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AbstractA long-running dispute between the Beaverbrook Art Gallery and its benefactor foundations illustrates the need for documentation of gifts or loans of artwork. At issue in this dispute is ownership of over 200 of the paintings on display at the gallery valued at up to $200 million. None of the parties to the dispute has been able to produce records to establish that the paintings were either a gift or on loan to the Beaverbrook. Instead the parties have had to rely on newspaper and magazine articles, speeches, gallery catalogues, and export documents to substantiate their positions. Central to the dispute has been the role of the First Lord Beaverbrook and whether his actions amounted to a breach of his fiduciary duty to the gallery. This article examines the particulars of the parties' claims as well as the decisions that have been made to date. Final resolution of the dispute is not expected until all appeals have been decided.

Se debate sobre la estética del capitalismo que homogeneiza todo haciéndolo pasar por artístico. El arte, particularmente la literatura, se propone como una alternativa para el desarrollo dado que por medio de la sensibilización humana permite recuperar la individualidad y a la par genera empatía con la comunidad.

Cover -- Half Title -- Title -- Copyright -- Contents -- Introduction - Everything is Censorship -- I The Immunity of the Artist and of Art - A Critical Analysis -- 1.1 Sources of the Problem -- The Venetian Precedent -- From Craftsman to Genius -- Towards the Autonomy of Art -- Autonomy under the Attack of the Avant-garde -- The Law and Changes in Art -- 1.2 Types of Defence -- Estrangement Tactic -- Formalist Defence -- The Canonic Tactic -- Other Defence Tactics -- 1.3 Defence Tactics in Court Practice -- Cincinnati v. CAC -- The Case of Grosz and Herzfeld -- 1.4. Summary -- II Legal Aspects of the Freedom of Art in Poland(with Anna Demenko) -- 2.1 Terminological comments -- 2.2 The Concept of Art in the Polish Legal System -- The Institutional Approach -- 2.3 Constitutional Guarantees for the Freedom of Art -- 2.4 Freedom of Art and Polish Criminal Law -- Preface -- Art as a Feature of a Prohibited Act -- Art from the Perspective of theObjective Side of the Prohibited Act -- The Sense of a Work of Art -- The Artistic Aim as an Element of theSubjective Side of the Prohibited Act -- Art as a Circumstance Excluding theCriminality of an Act -- Preface -- Art as a Circumstance ExcludingUnlawfulness -- Art as a Circumstance ExcludingCulpability -- Art and the Social Harmfulnessof an Act -- Art in the Context of Chosen Criminal Offences -- Insult to Religious Feelings -- - The Case of Dorota Nieznalska -- - The Case of Adam Darski -- Pornography -- - The Case of Krzysztof Kuszej -- Safeguarding Honour and Dignity -- - Defamation and Insult -- - Safeguarding the Honour ofState Officials -- - Hate Speech -- 2.5 Summary -- III From the History of Censorship in Polish Art after 1989 -- 3.1 Preface -- Censorship in the Polish People's Republic(1945-1989) - A Censorship Linkage -- Dissolution of the GUKPPiW -- 3.2 Transition Period (1989-1992).

A. C. Danto's approaches to pluralism in contemporary art and art criticism take as a point of reference the eighties, a short period in which pluralism emerged as a theme for artistic consciousness. Artistic movements of the sixties such as pop, minimalism, fluxus, had abolished aesthetics as a criterion for defining art: a work of art could be anything. This could no longer be assimilated by criticism but by the philosophy of art, the only one capable of a concept of transhistoric and pluralist art in itself. However, pluralism in art also requires criticism. The article exposes the difference between art philosophy and art criticism, and to face the challenge of pluralism, the difference between free art criticism and criticism dependent on the institutionalized art world. Finally, the article takes advantage of an allusion by Danto to associate the spirit of pluralism in art and politics. ; Los planteamientos de A. C. Danto sobre el pluralismo en el arte y la crítica de arte contemporáneos toman como punto de referencia los años ochenta, un corto periodo en el que el pluralismo afloró como tema para la conciencia artística. Movimientos artísticos de los sesenta como el pop, el minimalismo, fluxus, habían derogado la estética como criterio para la definición del arte: obra de arte podía ser cualquier cosa. Esto ya no lo podía asimilar la crítica sino la filosofía del arte, única capaz de un concepto del arte transhistórico y pluralista de por sí. Sin embargo, el pluralismo en el arte requiere también de la crítica. El artículo expone la diferencia entre filosofía del arte y crítica de arte, y para afrontar el reto del pluralismo, la diferencia entre crítica de arte libre y crítica dependiente del mundo del arte institucionalizado. Finalmente, el artículo aprovecha una alusión de Danto para asociar el espíritu del pluralismo en el arte y la política.

Editor-in-Chief and Creative Director: Christiane Wagner For more information about the board, please click on Editorial Team and Art Style Magazine's Scientific Committee Art Style | Art & Culture International Magazine is an open access, biannual, and peer-reviewed online magazine that aims to bundle cultural diversity. All values of cultures are shown in their varieties of art. Beyond the importance of the medium, form, and context in which art takes its characteristics, we also consider the significance of socio-cultural, historical, and market influence. Thus, there are different forms of visual expression and perception through the media and environment. The images relate to the cultural changes and their time-space significance—the spirit of the time. Hence, it is not only about the image itself and its description but rather its effects on culture, in which reciprocity is involved. For example, a variety of visual narratives—like movies, TV shows, videos, performances, media, digital arts, visual technologies and video game as part of the video's story, communications design, and also, drawing, painting, photography, dance, theater, literature, sculpture, architecture and design—are discussed in their visual significance as well as in synchronization with music in daily interactions. Moreover, this magazine handles images and sounds concerning the meaning in culture due to the influence of ideologies, trends, or functions for informational purposes as forms of communication beyond the significance of art and its issues related to the socio-cultural and political context. However, the significance of art and all kinds of aesthetic experiences represent a transformation for our nature as human beings. In general, questions concerning the meaning of art are frequently linked to the process of perception and imagination. This process can be understood as an aesthetic experience in art, media, and fields such as motion pictures, music, and many other creative works and events that contribute to one's ...

Editor-in-Chief and Creative Director: Christiane Wagner For more information about the board, please click on Editorial Team and Art Style Magazine's Scientific Committee Art Style | Art & Culture International Magazine is an open access, biannual, and peer-reviewed online magazine that aims to bundle cultural diversity. All values of cultures are shown in their varieties of art. Beyond the importance of the medium, form, and context in which art takes its characteristics, we also consider the significance of socio-cultural, historical, and market influence. Thus, there are different forms of visual expression and perception through the media and environment. The images relate to the cultural changes and their time-space significance—the spirit of the time. Hence, it is not only about the image itself and its description but rather its effects on culture, in which reciprocity is involved. For example, a variety of visual narratives—like movies, TV shows, videos, performances, media, digital arts, visual technologies and video game as part of the video's story, communications design, and also, drawing, painting, photography, dance, theater, literature, sculpture, architecture and design—are discussed in their visual significance as well as in synchronization with music in daily interactions. Moreover, this magazine handles images and sounds concerning the meaning in culture due to the influence of ideologies, trends, or functions for informational purposes as forms of communication beyond the significance of art and its issues related to the socio-cultural and political context. However, the significance of art and all kinds of aesthetic experiences represent a transformation for our nature as human beings. In general, questions concerning the meaning of art are frequently linked to the process of perception and imagination. This process can be understood as an aesthetic experience in art, media, and fields such as motion pictures, music, and many other creative works and events that contribute to one's ...

Editor-in-Chief and Creative Director: Christiane Wagner For more information about the board, please click on Editorial Team and Art Style Magazine's Scientific Committee Art Style | Art & Culture International Magazine is an open access, biannual, and peer-reviewed online magazine that aims to bundle cultural diversity. All values of cultures are shown in their varieties of art. Beyond the importance of the medium, form, and context in which art takes its characteristics, we also consider the significance of socio-cultural, historical, and market influence. Thus, there are different forms of visual expression and perception through the media and environment. The images relate to the cultural changes and their time-space significance—the spirit of the time. Hence, it is not only about the image itself and its description but rather its effects on culture, in which reciprocity is involved. For example, a variety of visual narratives—like movies, TV shows, videos, performances, media, digital arts, visual technologies and video game as part of the video's story, communications design, and also, drawing, painting, photography, dance, theater, literature, sculpture, architecture and design—are discussed in their visual significance as well as in synchronization with music in daily interactions. Moreover, this magazine handles images and sounds concerning the meaning in culture due to the influence of ideologies, trends, or functions for informational purposes as forms of communication beyond the significance of art and its issues related to the socio-cultural and political context. However, the significance of art and all kinds of aesthetic experiences represent a transformation for our nature as human beings. In general, questions concerning the meaning of art are frequently linked to the process of perception and imagination. This process can be understood as an aesthetic experience in art, media, and fields such as motion pictures, music, and many other creative works and events that contribute to one's ...

Extending recent seminal studies on the emerging phenomenon of prosumption, this article analyzes the process of prosumption in art, which has been relatively neglected in the discussion. What was the history of prosumption in art before the rise of its awareness in the digital age? What characteristics of prosumption have emerged in the art world in the past two decades or so? What are the implications of the rise of prosumption in art for sociological studies of art? I argue that although the social constructionist view of art presented by sociologists, on the processes of both production and consumption, has significantly contributed to understanding art as a social and collective activity, contemporary art practice and theory have taken these sociological arguments into account and moved closer to the understanding of art as a social activity. Hence, reflections on possible implications of the rise of prosumption for existing sociological studies of art are needed.

Das Buch vermittelt einen Einblick in die Idee und die Praxis von Playing Arts. Den vielen Interessierten wird erklärt, was unter Playing Arts verstanden wird und welche Erfahrungen man damit machen kann. Es wird berichtet, wie Playing Arts entstand, es werden zentrale Grundcharakteristika erläutert, individuelle Erfahrungen geschildert und konzeptionelle Anregungen aus anderen Bereichen (Bildende Kunst, Theater/Performance, Theologie und Philosophie) für eine Erweiterung des Ansatzes entfaltet.Weitere Informationen unter www.playing-arts.de

AbstractThis article is a transdisciplinary inquiry into catastrophic art—artworks whose worlds the empires destroyed and brutally deported to the imperial metropoles. At issue is the impossibility of seeing and speaking of catastrophic art, without at the same time speaking of both systems of knowledge and life forms and of the colonial inheritance and epistemicide. The article follows various historical events, such as Léopold Sédar Senghor's encounter with African art in Paris after World War I and the British colonial destruction of the Kingdom of Benin in 1897; turns to a conference held at the Ethnological Museum in Berlin in 2018; and disturbs Emmanuel Macron's 2017 speech at the University of Ouagadougou and the 2018 French presidential report on restitution. It shows how provenance exhibits epistemicide as it restitutes "looted" art to colonial beneficiaries, and how the incalculability of catastrophic art is to be found in hospitality.

Cover -- Half Title -- Title -- Copyright -- Contents -- Foreword -- Introduction: Cracking Cases with Art -- Chapter One: Composite Sketches -- Chapter Two: Facial Reconstruction -- Chapter Three: Age Progression -- Chapter Four: Image Enhancement -- Chapter Five: Forensic Art in Court -- Notes -- Glossary -- For More Information -- Index -- Picture Credits -- About the Author -- Back Cover