Urban spaces and in other words urban design and architecture have been found with close linkage with art and beauty especially the arts such as painting and sculpture. Addressing beauty at different areas such as creation of galleries to offer works of art, addressing form of urban spaces and representing works of art in urban environment have improved social life and increased identity, consensus and collective solidarity. On the other hand, it can provide an interesting and calm environment for the citizens and residents. Concurrent with the socio-political developments in the twentieth century and the progress of science and technology, all the areas of the arts were subjected to change. The metamorphosis of the art and stylistic developments took place and a large number of artists tended to innovative phenomena. Since the art at the twentieth century especially the second half of the twentieth century sought to affect the addressee, a group of the contemporary artists including sculptors have not known the tight enclosure of museums and galleries to represent their works and preferred to display their works at open space and wide and large places of cities. Representing works at open space requires largeness of dimensions of works at multiple scale and use of modern materials and techniques. Sol Lewitt (1928 - 2007) has been regarded among the artists at contemporary age at the area of Minimalism and Conceptual Art. American philosopher and theorist and contemporary art critic, Arthur Coleman Danto, has conducted articles in criticism to works by Sol Lewitt and has appeared in exhibition of his works. Lewitt made the earliest structures in 1965 and continued his activity at the 1970s by expansion of plans and planning for the larger projects which have been being made based on morphological and conceptual ideas. Ultimately his arrangements were proposed at huge scale and extended from the space of galleries and museums which tended to conceptual and minimalist art to the urban space. In the present research, works of this artist and ideas of Arthur C. Danto about minimalism and works of Sol Lewitt are analyzed. The main questions are as follow: What outcome representation of these works has in natural environment and urban space? how the border between art has removed the daily life and addressee?

In the process of creating and presenting artworks, the economy of art has been always a challenging issue. In this respect, some advocate the idea of marketing artworks which is more commonly known as art expos. Playing the role of the link between artists and clients (or patrons), art auctions both give credit to the quality of the artworks presented and make sure the clients of buying an artistically valuable artwork. In this regard, Tehran Art Expo is one of the best in Iran. Nevertheless, the extent to which Tehran Art Expo has had any impact on the Iranian artists is an issue which has not been studied in detail. In fact, what impact have the art auctions had on the Iranian artist and to what extent have they been motivated by holding national art expos are the main questions of the present study. Moridi and his colleagues (2009) showed in a research entitled the effective factors on the price of paintings presented in Tehran Art Galleries that, in terms of prices of the artworks being influenced, there is a significant relationship between aesthetic factors (such as style, technique, visual effects, etc.) and non-aesthetic factors (such as painters’ age and gender and the physical specifications of the artwork like size and the likes). Similarly, Ebrahimi and his colleagues (2015) in an investigation entitled the art economy and the weak points of Tehran Art Expo concluded that holding art expos, galleries and auctions helps the promotion of art economy considerably. Likewise, in a study entitled the influence of economy, culture and art on the Iranian contemporary paintings, Mobini and his colleagues (2015) showed that Tehran Art Expo’s focusing on visual arts has attracted investors in this field. Given that in the mentioned studies the factors motivating the artists, irrespective of the issue that the amateur artists are able to present their artworks in such expos/galleries/ auctions as well as the artists’ attitude towards the auctions, has not been examined. The present study aimed to examine the mentioned factors and to inspect the influence of holding auctions on the art economy.

The use of the arts of architecture, handicrafts, calligraphy, poetry, painting, etc. has long been customary in the establishment, promotion and development of Islamic sites, such as the mosques, the holy shrines of the Imams (as) and sons of Imams. The main jurisprudential justification by the jurisprudents who have addressed this subject, for permission, preference and, in some circumstances, the necessity of the use of the aforementioned arts has been the principle of honoring symbols of the religion, but the proofs of this rule haven't been in contrast to subjectology of art and its determinations to clarify What is the rule of using the determinations of art based on the principle of honoring symbols of the religion in these places, and beyond, in the absolute promotion and defense of Islamic symbols.
Furthermore, the proportion of the proofs of Islamic places, which, in addition to the reasons of honoring of symbols, also includes the reasons of the mosque, has not been studied with the subjectology of art and its determinations. In this article, we have tried to take a step towards filling this gap. For this purpose, within a brief subjectology of art, its determinants and a reference to the history of these determinations in Islamic sites and symbols, proportion of reasons of Islamic symbols and mosques is addressed by using determinations of art in subject of either Islamic sites or symbols.

The aim of this paper is to explore the ethical implications of artificial intelligence (AI) in the realm of art. Drawing on the philosophy and ethics of AI, this study examines the ethical challenges that may arise in the art domain. Given the increasing use and penetration of AI in the field of art, there is a need for more careful attention to the ethical dimensions of this phenomenon by scholars of art and philosophy. To achieve the objective of the paper, concepts such as AI, some of its techniques, and the ethical issues of AI in art are explained and analyzed using the analytical-descriptive method. The findings of the study reveal that ethical issues such as privacy and surveillance, manipulation of behavior, opacity and transparency, bias in decision systems, and automation and employment can be investigated in the field of art. These ethical issues are sometimes in conflict and sometimes in direct relation with each other. This study suggests that addressing the ethical questions of AI in the field of art requires addressing the ethical questions of AI in general.

However there are differences between postmodernism and critical theories in their origins, they seek common areas in society criticism. The critical theory is a social theory provided in order to criticize and transform society against the suppression and oppression situations. In addition, the critical theory is used to indicate the power relations in cultural framework which attempts to reach a self-criticism: addressing such self-criticism requires polyphony, and indicated the self-structure. On the one hand, the postmodernism criticizes the modernity in all aspects. The outcome of this shared viewpoint is critically formed in postmodern committed art which is reflected in art with sociopolitical theme and entails marginalized areas such as feminists and black arts. The postmodern critical attitude toward modernity as well as critical theory in society criticism provides a flow of consciousness to revise the social state which is reflected in art. Therefore, the main goal of this research is to study and compare social criticism aspect of critical theories in Frankfort School with the socio-political subcultures art after 1960s which is formed in postmodern discourse and both are addressed in line with social consciousness. Therefore, adapting the postmodern art critical procedure to the critical theory, it is assumed that critical art seeks the social justice by making social awareness for education which is investigated by contemporary art discourse studying. The social criticisms of social justice which follow the philosopher and scholars’ idea witnessed the dislocation in orientation of theories toward artists based on the displacements of paradigms in early 2000; that is, art attitudes and thought patterns which are particularly addressed in opposite manner with power and authorization system varied from the 2-D imaginative arts space of conceptual and installation arts. Therefore, it is necessary to investigate the art recognition as a part of social effectiveness and awareness. The basis of critical analysis on art works in sociopolitical dimensions is the critical theory. This research introduces critical arts in socio-political arena as the main reason for change of social awareness in postmodern age by providing an analysis on this theory. The results can be explained based on art examples analyses in social area using the sociopolitical expressions as: the critical art is the reflection of critical theory in sociopolitical attitude and political art area following which yields the art social and contradictory expression with postmodern characteristics among which the opposite voice via awareness for social justice by deconstructing the power structure in postmodern discourse can be fully mentioned. In addition this process has been changed to social manifests in contrast to political hegemonic systems and power criticism by socio-political positions as a critical form and art in executive forms. Therefore, postmodern art is a set of social actions among the network systems which form awareness on society and subsystems and are completely comparable to the critical theories based on which the art ideas and though patterns as particular oppositions to power and authorization system in this discourse are formed.

Interwoven with such concepts as defense, resistance and spirituality, resist-ance art represents the identity and opposition of a nation against tyranny. With growing domain of mass media and the subsequent need to introduce the new dimensions of resistance art, the application of new artistic media, to express the principles of resistance, is required. Taking advantage of various  techniques of impelemetation question in a culture of descriptive analytic way . is it possible to apply the visual as well as concept, content and addresses, conceptual art has provided new capabilities to represent the concepts of resistance in newly defined filed focusing on the conceptual works of Holy Defense Garden Museum and promoting the culture of resistance, the present study has addressed two main questions in a descriptive-analytic way. Is it possible to apply the visual as well as content aspects of conceptual art and modern media to represent deeply-rooted con-cepts such as resistance and altruism? Is there a functional correspondence between resistance art and conceptual art? The results indicated that since there are common elements between conceptual art and resistance art (such as preference of concept and content, application of symbols, ideological art and viewer-based application), conceptual art has the potential to pave the ground for the concepts of resistance art to be represented.

Graffiti, a kind of media art originally emerged in the West, is not a medium to express ideas and attitudes of the marginalized political groups or those deprived of formal ways of propaganda. It appeared for the first time in New York in 1980’s. Thanks to symbols and allusions applied in graffiti, young artists represent their feelings and ideas through an arcane language. As such, they try to make themselves differentiated from the commonly accepted culture. This, to some extent, accounts for the underground nature of this art. Iranian artists, likewise, have started to express their stances with the help of graffiti.   In fact, in large cities of Iran, mainly in Tehran, a hidden bond has been made between graffiti and other aspects of the Iranian young people’s life style. The present research has examined the graffiti drawn in Ekbatan Town, western Tehran, in terms of style, technique, theme and semiotic elements. Considering graffiti as an objection art, this research has analyzed the visual and written content of the graffiti shown in Ekbatan Town in terms of social semiotics. In fact, the research aimed at, firstly, identifying graffiti as an art and, secondly, at addressing applications, styles and themes of graffiti. What is graffiti? What themes does it often deal with? What structures and styles are applied in graffiti? Does the society recognize graffiti as an art? These are all the questions the research is to answer. So far, certain studies have been done to address the issue of graffiti in general. However, no study has been conducted on the graffiti shown in Ekbatan Town, in detail, dealing with techniques and themes applied. Among the studies pointed out, two works are noteworthy: Graffiti as an Art for Objection, an article by Masoud Kowsari(2010), addressing graffiti sociologically, examining the history of graffiti in Iran. The second one is the book What is Graffiti written by Karen Rashad(2004) analyzing graffiti from philosophical, historical, artistic and social aspects.

In this paper, the definitions of art, beauty, imagination, and the imagination are presented.Discussions about celestial art and the artist's role in refining the art and the impact of the artist's soul and its relationship to fantasy worlds and the use of a divine authority agency are explained. Also discussed are the roles of ethics in art and its cleansing power for imagination, and the external and internal controls and functional aspects of the underlying art for preparing the Appearnce of Mahdi are discussed. Among the topics that will be addressed are art in its manifestation of underlying dimensions that are discussed in this paper, which is proposed to have five dimensions: 1. Every human is only an agent in light of the his Imam's agency 2. The impact of ones beliefs and values on his art; 3. The role of morality in purification of the soul of and the fantasy of the artist; 4. Existance of an element of elegance and beauty in Art 5. The use of Art to describe a romantic and the awe inspiring fantasy in service of the Mahdavi culture.

There exist numerous questions about religious art – especially Islamic art –at the heart of contemporary art studies. One of these questions regards the quiddity of the principles of religious art. The importance of this question derives from the fact that contrary to the stance taken by some contemporary works that believe this issue has not been discussed by Muslim thinkers in the previous centuries, it has a deep-rooted history. To address this problem, the article at hand compares two different viewpoints, namely the viewpoint of Mulla Sadra as the biggest Muslim philosopher in recent centuries and the stance of Burkhart, the contemporary Western philosopher who has examined enthusiastically and seriously the philosophical art domain within the Islamic art. As we will see, this comparison brought about common results originating from the monotheistic view as well as an emphasis on the existential aspect of art, but through two different methodologies. While Burkhart uses phenomenology to report the representation of existence – as the quiddity of art – through the displays, colors, and quantities in the Islamic artworks, Mulla Sadra adopts an attributive path that focuses on the equality of existence and beauty in the eyes of Islamic art performers and beholders.

The right to 'freedom of artistic expression' is accepted across all forms of art and is a key issue in the jurisprudence studies on art. According to constitutional law, rights are primarily derived from legal sources. However, there is also a religious system that incorporates the jurisprudence studies on art. Despite variations in religious principles and their details about different art forms, the jurisprudence studies on art plays a dominate role as either a catalyst for freedom of artistic expression or a set of restrictions and boundaries. Thus, this article indicates that the diverse interpretations of Islamic law in Iran and what is officially recognized and must be protected is determined by the jurists of the Guardian Council from Islamic principles defined in the Constitution of the Islamic Republic of Iran. Consequently, in studying the relevant issues, the Islamic jurisprudence based on the Constitution should be considered as the standard for evaluation rather than the Islamic jurisprudence based on external works and sources. Additionally, art is a significant subject in Islamic jurisprudence of the Constitution and is specifically addressed and emphasized in principles 24, 25, and 28 of the Constitution of the Islamic Republic of Iran. These principles aim to create new and broader avenues in the realm of Islamic art and artistic works, while also strengthening their rights and freedoms. They demonstrate the power of choice for artists. Therefore, the perspective of the Islamic jurisprudence studies on art should not restrict the freedom of artistic expression, which contradicts the principles of Islam outlined in the Constitution. Instead, it should employ elements that foster the progression and development of art, guaranteeing its freedom while addressing prohibitions and restrictions.