scholarly journals Plurality the types of art in contemporary art: specifics of media art

2021 ◽  
pp. 139-148
Author(s):  
Tatiana Mironova
Keyword(s):  
New Media ◽  
Cultural Values ◽  
Visual Art ◽  
Fine Arts ◽  
Visual Images ◽  
Semiotic Analysis ◽  
Artistic Creativity ◽  
Media Arts ◽  
Modern Culture ◽  
Classical Education

The purpose of the article is to study the types of artistic creativity in modern fine arts, taking into account the specifics of media arts. The methodology is the cultural-semiotic analysis of the forms of manifestation of visualization of modern art culture. The application of a systematic approach allowed us to study semiotic systems that contribute to the comprehensive disclosure of the problem of the semantics of modern forms of visualization. The scientific novelty of the work is to understand the specifics of the new media arts, taking into account their interactivity, network communication, and virtuality. Conclusions. The interaction of visual art forms and interactive technologies is a combination of artistic manifestations with visualization and programming, so, unlike the processes of classical education, this art practice, in addition to the artist, requires group work of specialists in various fields. Artists working in new forms of visual art play the role of "director" of the project, embodying their own artistic ideas in collaboration with other participants. The actualization of the art of new media is manifested primarily through the expansion of artistic creativity and the creation of multimedia projects that combine VR, AR technology, animation, and traditional shaping and drawing. Therefore, modern visual arts are becoming a powerful tool and communicative tool of modern culture. Today, Ukrainian artists are actively using visual images as central elements of visual culture. Since modern cultural communication significantly influences the formation, providing the composition and translation of cultural values, with the help of visual images artists are able to more accurately express the idea of the work, to make it understandable to the maximum number of viewers.

scholarly journals Віртуальна і доповнена реальності в творчості українських мистців

2021 ◽  
pp. 141-151
Author(s):  
Т. В. Міронова
Keyword(s):  
Visual Art ◽  
Methodological Approach ◽  
Fine Arts ◽  
Modern Technology ◽  
Virtual Space ◽  
Practical Significance ◽  
Semiotic Analysis ◽  
Media Environment ◽  
History Of ◽  
Virtual And Augmented Reality

The purpose of the publication is to analyze the virtual and augmented reality in the work of Ukrainian artists of the last thirty years. The study digital visual art space is the analytical methods to determine internal trends and prospects of contemporary Ukrainian art. The main methodological approach is the cultural-semiotic analysis of the forms of manifestation of visualization of modern art culture. The application of a systematic approach allowed to study semiotic systems that contribute to the comprehensive disclosure of the problem of semantics of modern forms of visualization. The peculiarities of the use of technologies for the support and demonstration of works of art are revealed, the emphasis is on the emergence of new digital trends in contemporary art, thanks to which visual works function in their own media environment. Virtual and digital realities in the fine arts replace the artist's canvas, and the ironer allows him to immerse himself in other unreal worlds of the author's subconscious. Thus, from a simple fascination with technology, the modern generation of artists quickly moved to quality and content requirements, conceptuality and communication between the author, viewer and work of art, which requires artists to understand modern technology, traditional techniques of painting. The scientific novelty of the work is to identify the main characteristics of the development of modern visual arts with the help of virtual space in the Ukrainian cultural environment. The practical significance of the obtained results is that they can be used as a factual and theoretical basis for the creation of relevant sections in scientific and scientific-methodical publications on the history of contemporary Ukrainian art.

EXHIBITION AS A GENRE OF PLASTIC ART: "DIOR"

2020 ◽  
pp. 138-150
Author(s):  
Mariya T. Maistrovskaya ◽  
◽  
Keyword(s):  
Visual Art ◽  
Spatial Organization ◽  
Fine Arts ◽  
Environmental Design ◽  
Exhibition Design ◽  
Fine Art ◽  
Museum Of Fine Arts ◽  
Artistic Images ◽  
Fashion Designers

The article is the second part of the research that consider and analyze two exhibitions held in recent years at the A.S. Pushkin Museum of Fine Arts named, “Chanel: according to the laws of art” (2007) and “Dior: under the sign of art” (2011), dedicated to the largest fashion designers of our time. The original concepts and artistic solutions of the exhibition design of these exhibitions became events not only in the fashion world, but also in the art of the exhibitiaon. These exhibitions presented various exhibition solutions, vivid artistic images, expressive spatial organization, conceptual and scenographic arrangement of copyright collections in the context of high fine art. The most important conceptual component of the exhibitions was to present the art of fashion designers, juxtaposing, giving rise to associations and building analogies and contexts with visual art, against which unique collections were exhibited and in the circle. With this single conceptual view of their work, and the single space of the museum in which the exhibitions were held, the artistic and architectural strategy of the exhibitions was diametrically opposite, revealing the palette and variety of artistically expressive means and modern exhibition design. Both exhibitions were created by modern foreign curators and designers and represent talented and creative exposition projects, the analysis of which can be useful for domestic environmental design as vivid examples of the exposition as a genre of plastic art, which is considered the modern museum and exhibition exposition at its highest and creative forms.

MURAL MELATIH KREATIVITAS VISUAL ANAK USIA DINI (STUDI KASUS TK FAJAR HARAPAN)

2021 ◽  
Vol 6 (1) ◽  
pp. 1
Author(s):  
I Gde Suryawan ◽  
Ida Bagus Komang Sindu Putra ◽  
I Putu Suyasa Ari Putra
Keyword(s):  
Early Childhood ◽  
Cultural Values ◽  
Visual Art ◽  
Communication Theory ◽  
Empty Space ◽  
Visual Sensitivity ◽  
Implicit Function ◽  
The Social ◽  
New Ideas ◽  
And Function

<p align="center"><strong>Abstract</strong></p><p> </p><p><em>Murals are one of the alternative media for street visual art / street visual art that functions as a forum for people's aspirations through paintings. The attractiveness of art gives a strong impression, in line with visual communication theory which assumes that the use of art in educational media is very important. One of these forms of art is a mural. The purpose and function of the mural itself is still developing today. The making of murals in early childhood schools is basically a form of utilizing empty space by incorporating educational missions, such as: as a medium for recognizing local cultural values (folklore). Because through folklore, it indirectly represents the social reality that is around us. Thus basically the implicit function of making murals in empty spaces in early childhood schools is to train students' sensitivity.</em></p><p><em>The environment is a factor that can affect a child's imagination. By placing murals on the walls of early childhood schools, apart from functioning as decoration, indirectly has the function of stimulating children's sensitivity to visuals. This visual sensitivity indirectly develops children's imagination. Thus, murals can stimulate the imaginary environment or imaginary world of children that penetrate the developer of their imagination. Art will always develop, which will be the source of ideas in the process of its creation. Like children who are inspired by murals in creating their works. Seeing this, students will be more open and sensitive to the environment around us so that new ideas will emerge fresh and close to us as a source of ideas for creating works.</em></p><p><em> </em></p>

scholarly journals LEGACY OF PATRIARCHAL GOD AND THE POLITICS OF MYTH-MAKING: LOCATING THE GENDERED POSITION IN RELIGIOUS VISUAL ART

2022 ◽  
Vol 3 (1) ◽  
pp. 7-14
Author(s):  
Abhijit Maity
Keyword(s):  
Gender Role ◽  
Rural Areas ◽  
Visual Art ◽  
Negative Impact ◽  
Secondary Level ◽  
Indian Society ◽  
Visual Images ◽  
Male Counterpart ◽  
The Family ◽  
Women In India

This essay discusses how the imagination of women in India is framed up by the gender-biased mythical representations. By looking at the mythical representations that are circulated through centuries in many popular mages, paintings and calendar-portraits, a discursive pattern can be found that has positioned women in a secondary level, belonging to men. The family itself becomes a political site in the process of normalizing women’s submissiveness to men by comparing their actions with the Goddesses. By interrogating the gendered position of Goddess like Lakshmi and her male counterpart Lord Vishnu, this essay attempts to problematize with the mode of representation in religious visual images. I conclude by arguing that these religious representations in visual images have negative impact on the Hindu women, especially, in rural areas and thus keep the unhealthy gender role intact in Indian society.

scholarly journals An Identity to Retain: Self-Expressive Chinese Indonesians under the Rule of Susilo Bambang Yudhoyono

2018 ◽  
Vol 6 (8) ◽  
pp. 1
Author(s):  
Enny Ingketria
Keyword(s):  
New Media ◽  
Identity Formation ◽  
Cultural Values ◽  
Cultural Practice ◽  
Influential Factors ◽  
New Order ◽  
Long Distance ◽  
Colonial Era ◽  
Chinese Cultural Values ◽  
Assimilation Policy

From the Dutch colonial era until the end of Suharto administration, Chinese Indonesians have perpetually been the victims of racial prejudice and negative stereotyping addressed by pribumi. However, the most difficult situations and unpleasant experiences occurred under Suharto's New Order, where the forced assimilation policy was implemented and Chinese Indonesians at that time were drawn to Chinese films and series to search for their Chinese-ness, while escaping reality. The previous researches did not provide comprehensive studies on the identity formation of Chinese Indonesians in Post-Suharto era, especially after the reformation era, under different presidents. Therefore, the subjective reality of third and fourth generations of Chinese Indonesians who spent their adolescence and/or adulthood over the course of Susilo Bambang Yudhoyono (SBY)’s tenure has been explored in this study. From the constructive nature of reality to the situational constraints that shape inquiry, the Chinese Indonesians were indeed more emotionally expressive, supported by a more stable political and economic condition, exposure to the new media, and enhanced bilateral partnership between China and Indonesia. The use of new media in disseminating the Chinese cultural values through the media product, as well as the Chinese cultural practice publicly held by mostly Chinese communities in Indonesia became the influential factors in connecting those younger generations of Chinese Indonesia to their heritage. Ethnic pride and cultural long-distance nationalism can be eventually observed.

scholarly journals Artistic and technical features of the lithographic manner mixed technique

2019 ◽  
pp. 92-98
Author(s):  
V. Vandаlovskyi
Keyword(s):  
Fine Arts ◽  
Technological Capabilities ◽  
Artistic Creativity ◽  
Black And White ◽  
Original Technique ◽  
The Rich ◽  
The Difference ◽  
Technical Features ◽  
Senior Students ◽  
Positive Results

Nowadays the problem of improving the artistic and technical features of the lithographic manner of mixed technique has matured already. The author of this study expanded and supplemented the ways of combining a variety of manners of lithographic techniques through practical experiments to achieve positive results in this area. Mixed technique is one of the types of lithography, in which a certain combination of lithographic manners engraving on stone with pencil, blurring ink, root paper, color lithography is used on one stone depending on the intent of the author, his artistic taste and possession of a large number of techniques in lithography, such as shading, sketching, blurring ink, pen, prints of cloth and other textures and the like. Lithography got the greatest spread in France, the gifted artists on stone included T. Géricault, Antoine-Jean Gros, Claude Joseph Vernet, Nicolas-Toussaint Charlet, O. Raffet, Ferdinand Victor Eugène Delacroix, Louis-Léopold Boilly, Paul Gavarni, Henri Grévedon, A. Toulouse-Lautrec and many others. Famous Ukrainian artists, namely M. Deregus, M. Popov, S. Yakutovich, and others worked in lithographic mixed technique. In particular, N. Popov in the creation of graphic works used the author's manner of execution of lithographs – drawing with acid. In artistic creativity to the main lithographic technique artists add elements of other graphic techniques: combine with etching, woodcut, monotype and other techniques. The program of teaching lithography in National Academy of Fine Arts and Architecture in methodical terms is designed so that the student of the specialty "Free graphics, design and illustration of the book", mastering lithographic technique and getting acquainted with her manners, could be able to do on this basis a mixed lithographic technique. Mixed technique is the final task, in which the student is given the opportunity to choose and combine the manners of lithography. Senior students improve their knowledge in the field of technical and technological capabilities of lithography. Due to the rich, original technique lithography has unlimited visual possibilities. It met the requirements of different artists, despite the difference in styles, language and artistic techniques. Lithography makes it possible to solve the composition in black and white, dashed, tonal, color techniques through the use of different manners.

scholarly journals 4. Knowledge and Valorisation of the Plastic Language and of the Folk Decorative Motifs in the Artistic Education Study Process

2017 ◽  
Vol 14 (1) ◽  
pp. 151-158
Author(s):  
Olimpiada Arbuz-Spatari
Keyword(s):  
Creative Thinking ◽  
Fine Arts ◽  
Language Theory ◽  
Education Students ◽  
Artistic Creativity ◽  
Education Study ◽  
Textile Art ◽  
Decorative Motifs ◽  
Study Process ◽  
Art Course

Abstract The framework and the reference objectives of the ‘Textile art’ course signal priority of the student’s initiation in the fine arts language theory. It is essential to discover new possibilities to study and apply of fine arts language elements for the purposes of triggering students’ creativity. For this purpose, at the course of “Textile art”, we will examine the necessity of studying fine arts language, synthesis of creative forms when essentially determining the contents in the process of development of artistic creativity to fine arts education students. In the process of development of artistic creativity in students it is important to study the language elements by selecting and processing artistic elements of nature. The study of the elements of fine arts language contributes to educating and informing the creative personality while choosing and processing the reality in the context of a methodical creative thinking - along with compositional regularities of scale, rhythm, movement and fine arts forms.

scholarly journals innovative approach to training students of art pedagogical universities

2021 ◽  
Vol 5 (S2) ◽  
pp. 619-632
Author(s):  
Viktor M. Labunets ◽  
Irіna O. Topchieva ◽  
Anzhelika Bondarenko ◽  
Dmytro Bondarenko ◽  
Liming Wei
Keyword(s):  
Cultural Values ◽  
Distinctive Feature ◽  
Music Teachers ◽  
Innovative Approach ◽  
Creative Potential ◽  
Modern Music ◽  
Artistic Creativity ◽  
Quality Requirements ◽  
Professional Activities ◽  
Stage Of Development

The distinctive feature of modern musical art is the constant search for new expressive means. Innovations infiltrated all aspects of composition, including the writing technique, understanding of the genre, style, form, and instrumental interpretation. These efforts are aimed at a true diverse and multifaceted embodiment of reality, which is constantly changing due to grand social upheavals. “Creative experiment, inquisitive search, and desire for renewal are inevitable and necessary in modern music. Without these experiments, artistic creativity becomes shallow, declines, and is subjected to sclerotic necrosis”. The growing need for a highly spiritual society requires a rapprochement to teaching and educating the younger generation to develop its spiritual and cultural values, personal and artistic orientations. These trends are primarily related to maintaining and increasing the intellectual and creative potential of a person who can express oneself through professional activities. In this case, the modern socio-cultural stage of development of musical-pedagogical education brings attention to new quality requirements to training of the experts that supposes the necessity and urgency of updating a problem of methodological training of music teachers.

scholarly journals Co to znaczy być artystą/artystką?

2017 ◽  
Vol 61 (1) ◽  
pp. 71-99
Author(s):  
Marek Krajewski ◽  
Filip Schmidt
Keyword(s):  
Visual Arts ◽  
Visual Art ◽  
Fine Arts ◽  
Nationwide Survey ◽  
Social World ◽  
Decision Makers ◽  
The Social ◽  
The Common ◽  
Artistic Career ◽  
Depth Interviews

Who is an artist? Questions over how to define this role divided the makers of the project The Invisible Visual: Visual Art in Poland—Its State, Role, and Significance. The authors’ sources of data were the results of a nationwide survey, a survey of graduates of the Polish Academy of Fine Arts in the years 1975–2011, and in-depth interviews with seventy individuals in the field of visual arts. The authors were able to establish, first, that persons working in the art field give different definitions from those beyond its bounds; second, that artists, decision-makers, curators, and critics try to defend the sense and autonomy of their activities against ways of thinking and acting that are typical of other areas of the social world (while they are themselves engaged in disputes over who has a right to call him- or herself an artist and what is and isn’t good art); and third, being an artist is marked by a difficult-to-cross boundary, as is shown by the common necessity of supplementing artistic work by other sources of income and the high risk of failure in an artistic career.

The cultural code in the visual arts system: specificity of formation and development

2020 ◽  
Vol 42 (1) ◽  
pp. 247-253
Author(s):  
Svetlana Syvorotkina ◽  
Keyword(s):  
Visual Arts ◽  
Visual Art ◽  
Fine Arts ◽  
Ancient Egypt ◽  
Medieval Art ◽  
Art Forms ◽  
Cultural Code ◽  
Historical Periods ◽  
Form Effect

The dialectical unity of the essence and the cultural code phenomenon regarding of the visual arts are dealt with in that article. Artworks are considered based on Lotman`s understanding of artwork as culture text. Discusses multiplicity of art forms and multifunctionality of arts form. Effect of changes in time and historical periods an impact on satisfaction of secular and profane human`s requirements. The author focuses on visual and illustrative forms of fine arts and focuses on analysis of traditional fine arts categories. The cultural code in visual art system is considered at Paleolithic artifacts, ancient Egypt`s art and medieval art examples.

Sign in / Sign up

Export Citation Format

Share Document