual Arts: Future Perspectives and Contributions to Sustainability Within the Saudi Society","authors":"Maria de la O. Fernandez Raposo","doi":"10.3390/arts15060112","DOIUrl":"https://doi.org/10.3390/arts15060112","url":null,"abstract":"The concept of awareness in the visual arts has become an ethical, professional, and social imperative. Adopting a sustainable approach to creative practice is no longer a trend but an established and necessary field of inquiry. Within this context, awareness has been expressed not only through eco-branding and design campaigns but also through artworks and contemporary artistic practices that embody sustainable values both aesthetically and philosophically. Visual arts thus function as a reflective and critical tool, capable of reassessing past and present paradigms, encouraging more responsible uses of resources, promoting environmental sustainability, and shaping public attitudes through conscious and critical forms of expression. This study adopts a qualitative approach to examine transformations in contemporary art practices within the Saudi Arabian art scene. Selected artworks are analysed to explore historical and conceptual narratives shaping artistic production. The research is based on a bibliographic and documentary review that includes academic literature, exhibition catalogues and press sources related to the Saudi cultural context. Data are gathered through observing artworks and, where possible, through interviews with artists. A comparative analysis was developed, with the study framed by art practices, their concepts, and their ecological contributions, leading to a sustainable awareness and their potential role in encouraging social change. The comparative study among artists provides an innovative research framework and initiates a broader dialogue on sustainable creative practices rooted in Saudi cultural contexts. The findings highlight how visual arts contribute to ecological awareness and climate activism through art installations, recycled materials, and digital practices, reinforcing sustainability as a core value within contemporary Saudi society.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"34 1","pages":"112"},"PeriodicalIF":0.5,"publicationDate":"2026-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148289687","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

“Perfectly You”: Visual Thinking and Decolonization in the Canadian Speculative Fiction Classroom “完美的你”：加拿大思辨小说课堂中的视觉思维与去殖民化

IF 0.5

Arts Pub Date : 2026-05-19 DOI: 10.3390/arts15050108

Jane M. Tolmie, William Carroll

引用次数: 0

To Be Undisappeared: The Art(s) of Violent Outbursts Against African Migrants in South Africa 《不消失：南非针对非洲移民的暴力爆发的艺术》

IF 0.5

Arts Pub Date : 2026-05-19 DOI: 10.3390/arts15050109

Gabriela Anderson

{"title":"To Be Undisappeared: The Art(s) of Violent Outbursts Against African Migrants in South Africa","authors":"Gabriela Anderson","doi":"10.3390/arts15050109","DOIUrl":"https://doi.org/10.3390/arts15050109","url":null,"abstract":"African migrants arriving in South Africa are finding themselves fighting a war on two fronts: the one they fled from and the one they are arriving to. As a collection of five individual narratives, this research goes behind the paintings, performances, and poetry to understand how not only migration and xenophobia, but also lives are embodied and negotiated through creative mediums, and how these creative mediums should also be emphasised as important epistemologies. Here, a journey will be taken through understanding xenophobia and otherness through the lens of language, and will look at how the arts, as a form of language, offer an alternative space and way of communicating in a space that discriminates based on communication (or lack thereof). Accordingly, the research further investigates (self-)representation from the individual and community, how public displays of pain are really felt by the artists sharing their vulnerability, and also how creative practices create a space to negotiate between the complexities of ‘home’ and the violent state of xenophobia arrived to in and beyond South Africa. Consequently, the study explores how trauma and experiences are not always visible on the body, but are carried through the mind, spirit, and generations that come later.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"3 1","pages":"109"},"PeriodicalIF":0.5,"publicationDate":"2026-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148285629","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

We Feed the UK: Heritage, Nature and Regenerative Farming in Photographs 我们养活英国：照片中的遗产、自然和再生农业

IF 0.5

Arts Pub Date : 2026-05-19 DOI: 10.3390/arts15050110

Rupert Ashmore

{"title":"We Feed the UK: Heritage, Nature and Regenerative Farming in Photographs","authors":"Rupert Ashmore","doi":"10.3390/arts15050110","DOIUrl":"https://doi.org/10.3390/arts15050110","url":null,"abstract":"This article examines the context and aims of We Feed the UK: a multi-site series of arts projects and exhibitions, organised by the Gaia Foundation, that were exhibited at venues across the United Kingdom from February 2024 to June 2025. These aims were to celebrate and advocate for diverse regenerative food production businesses and community initiatives through poetry and photography. The featured enterprises combine food production with objectives such as biodiversity renewal, community development, mental health support and social justice, and the article proposes that this combination of environmental advocacy and affective social issues appeals to a wide and diverse audience. It supports this proposal through an examination of the first photography project in the series: Johannes Pretorius’s Intervention and Renewal, that engaged with a Cumbrian dairy farm that successfully combines biodiversity regeneration, organic agriculture and educational initiatives. Drawing upon Actor–Network Theory and notions of time as they pertain to the photograph, this examination reveals a project that offers both familiar imagery of British pastoral tropes, and the contemporary realities of the British food production system. As such it offers multiple points of engagement for audiences, and an effective entry point for the We Feed the UK programme.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"22 1","pages":"110"},"PeriodicalIF":0.5,"publicationDate":"2026-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148285630","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

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