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Journal articles on the topic 'Artă contemporană'

Author: Grafiati

Published: 5 June 2025

Last updated: 1 August 2025

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1

Babin, Dana. "Der unendliche hermeneutische Weg als Wahrheitsgeschehen." Hiperboreea A2, no. 2 (2013): 19–28. http://dx.doi.org/10.5325/hiperboreea.2.2.0019.

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Abstract Hermeneutica filosofică, departe de a fi doar o îndeletnicire livrească, în care să se poată ajunge la interpretarea cea mai potrvită a unui text, se apropie mai degrabă de o realizare ontologică. Înțelegerea nu aparține exclusiv unui subiect, ci se desăvârșește în relație cu un concept suprem al adevărului, înrădăcinat în Ființă. De aceea, orice demers hermeneutic este de fapt o apropiere de Ființă. Lucrarea de față își asumă acest punct de vedere și admite că modelul operei de artă este cel mai apropiat celui hermeneutic, tocmai prin lipsa metodei științifice, atât de răspândite în

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2

Marghidan, Ecaterina, Madalina Vieriu, and Raluca Simona Loghi Loghin. "From Mosaic to Pixel in Textile Art." Klironomy 2, no. 5 (2022): 36–43. https://doi.org/10.47451/art2022-05-04.

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Due to technology and how the woven or knitted textile surfaces are created, they can be reduced to a graphical representation of modular, often square modular geometric grids. Thus thought, any decorative composition resembles the mosaic technique in which for the construction of the image it is reduced to a structure of units of the same size but of different colours or textures. Historically, the patchwork illustrates the technique of textile mosaic and makes the transition between classical, manual or mechanical techniques and contemporary digital art. Pixel art and the compositions of NFT

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Adina, Jurca. "Contemporary ceramics art and its transgressive side." European Scientific e-Journal 4, no. 4 (2020): 77–83. https://doi.org/10.47451/art2020-12-001.

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This paper’s author proposes a discussion on the ranking of ceramics as art, a few aspects in regards to Ceramic Art’s inclusion in Contemporary Art context. The researcher is calling into question the shallow division between Decorative and Major Arts, a century after the distinction disappeared. Respectively, the art object made with ceramic material, in the general context of Contemporary Art and a few ways of manifestations of this art that leads toward permanent transgressive dimensions of artistic ceramic. The author concludes that Ceramic Art’s Transgressive character

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Gaşpar, Loredana. "Elements of the Romanian mythical space in advertising." Klironomy 1, no. 7 (2023): 7–15. https://doi.org/10.47451/art2023-03-01.

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For design, the myth is a source that creators turn to in order to translate into everyday life those ideas that we have genetically implanted in us and to which we feel a call or to which we refer at certain times. The myth is for every society an identity known by the vast majority, which is why it is used in design either to repeat the primordial acts of the ancestors unconsciously, or consciously to make connections between the newly created object and the mythological one, which is it ensures credibility, security and success, and, in addition to these, an emotion coming from a more or le

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5

Boldasu, Romina. "Theatre Semiotics in the 21st century." European Scientific e-Journal 4, no. 4 (2023): 54–63. https://doi.org/10.47451/art2020-11-004.

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The role of the actor has been in continuous change across time. Therefore, the teaching paradigm needs to be transformed in order to meet the 21st century needs and interests. Theatre is not only an aesthetic tool in contemporary society but also an instrument in transmitting social, political and cultural information. The body of the actor contains within itself a system of verbal and non-verbal communication mechanisms that one must master in order to create dialogue across the globe. The author concludes that in the contemporary world, countless systems of communication are integrated whic

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6

Jiménez, J. L. L. "Mobile Telephony in Contemporary Art (Mobile Art)." Afluir, no. 6 (November 2, 2022): 7–26. http://dx.doi.org/10.48260/ralf.6.116.

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El teléfono móvil no solo se ha convertido en un objeto cultural de uso cotidiano sino que su uso ha traspasado las fronteras de la comunicación telefónica interpersonal, han aparecido nuevos usos como por ejemplo herramienta para la creación artística. El uso del teléfono móvil para la creación de proyectos artísticos, se ha convertido en una práctica muy habitual de múltiples artistas en los últimos años, estos artistas ven a esta herramienta como el objeto tecnológico más adecuado para desarrollar una gran variedad de proyectos audiovisuales. Aunque es una práctica aún muy desconocida para

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7

Oguibe, Olu, and Nicole Guez. "L'Art Africain Contemporain/Contemporary African Art: Guide." African Arts 30, no. 1 (1997): 91. http://dx.doi.org/10.2307/3337485.

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8

Zarobell, John. "Arts Special Issue “The Contemporary Art Market”." Arts 10, no. 3 (2021): 43. http://dx.doi.org/10.3390/arts10030043.

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When setting out to organize this Special Issue of Arts, I began with the goal to survey the emerging field of art market studies but also to expand the notion of the market to include alternatives, such as art collectives and festivals, that challenge the dominance of the market as the pre-eminent arbiter of cultural value [...]

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9

Rieux García, Anaix. "LA CONTROVERSIA EN EL ARTE CONTEMPORÁNEO." El Pájaro de Benín, no. 10 (2024): 142–65. https://doi.org/10.12795/pajaro_benin.2024.i10.04.

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El artículo analiza los distintos conceptos y posicionamientos sobre la naturaleza del arte contemporáneo, con especial atención a las distintas fuentes de pensamiento y los razonamientos que pudieron sustentar algunas de las principales claves de su evolución a lo largo del siglo XX. Para ello analiza una serie de pares de valores, como la relación entre arte y mercado y la evolución de esa relación en función de los grandes cambios sociales y la mentalidad en torno al nuevo arte.

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10

Alegría Alegría, Alfredo. "Preferencias Artes visuales en Trujillo: Reflejos en silencio." Illapa Mana Tukukuq, no. 12 (February 20, 2019): 50–57. http://dx.doi.org/10.31381/illapa.v0i12.1918.

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El texto se refiere a la problemática del desarrollo de las artes visuales en la ciudad de Trujillo. A partir de una presentación histórica sobre el desarrollo artístico contemporáneo trujillano en las Bienales de Arte se presenta una serie de creadores tanto en la pintura, como la escultura, la fotografía y el cine. Se plantea un reclamo a los artistas: rechazar el individualismo extremo y aceptar el desafío de la realidad como forma de expresar y orientar realmente a la sociedad. Palabras Clave: Artes Visuales, Arte Contemporáneo, Expresión Estética  Abstract This ess

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Muraz, Özlem. "BODY AS AN ART OBJECT IN CONTEMPORARY ART." E-journal of New World Sciences Academy 14, no. 2 (2019): 136–44. http://dx.doi.org/10.12739/nwsa.2019.14.2.d0232.

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12

OLIVEIRA, Marcos Antônio Bessa. "(Des)política para corpos-política na arte, na cultura e na educação." INTERRITÓRIOS 6, no. 10 (2020): 1. http://dx.doi.org/10.33052/inter.v6i10.244891.

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RESUMOArte, Educação, Política compõem uma tríade compreendida historicamente no Ocidente como interdependentes. Entretanto, arte, educação e políticas ocidentais não estão compreendidas para corpos aquém dos padrões de raça, gênero e classe edificados pelo pensamento que arquitetou o projeto moderno europeu levado à expansão em todo mundo no século XVI. Igualmente, histórico e contemporaneamente, políticas têm definido, no caso do Brasil em níveis federal, estaduais e municipais, atuações e ações de corpos e sobre os corpos na arte, na educação e na própria política. Considerando a histórica

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Robichaud, Lise. "ArTSchives: un tremplin vers divers types de musées et vers la création artistique." Canadian Review of Art Education: Research and Issues / Revue canadienne de recherches et enjeux en éducation artistique 43, no. 1 (2016): 90. http://dx.doi.org/10.26443/crae.v43i1.19.

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Abstract: The article introduces arTSchives, a visual art teaching model that integrates the concepts of museum, archives, and experiential learning. Its purpose is to help understand contemporary artwork of the archival type while proposing artistic creation channels that integrate the concept of archives. The author conducted a content analysis of visual art installations that resulted in a list of potential archive sources. This particular type of teaching promotes the visiting of contemporary art museums as well as natural sciences, human sciences and other types of specialised museums.KEY

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Bayrak Shahmiri, Bengisu. "“Çağdaş Sanatın Öyküsü”." Etkileşim 7, no. 13 (2024): 391–93. http://dx.doi.org/10.32739/etkilesim.2024.7.13.253.

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15

Martínez Dagnino, Diana Estefanía. "¿Qué es el arte contemporáneo? Y sus influencias en la pedagogía crítica del arte contemporáneo michoacano." Sincronía 28, no. 86 (2024): 595–606. http://dx.doi.org/10.32870/sincronia.axxviii.n86.32.24b.

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El arte contemporáneo es un fenómeno complejo que requiere herramientas semióticas para su interpretación y apreciación. Por ello, con apoyo de las teorías semióticas de Pierce y la pedagogía crítica de Freire se busca permitir a la sociedad en general a establecer sus propios términos comunitarios para llamar contemporáneas o no a las producciones artísticas actuales expuestas en museos de Morelia, Michoacán o cualquier pieza artística proveniente de un artista michoacano. La desconexión del público con el arte contemporáneo es resultado de la falta de los procesos dialógicos entre los agente

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EL-GENDI, SHERIN. "THE ANCIENT AND CONTEMPORARY ARTS’ INFLUENCES IN COPTIC ART." Bulletin of the Center Papyrological Studies 29, no. 1 (2012): 1–42. http://dx.doi.org/10.21608/bcps.2006.26135.

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17

Andaur, Rodolfo. "NUEVAS LATITUDES DEL ARTE CONTEMPORÁNEO / New contemporary art latitudes." Arte e Ensaios 27, no. 41 (2021): 437–47. http://dx.doi.org/10.37235/ae.n41.25.

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Las diferentes acciones realizadas por los curadores de arte contemporáneo, a la hora de publicar y promover sus proyectos en Suramerica, revelan una particular forma en la cual se lleva a cabo este oficio, específicamente, desde diferentes rincones del continente que actualmente visibilizan de manera constante su precariedad institucional.

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18

Zhong, Wen Jing. "Network of Visual Arts and Contemporary Art Pattern Reorganization." Applied Mechanics and Materials 321-324 (June 2013): 1102–6. http://dx.doi.org/10.4028/www.scientific.net/amm.321-324.1102.

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This article, based on changes in the pattern of study of contemporary art network of visual arts, contemporary art in the space environment of the network visual arts, visual arts language of visual media, interactive cyberspace realm of art, information and digital communication art platform for contemporary art pattern the basic structure of the reorganization. Through integration of the modern network multi-media production technology and visual vision production method, the traditional art like Painting, Architecture art and Dace could form a new form of art performance and visual languag

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19

Sharma, Yam Prasad. "Contemporary Nepali Arts: Blurring the Boundaries among Art Genres." Curriculum Development Journal, no. 42 (December 4, 2020): 48–56. http://dx.doi.org/10.3126/cdj.v0i42.33212.

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Some contemporary Nepali artworks have blurred the boundaries among different art genres like sculpture, painting, music, drama, photography and literature. In a single artwork, we can view the elements of two or more art forms. Three dimensional real objects are put on the two dimensional surface like canvas. Three dimensions are the special characteristics of sculpture whereas there are only two dimensions in painting. Three dimensions in the painting are illusions created by the use of light and shade, and gradation of colors. Artists use photographs and paintings simultaneously in the same

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20

Syka, Rachel. "Defining Art in the Gozo International Contemporary Arts Festival." Southern Anthropological Society Proceedings 42, no. 1 (2013): 179–97. http://dx.doi.org/10.56702/mpmc7908/saspro4201.8.

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This chapter explores the role of identity, place, and origin of the artists in the Gozo International Contemporary Arts Festival in Gozo, Malta. Based on research conducted in July 2010 for a summer field school in sociocultural anthropology, I draw on conversations with several of the artists showing their work, as well as interactions with local organizing officials, arts instructors, and Gozitan artists and craftspeople not directly involved in the exhibit. I argue that the event is a space in which central questions of Gozitan identity are actively addressed and negotiated, focusing parti

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21

Bonfim, Gabriel Augusto de Paula. "O homem que era só metade." Palíndromo 12, no. 26 (2020): 279–95. http://dx.doi.org/10.5965/2175234612262020279.

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RESUMOO presente ensaio visual é composto pelo trabalho intitulado “O homem que era só metade”; nele articulam-se processos de criação no campo da Arte Contemporânea que exploram as possibilidades do corpo e do objeto no espaço urbano e as trocas que podem ser estabelecidas entre as potencialidades do espaço e a subjetividade humana.Palavras-chave: Corpo. Espaço Urbano. Identidade. Performance. ABSTRACTThis visual essay is composed by the work called “The Man Who Was Just a Half”, in which processes of creation in the Contemporary Arts are articulated, exploring the possibilities of the body a

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22

Carbone, Rosa. "Structure and Methodologies of Research in the Arnoldo Foà Archive." Studia Universitatis Babeş-Bolyai Dramatica 66, no. 2 (2021): 83–94. http://dx.doi.org/10.24193/subbdrama.2021.2.06.

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"The focus of this paper is the presentation and description of the Arnoldo Foà archive and its importance as the main documentary source for studying the contemporary actor: through the analysis of the sources contained therein, in fact, it was possible to conduct an in-depth study of theatrical career of Arnoldo Foà. The work is part of the Phd in Storia delle Arti e dello Spettacolo (History of Cinema, Music, Fine and Performing Arts) in Florence, a context in which I carry out a research dedicated to the artistic profile of Arnoldo Foà, protagonist of the theater from the second half of th

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23

RADFORD, ROBERT. "CINA CINA CINA!!! ARTE CONTEMPORANEA CINESE OLTRE IL MERCATO GLOBALE CHINA CHINA CHINA!!! CHINESE CONTEMPORARY ART BEYOND THE GLOBAL MARKET." Art Book 16, no. 3 (2009): 38–39. http://dx.doi.org/10.1111/j.1467-8357.2009.01042_15.x.

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França, Ana Marcela. "Paisagem e natureza na arte contemporânea: ressignificação do espaço e experiência da obra." Revista Prumo 5, no. 8 (2020): 110–21. http://dx.doi.org/10.24168/revistaprumo.v0i8.1245.

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This paper aims to discuss the installations made in the 1970s to the present day, which dialogue directly with the “natural” landscape, extending the significance of the artistic object to the reconfiguration of the space. In particular, works that have action in the biophysical space will be discussed, in which elements of the environment become devices of artistic manifestation. It will be seen that these performances transform the landscape and the notion of a work of art, creating tensions in what we understand as nature and culture.

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Šapoka, Kęstutis. "(Šiuolaikinio) meno institucija kaip ideologinė medija." Lietuvos kultūros tyrimai 10 (2018): 111–24. https://doi.org/10.53630/lkt.2018.8.

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The article analyses (contemporary) art system and institutions as ideological media. The author uses the concepts of repressive state apparatus and ideological state apparatuses formulated by philosopher Louis Althusser, according to which the essence of military, religious, educational, as well as cultural institutions is the spread of ideological propaganda, ensuring ideological subjectivation. This means that each individual adopts the ideology of dominant social class as its own model of thinking. Both totalitarian states and those that promote liberal capitalism use ideological interpell

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A., Harangi, and Török D. "A kortárs magyar építészet és képzőművészet metszetei." International Journal of Engineering and Management Sciences 1, no. 2 (2016): 115–22. http://dx.doi.org/10.21791/ijems.2016.2.15.

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27

Christiane, Wagner. "Contemporary art criticism: aesthetic references and art languages (Crítica da arte contemporânea: referências estéticas e linguagens da arte)." Revista Interdisciplinar Internacional de Artes Visuais - Art&Sensorium 3, no. 1 (2016): 40–50. https://doi.org/10.5281/zenodo.6588438.

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<em>This article presents the main aesthetic notions regarding the critical analysis of the traditional European cultures and, recently, of the American. Therefore, the sense of the American culture, in which the languages of arts are based, is analyzed on the effect of occidental philosophy. Consequently, this emphasizes both art and contemporary aesthetics theories to better understand the work of art aim nowadays with discernment on theoretical, prescriptive, or ideological thinking in visual arts.</em>

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Sweed, Yasmin Said, Amira Salah elden Ahmed, and Wafaa Ibrahim. ""A graphic study of visual identity in contemporary art advertising media" (Downtown Contemporary Arts Festival)." Pharos International Journal of Arts and Design 02, no. 01 (2025): 265–73. https://doi.org/10.21608/pijad.2025.437617.

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Žukauskienė, Odeta. "Šiuolaikinio meno bienalizacija: interpretacija, kritika, recepcija." Lietuvos kultūros tyrimai 8 (2016): 42–59. https://doi.org/10.53630/lkt.2016.1.

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Considering the development of the global network of biennials, the article explores the trends and challenges of the biennialization of contemporary art The aim of the article is to reveal that biennial boom is associated with globalization and the dissemination of cultural industry. The functioning of the series of international exhibitions expands its sphere of authority, making art dependent on innovations, actualities and curiosities. Representing the field of cultural industries biennials generate the added value for culture and economy. In this process, the artistic dimension is oversha

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Silva, Fernanda Pequeno da. "Livia Flores: ‘exercícios de paisagem’." Simbiótica 9, no. 3 (2022): 159–83. http://dx.doi.org/10.47456/simbitica.v9i3.39807.

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Resumo O texto aborda apreensões de paisagem nos trabalhos da artista contemporânea brasileira Livia Flores que confrontam sujeito e território, interior e exterior. No artigo, analisamos, além das obras visuais da artista, também as suas colaborações poéticas - produzidas no âmbito do coletivo Anáguas -, bem como seu projeto de pesquisa em arte e cidade, intitulado Desilha. Para tal, cotejamos teóricos da arte, literatura, filosofia e geografia, percorrendo ‘exercícios de paisagem’ desencadeados nos campos das artes visuais, da poesia e do ensino superior. Palavras-chave: Livia Flores; Paisag

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Muller, Karen. "Contemporary Art Documentation and Fine Arts Libraries; A Reader in Art Librarianship (Book Review)." College & Research Libraries 47, no. 6 (1986): 622–26. http://dx.doi.org/10.5860/crl_47_06_622.

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Talon-Hugon, Carole. "Chef-d’oeuvre et emblème." Figures de l'Art. Revue d'études esthétiques 7, no. 1 (2003): 171–85. http://dx.doi.org/10.3406/fdart.2003.1273.

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Pourquoi ne peut-on parler de chef-d’oeuvre en matière d’art contemporain ? En s’en tenant au domaine des arts plastiques, on montre ici comment la notion conserve une pertinence tant que quelque chose d’artisanal demeure dans la pratique, comment le chef-d’oeuvre absolu auquel le romantisme aspire est un chef d’oeuvre impossible et comment le chef-d’oeuvre a, à l’époque contemporaine, laissé place à ce qu’on peut nommer l’emblème.

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Abdulaziz Mohammd Saqr, Azizah. "The Aesthetics of Lumia Art in Contemporary Textile Arts, An Analytical Study." Al-Academy, no. 110 (December 15, 2023): 159–78. http://dx.doi.org/10.35560/jcofarts1230.

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The research (The Aesthetics of Lumia Art in Contemporary Textile Arts: An Analytical Study) included four chapters, the first to explain the research problem summarized by the question: Does the art of Lumia achieve aesthetic values in contemporary textile arts?, and aims to: Identify the aesthetics of Lumia art and its applied uses in contemporary textile arts, within the time period (2013-2022). The third chapter included: research procedures and sample analysis (4) models according to the descriptive analytical approach, and the fourth chapter dealt with: results, conclusions and recommend

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Kuĩ, Rasu Inu Bake Huni, and Hanna Talita Gonçalves Pereira de Araujo. "O ENSINO DA ARTE NA ALDEIA E NA ESCOLA INDÍGENA: CONHECIMENTOS TRADICIONAIS E CONHECIMENTOS CONTEMPORÂNEOS." Cadernos CEDES 42, no. 116 (2022): 41–50. http://dx.doi.org/10.1590/cc251976.

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RESUMO O ensino da arte faz parte do currículo das escolas indígenas brasileiras, mas o indígena tem sua própria forma de ensinar e aprender arte na aldeia, sem precisar de livros ou de outro material didático convencional, pois a arte está presente em seu dia a dia, uma vez que todo indígena é artista. Este artigo apresenta os modos de ensinar e aprender arte considerando os conhecimentos tradicionais do povo Huni Kuĩ da Terra Indígena Kaxinawá de Nova Olinda. Será enfatizado como os indígenas ensinam arte dentro e fora da escola, nas aldeias dessa terra, sob o ponto de vista do professor ind

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Comunian, Roberta. "URBAN BRANDING AND CONTEMPORARY ART ‘TORINO CONTEMPORANEA’ AS A MODEL OF CULTURAL MARKETING." Regions Magazine 268, no. 1 (2007): 15–17. http://dx.doi.org/10.1080/13673882.2007.8628826.

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Darts, David. "Art Education for a Change: Contemporary Issues and the Visual Arts." Art Education 59, no. 5 (2006): 6–12. http://dx.doi.org/10.1080/00043125.2005.11651605.

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37

Trail, Genevieve. "Visual arts, dance, theatre: Multimedia performance and contemporary Hong Kong art." Journal of Contemporary Chinese Art 10, no. 1 (2023): 131–56. http://dx.doi.org/10.1386/jcca_00079_1.

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This article takes as its focus multimedia performance in Hong Kong in the 1980s, a period which saw high levels of collaboration across the visual arts, dance and theatre. The significance of these cross-media fertilizations to the development of contemporary Hong Kong art is drawn out in discussion of two artists, Josh Hon (b. 1954) and Choi Yan Chi (b. 1949), whose respective encounters with experimental dance and theatre subsequent to their return from higher education in Europe and North America made them newly sensitive to elements of time, space and movement. The subsequent appropriatio

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Strangio, Andrea Giovanni. "Andres Neumann’s Theatrical Archive. Sources for the History of Contemporary Performing Arts." Studia Universitatis Babeş-Bolyai Dramatica 66, no. 2 (2021): 95–110. http://dx.doi.org/10.24193/subbdrama.2021.2.07.

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"The paper, at the conclusion of the work conducted during the first year of the PhD course in Storia delle Arti e dello Spettacolo (History of Cinema, Music, Fine and Performing Arts) at the University of Florence, briefly describes the structure and content of the theatrical archive of Andres Neumann, preserved at the il Funaro Centro Culturale of Pistoia. The fund is a precious instrument of historiography, because it contains documents relating to the main plays of the international theatre of the last thirty years of the twentieth century. After having presented and discussed some example

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Lista, Giovanni. "Art contemporain." Ligeia N° 149-152, no. 2 (2016): 21. http://dx.doi.org/10.3917/lige.149.0021.

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Mandelli de Marsillac, Ana Lúcia. "Communication disorder: contemporary art and psychoanalysis." Communication & Methods, no. 1 (June 27, 2019): 91–97. http://dx.doi.org/10.35951/v1i1.6.

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This revision seeks to analyze the methodological intersections of contemporary art and psychoanalysis, by considering the value attributed to communication disorders by both fields. I will analyze elements of "In the Face of time: History of art and anachronism of Images" (2000), by Didi-Huberman. In addition, I will single out two texts that are crucial to the psychoanalytic method: "The Uncanny” (1919), by Freud and "Function and field of speech and Language" (1953), by Lacan. The concept of the uncanny is central to this approach, since it reveals the proximity between strangeness and fami

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Aboudrar, Bruno-Nassim. "Art contemporain, art Africain ?" Médium 5, no. 4 (2005): 101. http://dx.doi.org/10.3917/mediu.005.0101.

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Skregelid, Lisbet, and Monica Klungland. "Editorial: Arts in Action: Urgencies in Art and Art Education." APRIA Journal 6, no. 6 (2023): 1–24. http://dx.doi.org/10.37198/apria.05.06.a1.

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How do artists, art educators and researchers relate their practices to the urgencies of the world? How can art make a difference in a contemporary world dominated by com plex and intense political, economic, and environmental challenges and conflicts? Are there right and wrong ways of address ing urgencies through art, research, and education? Should the arts in education be justified because of its usefulness for something else? This special issue provides insight into some responses to these ques tions. The contributions, ranging from short texts to longer texts, as well as artistic submiss

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Boynukalın, Azize Reva. "ÇAĞDAŞ SANATTA DUYUSAL BİR DENEYİM OLARAK BİTKİLER." e-Journal of New World Sciences Academy 16, no. 2 (2021): 141–53. http://dx.doi.org/10.12739/nwsa.2021.16.2.d0278.

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Szlifman, Mariel. "Diseño y arte contemporáneo: el desafío de los museos." kepes 12, no. 12 (2015): 353–78. http://dx.doi.org/10.17151/kepes.2015.12.12.17.

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Biswal, Monalisha. "Evolution and Influence of Contemporary Art in India." International Journal of Science and Research (IJSR) 13, no. 8 (2024): 177–80. http://dx.doi.org/10.21275/sr24729125452.

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Hošić, Irfan. "Savremena umjetnost i pitanje medija poslije 11/9." Život umjetnosti 52, no. 102 (2018): 98–119. http://dx.doi.org/10.31664/zu.2018.102.04.

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Fernández-Morales, Angélica, Luis Agustín Hernández, and Aurelio Vallespín Muniesa. "ARQUITECTURAS MINIATURIZADAS Y SU CONTEXTUALIZACIÓN EN EL ARTE CONTEMPORÁNEO." Proyecto, Progreso, Arquitectura, no. 15 (2016): 126–37. http://dx.doi.org/10.12795/ppa.2016.i15.09.

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Shapiro, Bella L. "FASHION, ART AND ARTS PRACTICE: A HISTORIOGRAPHY OF THEIR RELATIONSHIP." Articult, no. 1 (March 2024): 5–12. http://dx.doi.org/10.28995/2227-6165-2024-1-5-12.

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The central theme of this research is a reflection on the evolution of philosophical ideas about the relationship between fashion and art, from its origins in the Age of Enlightenment to the present. The order of appearance of the first theories of fashion, linking fashion and art, their orientation traced. We investigated the evolution of these theories and the conditioning of the evolution by various social causes and intellectual trends. And we also followed up the transformation of fashion theories as an art form under the influence of contemporary artistic practices. The conclusion of the

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Sirazhiden, D. A., G. S. Kasbayeva, and Bülent Şenay. "VR and AR technologies in contemporary cultural space." Bulletin of the Karaganda university History.Philosophy series 113, no. 1 (2023): 225–36. http://dx.doi.org/10.31489/2024hph1/225-236.

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The article deals with the topics related to the application of virtual and augmented reality technologies in the sphere of culture and art. The essence characteristics of VR and AR-technologies are given. The essence of the concept of “immersiveness”is revealed. Techno-technological aspects of VR and AR technology in the modern cultural space are as well as cultural aspects. The main regularities and peculiarities of virtual and augmented reality technologies' interaction with the sectors of cultural space open both for immersive influ-ence and for the use of one or another visualization tech

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Kesarwani, Sachin. "IN THE CONTEXT OF CONTEMPORARY INDIAN ART-CONTEMPORARY ART." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 281–84. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3755.

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English: The overall development of art is part of the historical, social process. The artist establishes new dimensions through innovative experiments. In present times, not only in India but in the whole world, experimentism can be clearly marked. As change is a continuous process that exists from time to time in which the prevailing beliefs go on being accepted by generations. But a thoughtful conscious community rejects those beliefs and leads the society towards a new direction and new values. This is where change starts, as fast as the meanings of life are changing, the art is changing a

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