Contemporary Art Research Articles

The Evaluation and Learning of Web Crawler Technology in the Field of Digital Media Art

With the rapid advancement of digital technology, digital media art has progressively emerged as a novel darling in the contemporary art market, primarily due to its distinctive interactivity, generativity, and digital distribution methods.The appraisal of market value is crucial in the transaction of digital art, and web crawling technology presents an innovative approach for data acquisition and processing. This study is dedicated to exploring the convergence of digital media art and web crawling technology, conducting an in-depth investigation on the application of web crawlers in the determination of market value for digital art.In the context of developing a theoretical framework, a novel value assessment model is proposed by integrating the features of the digital art market with established value assessment theories. On this basis, a value assessment tool targeted at the digital media art market was developed.This tool integrates multiple factors such as historical transaction data of artworks, artist backgrounds, work style, and media exposure, and employs machine learning algorithms to conduct market value assessment of artworks.Case analyses have also confirmed the accuracy of the assessment results and the practicality of the assessment model.Results show that this assessment tool not only provides powerful market guidance for art investors and collectors but also offers a pricing decision basis for digital art trading platforms.This research not only provides new perspectives and practical tools for the assessment of digital art but also makes a valuable exploration into the application of web crawling technology in the acquisition of art data information.It is of positive significance for the value discovery of digital media art and the long-term healthy development of the art market.

The material and immaterial in Lyotard, Benjamin and contemporary Indigenous art

ABSTRACT Powerful arguments have been made that art is moving from the material to the immaterial in an age of ‘virtual reality’ (Jean-François Lyotard). Equally powerful arguments have been put that it is moving from the immaterial to the material in an age of mechanical reproduction (Walter Benjamin). In this essay, we propose that the material and immaterial are inseparable, and that this is what both Lyotard and Benjamin are ultimately suggesting. This would go against those critics who claim that art is becoming too material (Clement Greenberg and Michael Fried), and they themselves can be seen to be admitting that this materiality is possible only because of a certain immateriality. In response to this, Rosalind Krauss’ notion of ‘post-medium’ can be read as an expression of the immateriality that allows the materiality of medium. We conclude by considering three examples of Australian Indigenous art that also point to the inseparability of the material and immaterial: the digital exhibition Connection, the street sign works of Yolngu artist Wanapati Yunupingu and the installation kith and kin by Kamilaroi Bigambul artist Archie Moore, recently exhibited at the Venice Biennale.

Sustainable micro renewal and renovation of arts town in China: Intermingling design of contemporary art and Chinese classical garden

<p>The gardening philosophy of Chinese classical gardens is an integral part of China’s rich traditional culture, reflecting ancient scholars’ understanding of nature and humanity and embodying aesthetic and philosophical values. With the progression of time, integrating the principles of Chinese classical garden gardening into contemporary space design has emerged as a critical issue in contemporary public space design. This study uses the Butong Arts Town in Qinhuangdao as a case study, focusing on applying Chinese classical garden gardening concepts in public space design and regional micro-renovation. Special attention is given to nodes that simultaneously serve interactive and recreational functions. In the micro-renovation of the Butong Arts Town area, Chinese classical garden gardening principles can be employed through greening, landscaping, and other means to enhance the quality of the space. Additionally, by integrating local cultural characteristics, it is possible to create public spaces with distinct regional features, providing a comfortable and pleasant environment for artists, designers, planners, and tourists. The design methods used in this study explore the behavioral characteristics and usage needs of various groups from multiple perspectives, aiming to optimize activity spaces. This research identifies the main issues within the target areas and proposes corresponding improvement measures to enhance the functionality and aesthetic quality of the space. The aim is to integrate people’s growing spiritual pursuits with public activity spaces, providing new references and ideas for future sustainable space design.</p>

An inclusive case study of multimodal metaphor

Abstract This article provides a detailed analysis of multimodal metaphor by means of a case study which focuses on the contemporary art project, ‘Laboratory of Dilemmas’ (Venetic Biennale 2017), by George Drivas. The analysis focuses on multimodal metaphors which instantiate the source concept of labyrinth, utilizing constructs from Conceptual Metaphor Theory, Critical Metaphor Analysis and Multimodal Metaphor Analysis within a more encompassing framework of Contemporary Art Criticism. The present study aims to define properties of multimodal metaphors, i.e. their forms, concepts and usage, reveal conceptualizations of both the creator and the spectators-analysts of a system of multimodal metaphors, and clarify key contexts, such as embodied, cultural, and ideological, which influence their production, comprehension, impact and analysis. According to the analysis proposed, the multimodal metaphors affect the spectators very deeply, engaging their mental, emotional, multisensory and bodily responses to ideological dilemmas that are prompted by the current refugee migration.

POETICS OF MUSICAL BAROQUE: AESTHETICS, PERFORMING TRADITIONS, INTERPETATION

The purpose of the article is to identify performance strategies in contemporary musical culture that are related to the interpretation of ancient styles and genres as authentic examples of the cultural process in the age of globalization, based on the comprehension of the components of the poetics of the musical baroque. The research methodology is based on the cognitive, interpretive, historical and stylistic approaches necessary for a comprehensive study of this topic. The gender specification of performance is highlighted. The author analyses iconic works (Dardano's aria “Pena tiranna” from Act II of the opera “Amadis of Gaula”) and performances (the Sesto part from the opera “Julius Caesar” by G.F. Handel) in which the gender approach to the authentic “opera text” prevails; the role of the countertenor in contemporary art is characterized from the standpoint of historically informed performance. In connection with the great popularity and spread of the art of countertenors in the performance of ancient vocal music, the question of gender identification as a performance strategy has arisen, in the development of the concept of V.O. Gigolaeva. The conclusions outline the components of the performing poetics of the musical baroque era: the parity of vocal and instrumental thinking, sound imitation, improvisation on the contralto, and the performance of one's own cadences. The stylistic differences in the performance of Baroque music in terms of vibration, which is an inherent quality and characteristic of the voice, and methods of colourful sound formation that provide unlimited possibilities for performance are indicated.

Scanography: photographic art between the realms of sight and touch

ABSTRACT Scanographs are photographs made using a scanner, and they have become increasingly present in contemporary photographic art in the expanded field. In this article, I examine the artistic processes of three artists working with scanners and analyze their works through their relationships with the senses of sight and touch. These works open up spaces for a haptic gaze, where the tactile qualities of the working processes of the artists are mediated through the images. I use theoretical sources centering on sight and touch, presence and absence, analogue and digital to suggest ways of considering these qualities not as opposing characteristics but rather as simultaneous polarities.

Clay in Art Therapy: A Case Report of a Sexually Abused Child

Contemporary art therapy has focused little on the healing potential of using clay with children that have experienced sexual abuse. In this case report, I provide a brief introduction of a 12-year-old male followed by a discussion of his clay sculptures made in group art therapy sessions over a two-week period during an inpatient psychiatric stay. The tactile and sensorimotor activity of working with clay provided trauma informed benefits such as focusing on the present-moment experience, safely developing somatic awareness, and cultivating self-regulator capacity. Additionally, the client’s life-like clay objects permitted him the opportunity to create personalized imagery that symbolized his unconscious processes and life experiences and was a key step toward successful transference and artistic sublimation.

Exploration and Practice of Digital Technology and Virtual Reality Technology in the Creation of Public Art with Chinese Characters: Take Qingshan Hongfang as an Example

Abstract: In the modern context of rapid development of artificial intelligence, it provides a new direction for the development of public art in the new situation. The digital reconstruction of modern and contemporary public art has provided new experiences in terms of interaction and emotion. The popularization of interactive devices and virtual reality technologies has made the forms of public art more diverse and the audience's experience more personalized. As the carrier of Chinese civilization, Chinese characters have their special cultural significance and resonance. Translating Chinese characters through public art is a good form of expression. Currently, there is a lack of public art works with cultural identity in urban public spaces in China. This article will use a combination of quantitative and qualitative methods to analyze the public art and Chinese character design cases of the Red Steel City Red House architectural complex in Qingshan District by sorting out relevant concepts and combining case study methods. Ultimately exploring the combination of digital technology and virtual reality, incorporating Chinese characters as a creative element in contemporary art and design. Intended to provide reference and inspiration for art creators and related practitioners.

Considerations in Acquisition of 3D-Printed Art

ABSTRACT 3D printing (also known as Rapid Prototyping or Additive Manufacture) is increasingly common and technically sophisticated, and is utilized in art and design, industry, and consumer applications. Museums and collectors are now acquiring works made using this technology though their preservation needs are not fully understood. This article provides an overview of the technology and related terminology, review of related conservation literature, and introduction to current efforts for the care of these works. Discussion includes the formulation of collaborative working practices, documentation during acquisition, and consideration of periodic reprinting. Case studies include a pre-accession checklist developed at SFMOMA (San Francisco Museum of Modern Art) and the reprinting of select components from Altar/Engine (2015) by Tauba Auerbach at MoMA (Museum of Modern Art) in New York. Though 3D-printed works may be found in science, history, and other collections, this study will focus on works of contemporary art and design.

Nadezhda Dobychina (1884–1950)

Abstract The opening of the first commercial art gallery in Russia by Nadezhda Dobychina (1884–1950) heralded surprising female dominance in the national art business sector, which appears even more remarkable considering that up until the early 1910s art dealers were virtually absent from the archaically pre-capitalistic Russian art market. On that account Dobychina’s Art Bureau, which opened in St. Petersburg in October 1911 was an entirely pioneering business project. Dobychina laid the groundwork for several innovative approaches which foreshadowed many aspects of modern gallery practice. Exhibitions in her Art Bureau were accompanied by talks, disputes, concerts and performances, bringing artists and public in a close contact with each other and thus providing a useful forum for the exchange of views and ideas. Dobychina’s Art Bureau aimed at showcasing the most original and distinctive artistic trends in Russia and abroad, ranging from realism, symbolism and post- impressionism to provocatively cutting-edge avant-garde. In a short span of less than a decade she organised the first exhibitions in Russia of Wassily Kandinsky and Marc Chagall and famously exhibited Malevich’s Black Square in the ground-breaking 0.10 exhibition, which was held at the Bureau in 1915. Over the years Dobychina has also assembled an important collection which included works of the World of Art and Avant-garde artists. The Art Bureau emerged as the most influential and ideologically independent centre of the contemporary art in Russia, which in turn secured artistic dialogue between Russia and Western Europe.

„Eine Sprache ausstellen“

Abstract In their attempt to reposition Germany in an international context after World War II, actors from both the fine arts and the literary scene turned to the idea of art as a universal language. Two major projects that shaped the West German cultural sphere in the 1950 s and 1960s – the contemporary art exhibition documenta 2 and Hans Magnus Enzensberger’s anthology Museum der modernen Poesie – placed this idea at their conceptual core. The debates surrounding these projects show, however, that the notion of art as a universal language was as contested as it was compelling. In close readings of paratexts, including previously overlooked archival material, it becomes evident that very different conceptualizations of monolingualism and community are attached to the idea in each context. Evaluating these differences through the lens of translation studies, curatorial studies, and political theory enables a more nuanced discussion of the concept’s post-war renaissance and its ideological implications.

Visual arts as a catalyst for social change: Communicating powerful messages

This study examines the crucial role of Visual Arts as a catalyst for social change, focusing on its potential to communicate powerful messages that provoke thought, inspire action, and foster empathy. By investigating various contemporary art forms, such as street art and digital art this research aims to highlight the ways in which artists harness their work to address pressing social issues and promote positive change. Through an analysis of case studies featuring renowned artists and their impactful pieces, the study illustrates how visual arts can transcend language barriers, evoke emotional responses, and inspire individuals to engage in critical reflection and dialogue. In addition, this research underscores the potential of visual arts to create shared experiences and unite diverse communities around common causes, ultimately fostering understanding and paving the way for transformative societal advancements. In doing so, the study seeks to emphasize the unique and potent ability of visual arts to communicate powerful messages, drive social change, and cultivate a more informed, empathetic, and connected global community by leveraging various forms of visual communication, including linguistic signs and symbols, to convey meaning and provoke thought.

Villas and Vanguards: Thornton Wilder in Capri in 1920

Abstract This article deals with Thornton Wilder’s early European travels, focusing on his experiences in Italy during the autumn of 1920, which played a crucial role in shaping his nascent literary career. Specifically, it examines his time in Sorrento and Capri, where the local culture and landscape left an indelible mark on him and provided the inspiration for his unfinished play, Villa Rhabani. Exploring Wilder’s interactions with contemporary expatriate artists and intellectuals and his immersion in the local Italian milieu, the article seeks to illuminate the biographical and environmental influences that informed his play. The article situates Villa Rhabani within the broader context of other writers and artists who were also on the island of Capri, highlighting the interplay between Wilder’s lived experiences and his creative output. Furthermore, it addresses the speculation that Wilder visited Capri, drawing from detailed descriptions in his manuscript that suggest firsthand familiarity with the island.

Re-Thinking Boundaries: The Evolution and Impact of AI in Music and Soundscapes

This essay offers a comprehensive review of the transformative role of Artificial Intelligence (AI) in music composition and soundscape generation, providing both a historical overview and a critical analysis of its impact. Tracing AI’s evolution from its early applications in the mid-20th century to its sophisticated use in contemporary auditory arts, the paper explores how AI has reshaped creative processes, blurred traditional boundaries between music and soundscapes, and catalyzed the emergence of new genres. Additionally, it critically examines the ethical, cultural, and aesthetic challenges posed by AI’s integration, addressing concerns such as creativity, authenticity, and the potential homogenization of musical outputs. By balancing both positive and critical dimensions, the essay aims to deepen understanding of AI’s dual role in transforming not only creative methodologies but also the conceptual frameworks of the auditory arts.

Legacy of the Ancestors: Revitalization of the ‘Scythian Animal Style’ in Altaian Arts and Crafts

This study examines the so-called ‘Scythian animal style’, which has experienced a revival, particularly in contemporary Altaian arts and crafts, where it serves as a symbolic expression of ethnic identity and the Altaians' identification with the ancient Pazyryk culture of the Iron Age. The animal motifs from the Pazyryk culture, originating in the Altai region, are widely incorporated by Altaian artisans today and are used to represent and promote Altaian culture. The paper focuses on the role of this art style in Altaian crafts, exploring its interpretation and the reasons for its use from the Altaians' perspective. Alongside professional literature, the study draws primarily on data gathered during the author's field research conducted in 2018 and 2019 in the Altai Republic, Russian Federation. The theoretical framework of the study is grounded in ethnosymbolism.

THE IMAGE OF WOMEN IN THE WORK OF NODIRA ORIPOVA

This article provides an in-depth analysis of the evolution of visual arts in Uzbekistan during the period of independence, examining the cultural and artistic transformations that have shaped the nation's contemporary art scene. A particular focus is given to the career and creative journey of renowned artist Nodira Oripova, whose works exemplify the spirit and artistic innovation of this era. By exploring the unique stylistic elements and thematic depth of Oripova's oeuvre, this study highlights how her art reflects both national identity and individual expression, contributing significantly to the discourse of modern Uzbek visual arts.

포스트 시네마 환경에서의 관객 현전에 관한 연구

This study defines the diversified media environment of contemporary visual art as a post-cinema environment and analyzes how the spatial expansion of the screen and the conceptual transformation of the camera have occurred within it. By examining the altered methods of image production, mediation, and reception, the research reveals the presence of the spectator as a noncorporeal subject in the visual field of image experience. The changes in the screen and the audience have been driven by the transition to multi-screen and multimedia environments, leading to a transformation in visual perception through physical environments that interact with images in expanded spaces. Additionally, the post-cinema camera, as a non-human agency, has broadened the scope of image production and mediation through computer imaging processes and digital technologies. It not only intervenes between the unexperienced realities beyond human cognition and the audience as the experiencing subject, but also produces and mediates images for machines as machine vision, facilitating the process of converting representation into information. Furthermore, this study argues that the issue of spectator presence in the visual field can be understood through the paradox of absence and presence in the technological context of 21st-century media. It asserts that the spectator emerges as an “electronic body” that transcends the physical body in the image reception environment. The concept of the audience's electronic body introduces perspectives on the coding and informatization of the body due to technological interventions by computers and media, as well as the hybrid sensations resulting from the interaction between bodies and devices, proposing a new notion of corporeality for non-corporeal subjects in the new media environment.

SENI KALIGRAFI SEBAGAI MEDIA DAKWAH ISLAM DI INDONESIA

Preaching is one of the most ideal media for conveying Islamic teachings. The da'wah activity that has been known to the general public is only a verbal delivery to the wider community. In fact, non-verbal communication can also be conveyed in conveying Islamic da'wah. In da'wah there are many ways that can be done both verbally and non-verbally. This non-verbal Da'wah can be applied through the art of writing or often referred to as the art of calligraphy. The method that researchers use is the library research method, namely by collecting literature in the form of journals related to the research topic. The results of the research show that Da'wah using the art of calligraphy is a new alternative in the medium of da'wah, in this way preaching becomes more interesting and efficient. The art of calligraphy in question is not only contemporary calligraphy art but in digital calligraphy art it is also effective and even has a wider reach because it can be implemented on the internet, for this reason this da'wah media is called da'wah bil kitabah.

Application and Research of AIGC in Contemporary Art Design Curriculum

The influence of AIGC on art and design education is reflected in many aspects, which promotes the change of creative methods, teaching methods and students thinking. With the development of AIGC technology, students in the design discipline are able to quickly generate a variety of creative works, which not only improves their design ability, but also inspires greater creative inspiration. Teachers gradually realize that the AIGC tool must be integrated into the curriculum to help students understand the application of AIGC in design and its potential. On the whole, AIGC has brought new opportunities and challenges to art and design education, requiring the educational community to constantly adapt and innovate in order to cultivate future design talents.

Interactional space for agency: Discussing photography with preschoolers

According to the latest research in both arts education and childhood studies, young children's agency is relational, entangled and negotiated. However, in early childhood visual arts education, modernist practices emphasising the independent and self-expressive child–agent are still recognisable. In this article, early childhood artistic activities are seen as a shared venue for interaction, social exchange and joint meaning-making, thereby providing a specific forum for displaying agency. Informed by conversation analysis, we explore discussions between 14 preschoolers and a researcher on contemporary art and children's self-authored photographs in a workshop in an early childhood education and care centre. By examining our discussions as turn-by-turn procedures, we identify children's displays of agency. The findings illustrate children's agency as a multifaceted and complex interactional phenomenon based on verbal and non-verbal communication and demonstrating both imaginative, progressively oriented talk and modes of resistance. While a shared playful stance appeared as a suitable means to approach art/creative photographs, it simultaneously became an essential interactional resource for inviting and promoting children's agency. Collaborative play with photographs provided an interactional space in which the fixed child/children–adult binary could be questioned and different types of agency were available for both children and the adult.