ABSTRACT The idea to build a cultural centre in the heart of Paris, designed around a contemporary art museum, was launched by Georges Pompidou in 1969, eighteen months after the events of May 1968 that led to his election as President of the Republic. The politicians and officials overseeing this unconventional museum project saw it as a way to channel protests by providing an outlet for social tensions, especially among the youth, while fearing the politicisation of the institution. Influential art critics involved in the May protests and young museum curators exasperated by the traditionalism of their elders welcomed the long-awaited opening of the French state to contemporary culture and unconventional works. But some factions of the avant-garde scene openly attacked a project closely associated with a president representing the Gaullist legacy. Far from the simplistic model of political instrumentalization of art, the creation of the Centre Pompidou was thus marked by intense debates and internal tensions within both the artistic and governmental spheres. Drawing on numerous archival documents, this paper seeks to explore how these political motivations shaped the conception of the new National Museum of Modern Art from 1969 until its inauguration in 1977.

This research aims to reinterpret the cultural and historical value of the “Pazyryk” carpet, which was found in the kurgans of the Hun Turks and recognized as the earliest example of Turkish carpet art through digital technologies. In this context, it is to examine the process of transforming the visual and sensory dimension of cultural heritage into new forms of expression that arouse curiosity in the audience and encourage research by animating the motifs and figures on the carpet using today's technologies, thereby enhancing the visual and sensory dimensions of cultural heritage. The study was conducted through a detailed literature review of the cultural and historical context of the motifs and figures in the Pazyryk carpet within the scope of the explanatory case study method, and an examination of similar digital applications and approaches, followed by an application study using various digital techniques, sound effects and animations on a total of 24 figures. Thanks to the digital application, the revitalization of traditional motifs with contemporary art techniques offered the audience the opportunity to build a bridge between the past and modern design, and paved the way for the reinterpretation of the universal values of the symbols of Turkish culture. By revealing the impact of technological innovations on the reproduction of historical motifs, the study emphasizes the potential of digital transformation of cultural heritage in areas such as education, art and tourism. In addition, this study is considered as an important step towards the protection of cultural heritage, blending modern art and historical narrative, and revealing the richness and historical depth of Turkish culture by reinterpreting Turkish motifs in digital environment.

Artificial intelligence (AI) is fundamentally reshaping creative design processes by enabling rapid ideation and consistent visualization, particularly within stage art and scenography. However, existing workflows remain heavily dependent on manual sketching and subjective interpretation, limiting scalability and reducing reproducibility across design teams. This gap underscores the need for a structured, AI-assisted generative stage art design (GSAD) framework that integrates deep learning, generative modeling, and optimization techniques to support systematic and repeatable concept development. The core objective of the GSAD framework is to combine diffusion models for initial concept generation, generative adversarial networks (GANs) for texture and lighting refinement, and intelligent elephant clan optimization (IECO) for optimizing stage layout and lighting placement. The Stage Art Design Dataset, comprising 2,500 high-resolution images, includes annotated theater scripts, lighting diagrams, and 3D layouts to facilitate multimodal learning. Experimental evaluation demonstrates substantial improvements in qualitative metrics, including improved semantic alignment between script content and generated visuals, and greater layout optimization efficiency achieved through IECO-driven spatial analysis. Implementing the framework in a Python-based environment resulted in 98.88% predictive accuracy, 26.58 mega floating-point operations per second (MFPOs), and a parameter quantity of 1.08 M. The GSAD framework presents a scalable, reproducible, and technically robust AI-assisted workflow that enhances creative output, ensures visual consistency, and supports efficient concept development in modern stage art design.

ABSTRACT Through autoethnographic encounters with selected artworks from the exhibition One Hundred Thousand Small Tales (OHTST) at the Museum of Modern and Contemporary Art (MMCA) Sri Lanka, and grounded in the author’s lived experiences, this paper presents how art activates inherited memories and reveals the forms of erasure and absence. It argues that these artworks operate as affective repositories that resist official narratives by making visible the intimate and fragmented histories often excluded from public discourse. The analysis is framed as a conversation between the spectator (author) and the artworks, where each piece becomes an active participant in revisiting and reframing memories of the Tamil community. In so doing, it also highlights how art can create spaces where personal memories intersect and offer alternative ways of understanding the emotional and political afterlives of war.

Since the economic upheaval of 1991, modern Indian art has been moving more and more toward research-based and ethnographic methodologies. What started as a plan to fix social division, political violence, and the effects of forgetting history has slowly become part of the institution. This study investigates the nuanced shift in the equilibrium between cognition and perception resulting from that consolidation.I use Henri Bergson's ideas about duration, Jacques Rancière's ideas about the distribution of the sensible, Fredric Jameson's ideas about late capitalism, and Ann Cvetkovich's ideas about emotional archives to show a conceptual shift in post-liberalisation art. The artwork is progressively susceptible to transforming into a medium for argumentation—explicit, research-backed, and discursively fortified—rather than a domain of perceptual uncertainty or visual involvement. The study analyses the reconfiguration of form, audience engagement, and pedagogy within the framework of liberalization, focusing on the methodologies of Shilpa Gupta, Riyas Komu, Gigi Scaria, Raqs Media Collective, and CAMP. I support a renewed emphasis on emotion, duration, and visual thinking, rather than rejecting ethnographic or conceptual approaches. This is not a retreat from politics, but a necessary complication of it in modern art and its pedagogy.

In recent years, the application of deep learning in image generation, visual recognition and creative design has deepened, and neural style transfer has gradually become an important technical path connecting computer vision and art design. Aiming at the problems of aging visual expression, limited style update and easy weakening of cultural recognition of traditional stone lion images in contemporary communication scenes, this paper constructs a redesign method of stone lion images based on neural style transfer, and proposes a computational aesthetics framework for cultural symbol modernization. The multi-source data organization is carried out around the traditional stone lion images, modern art style samples and visual design samples. Through image preprocessing, deep feature representation, bidirectional style mapping and aesthetic constraint modeling, the coordination and fusion between the content structure of the stone lion and the modern visual style are realized. The experimental results show that the proposed method can effectively enhance the contemporary expression features of color, texture and composition while maintaining the head contour, mane hierarchy and overall pose recognition of the Shi lion. In the later stage of model training, the cycle consistency loss is reduced to 1.3, the average PSNR reaches 25.33 dB, and the average SSIM reaches 0.844. The results show that the proposed method has good application value in the field of traditional cultural image digital updating and visual redesign.

As the political, military and cultural center of Northeast China during the Republican Period, Shenyang preserves a large number of celebrity residences of military and political figures of the Fengxi Clique. These buildings are important carriers of regional modern historical culture and architectural art. At present, the Republican Period celebrity residences in Shenyang generally suffer from insufficient protection, single spatial function, traditional exhibition methods, low digitalization level and lack of long-term operation mechanism. Guided by historical building protection, cultural inheritance and urban renewal, this paper systematically sorts out the resource distribution, architectural characteristics and multiple values of Republican Period celebrity residences in Shenyang. Focusing on innovative means such as VR immersive experience, digital restoration and scene construction, it constructs an activation and utilization system of “protection first, digital empowerment, function regeneration, cultural tourism integration and long-term operation”. It also puts forward construction strategies and implementation paths suitable for Shenyang’s regional climate and cultural characteristics. The research aims to promote the transformation of Republican Period buildings from “static protection” to “dynamic inheritance”, realize the coordinated development of historical heritage protection, cultural value communication and cultural industry cultivation, and provide theoretical reference and practical reference for the activation and utilization of historical and cultural resources in old industrial cities.

The coming together of Indian folk art and modern art marks a big step towards a cultural revival. Folk arts, which has always been a big part of Indian culture, rituals, and spirituality, is now coming back in new ways through the creativity and experiments of modern artists. This connection helps traditional art move beyond its old limits and become relevant again in today’s art world. Artists like Jamini Roy, K.G. Subramanyan, Manjit Bawa, Jagdish Swaminathan, Jayshree Burman, Bhawani Das, and Dr. Lakshman Prasad have been key in this movement. They keep the basic ideas of folk arts alive while adding modern touches, their works shows how traditional art styles can mix with modern approaches, helping Indian folk arts gain more attention at home and abroad. In a world that’s becoming more connected, folk art is changing to fit todays needs and ideas. Now tools and creative methods have made it possible to explore folk traditions in digital formats, mixed media, and other experimental ways. This has created new opportunities more than just keep traditions alive, its also helps them grow and change. This interaction shows a new cultural awakening in Indian art, where old and new ideas work together future for art and keeping India’s artistic traditions alive.

The article carries out a comprehensive culturological analysis of the poetics of the word of Transcarpathia in the context of modern art education and determines its performative potential in the process of training specialists in the performing arts. The peculiarities of the functioning of the artistic word as a carrier of cultural memory, regional identity and a means of forming integrated professional competencies are studied. It is emphasized that the literary tradition of Transcarpathia was formed in conditions of multiethnicity and multilingualism, which determined the uniqueness of the linguistic and stylistic structure of the texts and strengthened their cultural and symbolic potential. The work analyzes the work of Transcarpathian writers and poets, in particular Petro Skunets, Petro Midyanka, Myroslav Dochynets, Myroslav Lyubka and other artists, whose works combine folk poetic traditions, local flavor, ecological motifs and philosophical understanding of the historical fate of the region. It is determined that the artistic word in the Transcarpathian literary discourse performs not only aesthetic, but also communicative, cultural and educational functions. Special attention is paid to the role of dialectisms as a means of creating an authentic language environment, forming an artistic image and developing stage expressiveness. It is substantiated that the use of dialect vocabulary in stage practice contributes to the development of speech sensitivity, intonation flexibility and interpretative thinking of the future performer. The methodological potential of integrating the poetics of the word of Transcarpathia into teaching the disciplines of stage art is revealed. It is found out that working with a poetic text ensures the formation of speech-technical, intonation-expressive, culturological and performative competencies. The main stages of the methodology for working with an artistic text are outlined: analytical, intonation, interpretation and stage. It is proven that the culturological approach to teaching stage language contributes to a deeper understanding of the artistic text, the development of creative thinking and the formation of the ability to stage interpretation. The article emphasizes that the poetic word of Transcarpathia is an important factor in the preservation of cultural heritage and at the same time an effective tool of modern art education. It is concluded that the integration of regional literary tradition into the professional training of future stage art specialists provides a combination of technical speech training with a deep cultural and artistic understanding of the text, contributing to the formation of a holistic creative personalit.

This paper investigates the visual representations—or the marked absence—of Hagar, Bilhah, and Zilpah, three enslaved women in the Book of Genesis, within seventeenth-century Mediterranean painting. Drawing on feminist biblical criticism, art historical analysis, and visual exegesis, it explores how artists in Catholic regions such as Italy and Spain engaged with the iconography of these biblical figures. The study considers how artworks either reproduce or challenge the patriarchal ideologies embedded in Scripture and reflected in early modern theology and culture. Through the analysis of selected paintings, it reveals how silence, abjection, and guilt were visually encoded into the stories of these women, shaping their reception across time. It also contrasts Catholic visual traditions with Dutch Protestant interpretations, illuminating the theological and cultural dynamics at play. The research shows how artistic strategies—such as composition, gesture, and emotion—contributed to the marginalization or subversion of these figures. Ultimately, the paper argues that early modern art participated in the ideological work of biblical interpretation, acting as both a mirror and a critique of patriarchal structures. In doing so, it contributes to broader debates at the intersection of gender, religion, and visual culture, and expands the discourse on how enslaved and silenced biblical women are negotiated through image.

The concept of big data visualization has become a revolutionary artistic form of expression that has fulfilled the void between computational analytics and artistic expression in the modern scientific studies. This paper examines the ways in which massive datasets (defined in terms of volume, velocity, variety, veracity and value) are transforming the art creative process as it allows the conversion of dense information into attractive visual stories. Combining new technologies (e.g., real-time data streaming, machine learning, interactive visualization platforms, etc.) enables artists and researchers to establish dynamic, immersive, and participatory experiences. Processing, D3.js, and Tableau are the tools that can help to transform raw data into aesthetic representations and encourage data scientists, designers, and artists to work together interdisciplinarily. Moreover, the big data visualization is applied in the context of such fields as climate science, genomics, urban analytics, and so forth, where data-driven visual artworks convey important information and social issues. Interactive installations and digital exhibitions improve the level of participation of the audience and provide an opportunity to interact in real-time with changing datasets. The findings suggest that big data visualization does not only increase the interpretability of visual data, but it amplifies the limits of artistic creativity and allows new means of narration and perception. This study identifies the increased importance of data as a material and as a medium in the modern art that will contribute to the development of new creative and analytical paradigms.

The application of artificial intelligence to creative processes has profoundly changed the modern digital art and illustration processes. Generative Adversarial Networks (GANs) are among many other AI approaches that have become potent in creating quality visual art and assisting the exploration of art. In this paper, the author explores the use of GANs as a creative collaborator in the digital painting and illustration workflow. The paper analyzes the technical principles behind GAN architectures, their use in the artistic image generation, and their role in human-AI creative processes. The most important applications of GAN systems, such as concept generation, style transfer, image-to-image translation, and automated colorization, are examined in order to comprehend how the technologies can support an artist at any phase of visual creation. The examples of major GAN models DCGAN, CycleGAN, StyleGAN, and StyleGAN2 are also compared to discuss the effectiveness of these models in the synthesis of artistic images. According to the results provided, it is seen that advanced architectures are better in image realism, consistency of structures and artistic usability than the previous models. Moreover, the study demonstrates the advantages of GAN-based tools as it promotes quick ideation, experimentation with styles, and design feedback, without taking control of the creative process of artists. The paper also talks of the technical structures of integrating GAN systems in the digital art setting and talks about issues of ethical issues surrounding authorship, originality, and bias in the dataset. All in all, the results indicate that the technologies based on GAN redefine the production of digital art by facilitating the interactive collaboration between human creativity and machine intelligence and creating new opportunities in the realm of innovations in computational creativity and digital illustration practice.

The advent of image generation via artificial intelligence has drastically changed the basis of the visual culture and modern day art practice. Historically, photography has served as a tool of recording reality, where optical capture and physical cameras are used to capture visual data provided by the outside world. Nevertheless, more recent developments in machine learning, especially generative models like Generative Adversarial Networks (GANs), diffusion models or neural rendering systems have made possible the production of exceptionally realistic images by pairing this technique with no physical photographic capture. In this technology change, post-photography is a conceptual and artistic paradigm where images are produced, altered or synthesized by a computation instead of being captured using conventional photographic processes. Artists in this new paradigm are starting to work more and more closely with AI systems, whereby algorithmic tools are used to discover new aesthetics, generative workflows and creative human-machine hybridity. Democratization of image creation has also been enabled by the availability of AI based visual tools and people with minimal technical expertise can create advanced visual arts

The use of artificial intelligence in modern art is gaining more and more popularity; machines are able to produce visual data and be involved in creative processes. This paper examines how artificial intelligence is used as a creative partner in contemporary visual arts, specifically how generative models can support artists in the design of the concept and exploration of the artistic process. To encourage human-AI co-creation, a collaborative model that combines data preparation, generative AI models, interactive user interfaces and rendering modules is suggested. A dataset of 10,000 digital artworks that represent a variety of artistic styles was used to evaluate the experimentation. A generative model that runs on diffusion has been used to generate visual compositions in response to artist prompts. Findings show that AI-guided creative processes are highly time-saving and enhance the production time of artwork, as well as, stylistic and conceptual range. The comparative analysis shows that the rating of visual quality and artist satisfaction improves in case AI tools are introduced to the creative process. The results also demonstrate the possibility of artificial intelligence as a creative companion that can make humans more creative instead of stealing artistic status. The suggested framework helps in the evolving body of computational creativity because it will show how intelligent systems can supplement artistic processes and contribute to interactive creation of visual arts. The research offers information on how generative AI can be integrated into artistic space and outlines the future research prospects of immersive and interactive systems based on AI using creativity.

The use of digital tools and adaptive learning systems has changed the modern art education greatly by making it flexible, personalized, and interactive. Conventional in person training is usually constrained in terms of accessibility, personal feedback and resources. Adaptive digital learning systems solve these issues by means of applying artificial intelligence and data analytics and interactive multimedia tools to customize learning material and content based on artistic talents, learning speeds, and creativity that the students have. This paper discusses the theoretical and technological underpinnings of adaptive online platforms in art education as well as its educational implications. It investigates the use of virtual studios, digital drawing instruments, augmented reality (AR), virtual reality (VR), and collaborative multimedia space in improving artistic experimentation and creativity. The study also examines the algorithms of personalization, AI-informed feedback, and adaptive evaluation models that facilitate the process of unceasing enhancement of artistic learning outcomes. Findings suggest that adaptive online platforms can equally contribute to creativity and engagement in addition to increasing accessibility to a wide range of learners through flexible learning opportunities and inclusive learning materials.

With the rapid evolution of the digital technologies, the situation related to the visual arts has significantly altered, allowing the creative process of expression to be offered in a new form and enlarging the opportunities of the art as a social activity. This multidisciplinary relationship of visual arts, technology and social change will be discussed in this paper. The paper addresses the changes of creative activities and the ability to tell social stories in artistic works with the appearance of new technologies such as artificial intelligence, virtual reality, augmented reality, interactive media, and digital platforms. The modern visual art projects will be able to involve the community through the artistic creativity and technology innovation that will result in the creation of awareness of social issues and cultural discourse. The paper begins with a literature background and evolution of visual arts in the digital era. A thorough analysis of the recent literature is conducted to discuss the existing practices of art which technologies implement: digital art, AI-generated art, immersive multimedia installation, and participatory art projects. Based on the analysis, the pros and cons of the current approaches are identified and taken into account in comparison with the elements of accessibility, the ability to engage the audience and make a social impact. A comparative analysis is also provided in an attempt to evaluate different technology-based art models, which have been evaluated based on the impact of communication, community interaction, and malleability of the technology. These findings form the basis of the paper and propose a multidisciplinary framework of integration of visual arts, digital technologies, and social interaction. The framework draws a system architecture involving an innovative content creation, technology assimilation, interactive engagement and social impact analysis. The proposed model will help the artist, researchers and policy makers to develop technology based visual art projects that can positively transform society. The results also show how the potential of technology-based visual arts can be used to empower locals, raise awareness of culture, and support policy and educational endeavors. The study comes to the conclusion that the strategic union of art and technology can be topical in the context of overcoming the contemporary social issues and facilitating the inclusive cultural development.

ABSTRACT This article explores the construction of artistic authorship under Francoism through the case of María Paz Jiménez (1909-1975), a pioneering Spanish abstract painter whose work and career have been largely excluded from hegemonic Spanish and Basque art historical narratives. Rather than treating Jiménez as an exception, the article approaches her trajectory as an opportunity to reshape a new historiography, offering a broader understanding of the artistic field of the time and providing a framework to rethink the canon of the artistic period. Drawing on a fragmented and hybrid archive, the study adopts a feminist and cultural studies methodology that conceives the archive as a relational whole. This approach allows for an analysis of how class, gender and ethnicity intersected in the artist’s habitus and shaped her strategies of self-presentation, negotiation and agency within her cultural system. Particular attention is paid to the role of affect, sociability and performativity in Jiménez’s navigation of different artistic and institutional contexts, as well as to the ways in which her Romani identity appears, is camouflaged or strategically mobilized across visual and textual materials. By reading these archival materials as parts of a “subject”, the paper argues that practices often considered private are inherently political for the construction of artistic identity.

This article examines the formation, circulation, and reinterpretation of paintings attributed to An Kyŏn (安堅, active early fifteenth century) within the broader East Asian history of connoisseurship and collecting. Although only one work, Dream Journey to the Peach Blossom Land (Mongyudowŏndo), is firmly accepted today as An Kyŏn’s authentic painting, approximately twenty works have been transmitted in Korea and Japan as part of his attributed oeuvre. These paintings differ significantly in style, provenance, and reception, demonstrating that “attributed works” constitute not a fixed stylistic category but a historically constructed one.</br>Rather than focusing solely on questions of authenticity, this study approaches An Kyŏn’s attributed works as products of shifting connoisseurial criteria, institutional frameworks, and collecting practices. The article first reassesses An Kyŏn’s artistic activities within the institutional context of the early Chosŏn court, particularly the reorganization of the Bureau of Painting (Tohwasŏ) and the patronage networks surrounding Prince Anp’yŏng. It argues that An Kyŏn’s style emerged through eclectic engagement with the Northern Chinese landscape tradition associated with Li Cheng and Guo Xi, mediated by Yuan and Jin dynasty interpretations rather than by direct access to Northern Song originals.</br>The following section examines the formation and circulation of the growing corpus of works attributed to An Kyŏn in the subsequent periods. First, the section analyzes works attributed to An Kyŏn from the fifteenth and sixteenth centuries, identifying multiple stylistic strata rather than a single, unified “An Kyŏn style.” These paintings display varied adaptations of Northern Chinese landscape conventions, reflecting the flexible and situational nature of artistic production and reception in early Chosŏn Korea. In this context, attribution functioned less as a definitive authorial claim than as a tool for organizing stylistic affinity and cultural value. Next, the section explores the transformation of An Kyŏn’s attributed oeuvre in the seventeenth and eighteenth centuries, when expanding connoisseurship and collecting culture in Chosŏn Korea encouraged the proliferation of attributed works. Figures such as Kim Kwang-guk played a central role in systematizing Chosŏn painting through albums and critical writings, reinforcing An Kyŏn’s position as a canonical master while also incorporating new works into his attributed corpus based on provenance and connoisseurial judgment rather than stylistic coherence. The article further investigates the reception of An Kyŏn’s attributed works in Japan, where they were largely classified as kara-e (Chinese-style paintings) or kowatari-e (early imported paintings). Within this framework, Chosŏn paintings were frequently conflated with Song, Yuan, or Ming works, and their Korean origins were often obscured. Paradoxically, this suspension of national attribution contributed to the paintings’ long-term preservation in Japanese collections.</br>Finally, the study addresses the modern expansion of An Kyŏn’s attributed oeuvre and the emergence of authenticity debates in the twentieth century, demonstrating how modern art historical discourse reshaped the boundaries of An Kyŏn’s legacy. By situating attributed works within overlapping regimes of connoisseurship, collecting, and historiography, this article reframes An Kyŏn’s oeuvre as a dynamic historical construct and proposes a new perspective on early Chosŏn landscape painting within the interconnected visual cultures of East Asia.

Although CD4 recovery has been widely studied, its long-term temporal dynamics and phase-specific characteristics in the modern ART era remain incompletely characterized. This retrospective cohort study included adults with HIV in Nanjing, China, who initiated ART between 2010 and 2019 and maintained viral suppression. The optimal CD4 recovery trajectory model was identified using piecewise linear mixed-effects models with exhaustive grid search. Cumulative probability curves estimated probabilities of CD4 count recovery to ≥500 and ≥350 cells/μL. 2611 individuals contributing 22 970 person-years and 37 959 observations were analyzed. The best-fitting model identified a 4-phase CD4 recovery trajectory with breakpoints at 0.5, 2.5, and 6 years, characterized by the fastest increase during 0-0.5 years (265.4 cells/μL/year), progressive slowing during 0.5-2.5 and 2.5-6 years, and modest growth beyond 6 years (8.6 cells/μL/year). Cumulative probabilities of reaching both thresholds rose steadily but decelerated markedly after 6 years. When stratified by baseline CD4 counts at ART initiation, compared with the 350-499 subgroup, the <200 subgroup showed slower early CD4 count gains (≤49: -57.9; 50-199: -40.3 cells/μL/year) during 0-0.5 years, but accelerated increases during 0.5-2.5 years (≤49: +28.3; 50-199: +10.2 cells/μL/year) that persisted after 6 years (≤49: +4.7; 50-199: +5.3 cells/μL/year). Cumulative probabilities of reaching both thresholds in the <200 subgroup increased continuously throughout follow-up, whereas those with higher baseline levels plateaued at 6 years. CD4 recovery under sustained viral suppression followed a phase-specific trajectory. Individuals with advanced immunosuppression showed delayed but sustained CD4 recovery. These findings may help understand when CD4 recovery approaches its maximal potential.

This article examines the representation of women artists in the online modern art auctions of Bukowskis, one of the leading auction houses in the Nordic region. The study finds that women artists are significantly underrepresented compared to their male counterparts, both in terms of the number of listed works and in dedicated thematic auctions. Drawing on Bourdieu’s theory of cultural production, the article analyzes how Bukowskis’ marketing strategies contribute to the transformation of works by women artists into symbolic goods within the art market. In particular, the marketing highlights the artists’ education, connections to established male figures, international influences, and institutional recognition. Through these strategies, Bukowskis portrays women artists as historically significant figures. The promotion of artistic recognition is thus positioned as a key component of the auction house’s broader commercial strategy, thereby contributing to the canonization of artists.