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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.

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 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.

The article is devoted to the consideration of the dual nature of art journalism, manifested in the trajectories of its development and the corresponding functions in the modern media space — cultural-educational and information-advertising. The author of the article interprets art journalism as a sphere of professional activity, the purpose of which is to form the aesthetic taste of the target audience and convey a set of values that have universal and national significance. Arts journalism is increasingly targeting a wider audience, as evidenced by trends towards deliberate simplification of text and increasing entertainment value. At the same time, the goals of art journalism — the preservation of cultural and national values, the comprehensive development of man, his education based on examples of world culture — are embodied in the implementation of the cultural and educational function of art journalism and, as a consequence, in the development of aesthetic taste using its tools and means. In an effort to satisfy the needs of the target audience for information about facts and cultural events, about works of various types of art, art journalism also implements an information and advertising function. The intentionality of art journalism is characteristic of both trajectories of its development in the modern media space: the formation of ideas, positions, and opinions naturally determines the emergence of expected emotional states in the addressee. The article proves that the information and advertising trajectory of art journalism organically complements the cultural and educational one: in any of the areas studied, the addressee is able to expand his cognitive and emotional experience in the cultural space, possessing creative potential. The cultural and educational trajectory of the development of art journalism cannot be implemented outside of information and entertainment: expanding the intended target audience by attracting attention to cultural and artistic events contributes to the representation of the news occasion from the perspective of organizing leisure time, deepening knowledge about a particular work of art or cultural figure and, as a result, ensuring and maintaining cultural balance in society

В статье раскрыты сущность и содержание понятия «эстетическая культура». Названы функции (научная, мировоззренческая, образовательная, воспитательная, деятельностная, аксиологическая) и формы проявления эстетической культуры (индивидуальная, семейная, групповая, общественная, национальная и т. д.). Показана суть внеурочной деятельности учащихся, обозначены документы, определяющие место и роль внеурочной деятельности в начальных классах по формированию эстетической культуры средствами народного искусства. Показано значение народного искусства в процессе формирования эстетической культуры, названы средства народного искусства (пословицы и поговорки, загадки, народные песни, танцы, сказки, декоративно-прикладное искусство и мн. др.), призванные усиленно воздействовать на формирование эстетической культуры. Определены основные виды моделей организации внеурочной деятельности: внутришкольная модель, внешняя модель, модель дополнительного образования (на основе институциональной системы дополнительного образования), модель школы полного дня, оптимизационная модель (на основе оптимизации всех внутренних ресурсов образовательной организации), инновационно-образовательная модель, модель взаимодействия с учреждениями дополнительного образования. Кратко охарактеризованы внутришкольная модель, внешняя модель, смешанная модель. Представлены итоги констатирующего эксперимента по выявлению моделей внеурочной деятельности, формирующих эстетическую культуру у учащихся начальных классов средствами народного искусства, в школах Моргаушского района Чувашской Республики.
The article reveals the essence and content of the concept of aesthetic culture; names the functions (scientific, ideological, educational, activity-based, axiological) and forms of manifestation of aesthetic culture (individual, family, group, social, national, etc.). The paper shows the essence of extracurricular activities of pupils; identifies the documents that determine the place and role of extracurricular activities in the formation of aesthetic culture by means of folk art in primary school. There has also been shown the importance of folk art in the process of formation of aesthetic culture, and the means of folk art (proverbs and sayings, riddles, folk songs, dances, fairy tales, arts and crafts, etc.) aimed at strengthening the formation of aesthetic culture. The authors determined the main types of organizational models of extracurricular activities: an in-school model, an external model, a model of additional education (based on the institutional system of additional education), a full-time school model, an optimization model (based on the optimization of all internal resources of an educational organization), an innovative educational model, a model of interaction with institutions of additional education; briefly characterized the in-school model, external model, mixed model. The results of a ascertaining experiment to identify models of extracurricular activities for the formation of aesthetic culture among primary school згзшды by means of folk art in the schools of the Morgaushsky district of the Chuvash Republic are presented.

The object of study of the article is both the place that the word of confession occupies in the work of Dostoevsky and the place in which the word of confession itself is pronounced by the characters of the writer. As a literary form, confession is an inheritor of the Christian tradition, but subsequently the original intention to repent became unrecognizable among many other motives. The article notes that Dostoevsky's secularization of this religious motif took on a very specific form, associated with his famous romantic dream of seeing the world as a monastic dormitory; of uniting the secular and the sacred in order to give a sacred status to everyday life. The article examines the connection between Dostoevsky's confessional word and one of the places where it is spoken - the inn (as well as other drinking establishments). In order to highlight Dostoevsky's idea regarding the functions and goals of drinking establishments in general, the article focuses on his profile as an urban writer. Following is a discussion of specific cases (from "The Brothers Karamazov" and "Crime and Punishment"), in which the word of confession was spoken in a drinking establishment. The fact that the most philosophically saturated part of the writer's last novel is situated in this specific urban space is emphasized. The connection between the word of confession and the dirty inn is seen as part of Dostoevsky's creative experiments, as a test of the "endurance" of intimate, suffering ideas and faith in a completely random environment. This is the proposed explanation for the constant confrontation of the sacred and the profane, which we find in the work of the writer.