Welcome to the first edition of Art Style Magazine. This magazine is open to the public and contributes to the knowledge and information of arts and culture. In this inaugural edition, the arts are addressed in several essays; their varied contents consider sociopolitical dynamics and cultural diversity. The focus is innovation through a constant transgression with the ancient rules of imitation of nature—which held the beauty ideal—that is, Fine Art—in the Academies. Today, however, the arts have become increasingly close to aesthetic freedom. There are no more comparisons between the distinct features of each art, which does not seem to hold any common goal of an abstract beauty ideal. This ideal is far from everyday life. The main feature is the art of each artist in his or her creative freedom and motivation. And in spite of the dissolution of the fine arts, the arts have always been connected by their functions, forms, and contents aiming for a masterpiece, the possibility of the “total art” or the evolution of each art separately, and by the similarities of the processes of creation, which have always been the object of artistic theories and themes.
In the 1950s, Theodor Adorno supported the convergence of the arts as a fundamental form of modern art, unlike the later ideas of Clement Greenberg, who advocated purism in art. We know, however, that there are limits in the processes and techniques proper to each art. But artistic achievement has developed new ways of techniques, specific to each art, and has counted so far with the talent of the artist in his or her art. Not just in one art, but in other arts as well. The artist either develops one or the other masterfully. Moreover, the relation of the arts to cultural transformations and the development of science and technology should be considered. Nevertheless, the convergence of the arts—the idea of a total art or “total work of art”(Gesamtkunstwerk) —is not something current, and it is an aesthetic concept associated with German composer Richard Wagner. This composer was also a playwright, critic, theorist, and orchestra leader, concretizing his idea of a total work of art—where all arts were merged into one unit—in Der Ring des Nibelungen (The Ring of the Nibelung).
In this sense, this edition highlights the essay about Scenographic Fashion Shows by Professor Pamela Scorzin of the FH Dortmund University of Applied Sciences and Arts, which deals precisely with the relation of different artistic practices. A collaboration of practices of design, theater, music, and the visual arts meeting a great event, typical of our era—that is, in the way of a “total work of art.” Another essay highlights the award-winning Mexican film Roma in all the aspects of artistic creation related to its sociocultural meaning, written by Mexican professor Omar Cerrillo. However, in a general way, all arts should be systematically guided by the “art of capital,” as Professor Caldas explains in his essay. Other notions highlighted exemplify the striking activities of art concerning politics, such as the essay on Maurizio Cattelan’s artwork by Margherita Medri. Therefore, searching for a more accurate interpretation of contemporary art, I present A Brief Statement on the Analysis and Evaluation of Works of Art. Furthermore, included is Visual Environment Interventions by Ewely B. Sandrin, as well as Indian and South Asian Aesthetics with Udaya Kumar, Sruthi, and Jordan Wright, completing this first edition of Art Style Magazine.
Enjoy your reading!
Christiane Wagner, editor-in-chief