Art Movement Research Articles

Integrating NFTs into Feminist Art Practices: Actualizing the Disruptive Potential of Decentralized Technology

The integration of NFT technology into the art market utilizes a two-pronged approach of decentralization and increased accessibility as an equalizing answer to rectify gender discrepancies in the contemporary art world. This is not the first time that technology as an art medium has been used as a feminist tool to disrupt the previously established status quo. Through the exploration of the 1990’s Cyberfeminist Net Art Movement, this article will discuss how female-identifying artists employ technological characteristics such as anonymity and online gender masquerading to answer the exclusionary issues affecting their art practices. Furthermore, it will examine how NFTs work to build upon the previously established revolutionary movement of the 1990s to evolve the contemporary art practices of feminist artists. Additionally, this article will address the impacts of this new digital landscape, where anonymity is preferred and algorithmic ordering is non-existent, as a more pragmatic way of creating, selling, and buying art. Finally, this article will examine how the integration of blockchain technology—entirely machine-operated and free from human manipulation—aims to eliminate the human biases of identifying factors such as gender that can be concealed or fabricated when operating in an online sphere.

Ralph Ellison, Democracy, and American Vernacular Culture

ABSTRACT This review essay examines In the Shadow of Invisibility: Ralph Ellison and the Promise of American Democracy (2022), by Sterling Lecater Bland, Jr. Eschewing the more expressly political approaches taken by recent Ellison scholars, Bland shows how Ellison mines the resources of vernacular traditions—far more than those of politics or ideology—to explore the formation of national culture. This was true, according to Bland’s first chapter, even during Ellison’s leftist years of literary apprenticeship. Subsequent chapters take up Ellison’s continued engagements with democracy and vernacular culture in his writings on jazz, Ralph Waldo Emerson, and the Black Arts movement, as well as in his never-completed second novel.

Issue of Perception of Form and Space in Japanese Art Movement “Mono-ha” of the 1960–1970s

Issue of Perception of Form and Space in Japanese Art Movement “Mono-ha” of the 1960–1970s

Achieving Sustainability Standards in Designing Products and Interior Design Supplements according to Artistic Movements Principles

Achieving Sustainability Standards in Designing Products and Interior Design Supplements according to Artistic Movements Principles

В.Я. Брюсов, Н.Ф. Федоров и деятели Федоровианы 1900–1920-х годов: Вопрос о смысле и целях искусства. Статья вторая: по страницам журнала «Весы»

The article is the second part of the study of the problem of spiritual and creative dialogue between the founder of Russian symbolism V.Y. Bryusov and the philosopher of common cause N.F. Fedorov. The first year of the symbolist journal “Vesy” publishment is considered, on the pages of which a memorial note about the philosopher appeared written by Chernogubov as well as two significant Fedorov's texts – the article “Astronomy and Architecture”, which outlined the vector of art movement from artistic contemplation of the world and its imprinting in beautiful forms to the real transformation and restoration of life, which becomes the result of the union of science and art, and the fragment “On Writings”, which introduced the theme of unity of faith into the horizon of conversation about art, culture and life, which is opposed by secularization, profanation and devaluation of creativity. It is shown that the publication of Fedorov's texts was part of the ideological strategy of the leading body of Russian symbolism, which, like the philosopher of the common cause, declared its radical revolution in the field of art, which, according to Bryusov, is designed not to reflect the world, but to break the shackles of the “blue prison”, to bring the spirit and consciousness of the artist to the beyond. The lines of interaction on the pages of the journal “Vesy” of Fedorov's texts with the texts of the leading theorists of the journal V.Y. Bryusov, A. Bely, V. Ivanov are shown. It is revealed that Fedorov's call for the transition from contemplation to action resonates with the mood of the young symbolists, it is shown that the philosopher anticipates the concept of life creation.

Outsider Art and Psychiatry in the Late Soviet Period

This article examines the discourse surrounding the Soviet Outsider Art of the 1970s–1980s. The author analyses the characteristics of scientific and scholarly approaches to, and definitions of, Soviet Оutsider Аrt, and the relationship of this phenomena to the contemporary political situation. The research methodology relies on the theory of discourse and discourse analysis, which makes it possible to examine texts and events from highly different fields as parts of an interconnected system. The innovative character of the study lies in the fact that, for the first time, the author considers the discourse of Soviet Оutsider Аrt from the perspective of Soviet policy and international affairs. The lack of specialized works that study Soviet Оutsider Аrt makes the article relevant and innovative. Researchers have not previously considered the connection between Soviet foreign policy, ideology, punitive psychiatry, and the discourse surrounding Outsider Art. In the 1970s, the creative process of the mentally ill became a topic of interest for Soviet psychiatry. The drawings of psychiatric patients were treated as vehicles of their creative impulses and utilized in psychiatric research for diagnostic purposes. Soviet psychiatrists compared the creative abilities of the mentally ill with various artistic movements, primarily surrealism; however, their vocabulary and analytic approach remained strictly psychiatric in nature. The 1980s gave rise to significant interest in this topic by a larger audience, in connection with a rethinking of artistic languages and the creative process. There was a dual attempt to dispel the reputation of “punitive psychiatry” and a growing understanding of the importance of “otherness” in art. Orienting to the discourse of key texts, this article reveals a gradual shift from the language of psychiatry to art in academic and journalistic texts devoted to Outsider Art in the 1970s–1980s.

JARANAN MATARAMAN ART: REPRESENTATION OF HISTORY AND MORAL VALUES IN DUSUN SANAN, BLITAR

This study aimed to examine the history and moral values of Jaranan Mataraman Art as a cultural identity of residents of Sanan Blitar Hamlet. This research used a qualitative method with a case study approach. Data collection was done through observation and interviews. Research data were obtained from observing Jaranan Mataraman's performances in Sanan Hamlet, Dayu Village, and Blitar Regency. Researchers also interviewed Jaranan Mataraman art activists in Sanan Hamlet using an open-ended questionnaire system. The results of this study revealed that every movement of Jaranan Mataraman's art consists of historical and moral values. There is a correlation between animist aspects such as danyang and the importance of maintaining the Sumber Sanan water source for residents. Therefore, Jaranan Mataraman was designated as the cultural identity of the people of Sanan Hamlet and became an intangible cultural heritage. From this research, it can be concluded that the art of Jaranan Mataram represents the dynamics of local history and moral values so that it can be established as a cultural identity in the Sanan Hamlet community and formalised as an intangible cultural heritage.

The Black Arts Movement and the House of Ideas

The Black Arts Movement and the House of Ideas

ART IN PARTNERSHIP WITH HUMAN AND ARTIFICIAL INTELLIGENCE: CREATIVITY AND ALGORITHM

Art has been the most creative form of humans’ self-expression since time immemorial and has taken many different forms over the years. Furthermore, digitalization in all aspects of life has foreshadowed radical changes in art in accordance with the opportunities provided by technology. In this study, the possibility of transferring all the characteristics of an artist defining his art to artificial intelligence (AI) has been discussed, and whether the re-evaluation of art production with the developments in AI and the artist’s being alive for the continuity of his art are essential or not has been examined. With the distinguished group study carried out in this scope, it has been aimed to explore beyond traditional approaches, putting people at the centre of the creative process, and has greatly benefited from the expertise of three contemporary artists working at the meeting point of art and AI in Istanbul, Turkey. In this context, the in-depth interview method as a qualitative research method has been conducted in the study, the opinions of the interviewed artists on the topic have been evaluated, and the related questions of the arguments have been analysed. All things considered, two conclusions have been drawn: an artist’s work or a particular section of an art movement might be reproduced using possibilities created by digital art, and given the current opportunities and conditions of this age, AI systems are unlikely to replace artists and generate art instead of them.

Паттерны окуломоторной активности при восприятии различных направлений живописи: айтрекинг исследование

The introduction discusses the role of art in society. Art is one of the ways of learning and describing the world, and its role in the development of an integral personality is enormous. The theoretical analysis presents some research within the framework of neuroaesthetics. The choice of stimulus material for the study is discussed – paintings from five art movements: Realism, Impressionism, Modernism, Cubism, and Surrealism. It is suggested that in the process of viewing works of art from different movements, oculomotor activity (OMA) will be different. Empirical analysis showed differences in OMA parameters: blinking, fixations, and saccades, among students when they were presented with pictures of different art movements. It was found that the subjects showed emotional excitement while perceiving paintings from the Impressionist movement. Paintings of Modernism and Impressionism presented the least concentration of attention but the greatest interest. A high concentration of attention was observed during visual perception of realism pictures. The greatest cognitive load was detected at the time of presentation of cubist paintings. Rational perception and memory resources are more involved in the processing of Surreal pictures. In conclusion, the characteristic patterns of OMA in the perception of various art movements are noted. Research results may be useful in the practice of passive art therapy as part of psychoprophylaxis programs.

The AIA 1951 Lithographs: Contesting National Identity in Intermodern Prints

Abstract This essay examines the Artists’ International Association 1951 Lithographs, a series of prints produced to mark the Festival of Britain. It argues that these works, like others from the period, have received limited art-historical attention due to the dominance of a teleological narrative whose values are rooted in subsequent art movements. It proposes an alternative, ‘intermodern’ framing that emphasises continuity with pre-war ideals of democratising art ownership, and encourages historically informed analysis of the series’ images. In line with recent scholarship on the Festival of Britain, the interpretations offered show the series projecting an idea of Britain as harmonious, egalitarian and optimistic, in a way that supported the Labour government’s programme of social democratic reform. However, some images are also understood as manifesting ideological division and class conflict, as well as late imperial anxiety, in a way that ran counter to the Festival’s conceit of national harmony.

Spirituality in the Black Arts Movement

The article investigates the significance of spirituality in the works of the Black Arts Movement poets. By examining the poetry of Amiri Baraka and Maya Angelou, the study uncovers the various facets of spirituality that African Americans embrace, including “Africanized” Christianity, jazz poetry, and Islam. The article aims to show if spirituality is merely a way to celebrate cultural diversity or a vehicle for social change. It draws on Gilles Deleuze and Félix Guattari’s theory of minor literature to demonstrate that the Black Arts Movement is a minor literature, whereby cultural markers such as spirituality are politicized. Because spirituality endows the Black Arts Movement with a political value and a collective enunciation, this movement becomes a revolutionary force that aims to enact social change. This politicized spirituality is symptomatic of a desire to foster a strong, positive bond with Africa, which is an antidote to the strangeness of mainstream society. The remembrance of the African past through Afrocentric spirituality is a tool for defining and redefining one’s sense of belonging. It is also a quest for an essentially black aesthetic.

Aesthetic Principles of European and Russian Romanticism, Azerbaijani Romanticism

At the end of the 18thcentury, the emergence of the artistic movement of Romanticism in European culture led to innovations in aesthetic approaches not only in this region of the world, but also in a more global environment. Speaking about the genesis of Western European romanticism, one cannot ignore the role of the cultural and philosophical ideas of romanticism in those trends and methods that will be formed in subsequent stages. There is no doubt that the emergence of romanticism was able to change the worldview of people who lived at that stage, influencing all spheres of social thought. However, it is illogical to forget that there is a certain disharmony in the created process.

Monet’s Unified View: The Fusion of Eastern and Western Cultures

When Japan opened its borders in the 1850s, citizens, especially those from France, were awed by the different styles of art the Japanese had compared to the West. As this interest in Japanese culture grew, more and more people collected Japanese prints, books, and other goods. Many artists took inspiration from the Japanese art style, such as the use of bright colors, unusual compositions, and flat, unrealistic perspectives. This eventually led to the creation of a new art movement called Japonisme. One major artist within the movement was Claude Monet, who fell in love with Japan’s style of art and admired nature's role within it. Inspiration from the culture can clearly be seen in his Japanese-styled garden at Giverny but also in the painting La Japoinaise (1876), which allowed him to critique fellow French artists who embraced the Japonisme movement for its exoticism. He instead relied on Japanese forms and color to create his own style of art. While most scholars agree that Monet was trying to criticize Japonisme, they mainly focus on identifying elements of Japanese culture in the painting, without fully addressing why and how Monet utilized these stylistic traits. Rather than focusing solely on aspects of Japanese culture in the painting, my paper positions Monet as a critic of those who denigrated Japanese art by analyzing how he unifies Japanese and French culture in La Japonaise, mainly through examination of the Japanese story depicted on the woman’s kimono. Within this painting, Monet, thus, simultaneously critiques the French appropriation of Japanese culture for its exoticism while melding Japanese literary and artistic traditions with Western ones to showcase to the rest of the art world his specific vision of the unification of the two cultures.

Analysis of the Influence of Contemporary Art Trends on Art Design

Artistic thought, as an artistic phenomenon, is a manifestation of the regular movement and development of art itself. The influence of contemporary art trends on art design is rich and diverse. At the same time, they also influence each other and develop together in this era of art contention, and progress and develop together with the pace of The Times. Nowadays, under the background of such a diversified world, the trend of artistic thought constantly influences the art design and plays an important role in the development of art design. This paper mainly discusses and discusses the influence of contemporary art trend on art design.

On Romani Contemporaneity: Rethinking the Malgorzata Mirga-Tas Exhibition in Seville

This essay delves into the representation and reclamation of Romani identity and experience in contemporary art, focusing on the work of Malgorzata Mirga-Tas, viewed from a Gitano point of view located in the South of Europe. Drawing on historical contexts and artistic movements, the essay examines the evolution of Romani portrayal in European art and the emergence of contemporary Romani art as a form of resistance and self-representation. Through an analysis of Mirga-Tas's artistic practice and its intersection with themes of coloniality, gender, and racialization, the essay explores how her work challenges dominant narratives and fosters a deeper understanding of Romani culture and history. Furthermore, the essay discusses the significance of Mirga-Tas's artistic interventions in reshaping perceptions of Romani identity and contributing to broader conversations about representation, power, and agency in the art world, including the cultural field of flamenco. Through a multidisciplinary approach encompassing art history, sociology, and cultural studies, this essay offers insights into the complexities of Romani contemporary art and its role in challenging entrenched stereotypes and advocating for social justice and recognition.

Unveiling Cross-Cultural Hidden Nexus: An Analysis of Chinas Contribution to the Cultural Influence of the East on the West

Even though the cultural communication between Japan and Europe is massively documented, such as the impact of ukiyo-e prints on Impressionism, Chinese culture's enormous contributions are overlooked. Ukiyo-e is often regarded as the primary source that influenced Impressionism from the East during the Meiji Restoration in the fin de sicle. The East's impact on the West is long-lasting rather than explosive. The critical power of traditional Chinese art and innovations, for example, the moveable type printing, over the evolution of European art movements has yet to be noticed due to political and geographic limitations. Citing paintings by Ma Yuan (1160-1225), Li Song ( active 1190-1230) and Wang Ximeng (1096-1119) in China, Katsushika Hokusai (1760-1849), Utagawa Kuniyoshi (1798- 1861), and Hiroshige (1797- 1858) in Japan, Vincent Van Gogh (1853- 1890) in the Netherlands, and Claude Monet (1840-1926) in France, among others, as examples of specific comparisons and cultural analyses, this article delves into the hidden connections and cultural exchanges, through working on the technical and iconographical forms from ancient China that shaped the European art in the epoch of high modernism.

Greenberg, The Cold War, and French Existentialism

This paper investigates the development of Abstract Expressionism in 1940-1950s America, focusing on ways it has been constructed as a masculine form of expression. Emerging after the end of WW2 when the American national identity was being re-defined, the art movement became a site for the interplay of multiple socio-political and cultural tensions. The imposition of qualities traditionally associated with masculinity became a key aspect in the reception of the movement, reflecting the interests of multiple institutions. This paper deconstructs the amalgamation of factors that formed the masculine image of Abstract Expressionism. These factors range from the masculinising language of art critics such as Clement Greenberg to America’s Cold War agenda to male artists’ own internalisation of philosophical ideas that projected the movement’s masculine aura. In the last section of my investigation, I will expose the gendered imbalance within Abstract Expressionism by analysing the contrast in the occupation of space by male and female artists in period photographs.

The Relationship Between Artistic Movements and Scientific Discoveries

Throughout history, artistic movements and scientific discoveries have often developed in tandem, reflecting a rich interplay of ideas that transcend disciplinary boundaries. From the Renaissance’s integration of perspective and anatomy to the technological advancements driving digital media art, these intersections highlight a mutual influence that fosters innovation and creativity. This study investigates underexamined yet striking examples of this phenomenon, emphasizing how art and science have shaped and inspired each other. By analyzing key moments where artistic methodologies anticipated scientific breakthroughs—or vice versa—we uncover how optical, neurological, and technological developments have catalyzed artistic expression, often blurring the lines between empirical observation and creative intuition. This dialogue between art and science offers profound insights into their shared processes, methodologies, and cultural impact, underlining their collective role in advancing human understanding and imagination. Keywords: Art and Science Interplay, Artistic Movements, Scientific Discoveries, Interdisciplinary Innovation, Renaissance Perspective.

Dimensions of freedom of Ukrainian art in the late 80s and early 90s of the 20th century and their manifestation in artistic associations of that time

The relevance of the research topic lies in the insufficient study of such a period of Ukrainian art as the turn of the 1980s and early 1990s, when banned artists came out of the underground, taking advantage of the weakening of the ideological pressure of the Soviet system, and led powerful artistic movements involved in the formation of dimensions of free creativity. The purpose of the work is to clarify the conditions for the development of Ukrainian art at the turn of the 80s and 90s of the 20th century, and to highlight the importance of creative associations in the process of artists’ realisation of new tasks in the emerging continuum of freedom (on the example of the associations “The Way” and “The Strontium-90”). The methodological apparatus of the study consists of three stages (preparatory, research and synthesising) using the following methods: analysis of literary and scientific sources, dialectical method in the emergence of a new phenomenon, method of logical analysis, method of critical and comparative analysis, synergistic method, generalisation, method of hypothesis and forecasting. The study found that at the end of the 1980s, under the influence of the Chornobyl disaster, Ukrainian “unofficial” art left the status of marginal, and its representatives became the forerunners of a new free creative continuum. The artists of the new generation, using the neo-avant-garde experience of their colleagues and the factor of freedom of expression, strive to use the latest creative practices, which has connected them to the global artistic space. The study argues that neo-mythologism, as one of the main principles of world art of the second half of the 20th century, at the turn of the 1980s and 1990s became decisive in the process of creating a free artistic continuum. This principle led to the most individualised figurative system of expression of Ukrainian artists of the new generation. The paper examines two artistic associations, “The Way” and “Strontium-90”, and their role in shaping the Ukrainian free creative continuum. The practical significance of the study lies in the use of the results in the creation of recommendations and methodological guides on the history of Ukrainian art of the 20th and 21st centuries and gallery business