Cover Art Concept

The article analyses the artistic work of D. G. Rossetti in the context of his aesthetic concepts of art and femininity and in the inseparable unity of its verbal and visual beginnings. The material for the research was the sonnets of the English poet included in the collection “House of Life”, as well as some famous paintings by the artist, which formed a new canon of female beauty in Victorian culture and significantly influenced the English aestheticism of the late 19th century. Rossetti’s poetic and pictorial practice demonstrates a constant and intense search for ways to embody the artistic ideal of femininity and the concept of art formed by the artist at the very beginning of his career, as metaphorically expressed in his novella “Hand and Soul”. The meaning of Rossetti’s concept of art was in the clear understanding that an artist should express his soul, his unique vision of the world, beauty, and life in his artistic works. The article proposes a hypothesis about the evolutionary nature of Rossetti’s work. The paper examines the stages of development of his aesthetic concepts of femininity and art, which are associated with the presence of different female models who became his muses and lovers in certain periods of the artist’s life. The research argues that the essence of the evolution of Rossetti’s creative pursuits and practices was the desire to overcome the gap between life and art and remove the contradictions of the traditional dichotomy of the spiritual and the bodily-sensual, the soul and the body. This process was embodied in Rossetti’s gradual transition from the depiction of disembodied spirituality that dominated the sublime images of women created under the influence of Elizabeth Siddal, who was associated with Dante’s Beatrice, to the accentuated sensual beauty of the seductive Lilith and the almost simultaneously painted by the artist new, transformed images of Beatrice, inspired by his second important woman in his life, Jane Morris, and finally to the stylized and androgynous images of Pandora, Proserpine, and Astarte, also inspired by Jane. Namely, in her image, the artist’s ideas about femininity and beauty, love, life, and death, and his understanding of art as a reflection of the creative, androgynous author’s self were fully embodied. Rossetti’s iconic images were correlated with the verbal ones which complemented the visual ones, which testifies to the integrity of the English artist’s verbal and visual worlds.

The problem of this study was to explore fifth-graders' (i.e. eleven-year-olds') ideas about selected art and economic concepts before and after an integrated art-economics unit. Seventy children within three classrooms participated in the study. The unit, taught by regular classroom teachers but designed by university-based economic educators in cooperation with university-based art educators, was built upon principles of discipline-based art education (DBAE) and shared curricular integration. Using both written and oral measures, students were pre-tested and post-tested on their understanding and application of art and economic concepts. Pre- and post-unit data were analysed by (a) identifying categories of responses post facto using constant comparison methods, and (b) tallying the number of responses in each category. Results indicated that students increased their understanding of both art and economic concepts. Some misconceptions identified at pre-test were still present at post-test, but these misunderstandings were not directly addressed during instruction. The economic concepts were learned somewhat better than the art concepts, and higher-achieving students learned somewhat more than lower-achieving students. When shown familiar and unfamiliar works of art and asked to state what ideas were expressed, students gave more inferential-interpretive and integrative-applied responses at post-test than at pre-test. The findings support the claim that the coupling of disciplines can facilitate the deep learning of concepts for transfer.

Fashion is traditionally perceived as a non-art in art philosophy; however, it is now being evaluated as art through the process of recognizing its cultural value and position. This study investigated the expanded concept of contemporary fashion in the same context of the expanded concept of contemporary art to present the possibility of fashion as art. This study enhances the artistic and cultural value, as well as the social function and position, of fashion by granting it the same status as art according to the concept of expanded contemporary art. For the research method, a literature review and a case analysis were conducted through specialty publications related to art history, aesthetics, and fashion in addition to regular publications, websites specializing in fashion, art museums and fashion style websites. The expanded aesthetic concept of contemporary art has embraced challenges to ideal beauty, production methods through interactivity, and expansion of art expression through mass media and industrial products. In the same context, the expanded aesthetic concept of contemporary fashion has established challenges to conventional beauty, the expansion of production methods, and the expansion and transfiguration of materials.

STUDY QUESTIONDo expectant parents experience increased anxiety and depression during pregnancies conceived through ART compared to spontaneous conception?SUMMARY ANSWERAmong all expectant parents in the sample, those who conceived through ART reported overall lower levels of anxiety and depression in pregnancy compared to expectant parents who conceived spontaneously, while in the subsample of parents who conceived both through ART and spontaneous conception, expectant mothers experienced increased anxiety and depression in early pregnancy following ART compared to spontaneous conception.WHAT IS KNOWN ALREADYPrevious research on expectant parents’ psychosocial adjustment in response to ART has found mixed results, with some studies suggesting ART is associated with increased anxiety and depression, and other studies suggesting improved mental health or no relationship. Mixed findings may relate to the use of cross-sectional designs that do not account for confounding differences between groups, or variability in the timing of assessment.STUDY DESIGN, SIZE, DURATIONThis prospective cohort study used data from the Norwegian Mother, Father and Child Cohort Study (MoBa), which includes 2960 pregnant women who underwent ART and 108 183 women who conceived spontaneously. Of these, a subsample of expectant parents had two consecutive pregnancies with one pregnancy resulting from ART and one conceived spontaneously (n = 286 women, n = 211 partners). Women self-reported their composite symptoms of anxiety and depression at two timepoints during each pregnancy (gestational weeks 17 and 30). Their partners self-reported composite symptoms of anxiety and depression at 17 weeks gestation during each pregnancy. Couples reported their relationship satisfaction at 17 weeks gestation.MAIN RESULTS AND THE ROLE OF CHANGEUsing a conventional full-cohort analysis we found that ART was associated with less total anxiety and depression and greater relationship satisfaction, compared to spontaneous conception among both women and men. However, in the subsample of parents who experienced both ART and spontaneous pregnancies, ART was associated with increased levels of maternal anxiety and depression at gestational age 17 weeks (M = 1.19), compared to spontaneous pregnancies (M = 1.15), 95% CI of the mean difference 0.006, 0.074. At 30 weeks gestation, anxiety and depression were similar across both types of pregnancies. Expectant fathers reported similar levels of anxiety and depression at 17 weeks gestation during both pregnancies. Among women relationship satisfaction was higher following ART conception than spontaneous conception.LIMITATIONS, REASONS FOR CAUTIONThere is potential for selection effects in the sample, as women who have conceived through both ART and spontaneous conception in their first two pregnancies are rare. In addition, several factors that may be important predictors of mental health in this context, such as previous miscarriages and long-term infertility, were not assessed in the current study.WIDER IMPLICATIONS OF THE FINDINGSOur findings indicate that previous discrepancies in the literature may be related to inherent differences between the groups of parents receiving reproductive treatment and those who do not. This study addresses that limitation by prospectively comparing different types of pregnancies within the same expectant parents. Earlier inconsistencies may also relate to variations in gestational age when anxiety and depression were assessed. By examining symptoms at two timepoints in each pregnancy, we were able to examine the relation between gestational age and symptoms of anxiety and depression.STUDY FUNDING/COMPETING INTEREST(S)The MoBa is supported by the Norwegian Ministry of Health and the Norwegian Research Council/FUGE (grant number 151918/S10). This work was also supported by the Research Council of Norway grant number 288083 and 301004. The authors have no conflicts of interest to declare.TRIAL REGISTRATION NUMBERN/A.

Observing the artistic response to the illusional nature of artificial life forms in the field of installation art, contemporary writers often allude to conceptual artworks through ekphrastic means to “grasp the texture of the contemporary real” (Virilio 4) in a technologically “transformative moment” (Boxall 4). A “reality hunger” for the contemporary brings together a “burgeoning group of interrelated […] artists in a multitude of forms of media” (Shields 3) to experiment new forms across disciplines through ekphrasis, which “strikes to explode” the “stuffed package” of a culture “containable with its shaped word” (Krieger 233). In her essay “Art Objects” (1995), Jeanette Winterson shows her interest in contemporary conceptual art as she writes that “the true artist is interested in the art object as an art process” and establishing a connection to the future instead of being interested in the final product (12). Her definition of art coincides with that of conceptual art as it seeks to analyse “the ideas underlying the creation and reception of art” (Shanken 433), and thus takes on the framework of the meta-critical process from conceptual art with “the use of scientific concepts and technological media both to question their prescribed applications and to create new aesthetic models” (Shanken 434). Deriving from the artistic landscape of conceptual installation art and its interactions with science, Winterson borrows the subject of the nature morte and the metafictional framework to address the clashes between artificial life forms and the human civilisation by alluding to artworks such as those of Damien Hirst in her novel Frankissstein (2019) when writing about cryonic bodies: “It’s a little like an art installation in here isn’t it? Have you seen Damien Hirst’s pickled shark in a tank?” (106). Based on the interdisciplinary interrelations between installation art and contemporary literature, this paper will read the dialogue between Winterson’s ekphrastic subject of the nature morte in Frankissstein and contemporary installation art, including works of Hirst, Cai Guo-Qiang, and Guillaume Paris, as a response to the rise of artificial life forms with respect to their metafictional and illusional nature as AI will become “fully self-designing” (Winterson 73).

This paper presents a discussion of conceptual art in terms of new media and technology. The author aims to highlight the interplay of technology and new media with conceptual art. In conceptual art, the idea or concept behind the work is as important as the work itself. In these ways, new media is a blend of various media juxtaposed with enticing thoughts and ideas. Taking an essential step in that direction, technology has been a significant player in the global impact of 21st-century artists from India. Interestingly, artists used electronic technology to broadened their ways and expressed their ideas conceptually based. Technological development giving rise as well as generate creative visual forms. “In conceptual art, the idea or concept is the most important aspect of the work…the idea becomes a machine that makes the art”. In this way, both conceptual Art and Technology are much more closely related. The author further exemplifies the contemporary artists work in India at the intersection of conceptual Art, Technology, and new media art. Therefore, using secondary data and descriptive research methodology, this paper re-examines conceptual Art, new media, and Technology to promote dialogue and creative expression and address social change. By interpreting conceptual art in terms of media and technology, the author concludes that these tendencies share significant similarities, and that is a beneficial and innovative sight in the contemporary art scene in India. Technology is shown to have a significant influence on conceptual art but often based on historical, social and cybernetic narratives. Keywords: Conceptual Art, Technology, New Media Art, Idea and Concept

The fourteen prominent analytic philosophers writing here engage with the cluster of philosophical questions raised by conceptual art. They address four broad questions: What kind of art is conceptual art? What follows from the fact that conceptual art does not aim to have aesthetic value? What knowledge or understanding can we gain from conceptual art? How ought we to appreciate conceptual art? Conceptual art, broadly understood by the contributors as beginning with Marcel Duchamp’s ready-mades and as continuing beyond the 1970s to include some of today’s contemporary art, is grounded in the notion that the artist’s ‘idea’ is central to art, and, contrary to tradition, that the material work is by no means essential to the art as such. To use the words of the conceptual artist Sol LeWitt, ‘In conceptual art the idea of the concept is the most important aspect of the work … and the execution is a perfunctory affair’. Given this so-called ‘dematerialization’ of the art object, the emphasis on cognitive value, and the frequent appeal to philosophy by many conceptual artists, there are many questions that are raised by conceptual art that should be of interest to analytic philosophers. Why, then, has so little work been done in this area? This volume is most probably the first collection of papers by analytic Anglo-American philosophers tackling these concerns head-on. Contributors Margaret Boden, Diarmuid Costello, Gregory Currie, David Davies, Peter Goldie, Robert Hopkins, Matthew Kieran, Peter Lamarque, Dominic McIver Lopes, Derek Matravers, Elisabeth Schellekens, Kathleen Stock, Carolyn Wilde, and the ‘Art & Language’ group.

The study aimed to substantiate the concept of art as a general term referring to various forms of contemporary art, which were positioned in contrast to classical art, to which the term “art” was applied. The methodology involved analytical and comparative methods. The concept of art encompassed forms of visual and audiovisual arts that emerged at the turn of the 20th and 21st centuries with the development of multimedia technologies. It had been demonstrated that the critical distinction of contemporary art lay in the deliberate placement of its objects outside spaces explicitly designed for artistic exhibitions, leading to its interaction with the urban environment. Art was characterised by a desire to deny or oppose traditional art forms, which was reflected in many cases by its name – avoiding the distinctly Ukrainian word “мистецтво/mystetstvo” (English: art) and using the word “арт/art” borrowed from English. This period witnessed a fundamental shift in artistic practice, as artists began to move beyond traditional exhibition spaces such as galleries and museums, deliberately placing their works in unconventional or public settings. This integration of art into the urban environment redefined its boundaries, fostering interaction with everyday spaces and challenging established norms of artistic presentation. A defining feature of this new wave of art was its conscious opposition to traditional forms, frequently expressed through its nomenclature. Artists often replace the Ukrainian term “мистецтво/mystetstvo” (English: art) with the English “art”, reflecting a linguistic and conceptual shift away from traditions to engage with global discourses. The term “art” was strongly associated with visual arts, where digital technologies and multimedia experimentation predominate, in contrast to its infrequent use in music, even in digital forms such as electronic compositions. This distinction emphasised a unique connection between language, medium, and identity. By integrating art into public and unconventional spaces, artists had redefined its boundaries, fostering interaction with everyday environments. This evolution illustrated the interplay of technology, space, and culture, transforming contemporary artistic landscapes

Erin Manning’s concept of an art that ‘entertains the environment’, proposes a ‘minor’ practice that might be capable of provoking reconnection with a wide field of non-subjective forces. Rather than a concentration on a replicating of human/object hierarchies, it implies a focus on how various assemblages of human and nonhuman, concrete and abstract, virtual and actual forces have the potential to be realigned through the artistic process. Drawing on recent writing and artwork by Manning, this essay will propose the potential of such a shift in focus in the art event as a tactical approach towards development of a new conception of a political art. This might be seen as an ecological approach to art, which reconnects us with lively worlds and non-human agencies. This essay also explores the entertainment of the environment through an examination of Lygia Clark’s propositional art work 'Caminhando' (1963), concentrating on the transductive potential of the opening of the body to a wider field of distributed agency to produce a sensation of being ‘always more than’ a subject.

In the novel Stiller and in the play Don Juan, both published in the early 1950s, Frisch already focuses on the problem of identity as one of his major themes, but it is not yet situated in a political context as, for example, in the play Andorra. In these works, the identity-problem is situated in the domain of intimate relationships and artistic creativity, offering the possibility to discuss Frisch’s concepts of art and love, which unfold through Frisch’s treatment of the traditional literary figure of Don Juan and his hubris. Frisch’s Stiller and Don Juan do not believe in God; but their frame of mind stays the same, while the position of God and his attributes are assigned to love, art and geometry. Although both literary figures in the course of events realize that this substitution is a mistake, they are unable to alter their concepts of love and art. Instead of altering the concepts, they rather resign in silence, while Max Frisch continues to search for alternatives in reflecting on the process of fictionalization and in developing innovative narrative and dramatic structures.

The prevailing part of art historians, critics and theoreticians from the mid-1950s even until today feels related to the means of expression of the modernist art trends from the last decade of 19th c. until the end of 1960-s. Modernism has become a sacred text, whose complexity should be interpreted, but not criticized. Sedlmayr’s conception of art is built on moral, religious, aesthetic and political grounds, which are the very reason for the actuality of his works – both in the specialized sphere of art history and in the wider public debate on values. That is why I will analyse his structural approach mainly in relation to his anti-modern conception of art. This is the task of this study. Sedlmayr’s effort to turn art history into a “strict science” is an independent part of his scientific pursuit; it is in relation, but is not subordinate to his conception of modern art. Those publications of his are discussed but only in the specialized literature on history of the methods in humanities, while his conception against modern art acquires an exceptional popularity. Because of that reason his theoretic contribution to the study of art remains in a penumbra. I argue that Sedlmayr’s conception has the following coinciding points with the official understanding of art in the time of socialism: – A denial to estimate art with aesthetic criteria, which the ideologists of socialist realism define as formalism, and Sedlmayr as aesthetism; – In socialism art should represent a positive ideal; Sedlmayr calls this ideal “human measure”; – Art should habituate to morals; – A conviction that the modern art from the end of 19th c. on is decadent; – A criticism against the “dehumanization” of art.

The usual conception of traditional Chinese art tends to forget the existence of a rich cultural legacy of Christian origin that has been reflected in the manufacture of ritual objects for the convert communities and European missionaries in China. Among the most used techniques, cloisonné stands out, with important liturgical or decorative pieces treasured by missionaries and collectors, many of them in Western museums today. This work tries to make an approximation to some of those ritual objects used by the Christian Chinese communities that reflect the great influence that the Western artistic models had in the conception of art as a result of the cultural hybridization between both worlds.

Marcel Duchamp의 레디메이드(Ready-made)이후, 현대미술은 ‘다시 만들어 낼 수 없는 유일무이한 물질’이라는 기존의 예술 작품에 대한 개념에서 탈피하여 작가의 아이디어, 구상 자체를 예술 작품으로 인정하기 시작하였다. 최근 국내에서도 이러한 예술 개념을 바탕으로 많은 작가들이 활발한 작품 활동을 펼치고 있으며 수많은 작품들이 끊임없이 창작되고 있다. 국내의 현대미술은 여러 국제미술전에서 좋은 평가를 받으며 그 위상이 날로 높아져가고 있다. 그럼에도 현대미술 작품의 보존처리 결정에 대한 적절한 기준은 미흡한 실정이다.<BR> 달라진 예술의 개념에 따라 현대미술에서의 보존가의 역할 또한 새롭게 요구되고 있다. 다양하고 복잡한 현대미술의 특성으로 인해 과거에 비하여 보존가의 역할 범위가 훨씬 넓어지게 되었으며, 보존처리에 있어 합리적인 판단에 많은 어려움이 따른다. 기존에는 재료의 수명연장에 중점을 두어 실질적인 처리가 매우 중요하였으나, 현대미술의 보존은 이에 앞서 작가의 의도와 관련한 개념적인 문제를 해결해야 한다. 따라서 현대미술에 적합한 보존 이론을 바탕으로 보존처리 결정 기준의 확립이 시급하다.<BR> 본 연구의 내용을 요약하자면 다음과 같다.<BR> 본 연구에서는 현대미술 보존의 여러 문제점을 고찰하고 이를 보존윤리적인 차원에서 현대 보존 이론을 바탕으로 대안을 모색해 보고자 한다. 이를 위해 현대미술의 보존 이론과 주요 논점을 살펴보고 국내ㆍ외 사례연구를 통해 현재 활발하게 논의되고 있는 현대 보존 이론이 현대미술에 어떤 방법으로 적용되었는지 알아보았다.<BR> 현대미술 작품의 보존에 대해 결정을 내린다는 특별한 목적을 위해 만들어진 새로운 모델인 ‘모던아트와 컨템퍼러리 아트의 보존 복원에 관한 의사결정모델’을 연구하고 한계점을 지적한 뒤 수정안을 제시하였다.<BR> 이와 같이 본 연구는 현대미술 보존 방안의 최근 동향에 대한 기초 자료로서의 역할을 하고 현대미술 작품에 대한 보존 방안에 대해 재조명하는 계기를 마련해 줄 수 있을 것이다. 또한 본 연구의 의사결정모델 수정안은 현대미술의 보존에 있어서 실질적인 기준이 될 수 있을 것으로 기대한다.

The author deals with the rhizome concept in art, design and architecture pointing to the fact that these disciplines are a combination of esthetic, psychological and political differences which are constantly exposed to complex interactions. The rhyzome concept fits into the Postmodern where all dots connect, where there is no more growth and everything relates to anything. The division into reality (of the world), the representation (books) and the subjectivity (author) no longer exists. The idea of the rhizoma connects with the Rem Koolhaas's narrative on the modern city of Junkspace, which is compared to a postmodern airport space, referring to its architectural and spatial features.

Before "applied science" and "technology" became keywords, the concept of art was central to discourse about material culture and its connections to natural knowledge. By the late nineteenth century, a new discourse of applied science had replaced the older discourse of art. This older discourse of art, especially as presented in Enlightenment encyclopedias, addressed the relationship between art and science in depth. But during the nineteenth century the concept of fine art gradually displaced the broader meanings of "art," thus undermining the utility of the term for discourse on the relationship between knowledge and practice. This narrowed meaning of "art" obscured key aspects of the industrial world. In effect, middle-class agents of industrialism, including "men of science," used the rhetoric of "applied science" and, later, "technology" to cement the exclusion of artisanal knowledge from the discourse of industrial modernity.