scholarly journals Search for Harmony in the Works of Multimedia Artist Mariia Kulykivska and Photographer Mark Neville

2021 ◽  
Vol 10 (4) ◽  
Author(s):  
Yaroslava Kramarenko ◽  
Keyword(s):  
Modern Art ◽  
Artistic Experience ◽  
Positive Assessment ◽  
Unity Of Opposites

The article examines the concept of “harmony” as a state of contradictions and its role in modern art, particularly, in actionism, as well as the theories of the inner “man” and “self”. The works of artists Mariia Kulykivska and Mark Neville, who form a creative format of modern Ukraine, are studied. It is analyzed how “the art of action”, despite its somewhat revolutionary and pretentious nature, can embody the unity of opposites. It is argued the phenomenon of modern art is precisely in harmony that creates “higher” values and generates a positive assessment of reality, suppressing its flaws and problems. The author concludes actionism has completely integrated with its multifaceted form into Ukrainian sociocultural space, and therefore it gradually frees itself from outdated stereotypes and formalized approaches, adapting to the best examples of world artistic experience.

scholarly journals A Heideggerian Critique of Immersive Art

2021 ◽  
Vol 11 ◽  
pp. 64-92
Author(s):  
Harri Mäcklin ◽  
Keyword(s):  
Lived Experiences ◽  
Modern Art ◽  
The Other ◽  
Philosophical Discussion ◽  
The Past ◽  
Other Hand ◽  
Positive Assessment ◽  
The One

Immersive art has been one of biggest trends in the artworld for the past few years. Yet, so far there has been little philosophical discussion on the nature and value of this immersive trend. In this article, I show how Heidegger’s meditations on art can provide a robust assessment of immersive art. On the one hand, immersive art can be taken to culminate in Heidegger’s views on the “machinational” character of modern art, where artworks turn into calculative experience machines, geared to provide “lived experiences” rather than experi­ences of truth. On the other hand, Heidegger’s thought also lends itself to a more positive assessment, where immersive art undermines machination from within and provides experiences of wonder, which are irreducible to and uncontrollable by calculative thinking.

Museum of Modern Art

1962 ◽  
Vol 16 (2) ◽  
pp. 35-37
Author(s):  
Eileen Bowser
Keyword(s):  
Modern Art ◽  
Museum Of Modern Art

INNOVATIONS AND TECHNOLOGIES IN MODERN ART

2017 ◽  
Vol 134 (2) ◽  
pp. 441-447
Author(s):  
Valentyna Bystriakova ◽  
Alla Osadcha ◽  
Olesia Pilhuk
Keyword(s):  
Modern Art

Two Representations of the Moscow Art Theater Audience

2020 ◽  
Vol 17 (5) ◽  
pp. 462-476
Author(s):  
Alexander A. Ushkarev ◽  
Galina G. Gedovius ◽  
Tatyana V. Petrushina
Keyword(s):  
Online Community ◽  
Modern Art ◽  
Virtual Space ◽  
Demographic Parameters ◽  
Cultural Consumption ◽  
Cultural Activity ◽  
Behavioral Differences ◽  
Technological Revolution ◽  
Definition Of

The technological revolution of recent decades has already brought art to the broadest masses, and the unexpected intervention of the pandemic has significantly accelerated the process of migration of theatrical art to the virtual space, causing the corresponding dynamics of the audience. What is the theater audience in the era of digitalization and the spread of alternative forms of cultural consumption? How does the theater build its relationship with the audience today? In search of answers, we conducted a series of sociological surveys of the Chekhov Moscow Art Theater’s audience — both at the theater’s performances and in the online community of its fans. The purpose of this phase of the study was to answer the fundamental questions: do spectators surveyed in the theater and those surveyed online represent the same audience; what are their main differences; and what are the drivers of their spectator behavior? The article presents the main results of a comparative analysis of two images of the Moscow Art Theatre’s audience based on a number of content parameters by two types of surveys, as well as the results of a regression analysis of the theater attendance. The study resulted in definition of the qualitative and behavioral differences between the theater visitors and the viewers surveyed online, and identification of the factors of theater attendance for both of the represented audience groups. The study made it possible to clarify the role of age and other socio-demographic parameters in cultural activity, as well as the influence of preferred forms of cultural consumption (live contacts or online views) on one’s attitude to art, motivation and spectator behavior. The conclusions of the study, despite the uniqueness of the object, reflect the general patterns of the modern art audience’s dynamics.

Der fliegende Pfeil

2010 ◽  
Vol 55 (1) ◽  
pp. 69-89
Author(s):  
Katharina Münchberg
Keyword(s):  
Lyric Poetry ◽  
Modern Art ◽  
Sensory Perception ◽  
Spatial Change ◽  
Modern Age ◽  
Time Space

Die Kunst der Moderne, insbesondere die Lyrik, entwickelt eine eigene ästhetische Konzeption der Bewegung, die mit der klassischen Vorstellung der Bewegung als räumlicher Veränderung eines Körpers in der Zeit bricht. Baudelaires À une Passante, Rimbauds Bateauivre und Paul Valérys Le Cimetière marin sind drei paradigmatische Texte der französischen Moderne, in denen Bewegung als zeiträumliches Kontinuum reflektiert und in der Dynamik der Sprache materialisiert wird. Die moderne Kunst, so erweist sich, ist selbst Bewegung und stiftet Bewegung. Sie wird zu einer Kunst des Werdens, nicht der Substanz, zu einer Kunst der reinen sinnlichen Wahrnehmung, nicht des Begriffes, zu einer Kunst der diskontinuierlichen Erlebnisse, nicht der Erfahrung.<br><br>The art of the modern age, particularly the lyric poetry, develops an own aesthetic conception of the movement which breaks with the classic idea of the movement as a spatial change of a body in time. Baudelaires À une Passante, Rimbauds Bateau ivre and Paul Valérys Le Cimetière Marin are three paradigmatic texts of the French modern age, in which movement is reflected as a time-space-continuum and materialized in the dynamic of language. Modern art is itself movement and causes movement. It becomes an art of the development, not sub- stance, an art of pure sensory perception, not concept, an art of discontinuous adventures, not experience.

Moderne Ikonen

2009 ◽  
Vol 54 (2) ◽  
pp. 123-143
Author(s):  
Bernadette Collenberg-Plotnikov
Keyword(s):  
Mass Culture ◽  
Visual Experience ◽  
Modern Art ◽  
The Other ◽  
Recent Discussion ◽  
Christian Church ◽  
Other Hand ◽  
The Absolute ◽  
Modern Mass

›Ikonen‹ sind heute nicht mehr nur die Ikonen der christlichen Kirche, sondern vor allem die Ikonen der modernen Massenkultur. Beide Arten von Ikonen werden in der neueren Kunstreflexion aufgegriffen: Kunst gilt entweder, verstanden als Erbin der religiösen Ikone, als Phänomen, das Absolutes in singulärer Weise anschaulich er- fahrbar macht. Oder aber die Kunst gilt umgekehrt lediglich als Klasse in der Welt der säkularen Ikonen. Demgegenüber wird im Beitrag erstens die These vertretenwerden, daß die neuere Kunst sowohl Aspekte transzendenter als auch immanenter Ikonen umfaßt. Zugleich ist es aber, so die zweite These, für unser Kunstverständnis charakteristisch, ein theoretisches Kontrastverhältnis zwischen Kunst und Ikone an- zunehmen. Dieses gründet auf einer spezifischen Reflexivität der Kunst, durch die sie sich von der Ikone beiderlei Art kategorial unterscheidet. Today, the word ›icon‹ usually no longer refers to the icons of the Christian church, but to the icons of the modern mass-culture. Both sorts of icons play a key-role in the recent discussion about art: Either art is supposed to be a descendant of the religious icon, a phenomenon that gives us a singular visual experience of the Absolute. On the other hand, art is supposed to be just one class among others in the wide world of the secular icons. In contrast to these two positions this essay contends that modern art comprehends aspects of transcendent as well as of immanent icons. Furthermore, it argues that at the same time it is characteristic for our notion of art to suppose a contrast between art and icon. This contrast is based on a specific reflectivity of art, which marks a categorical difference between art and both sorts of icons.

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