scholarly journals Art Discourse of the Yekaterinburg Avant-Garde: From the 1960s Basements to the 1980s Exhibitions

2020 ◽  
Author(s):  
Galina Golynets
Keyword(s):  
Art History ◽  
Freedom Of Expression ◽  
Fine Arts ◽  
Special Role ◽  
State University ◽  
Avant Garde ◽  
The Public ◽  
History Of ◽  
The 1960S ◽  
Age Range

This paper is devoted to the first domestic international conference Avant-Garde Movements in the Soviet Fine Arts: History and Modernity organised by the Department of the Art History of the Ural State University, by the Regional Department of Culture and by the White Gallery under the direction V.A. Malinov. The conference took place on January 19–21, 1990 in Sverdlovsk in the Cinema House. This event, which united art critics of the Urals, Siberia, Moscow, Kiev and Sofia, was one of the first sophisticated attempts to consider the issues faced by art movements which were not officially recognized and, therefore, existed “in the underground”. Due to various objective and subjective circumstances, local cultural strivings of that time were expressed more fully in painting and graphics than in other art forms. Sverdlovsk visual arts became well-known far beyond the region and played a special role in the city’s artistic life. The exhibition focused on the members of the art partnership ”Surikova, 31”. Almost two hundred artists and over six hundred works were presented in the 1987 exhibition. The exhibition stunned the public due to the age range of the artists, the explosion of movements and styles, and most of all the freedom of expression. Since then, exhibition activity has emerged from the basements and become public. Materials from the Ural conference 1990 are still interesting and relevant as part of the history of non-official art both in Sverdlovsk/Yekaterinburg and Russia in general. Keywords: modernism, avant-garde, Artists’ Union, socialist realism, underground, the second avant-garde, nonconformism, postmodernism.

scholarly journals List, który zaginął

2018 ◽  
pp. 273-278
Author(s):  
Andrzej Turowski
Keyword(s):  
Art History ◽  
Emotional Response ◽  
Public Domain ◽  
Avant Garde ◽  
The Public ◽  
History Of ◽  
History Of The University ◽  
The University ◽  
Anxiety And Fear

A Letter That Was Lost Summary The paper presents the history of a letter by Tadeusz Kantor of 1981 that was long lost. Kantor responds in it to a proposal from the Institute of Art History of the University of Poznań to have a series of lectures on the avant-garde. Writing that he had not time for it, he explains in some detail his detachment from the institutional study of the avant-garde at the university, stressing his involvement in the avant-garde activity through his art, in particular the Cricot theater. Kantor insists that the avant-garde does not belong to the public domain, but is a result of the artist’s private experience of anxiety and fear in confrontation with the audience and their emotional response to engaged art.

scholarly journals The role of mask in art culture of the Russian Silver Age

2020 ◽  
pp. 77-93
Author(s):  
Natal'ya Borisovna Kirillova
Keyword(s):  
Social Life ◽  
Communication Process ◽  
Special Role ◽  
Silver Age ◽  
Avant Garde ◽  
The Public ◽  
The People ◽  
History Of ◽  
Analysis Of Dynamics

The subject of this article is the role of mas in art culture of the Silver Age as a peculiar era of the “Russian Renaissance”. The term was introduced by N. A. Berdyaev and is present in a number of hisp philosophical writings. The object of this research is the Silber Age, perceived by the author as a somewhat mythological concept. Within the history of Russian culture “Golden Age” is attributed to the time of Pushkin, while “Silver Age” is a period of the bloom of modernism at the turn of XIX-XX centuries, when creative revival coincided in the visual and scenic arts, literature, music, science, and social life. The goal of this work consists in the analysis of dynamics and interconnection between artistic pursuits of the era of Russian modernism and the role of mask in this process The research results testify to the fact that in the Silver Age art prevails the cult of mask as a so-called challenge, protest against reality, which defined its special role in the works of painters, theatrical designers, symbolist poets, avant-garde filmmakers, whose experiments were aimed at determination of the new forms of relationships between art and the public. The relevance of study is substantiated by “interchange” of eras: new trends in development of sociocultural sphere of turn of XX-XXI centuries, when mask came into the people’s everyday life, and the image (persona) becomes an intrinsic part of communication process.

ON THE METHODS OF O. N. LOSHAKOV IN TEACHING EASEL PAINTING From his experience at the Vladivostok Art School in 1960–1962

2021 ◽  
Vol 1 (3) ◽  
pp. 16-21
Author(s):  
A. V. Khairulina ◽  
Keyword(s):  
Fine Arts ◽  
Far East ◽  
Positive Influence ◽  
Educational Process ◽  
The Far East ◽  
Shikotan Island ◽  
History Of ◽  
The 1960S ◽  
Moscow School ◽  
Art School

The article explores the first pedagogical experience of Academician of the Russian Academy of Arts, Honored Artist of the Russian Federation, Professor Oleg Nikolaevich Loshakov in Vladivostok. The work provides a brief overview on the history of the formation of professional arts education in the Far East. Positive influence of Oleg Loshakov — graduate of the Moscow State Academic Art Institute named after V. I. Surikov on improving the quality of the educational process at the Vladivostok Art School is noted. He contributed greatly to the development of fine arts in Primorsky Krai as a teacher and representative of the Moscow School of Painting. Further creative activity of O. N. Loshakov who painted landscapes on Shikotan Island together with a group of young artists that were his first graduates is described. The materials of the article expand the range of ideas about the artist's work in the Far East, and reveal new aspects of his landscape paintings of the 1960s. Special consideration is given to the monumental landscape in the master's work. The relevance of the topic is determined by the lack of materials devoted to the period of O. N. Loshakov's formation as a teacher and artist.

Using graphics editors as a means of developing students' creative abilities

2021 ◽  
pp. 384-393
Author(s):  
Olga Viktorovna Gavrilova
Keyword(s):  
Information Technology ◽  
Fine Arts ◽  
Technology Program ◽  
Brain Functioning ◽  
Avant Garde ◽  
Ancient Egyptian ◽  
Prior Art ◽  
Large Numbers ◽  
History Of ◽  
The Media

This article discusses a very well-known and frequently used technique for an implementation of a variety of artistic projects - a collage created by means of information technology. The article tells about using collage in higher education for teaching graphics, in particular, raster editors. Graphics editors such as Adobe Photoshop or GIMP are included in the Computer Science and Information Technology program. Students get the opportunity to create graphic images regardless of their prior art education. The introduction of the topic "Creating a collage by means of a raster editor" introduces a creative element into IT disciplines and develops the student's associative thinking at the level of brain functioning. As a rule, raster editors are used to edit an image, not to create it. Therefore, preparation for these classes encourages students to search for the necessary visual material on the Internet. In order to obtain more personal images, a deep study of photography techniques is required. It is also useful to study the history of photo and film collages, their texture and structure. The scope of the collage use is various. This is psychology, teaching foreign languages and, of course, fine arts. Advertising posters that we see in large numbers in the media and transport are also collages. The article traces the history of collage creation from ancient Egyptian history to modern advertising products. It is especially interesting to study the time when collage became a conscious technique. This is a great layer of avant-garde art.

S. YAKOVENKO AND HIS SKILLS IN THE CONTEXT OF THE INTERPETATION OF Y. BOUTSKO’S MONO-OPERA "DIARY OF A MADMAN"

2020 ◽  
Vol 1 (2) ◽  
pp. 140-145
Author(s):  
O. A. Podguzova ◽  
Keyword(s):  
Art History ◽  
Xxth Century ◽  
Avant Garde ◽  
Great Demand ◽  
Video Recordings ◽  
Wide Range ◽  
History Of ◽  
The 1950S ◽  
Vocal Art

Sergey Borisovich Yakovenko is the People's Artist of Russia, a famous musician, vocal teacher and Doctor of Art History. He entered a bright page in the history of Russian vocal art of the XXth century. Starting from the 1950s, as a vocalist, he was in great demand for chamber vocal performances, with some of them being composed by modern musicians. Yakovenko was able to operate freely with a whole stock of expressive means, inherent for avant-garde music, allowing him to take part in the most difficult performances of the latest vocal and vocal-instrumental compositions, which manifested his inclination to the theater, to the disclosure of the dramaturgy of works. S. B. Yakovenko’s stage talent declared itself in its fullness during the performance of mono- operas, among them "Diary of a Madman" by Yuriy Butsko (1968), which received a great resonance in the theatrical life of Russia. The general content of this article is the analysis of S. B. Yakovenko’s performing skill, which gave birth to a wide range of character images, generated by the protagonist’s imagination. After the analysis of audio and video recordings of the vocalist’s performances, as well as his numerous scientific works and conversations, the author discovers several important features typical for the performing interpretation by S. B. Yakovenko. These are his vocal-dramaturgical principles and vocal-theatrical direction. In Y. Boutsko’s opera "Diary of a Madman" the unique performance palette of S. B. Yakovenko allows the singer to create eight various, rapidly interchanging images, using exclusively the resources of his voice, while being on an empty stage without props and with little or no gesture or mime.

A Stagecraft of New Zealand Evaluation

2005 ◽  
Vol 5 (1) ◽  
pp. 3-10 ◽  
Author(s):  
Neil T Lunt ◽  
Ian G Trotman
Keyword(s):  
New Zealand ◽  
Performance Management ◽  
Best Practice ◽  
Companion Paper ◽  
Cultural Practice ◽  
Tertiary Sector ◽  
Evaluation Activity ◽  
The Public ◽  
History Of ◽  
The 1960S

Since the 1960s there has been a growing interest in evaluation shown by most Western countries. Alongside discussion of practical and theoretical issues of evaluation, such as methodological developments, best practice, and cross-cultural practice, there has also been increased interest in mapping the history of evaluation activity. Historical discussions are significant for three reasons; first, in providing a record for future generations of evaluators. Second, they provide a consideration of the domestic and international context that has shaped evaluation development, giving each country its distinct institutional make-up and brand of evaluation activity. Third, they assist a country's evaluation capacity development by building on its strengths and compensating for the weaknesses of its history. This article traces the emergence of evaluation within New Zealand using the metaphor of dramaturgy to introduce the settings and actors that we consider to have been constituent of what was played out in the New Zealand situation. Our remit is a broad one of attempting to describe and explain the range of evaluation activities, including program evaluation, organisational review, performance management, and process and policy evaluation. Within this article a broad overview only is possible. As an example of a more in-depth study, a comprehensive article could be prepared on the history of performance management in the public service. Our comments cover developments in the public sector, tertiary sector, and private and professional organisations. It is a companion paper to one on the history of evaluation in Australia, prepared by Colin A Sharp in a recent issue of this journal (Sharpe 2003).

scholarly journals Džon i Žaklina Kenedi: politika, kultura i „nova granica“ odevanja

2016 ◽  
Vol 10 (4) ◽  
pp. 857
Author(s):  
Simona Čupić
Keyword(s):  
Political Affiliation ◽  
Social Changes ◽  
Specific Kind ◽  
The Public ◽  
Contemporary Politics ◽  
Internal Politics ◽  
Art And Culture ◽  
History Of ◽  
The 1960S ◽  
The Cold War

Jacqueline Kennedy’s style is one of the mainstays of the history of fashion and popular culture, as well as contemporary politics. John Kennedy’s way of dressing garnered much less attention. Even though, at first glance, not as interesting as the first lady’s “fashion sense”, the president’s style was no less thought-out. If, however, we view the changes in clothing as social changes and a determinant of various kinds of social differentiation: marital status, sex, occupation, religious and political affiliation, the way in which the Kennedys were presented to the public becomes more interesting – from the (carefully planned) photos and appearances to art and culture. Having in mind that the 1960s were a time when the appropriation of popular and fictional came back into modern art, and that general changes inherent in the new lifestyle, as well as a layered image of American internal politics, and the cold war map of the world, the carefully thought-out image of the presidential couple can be viewed as a specific kind of metaphor for a complicated time.

scholarly journals On New Paths for the Exploration of the Armenian Art

2020 ◽  
Author(s):  
Levon Chookaszian
Keyword(s):  
Art History ◽  
Wall Paintings ◽  
State University ◽  
The World ◽  
History Of ◽  
History And Theory

During the last centuries, numerous books and papers were published on Armenian art in different collections of the world. Still there is an ocean of work to do in this field to fill in the gaps of the history of Armenian art. The members of the Chair of Armenian Art History and Theory at Yerevan State University were the first to carry out a systematic work in Romania in 2011-2017 and Iran in 2015-2019 exploring the Armenian miniatures, icons, wall paintings, silverwork, textiles etc. The results of this work were presented as papers during the conferences and published as articles.

scholarly journals Alexandra Ekster’s Contribution to Ukrainian and World Art Culture

2021 ◽  
pp. 219-228
Author(s):  
Lesia TURCHAK
Keyword(s):  
Art Education ◽  
Research Methodology ◽  
Art History ◽  
Historical Data ◽  
Methodological Approach ◽  
Fine Arts ◽  
Creative Activity ◽  
Teaching Activity ◽  
Avant Garde ◽  
The Subject

The work of Ukrainian artists who have contributed to Ukrainian and international art, is not sufficiently disclosed. Their creative search impresses with versatility, interesting decision, continues to impress and inspire contemporaries. Purpose of the article — to find out the contribution of the Ukrainian avant-garde artist, set designer, teacher Oleksandra Ekster, to the Ukrainian and international fine arts. Oleksandra Ekster’s work has been the subject of research for decades. Scientists are interested in the painter’s art search, her contribution to Ukrainian avant-garde, scenography reforms, and teaching activity. Some sources may state that Ekster is a representative of Russian avant-garde. However, the artist grew up in Kyiv, obtained art education and promoted with her work not only Ukrainian but world avant-garde as well. The research of modern scientists (H. Kovalenko, D. Horbachova, T. Filevska, N. Stoliarchuk, M. Yur and others) makes it possible to review the artist’s life and artistic journey as well as her contribution to art history. The research methodology consists of a range of methods: historical, biographical, theoretical. The abovementioned methodological approach allows studying the question of historical data relating to the events in Ukraine that led to the emigration waves, finding out certain biographical facts and analyzing the artist’s creative activity.

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