The New Generation and Artistic Modernism in the Ukraine. By Myroslava M. Mudrak. Studies in the Fine Arts: The Avant-Garde, no. 50. Ann Arbor, Mich.: UMI Research, 1986. x, 282 pp. Illustrations. $44.95, cloth.

Slavic Review ◽  
1987 ◽  
Vol 46 (2) ◽  
pp. 375-375
Author(s):  
Janet Kennedy
Keyword(s):  
Fine Arts ◽  
Avant Garde ◽  
Ann Arbor ◽  
New Generation

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.

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.

scholarly journals The Round Table 03 圆桌: A Conversation with Xu Bing

2015 ◽  
Vol 4 ◽  
pp. 201-207
Author(s):  
Madeline Eschenburg ◽  
Ellen Larson
Keyword(s):  
New York ◽  
Fine Arts ◽  
Round Table ◽  
Early Career ◽  
Xu Bing ◽  
New Generation ◽  
Contemporary Chinese

The following is an excerpt from a conversation between contemporary Chinese artist Xu Bing, Madeline Eschenburg, and Ellen Larson. Xu Bing curated an exhibition at the Central Academy of Fine Arts titled The Second CAFAM Future Exhibition, Observer-Creator: The Reality Representation of Chinese Young Art, on exhibition through March 2015. Our conversation centered around his thoughts on a new generation of young Chinese artists as well as reflection on his own early career and time in New York. The conversation was conducted in Chinese and has been translated into English.

Matsumoto, Shunsuke (松本竣介, 1912–1949)

2018 ◽  
Author(s):  
Takuya Tsunoda
Keyword(s):  
High School ◽  
Fine Arts ◽  
Urban Landscapes ◽  
Pacific War ◽  
Oil Painting ◽  
Avant Garde ◽  
The Pacific ◽  
Literary Arts ◽  
Spinal Meningitis ◽  
Professional Artist

Matsumoto Shunsuke was an oil painter and essayist active in the years up to and through the Pacific War. His best-known paintings, most of which feature figures in urban landscapes, include several self-portraits such as Standing Figure (1942). Matsumoto contracted spinal meningitis at the age of eleven, which eventually led to the loss of his hearing, an event that steered him towards the career of professional artist, and encouraged him to become immersed in reading and the literary arts. Later, it also rendered him ineligible for the draft. At seventeen he dropped out of high school and moved to Tokyo, where he studied oil painting at the Pacific School of Fine Arts (Taiheiyô Bijutsu Gakkô) for three years. In 1935 he became a member of the avant-garde NOVA Art Society, the first of several exhibition collective and artist groups in which he would participate. Other groups including the Nikakai, the Nine-Room Society (Kyûshitsukai), and the Newcomers Painting Society (Shinjin Gakai). Like Ai Mitsu, Asô Saburô, and others with whom he associated, Matsumoto expanded his style to accommodate expanded Japanese interest in Abstraction and Surrealism during the 1930s, but he largely retained his interest in painting intimate portraits, set in non-idealized cityscapes, throughout his career.

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