Ever since it’s existence, perhaps more than happiness, unhappiness, limits and depression have forced artists to produce, and it is seen that artworks which arise primarily as a result of the need to self-heal, bring society together against common and binding challenges. This coronavirus outbreak, which has affected the whole world, is one of the hard times humankind is going through. In this period we have been living since March, art offers the most valuable contribution to the sustainability of life with its features that reconcile emotional conflicts, increase awareness, enable the development of social skills, manage behaviors, guide reality and contribute to solving problems. As the people of the world, in this period when we question our relationship with each other, nature and animals, when we are unsure about the future, and when we reconsider our perceptions and priorities, artworks are the only tools that have the power to cope with the coronavirus under its conditions. Because like the virus itself, artworks are capable of passing all boundaries, and they can influence all people, even if they’re under different flags, speaking different languages. This influence will bring back the awareness, the hope, the knowledge that we’re not alone, the compromise, the sustainability of life and its colors. Goethe’s “One cannot escape from the world with greater certainty than through art, and one cannot relate to it with greater certainty than through art.” aphorism reveals a truth that enlightens our present from centuries ago. I thanks so much to all my artist friends who have contributed to the "International ARTVITAL Interdisciplinary Mixed Exhibition" that we hold with these thoughts online within the ISLC2020 International Conference on Sustainable Living. Also I would like to thank my dear friends who took part in the organizing board and made the exhibition happen and Rating Academy, which always appreciates the aspect of science and art that develops and enriches each other.

Expanded Internet Art is the first comprehensive art historical study of “expanded” internet art practices. Charting the rise of a multidisciplinary approach to online artistic practice in the past decade, the text discusses recent currents in contemporary artistic practice that parallel the explosion of the internet through advances such as social media, smart phones, and faster bandwidth. Internet art is no longer determined solely by its existence on the web; rather, contemporary artists are making more art about informational culture using various methods of both online and offline means. It asks how artists, such as Seth Price, Harm van den Dorpel, Kari Altmann, Artie Vierkant and Oliver Laric, create a critical language in response to the persuasive influence of informational capture on culture and expression, where the environment itself becomes reorganized to be more legible as information.

This book examines the psychology involved in handling, and responding to, materials in artistic practice, such as oils, charcoal, brushes, canvas, earth, and sand. Artists often work with intuitive, tactile sensations and rhythms that connect them to these materials. Rhythm connects the brain and body to the world, and the world of abstract art. The book features new readings of artworks by Matisse, Pollock, Dubuffet, Tápies, Benglis, Len Lye, Star Gossage, Shannon Novak, Simon Ingram, Lee Mingwei, L. N. Tallur and many others. Such art challenges centuries of philosophical and aesthetic order that has elevated the substance of mind over the substance of matter. This is a multidisciplinary study of different metastable patterns and rhythms: in art, the body, and the brain. This focus on the propagation of rhythm across domains represents a fresh art historical approach and provides important opportunities for art and science to cooperate.

In Art to Come Terry Smith—who is widely recognized as one of the world's leading historians and theorists of contemporary art—traces the emergence of contemporary art and further develops his concept of contemporaneity. Smith shows that embracing contemporaneity as both a historical concept and a condition of the globalized world allows us to grasp how contemporary art exists in a fluid space of increasing interdependencies, multiple contemporaneous modernities, and persistent inequalities. Throughout these essays, Smith offers systematic proposals for writing contemporary art's histories while assessing how curators, critics, philosophers, artists, and art historians are currently doing so. Among other topics, Smith examines the intersection of architecture with other visual arts, Chinese art since the Cultural Revolution, how philosophers are theorizing concepts associated with the contemporary, Australian Indigenous art, and the current state of art history. Art to Come will be essential reading for artists, art students, curators, gallery workers, historians, critics, and theorists.

Street art and graffiti are a familiar sight in all our cities. Giant murals commemorate historical events or proclaim the culture of a neighborhood, while tagged walls can function simultaneously as a claim to territory and a backdrop for an urban fashion shoot. Street Art World examines these divergent forms and functions of street art. This strikingly illustrated book explores every aspect of street art, from those who spray it into being to those who revel in it on Instagram, from its place under highway overpasses to one on the austere walls of high art museums. What exactly is street art? Is it the same as graffiti, or do they have different histories, meanings, and practitioners? Who makes it? Who buys it? Can it be exhibited at all, or does it always have to appear unsanctioned? Talking with artists, collectors, sellers, and buyers, author Alison Young reveals an energetic world of self-made artists who are simultaneously passionate about an authentic form of expression and ambivalent about the prospects of selling it to make a living—even a fabulously good one. Drawing on over twenty years of research, she juxtaposes the rise and fall of art markets against the vibrancy of the street and urban life, providing a rich history and new ways of contextualizing the words and images—some breathtakingly beautiful—that seem to appear overnight in cities around the world.

Parodies have been created throughout times and cultures. A glimpse at the general judicial latitude generally afforded to parodies, satires, caricatures, and pastiches demonstrates the social and cultural value of this particular form of artistic expression. With the advent of technologies and the evolution of copyright legislation, creative endeavours in the form of parody gathered a new youth but became unlawful. While copyright law grants exclusive rights to right-holders, this right is not absolute. Legislation includes specific exceptions, which preclude right-holders from exercising their prerogatives in particular cases which foster creativity and cultural diversity within that society. The parody exception pertains to this ultimate objective by permitting users to reproduce copyright-protected materials for the purpose of parody. To understand the meaning and scope of the parody exception, this book examines and compares five jurisdictions which differ in their protection of parodies: France, Australia, Canada, the US and the United Kingdom. This book is concerned with finding an appropriate balance between the protection awarded to right-holders and the public interest. This is achieved by analysing the parody exception to the economic rights of right-holders, the preservation of moral rights and the interaction of the parody exception with contract law. As parodies constitute an artistic expression protected under the right to freedom of expression, this book also considers the influence of freedom of expression on the interpretation of this specific copyright exception. Furthermore, this book aims at providing guidance on how to resolve conflicts where fundamental rights are in conflict. This is the first book in English to offer an in-depth investigation into the parody exception in copyright law, and comments on industry practices linked to this form of creative endeavours.

"Anthropology's engagement with art has a complex and uneven history. While material culture, 'decorative art', and art styles were of major significance for founding figures such as Alfred Haddon and Franz Boas, art became marginal as the discipline turned towards social analysis in the 1920s. This book addresses a major moment of renewal in the anthropology of art in the 1960s and 1970s. British anthropologist Anthony Forge (1929-1991), trained in Cambridge, undertook fieldwork among the Abelam of Papua New Guinea in the late 1950s and 1960s, and wrote influentially, especially about issues of style and meaning in art. His powerful, question-raising arguments addressed basic issues, asking why so much art was produced in some regions, and why was it so socially important? Fifty years later, art has renewed global significance, and anthropologists are again considering both its local expressions among Indigenous peoples and its new global circulation. In this context, Forge's arguments have renewed relevance: they help scholars and students understand the genealogies of current debates, and remind us of fundamental questions that remain unanswered. This volume brings together Forge's most important writings on the anthropology of art, published over a thirty year period, together with six assessments of his legacy, including extended reappraisals of Sepik ethnography, by distinguished anthropologists from Austrailia, Germany, Switzerland and the United Kingdom."--Provided by publisher.