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Abstract
Art in the last decades of the twentieth century has taken on a plural and multimedia nature; it has broken the boundaries of a particular media and gone beyond it, making it possible for multiple media to be present in the process of creating an artwork. This research, conducted in a descriptive-analytical manner through library methods, examines the interaction between the media of painting and the media of installation in contemporary art, based on 15 case studies of Iranian artists to answer the question of how painting interacts with installation art in Iran. The findings of this study indicate the following: 1. The presence of a painting next to an installation and presenting it as a collection, the direct use of painting on objects and presenting it as an installation work, and the use of objects on a painting and presenting it as a work in the form of a painting are among the interactive interactions of the two media of installation and painting in the works of Iranian artists. 2. The work is influenced by styles, themes, and famous paintings, the use of visual elements and the characteristics of painting (color, light, composition, and visual basics) as well as the way the installation is presented like a painting are among the effects of the media of painting on the media of installation in the works of Iranian artists. 3.Painting installations and the use of installation techniques in the presentation of works are among the effects of the media of installation on the media of painting in the works of Iranian artists.
 

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The Purpose of this Article is to investigate the serialism in Conceptual art and its influence on contemporary photography. In the 1960s and 1970s, conceptual artists used countless strategies and arrangements to confront and turn away from established traditions and modernist approaches to the medium. All these strategies led to redefining the intrinsic concept of art (definition of art, role of artist, role of art economy, art object, etc.). The use of serialism, language and photos were among these strategies that sometimes interfered with each other. Although serialism, repetition and sequence were also seen in different arts before the 60s, but in conceptual art, it entered the field of ideas and concepts. By using serialism, it was possible to avoid the intuitive encounter. Pop art and minimal art movements also used this strategy at the same time as conceptual art, so the combination of serialism and photography had significant effects on photography as art. By focusing on serialism in the works of conceptual art artists, this article tries to show how contemporary photography has used this method to free itself from the shackles of photography and other modernist definitions of photography. On the other hand, from the semantic point of view, the serial repetition of a photo with a fixed image in a Grid installation (either sequentially or completely dependent and side by side) changes its meaning to a series of events or emphasizes the existing object. In fact, an icon of anything represents the same thing; But its repetition points to an epidemic that the Grid installation reinforces. Typology was one of the other key concepts of this discourse, which is in the works of most conceptual artists in a tangible way and was a mechanism that made methodical study possible for conceptual artists. The Grid installation was a form of presentation of the work of art that conceptual artists could use to address the plurality of the subject; It also allowed artists to explore the differences and similarities of a subject. The findings of this research show that repetition and sequence, which is an inseparable part of today's contemporary photography, has its roots in the arrangements of conceptual art artists, who used serialism, formula, sequence and repetition during the transition from modernism to support engineering order. They used to study logical relationships between things. In the current research, descriptive analytical method was used and library and documentary sources were used to collect data. In this research, an attempt has been made to present the importance of this attitude to the art object and subject by referring to various theories about serialism in conceptual art and contemporary photography, and on the other hand, to show how the artists of preparatory conceptual art adopted in which the conceptualism of art redefines its meaning in cycles of repetition and sequence. Olafur Eliasson, William Wegman, Wolfgang Tillmans and Hans Eikelboom are the sample research photographers of this article; who have used Serialism, Grid, Typology and Time in their works.