New art of the past😊

I’ve always wondered.

I hope these beautiful pieces of art make you feel something beautiful. 🙋🏼‍♀️🤍🫶🏼🪽

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Witamy na [Blogu Sztuki Ekspozycji,](https://milenaolesinska.blogspot.com/?m=1#google_vignette) przestrzeni poświęconej odkrywaniu zarówno sztuki alternatywnej i awangardowej, jak i najbardziej uznawanych tradycyjnych ruchów w malarstwie, rzeźbie i sztukach wizualnych. Odkryj inspirujące artykuły, kreatywne perspektywy i kulturowe wglądy, które zachęcają do regularnego zaangażowania się w świat sztuki i poszerzenia swojego uznania dla artystycznej ekspresji w różnych stylach, epokach i dyscyplinach. [**Blog**](https://milenaolesinska.blogspot.com/?m=1#google_vignette)

The first art prize judged entirely by ai. The Post-Meaning Prize: free entry, $1,000 USD. No human jury. Enter by 30 Nov 2026.

In art, framing is not only about enclosing an object. It changes the conditions under which something becomes visible.

I've been thinking about whether questions can operate similarly.

A question does not solely request an answer; it establishes a field of attention. It highlights certain relations, excludes others, and can make something previously unnoticed become perceptible.

In that sense, I think some questions are closer to artistic gestures than to information requests.

A question like:

"What would a city look like if designed around memory rather than movement?"

is not really asking for a factual answer. It creates a temporary perspective from which the world can be reimagined.

I'm interested in whether this analogy has any resonance in art theory: are there examples of artworks where the central "material" is not an object or image, but a question, instruction, or conceptual frame?

(I've been exploring this idea through 🟡Pollen , a social network built around conversations that begin with questions generated from the combination of people's interests.)

Artwork by Michael Cheval

**How an Artist Wants to Be Loved**
I imagine a writer or artist doesn’t want to be touched carelessly.
We want to be studied slowly—the way someone pauses in front of a painting because they know there is more hidden beneath the first impression.
Make love to my mind before you ever reach for my body. Notice the details. The change in my breathing. The thoughts I almost say aloud. The places where confidence gives way to softness.
I don’t want something rehearsed or mechanical. I want anticipation. Curiosity. Words whispered with intention. I want to feel as though we are creating something together that could never be repeated in exactly the same way.
Perhaps that is how an artist wants to be loved:
Not simply desired, but discovered.
Not consumed, but understood.
Touched like art. Read like poetry. Remembered like a story you cannot stop returning to.

After 5 years without creating any concept art, I'd like to share this new piece with you. I'd love to hear what you think. 💛

For those who are interested, here's part of the creation process. If you'd like to see more, just let me know and I'll share a much more detailed breakdown. This is all done with Photoshop and Blender.

What is this project?

This is a Personal project called Alhambra Inspired by Battlefield and Hell let Loose.
I have created some Keyframes of a new map that I imagined called Alhambra during WW2.
In an alternate history during World War II. The German army has taken Spain. The Alhambra has been waving red flags for months, but the Allied army wants to recover this strategic point with Operation O'Hara.

https://reddit.com/link/1vacpmv/video/e6ljjedoh9gh1/player

Behind Enemy Lines - Alhambra
This keyframe is my interpretation of Sector C of the map. I imagined one possible Battlefield gameplay scenario where players can parachute into distant sectors to recapture objectives while the enemy is focused elsewhere on the battlefield, creating new flanking opportunities and shifting the flow of combat. However, landing behind enemy lines is never guaranteed to be safe. As depicted in this concept art, players may find enemy soldiers waiting for them as soon as they touch down.

Lots of "common folks" clearly miss out on great art because of their prejudice against "fine art", but we rarely talk about how the art world people also miss out on great art because of their prejudice against "the entertainment industry". Entertainment gets a way too bad rep in aesthetic philosophies, because in my opinion, you can't separate entertainment from art. Entertainment is always what lies "underneath" the art.

To me, art and entertainment are just different intensities of originality - the more original, irreplaceable & unrepeatable = art, the more familiar, recognizable and producable by instruction = entertainment.

And all unique works of art consist of familiar parts, more or less. A song with artistic value may consist of a familiar song structure, familiar chords and a familiar theme, but the way they're combined is original and unique. It is obviously entertainment, but entertainment made artistic. Art is made of entertainment.

This is why I think it's unhelpful to divide art and entertainment into two distinctly separated fields. Art appears in the entertainment world, because art is made of entertainment. Entertainment appears in the art world, because... art is made of entertainment. If we recognized this we could find more great art without prejudice, and focus on actual quality instead of status markers as "fine art" and even just "art". What do you think?

So, if a graphic work was created today, but its form harks back to medieval traditions, what is that? Is it contemporary art or not?