Suchergebnisse

The article considers the main types of graffiti (tagging,bombing, scratching (scrabbing), writing). Describes font and plot trends in the art of graffiti. The characteristics of the two schools of graffiti
(old school, new school) and 5 styles (bubble, Broadway, wild style, 3D, sharacter). Styles
Graffiti illustrated Yu.Vasilevoy.

Research problems The influence exerted by the totalitarian ideology of the Soviet Union on the Ukrainian artistic environment in the period 1932-1991. What caused the changes in the artistic and social environment of totalitarian ideology and what are the consequences of totalitarian ideology. Motives for the study 1 I am interested in how the transoformation from totalitarian art to the modern takes place on the example of a post-totalitarian state Ukraine And on the example of myself, as an object of research, how a person who grew up and learned and formed in posttotalitarian ideology in Ukraine falls into the European Union, studies the artistic environment of Europe, then what does it lead to transformations.

Research problems The influence exerted by the totalitarian ideology of the Soviet Union on the Ukrainian artistic environment in the period 1932-1991. What caused the changes in the artistic and social environment of totalitarian ideology and what are the consequences of totalitarian ideology. Motives for the study 1 I am interested in how the transoformation from totalitarian art to the modern takes place on the example of a post-totalitarian state Ukraine And on the example of myself, as an object of research, how a person who grew up and learned and formed in posttotalitarian ideology in Ukraine falls into the European Union, studies the artistic environment of Europe, then what does it lead to transformations.

Research problems The influence exerted by the totalitarian ideology of the Soviet Union on the Ukrainian artistic environment in the period 1932-1991. What caused the changes in the artistic and social environment of totalitarian ideology and what are the consequences of totalitarian ideology. Motives for the study 1 I am interested in how the transoformation from totalitarian art to the modern takes place on the example of a post-totalitarian state Ukraine And on the example of myself, as an object of research, how a person who grew up and learned and formed in posttotalitarian ideology in Ukraine falls into the European Union, studies the artistic environment of Europe, then what does it lead to transformations.

In the first half of the 20th century, a new genre developed in the Chinese visual arts, which is called the revolutionary historical painting. For more than 70 years, this trend in art has been supported by the state and has been in demand in the society. The early works of the revolutionary historical genre were mainly devoted to the opposition of the proletariat to imperialism, feudalism and bureaucratic capitalism during the new democratic revolution in China with the CCP playing the leading role in this struggle. Currently, Chinese artists working in the genre of revolutionary historical painting create works aimed at fostering the patriotic spirit and glorifying the greatness of China. The subjects of such works include not only heroic episodes of the revolutionary past, but also important events of our time.

A.V. Chayanov was primarily an agrarian economist, but he also possessed encyclopedic interests and knowledge and wrote a series of articles on the history of art, which reflect his peculiar sociology of art. This article is a review of the collection of works which include articles written by this outstanding social thinker. The author considers that Chayanov's articles on the history of collecting artwork in Moscow and on the history of West-European engraving show the original features of his sociological interdisciplinary analysis. Chayanov studied various aspects of social life — history and economics, art and culture — to identify the historical-social types of collectors of fine artwork, the impact of social crises on the nature of collecting, the problems of elitism and egalitarianism in art, and the directions of people's cultural development. All of these issues are still relevant to contemporary studies of art.

Art is not only a form of self-expression, but it is self-knowledge and
self-acceptance. From this position, the Creator Man's image in art represents research optics in which the transformations occurring in human existence become visible. These transformations are connected by a person's experience of the meaning and values of his own existence in their relationship with the world. Understanding art as an existential experience, and therefore understanding the image of the Creator Man as artistic existence, opens up the possibility of understanding the «human code» contained in artistic creativity.
The Creator Man's image is one of the main projects of art, which has gone through many stages during its implementation. The article consistently examines different historical periods of artistic creativity. Their analysis shows the gradual growth of the individual principle of the artist, which had its own version of the «counterweight» in different eras. On this basis, the author of the study puts forward a hypothesis: when a human artist first realized his exceptional creative capabilities in understanding and transforming reality, his individualized position of a creator (a thesis) always had its antithesis. At the same time, the thesis, which is a constant first established by Renaissance culture, could be modified depending on the dominant social, cultural and artistic meanings and values in a given era, but it never disappeared from art. While different antitheses dominated in different historical periods. The author examines various manifestations of this contradiction using the examples of baroque art, classicism, romanticism, realism and modernism. This allows us to fix the reference points in the development of the Creator Man's image.
Analysis of historical transformations of the Creator Man's individualization in art makes it possible to trace the changes that took place in artistic consciousness, reflecting the image of the world with the anthropos operating in it.

The author pursued the aim — to reveal features of an image of the Napoleonic era in art and multimedia space of France. Using methodology of "communicative memory", the author analysed an image of the French emperor in fiction, advertising, cinema, computer games. The image of Napoleon is actively used in the art forming mass ideas of historical events. In recent years there was a huge number of the computer games devoted to the Napoleonic era and allowing players not only to like the spirit of that time but also to offer a possible alternative to a succession of events of the past. So art and closely related, especially today, multimedia space prolong the virtual life of Napoleon. Writers, directors, marketing specialists seek to create a heroic image of the Napoleonic era. They or sing of the emperor's victories, or justify his defeats. The fiction recovers Bonaparte not only in historical memory but also in political space, drawing analogies between Napoleon and Sarkozy. In virtual space of computer games Napoleon always the hero; it or gives a task, helps to reveal secrets, or players participate in battle on its party. Advertising uses Napoleon as a known brand, influencing the mass idea of French of this era. So art and multimedia space promote preservation in minds and souls of French of a great imperial idea which as believe many, is a pledge of the future of France. This article can be used in research of representations of the power in cultural memory and multimedia space.

The present article studies the early notes by Andrej Belyj (1899). The
manuscript was partially published by A.V. Lavrov; however, fragments, which
contained mathematical formulae and equations used by Andrey Belyj to prove his
ideas, were omitted. Young Boris Bugaev was under a strong infl uence of his father,
professor N.V. Bugaev, whose theory of 'arhythmology', that combined maths, logic
and philosophy, resonated not only with the world of science, but also with the
Russian culture of the early 20th century. Among Bugaev's followers was P. Florenskij,
who developed professor's idea in his thesis On the Peculiarities of Flat Curves as
Places of Interrupted Discontinuity (1904). Lena Szilard points out that there is a
strong connection between Andrej Belyj's literary articles and P. Florenskij's works
on maths. Relevance of the published material is supported by continued interest of
researchers to both the 'Andej Belyj and Pavel Florenskij' issue and works by V. Khlebnikov, whose 'zaum' also has strong links to maths. The extract from Anrej Belyj's
notes is preceded by a brief introduction, which reviews papers on B. Bugaev's diaries
for the year 1899 and summarizes L. Szilard's articles comparing Andrej Belyj's
literary works, P. Florenskij's philosophy and V. Khlebnikov's 'zaum'. The published
notes contain B. Bugaev's argument on lyric and epic explanations of the essence
of things in art and his idea that the two approaches are connected with subjective
and objective methods respectively. Andrej Belyj proves that the predominance
of emotions in a literary work cannot be used as a criterion for attributing it to 'lyric' and 'subjective' and shows how the value of an artistic work can be assessed using
mathematical equations.

The article discusses the main characteristics of modern art journalism, which allow us to assert its anthropocentricity. It is proved that the subject of creativity, which creates artistic images, as well as the work itself as a reflection of the value picture of the artist's world, his worldview and ideological concept are the subject of reception and analysis of art journalism. The anthropocentricity of art journalism as a whole is obvious because art itself is anthropocentric. However, in modern conditions of globalization and the development of postmodern worldview, the anthropocentricity of art journalism is undergoing certain transformations. The specificity of art discourse lies, first of all, in a pronounced appraisal and authorial modality, and the very representation of a work of art in a media text is determined by the level of professionalism and the degree of talent of its producer, as well as the social recognition of the artist and the very status of the work of art, determined by the interest of the public in it, the artist's innovation, the demand for a particular genre in the art industry. In the text-discursive space of mass art journalism, one can find the most revealing cases of interaction between institutional, professional and everyday discourses, which, on the one hand, significantly characterizes modern art journalism from the standpoint of its anthropocentricity, and on the other hand, allows us to evaluate the dynamic transformations inherent in it in postmodern conditions. The postmodern worldview deprives the art discourse of any stable coordinates in terms of terminology or the presence of professional art criticism competencies in an art journalist. A positive assessment in the discourse of art journalism is aimed at reflecting success, the predominance of the best qualities in the interpreted object, which is further enhanced by the use of art criticism terminological apparatus, however, texts with ambiguous evaluation and authorial modality are also presented in the text-discursive space.

Beauty is that category of aesthetics, the definition of which is still the subject of controversy among philosophers and art researchers. Beauty is both objective and subjective, absolute and relative, it is an imperative of art and it develops historically. Beauty forms a dialectical triad together with two other leading aesthetic categories — the beautiful and the ugly. In this triad, different types of synthesis of the beautiful and the ugly form the basis of historical types of beauty.
Philosophers, artists, art researchers have always had a professional interest in the dialectical connection «beautiful-ugly». However, firstly, the relations between these categories have not been studied previously from the standpoint of their dialectical analysis and synthesis at the same time. Secondly, different types of synthesis of the beautiful and the ugly did not stand out. These two conditions are taken into account in the article. In addition, beauty is considered as an aesthetic meta–category in the context of the dialectical triad «beautiful — ugly — beauty». Together, this made it possible to describe, explain and predict the change of historical types of beauty in the arts in the article.
According to the author's concept, three such objective types are distinguished and they correspond to the mimetic, non-mimetic and post-mimetic stages of the development of spatial arts. So the beautiful dominates the ugly (the art of the Ancient World, Antiquity, the Middle Ages, Renaissance and Modern times); the beautiful borders on the ugly (the art of modernism); the ugly dominates the beautiful (the art of postmodernism). The author also substantiates the assumption that today the next type of beauty has appeared. It arose like the previous ones in the conditions of radical changes in the artistic perception of the system-organizational principles of the Universe.

This article considers the transformation of the amateur art discourse of the stagnation period. The research is based on critical reviews and problem articles published during the period in special art magazines. The concept of artistic and political discourse is used as a basic concept in the article. The author reveals the structure of the discourse of amateur art, which combined the stagnation period and the component of the official ideological construct, formed during the 1930s, and a more modernised language of professional art and scholarly studies. The author reveals that in the mid-1960s, specialised magazines actualised the issue of amateur creativity, using a new definition of amateur art; there emerged criticism of self-taught professionals imitating fine arts. Together with that, critical articles and reviews of foreign exhibitions demonstrated the change in the pattern of amateur art and the legitimisation by the authorities of the new artistic languages of such artists. In the late 1960s, art critics made the first attempts to comprehend the origins of naïve art, the authors contemplated primitivism and its connections with urban folklore. By the mid-1970s, art criticism and research finally legitimised naïve art and separated it from amateur art. ; В статье рассматривается трансформация советского дискурса самодеятельного искусства в период застоя. Материалом исследования послужили критические обзоры и проблемные статьи, опубликованные в тот период в специализированных художественных журналах. В качестве базового концепта в статье используется понятие художественно-политического дискурса. Автор раскрывает структуру дискурса самодеятельного искусства и отмечает, что он включал в себя официальный идеологический конструкт, сформированный в 1930-е гг., и более модернизированный язык профессионального искусства и научных исследований. В ходе исследования автор выявляет, что уже в середине 1960-х гг. в специализированных журналах актуализируется проблема самодеятельного творчества, вводятся новые его дефиниции, разворачивается критика подражания самоучек профессиональному изобразительному искусству. Появление критических статей и обзоров зарубежных выставок вместе с тем демонстрировало изменение «канона» самодеятельного творчества и легитимацию властью новых художественных языков представителей этого направления. В конце 1960-х гг. художественными критиками были предприняты первые попытки теоретического осмысления истоков наивного искусства, авторы размышляли о судьбе примитива, его связи с городским фольклором. К середине 1970-х гг. художественная критика и научные исследования окончательно легитимировали понятие «наивное искусство» и отделили его от самодеятельного искусства.