Using the YOUTUBE portal to train future studio managers abstract arts and crafts by Ekaterina O. Kunyaevа

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« Une constellation dans la nuit de l'histoire, une tache lumineuse devant les ténèbres de la mort » : l'œuvre d'Ernst Wilhelm Nay vue par Werner Haftmann by Vincenza Benedettino

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François Morellet et la scène géométrique française des années 1950 : du formalisme à la formativité. by Roxane Ilias

Subjects: “…abstract art…”
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Keats et de Kooning : Pour un romantisme expressionniste abstrait ou la mise en image de l’épitaphe by Caroline Bertonèche

“…Close in many other ways, despite chronological and geographical differences, the two inspired artists meet around their creative intermingling of the picturesque and the poetic: the rhythmic liquidity, the verse schemes, the chiaroscuros, the ‘dripping’ technique, the ‘erasures’, the fading colours… Keats’s strangely melancholic but also deeply ironic and contrasted lyricism meets de Kooning’s mixed style of painting, torn as it is between the realms of tradition and novelty, of figurative and abstract art. A writer and a reader, an indolent poet and an ‘action painter’, they are, above all, or aspire to be, especially with regard to this mysterious conception and meaningful depiction of an epitaph, immortal artists as well as enlightened visionaries.…”
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Ad Reinhardt: Oko Odpowiedzialne. Percepcja i Zaangażowanie Widza w Kolażach z 1946 Roku by Margaux VERDET

“…First of all, through considering the viewer's representations, in order to understand the way Reinhardt petitioned the modern observer for active perception and an ethical stance concerning abstract art. Secondly, through analysing representations of the organ of the eye,with regard to the philosophy of Maurice Merleau-Ponty, thus placing sight at the center of the ontological reflection of painting. …”
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Dokumenty (wybór Margaux Verdet) / Documents (selected by Margaux Verdet) by Margaux VERDET

“…First of all, through considering the viewer's representations, in order to understand the way Reinhardt petitioned the modern observer for active perception and an ethical stance concerning abstract art. Secondly, through analysing representations of the organ of the eye,with regard to the philosophy of Maurice Merleau-Ponty, thus placing sight at the center of the ontological reflection of painting. …”
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ARTISTIC CREATIONS. ORIGINALITY, INSPIRATION, IMITATION AND ARTIFICIAL INTELLIGENCE by Carmen-Oana MIHĂILĂ

“…It hasn't been very long since „non-traditional″ art creations raised similar questions. Cubism, abstract art, Dadaism, conceptual art or digital art, have triggered similar reactions to those produced today by AI art creations. …”
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