scholarly journals The importance of installation art for the development of contemporary art in the world and Ukraine

2019 ◽  
pp. 278-287
Author(s):  
Daria Chemberzhi
Keyword(s):  
National Culture ◽  
Contemporary Art ◽  
Installation Art ◽  
Modern Art ◽  
Cultural Development ◽  
Art Installation ◽  
Art Form ◽  
The World ◽  
Different Types ◽  
Free Development

Article is devoted to a research of a role and the place of art installation in the modern world. At the same time the retrospective analysis of a role of art installation in the past and comparative characteristic with the present is carried out. The Ukrainian context of development of art installation is also revealed. At the same time it is found out that installation is not only an important component of modern art, but also an integral part of historical discourse. Due to its visual functions, the installation actively influences the viewer. For the most part, installations are not just an object in space, it is what is the very space - how much the installation work has the ability to fill the space, integrate into it organically and holistically. At the same time, the main factor in the creation and existence of an installation in the exhibition space, as well as in other relevant arts, is its relationship with the viewer. In this study, the socio-cultural aspect of the installation is important, understanding of the significance of this form of contemporary artistic practices for a common worldview system. Such problems as the assimilation of new experience from the point of view of global processes, on the one hand, and the preservation of the national cultural identity in contemporary art, on the other – actualize the pattern of the process of perception of a new culture. In article it is found out that graphic schools are based on existence of certain art and educational institutions where graphic artists who carry out the teaching activity and own creativity a high mission of formation of new generation of masters create. Not less important factor is acceptance of experience of teachers and its further development in creativity of pupils and followers. Art of installation is an integral part of the modern fine arts of Ukraine. Emergence and development of this art form in the national cultural environment became possible under conditions of intensive creative activity of artists which reached the high level of mastery in connection with deeply philosophical judgment of problems of the present. At the end of XX – the beginning of ХХІ century, looking for new ways of development, the Ukrainian artists addressed installation which as it is possible better answered esthetic inquiries of an era and became a symbol of spiritual updating of the personality. Installation turns into a key factor of development of different spheres of culture, thereby playing a noticeable role in development of national culture. Installation in the modern art helps to be focused and inform of the idea and understanding of global problems to adherents of different genres of art, the audience of different age categories and social groups. Since declaration of independence development of the independent state and formation of own cultural policy aimed at providing free development of national culture and preservation of cultural inheritance begins. The state forms the legislative base which can provide cultural development and an open entry of all citizens to its achievements. In 1992 the Verkhovna Rada of Ukraine accepts "Principles of the legislation of Ukraine about culture" where the basic principles of public policy in the sphere of culture directed to revival and development of the Ukrainian national culture, ensuring freedom of creativity, free development of cultural and art processes, realization of the rights of citizens to access to cultural values, creation of material and financial conditions of cultural development were declared. It is found out that installation is an art equipment which uses the three-dimensional objects intended for change of perception of space by the person. The term "installation" in English appeared long ago – in the XV century. It means process of construction, collecting, drawing up something (now use it also for establishment definition, for example, of the software). With the advent of different technologies – videos, and later and the computer – arose also different types of installations which now peacefully coexist with other arts, for example, painting or a sculpture, without being inferior to them. Hardly somebody will be able to designate exact date of emergence of installations and their judgment as art form. Now installation represents the certain room according to the decision of the author transformed to art space. It is filled with a number of objects to which the symbolical value is often provided. Harmonious connection of things, their arrangement indoors is also art. Installations can be the constant objects exposed in the museums or be created temporarily in public and private spaces. The space of installation can include different types of the things and images circulating in our civilization: pictures, drawings, photos, texts, video, movies, tape recordings, virtual reality, Internet, etc. Installations are regularly presented at the international exhibitions of the modern art, such as Venetian the biennial. The most prestigious art museums and art galleries of the world give to installation art the best platforms from time to time. At the same time, the research of this form of art lags behind the progressing shaping a little. The phenomenon of installation is considered as a part of a performance that is entirely logical. But install processes, especially the last decades, proved what is absolutely self-sufficient the cultural phenomena which need serious scientific approach and judgment, require attention to a research of characteristics install the practician, activity of certain artists, a tipologization and the scientific analysis of modern processes

SYSTEM OF ARCHAIC SIGNS-SYMBOLS IN THE ORNAMENTS OF THE MESENA SPINNING ROTARY

2021 ◽  
Vol 23 (77) ◽  
pp. 70-75
Author(s):  
A.A. Zhogolevа ◽  
◽  
E.G. Stolyarova
Keyword(s):  
Contemporary Art ◽  
Modern Art ◽  
Ancient Greece ◽  
Traditional Culture ◽  
Single System ◽  
Present Stage ◽  
Art And Design ◽  
The World ◽  
History Of ◽  
The Subject

The article is devoted to the study of the symbols of the Mezen painting as a single system. The spinning wheel is viewed as a cosmogonic model of our ancestors, where painting is directly related to the content of the image. The object of the research is the archaic symbols of the Mezen painting. The subject is the development of ornaments and prints for decor and product design. The history of the Mezen craft (geography, origins, traditions), the artistic features of the craft (materials, technology) and the semantics of the ornament are studied. The article considers archaic ornaments of Mezeno in connection with the ancient cultures of mankind (the Neolithic era, Andronov culture, Ancient Greece, etc.) and Slavic traditional culture. The article deals with deciphering the semantics of the ornament of the Mezen spinning wheel as a reflection of the idea of the world of our ancestors. The author's development "The symbolism of the Mezen painting in contemporary art" is given, showing the possibility of using the Mezen ornament at the present stage of the development of artistic culture in art and design. The authors of the article propose to use the ornaments and symbols of Mezeno as decor and prints in modern art and design.

A Review of Lofts as Housing in Istanbul

2014 ◽  
Vol 39 (1) ◽  
pp. 56-68
Author(s):  
Serpil Özker
Keyword(s):  
New York ◽  
Industrial Revolution ◽  
Cultural Development ◽  
Urban Transformation ◽  
Way Of Life ◽  
The Third ◽  
Cultural Life ◽  
The World ◽  
Different Types ◽  
The Usa

Lofts are housing forms converted from warehouse-workshop into a “habitable environment” in coastal towns of Europe and the USA after the Industrial Revolution. Particularly positioned in coastal towns of New York, Loft life made an impact in the world over time. It became a new form of living when artists converted structures like factories into habitable environment. From past to today, all national and international developments during the process affected and accelerated development of the constant evolution of housing concept. In that sense, in this study, the meaning of Lofts in Istanbul and the effect and change of socio-cultural stratification on spatial conversion of housing consumerism has been examined in the context of Istanbul. Especially, process of gentrification, shaped by effects of urban transformation post 1980, and cultural development affected by this process, attendant Loft life has become an accelerating way of life. In this context, historical and stylistic value and especially usage of Loft living has been examined. In the first chapter; past, present and the post-1980 development of housing sector in Istanbul, in the second chapter, with a thriving cultural life, and Loft formation, has been examined in the context of structural criteria, resulting three different Lofts have been discussed in detail. In the third section, three different types of Loft have been analyzed in the context of space depending on examples. As a result of researches, three different types of Lofts, “Original”, “Semi” and “Imitation” concepts have become clear and it has been concluded that “Imitation Loft” formation gives direction to life in Istanbul.

scholarly journals The identification method of 6-7 year-old-children’s «duovector» giftedness in the art-creativity process

2018 ◽  
Vol 7 (4) ◽  
pp. 326-335
Author(s):  
Larisa Yuryevna Kalinina ◽  
Dmitriy Victorovich Ivanov
Keyword(s):  
Contemporary Art ◽  
Art Criticism ◽  
Modern Art ◽  
Reference Points ◽  
Creative Activity ◽  
New Knowledge ◽  
The World ◽  
The Aesthetic ◽  
Development And Validation ◽  
The Relationship

The paper deals with one of the aspects of early identification of giftedness: the establishment of the relationship between its types. The authors see a solution of the problem in the development and validation of the methodology based on the integrated modern scientific knowledge - psychological, pedagogical and art criticism, in the field of contemporary art. This technique is expected to meet the conditions of efficiency and accessibility in the application of teachers working with children. Clarifications have been made to the basic concept of giftedness for the paper. The authors propose a term describing the interrelated manifestation of two types of giftedness - duovector talent. The method is aimed at finding hidden signs of duovector giftedness: musical mathematics, in the field of fine art and sports, musical and linguistic. The basis of this approach is the idea of the dependence of the frequency and brightness of giftedness manifestations on the conditions, the most important of which is the aesthetic environment enriched with multi-modal material for creativity. At the same time, it is advisable to involve children in accessible and aesthetically valuable works of modern art, in the search for new knowledge in the same ways that adult authors of the XXI century use. Modeling directly perceived creative techniques and forms, the child masters the world, structures it non-linearly, on the principle of creating a rhizome. As a catalyst of creative activity, a set of tasks-subtests adapted to the age peculiarities of children is offered. The procedure of the experiment in a specially organized educational environment (an art workshop) is characterized. Plunging into the atmosphere of fruitful disorder, the child will act freely and directly, engaged in creativity as a game, creates an art product that has value as a marker of his talent. The content of creative tasks is presented, according to the results of work on which the diagnostic card is filled, in turn, which is the basis for the conclusions about the presence of the childs duovector talent. At this stage of the study, the authors have prepared a method for validation by comparing it with tests and subtests of other methods. The materials of the paper logically continue the research in the field of finding reference points for the development of individual educational routes of students, preparing them for lifelong learning.

I Am Collecting Beautiful Objects: Michel Gondry’s Taxidermy of Emotions

2020 ◽  
pp. 49-65
Author(s):  
Jenny Pyke
Keyword(s):  
Contemporary Art ◽  
Art Form ◽  
The World ◽  
Material History ◽  
The Way

Continuing both the examination of the materiality of objects and the employment of frameworks from contemporary art, this chapter by Jenny Pyke uses a comparison with taxidermy as an art form to explore the way that Gondry creates objects infused with affect, not because of what they represent but because of how they are constructed. Like examples of taxidermy, these objects both contain a material history and generate sensation through their feeling of hapticity. This chapter explains how objects in The Science of Sleep function not only as containers of emotion but also as points of connection between the lovers Stéphane and Stéphanie, who communicate and share their way of seeing and imagining the world through objects and build relationships in tandem with their construction.

scholarly journals But is it art? : the construction and valuation of illustration in Victoria's Island Illustrators Society

2021 ◽  
Author(s):  
Shannon Jaleen Grove
Keyword(s):  
Contemporary Art ◽  
Cultural Production ◽  
Art History ◽  
Modern Art ◽  
Division I ◽  
Traditional Art ◽  
Art Form ◽  
Commercial Art ◽  
Binary Oppositions ◽  
History Of

In Canada, illustration, commercial art, and conservative, traditional art are often spoken of as separate from and opposite to "non-commercial", "contemporary art", a division I argue stems from the older distinction between art and craft but one that can be subverted. Using concepts from Gowans, Greenhalgh, Mortenson, Shiner, and Bourdieu's theory of the field of cultural production, this thesis traces the sociology and art history of the division between traditional and modern art that led to the formation of the Island Illustrators Society in 1985 in Victoria, British Columbia. I argue illustration is an original, theoretical art form indistinguishable from but alienated by contemporary art, that conservative art is neither static nor irrelevant, and that non-commercial contemporary art is a misnomer. I find the Society challenged the definitions of art and illustration by promoting illustrative fine art and by transcending binary oppositions of conservative and contemporary, commercial and non-commercial.

scholarly journals ARCHETYPES AND IMAGES OF THE KAZAKH NATIONAL CULTURE IN CREATIVITY CONTEMPORARY ARTISTS

2020 ◽  
Vol 2 (2(71)) ◽  
pp. 4-7
Author(s):  
S.M. Krykbaeva ◽  
G.A. Abdurahmanova ◽  
L.Sh. Bakirova
Keyword(s):  
National Culture ◽  
Contemporary Art ◽  
Art History ◽  
Modern Art ◽  
Symbolic System ◽  
Systematic Analysis ◽  
History Analysis ◽  
Artistic Images ◽  
Modern Artists ◽  
Contemporary Artists

Background. reveals art analysis of archetypes and artistic images reflecting the Kazakh national culture in the paintings of modern artists of Kazakhstan The ways of art history analysis have been revealed for the most characteristic archetypes and artistic images of the Kazakh national culture, which are revealed by modern Kazakhstani artists in their paintings. A typological method is suggested in studying the development of contemporary contemporary art in Kazakhstan. The revival of the traditional worldview in the modern art of Kazakhstan is justified. Scientific novelty is connected with the historical and art history analysis of symbolizing, ethnosign functions of culture on the basis of reconstruction of the sign-symbolic system of the pictorial type, through which an interpretation of various types of contemporary art of Kazakhstan is given. Contemporary art of Kazakhstan is characterized by the integration of various types, genres and styles, while the development of the world by new means is carried out through signs and symbols established in the context of traditional culture. The performed art history analysis indicates that the sign-symbolic system of the Tengrian world picture is actively and quite fully implemented in various types and genres of modern art in Kazakhstan. In the works of contemporary artists, along with geometrics, signs and symbols of the animated world (plant and zoomorphic) are used, relevant in the aspect of the ecology of culture, as an answer to the global challenges of our time. The results are significant for theoretical and practical understanding of the problem under consideration, in particular, for Евразийский Союз Ученых (ЕСУ) # 2(71), 2020 5 deepening the description and analysis of works of art by Kazakh artists, as well as for further systematic analysis of works with elements of archetypal motifs and mythological images. Article materials can be used in training courses of art faculties and specialties

scholarly journals But is it art? : the construction and valuation of illustration in Victoria's Island Illustrators Society

2021 ◽  
Author(s):  
Shannon Jaleen Grove
Keyword(s):  
Contemporary Art ◽  
Cultural Production ◽  
Art History ◽  
Modern Art ◽  
Division I ◽  
Traditional Art ◽  
Art Form ◽  
Commercial Art ◽  
Binary Oppositions ◽  
History Of

In Canada, illustration, commercial art, and conservative, traditional art are often spoken of as separate from and opposite to "non-commercial", "contemporary art", a division I argue stems from the older distinction between art and craft but one that can be subverted. Using concepts from Gowans, Greenhalgh, Mortenson, Shiner, and Bourdieu's theory of the field of cultural production, this thesis traces the sociology and art history of the division between traditional and modern art that led to the formation of the Island Illustrators Society in 1985 in Victoria, British Columbia. I argue illustration is an original, theoretical art form indistinguishable from but alienated by contemporary art, that conservative art is neither static nor irrelevant, and that non-commercial contemporary art is a misnomer. I find the Society challenged the definitions of art and illustration by promoting illustrative fine art and by transcending binary oppositions of conservative and contemporary, commercial and non-commercial.

scholarly journals Art in Sovereign Kyrgyzstan

2020 ◽  
Vol 6 (12) ◽  
pp. 461-466
Author(s):  
T. Kadyrov ◽  
T. Shaanov
Keyword(s):  
National Culture ◽  
Economic Crisis ◽  
Management System ◽  
Sharp Increase ◽  
Public Life ◽  
Western Culture ◽  
Cultural Development ◽  
World Community ◽  
Political Events ◽  
The World

The Declaration of sovereignty by Kyrgyzstan in December 1990, the adoption of the Declaration of independence in August 1991 and their recognition by the world community were the most important historical and political events for our country at the end of the XX century, which led to fundamental changes in all spheres of public life, including in the development of culture. The changes that occurred in these years in the country’s management system have created a number of new problems in the historical and cultural development of the nation. A sharp increase in the flow of diverse ideological information, the strengthening of the influence of Western culture against the background of the socio-economic crisis that engulfed the country from the first years of sovereignty, had an impact, and not always positive, on the national culture.

“Muslims to Take Over Institute for Contemporary Art”: The 1976 World of Islam Festival

2008 ◽  
Vol 42 (1-2) ◽  
pp. 40-47 ◽  
Author(s):  
Anneka Lenssen
Keyword(s):  
Contemporary Art ◽  
Modern Art ◽  
Islamic Art ◽  
Single Event ◽  
The West ◽  
The World ◽  
Visual Expression ◽  
Do So

The terms “Islamic” and ‘Arab” are not ideal instruments for classifying modern or contemporary art, for they are meta-categories that can variously encompass Muslims and non-Muslims, and Arabs and non-Arabs. Nonetheless, as historians of modern art in Islamic regions, we seem to have inherited a longstanding commitment to Islamic art as an epistemologically unique practice that produced limitless abstract patterns and other “non-Western” visual expression. It is time to move beyond such overburdened lineages. In this paper, I aim to historicize the formulations of a specific Arabo-Islamic aesthetic that emerged in the 1970s. I do so by a study of a single event and its metacultural claims: the World of Islam Festival held in London in 1976. The Festival projected optimistic countercultural options for art and civilization that remain instructive today, while the complexity of its organizing structures demonstrates the limitations of the West/rest paradigm in interpreting its artistic products.

Technical methods of teaching types of wrestling in the lessons at the heart of the struggle Qazaq kuresy

2020 ◽  
Vol 43 (2) ◽  
pp. 179-185
Author(s):  
A. Sovetkhanov ◽  
◽  
S. Tashbolatov ◽  
N. Shynybek ◽  
G. Ashimkhanov ◽  
...  
Keyword(s):  
High School ◽  
Physical Education ◽  
National Culture ◽  
School Children ◽  
Martial Arts ◽  
Social Life ◽  
School Curriculum ◽  
The World ◽  
Different Types ◽  
Civilized World

In the school curriculum of physical education, wrestling, as a section of the “Martial Arts” sport, refers to national traditions, which are jointly developing with national culture. Educating the younger generation in the spirit of heroism, honor, courage – this sport is designed for high school children. Widely applying in the life and social life of nomads, this traditional sport is mainly found at various feasts, games, commemorations and other cultural events as a kind of sports. The source of ancient pastimes, where agility, strength, heroism, courage are forged. Among the peoples of the world, wrestling as an indicator of mass games has common historical roots with other games. But, each country has its own types of struggle, their methods are different. Types of struggle with the emergence, formation, development, flowering and stages of improvement remain as a historical national and valuable heritage. Without diminishing the traditions and values of the types of struggle in the civilized world, various events are being successfully promoted, which will further promote the good goals of mankind. With the acquisition of independence, Kazakhstan began to successfully develop and succeed in the world arenas of the national wrestling «Qazaq Kuresi».

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