scholarly journals CANONIZATION OF THE AVANT-GARDE: ON THE PUBLICATION AVANT-GARDE MUSEUM

Muzealnictwo ◽  
2021 ◽  
Vol 62 ◽  
pp. 128-131
Author(s):  
Jarosław Lubiak
Keyword(s):  
Art History ◽  
Selection Criterion ◽  
Research Papers ◽  
Avant Garde ◽  
The Usa ◽  
Soviet Russia

The monumental publication Avant-garde Museum (ed. Agnieszka Pindera, Jarosław Suchan, Muzeum Sztuki w Łodzi, Łódź 2020) juxtaposes and analyses four museum projects: Museums of Artistic Culture in Soviet Russia, the activity of the Société Anonyme in the USA, Poland’s ‘a.r.’ Group, and the Kabinett der Abstrakten, the selection criterion being that each was conceived by Avantgarde artists; additionally, in the projects’ assumptions the artists were to run the implementation of the projects. The publication has been divided into three sections: research papers, source texts, and the catalogue of documents and works. The study of the Avant-garde museum projects spans over four areas: the concept, collection, organization, and display. However, these issues are not isolated in the research, but more purposefully integrated. The main goal of the study is to show how the Avant-garde institutionalized itself. This very thesis is reflected upon in the present paper. Just like the consequences of this publication: e.g., entering the Avant-garde into the canon of art history and sanctifying its output as an unquestionable value.

"Us" vs. "Them". Communist Dialectical Images from Interwar Europe and Soviet Russia

2021 ◽  
Author(s):  
Adri Kácsor
Keyword(s):  
Twentieth Century ◽  
Working Class ◽  
Visual Culture ◽  
Upper Class ◽  
Avant Garde ◽  
Political Propaganda ◽  
Political Transformations ◽  
The Rich ◽  
Soviet Russia ◽  
Interwar Europe

Brawny male workers vs. bulging bourgeois men. Working-class mothers burdened by the hardship of poverty and childcare vs. elegant upper-class women enjoying a lifestyle of privilege. Such juxtaposed images of workers and the rich were prevalent in the visual culture of communism throughout the twentieth century, appearing on posters, illustrations, and other genres of political propaganda across countries and continents. Although these didactic propaganda images have rarely been considered in histories of modernism and the avant-garde, this article argues that they were among the key visual inventions of twentieth-century communist visual culture given their highly innovative aesthetics and juxtaposed structure that provided them a potential to become dialectical. Drawing on examples from interwar Europe and Soviet Russia, this article examines how didactic juxtapositions could become dialectical images, triggering political transformations while also making revolutionary class consciousness visible for the viewer.

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.

scholarly journals Economic problems and the threat of the Old World: the USA media assessment

2019 ◽  
Vol 8 (4) ◽  
pp. 214-217
Author(s):  
Sergey Olegovich Buranok ◽  
Katerina Vyacheslavovna Belyaeva ◽  
Margarita Igorevna Tulusakova
Keyword(s):  
Mass Media ◽  
Formation Process ◽  
Crucial Role ◽  
Red Scare ◽  
Economic Problems ◽  
Soviet People ◽  
The Us ◽  
The Usa ◽  
The Media ◽  
Soviet Russia

The paper is dedicated to the evolutionary formation process of the American mass media perception towards the Soviet Russia during the severe Russian famine of 1921-1922, also known as the Povolzhye famine. The research novelty lies in the deep analysis of the US press assessments concerning the famine. The authors provide the results of their American newspapers examination regarding the image formation of the Soviet authorities, the Soviet people and the so-called Red Scare. The authors research included a review of the main anti-Soviet arguments made by the media; the review revealed that the Povolzhye famine image had a crucial role in the labeling Russia as a retrogressive country. Studying this informational phenomenon allows researchers to understand what impact it had on Soviet-American relations, since it directly affected the perception of Russia and the Russian/Soviet people through the media. This, in turn, might help with comprehension of some stereotypes about Russia that can still be encountered in the American public opinion to date.

scholarly journals CIRCUMSTANCES OF THE UNIFICATION OF LITHUANIAN ANTI-SOVIET PARTISANS DURING 1946-1949

2019 ◽  
pp. 48-55
Author(s):  
D. Juodis
Keyword(s):  
Interwar Period ◽  
State Building ◽  
World War ◽  
Research Papers ◽  
Armed Struggle ◽  
The People ◽  
Freedom Fighters ◽  
The Usa ◽  
History Of ◽  
Unified Command

In 2019 comes the 70th anniversary of the founding of LLKS – the Union of Lithuanian Freedom Fighters (Lietuvos Laisvės Kovos Sąjūdi). This underground organization had been founded in February of 1949. It united the people, who had been fighting against the Soviet power in Lithuania. Heads of the LLKS were active partisans and they called themselves freedom fighters. In the same time, other people called partisans ‘forest men’, ‘greens’ etc. The main purpose of this article – to consider the process of unification of the forces of Lithuanian partisans under unified command and to highlight the main circumstances of this process. The article is based on the archival materials and modern research writings. So far, very few research papers about Lithuanian anti-Soviet struggle have been published outside Lithuania. That’s why one of the goals of the author – to provide the information about this episode of the modern history of Lithuania to Ukrainian readers. Perhaps, the similarity with Ukrainian national insurgent movement during the 2nd World War will be found. The final ambition of the armed struggle of Lithuanian partisans was the creation of free democratic Lithuania. Partisans considered the mistakes of Lithuanian state-building during the interwar period, such as authoritarian regime and weak social politics. Freedom fighters hoped to get help from the West countries – Great Britain of the USA – through the mediation of Lithuanian emigrants. The unification of partisans was difficult because of the activity of infiltrated Soviet security agents. The chronological framework of the article covers the period of 1946-1949, when where held the main events of the unification of partisans. Active partisan struggle against the Soviet in Lithuania power lasted to 1953.

scholarly journals The notion and meaning of interdisciplinarity in the studies of art and media

2012 ◽  
Vol 4 (2) ◽  
pp. 196-211
Author(s):  
Nikola Dedić
Keyword(s):  
Social Sciences ◽  
Art History ◽  
Media Theory ◽  
Cultural Meaning ◽  
Avant Garde ◽  
Linguistic Turn ◽  
Elite Culture ◽  
Interdisciplinary Approaches ◽  
The Difference ◽  
Definition Of

This text attempts to mark the difference between traditional, modern, monodisciplinary and contemporary interdisciplinary approaches within the analysis of reception of media and artistic contents. Monodisciplinary approaches are connected with the classical basis of humanistic and social sciences which are related to the definition of culture based on opposition between mass and elite culture (art). Avant-garde and linguistic turn within social sciences in the 60s realized re-evaluation of the notion of culture-culture is not seen anymore as a sum of elite products of human spirit but rather as a production of cultural meaning, i.e. as a discourse. This turn enabled interdisciplinary turn within the sciences as aesthetics and art history and also enabled the emergence of contemporary interdisciplinary media theory.

scholarly journals CONCEPT OF THE STUDY OF ART BY R.J. COLLINGWOOD AS AN OBJECT OF THEORETICAL ANALYSIS

2020 ◽  
pp. 36-40
Author(s):  
M. V. Ternova
Keyword(s):  
Theoretical Analysis ◽  
Art History ◽  
Art Criticism ◽  
The Other ◽  
Historical Period ◽  
Rudyard Kipling ◽  
Cultural Traditions ◽  
Avant Garde ◽  
History Analysis ◽  
The One

The article analyzed concept of the study of art by Robin George Collingwood (1889-1943), a well-known English neo-hegelian philosopher. His significant part of the theoretical heritage is connected with the explanation of the nature of art and with the consideration of its condition during the period of the changing Oscar Wilde era to the era of Rudyard Kipling. The circle of problem such as content and form, character, image, mimesis, reflection, emotion, art and "street man" identified. All of them in Collingwood's presentation and interpretation significantly expanded the space of research not only English, but also European art criticism. The concept of study of art is "built" on the basis of an active understanding of historical and cultural traditions accented. The concept of art criticism of R.G. Collingwood – a famous English philosopher of the XIX-XX centuries, on the one hand, has self-importance, and on the other, although based on the traditions of contemporary humanities, still expands art history analysis of aesthetics through aesthetics and psychology. Recognizing the exhaustion of the English model of romanticism, R.G. Collingwood tries to outline the prospects for the development of art in the logic of the movement "romanticism – realism – avant-garde", which leads to the actualization of the problem of "mimesis – reflection". At the same time, the theorist's attention is consciously concentrated around the concept of "subject", the understanding of which is radically changing at the turn of the XIX-XX centuries. Theoretical material in the presentation of R.G. Collingwood is based on the work of Shakespeare, Reynolds, Turner, Cezanne, whose experience allows us to focus on the problem of "artist and audience". It is emphasized that Collingwood's position is ahead of its time, stimulating scientific research in the European humanities. The existence of indicative tendencies, which are distinguished in the logic of European cultural creation of the historical period, is emphasized.

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 specifics of the creative representation of classical and modern texts in the direction of A. Prikhodko

2021 ◽  
Author(s):  
Iryna Ivashchenko ◽  
Viktoriya Strelchuk
Keyword(s):  
Art History ◽  
Cultural Analysis ◽  
Literary Texts ◽  
Semiotic Analysis ◽  
Avant Garde ◽  
Theatrical Space ◽  
Literary Source ◽  
Factors Of Influence ◽  
Structural Methods ◽  
Stage Composition

The purpose of the article is to reveal the peculiarities of the interpretive theater direction of A. Prikhodka in the context of experiments with the representation of classical and modern texts. Methodology. Comparative and structural methods have been applied in order to reveal the versatility of the director's intention; the method of hermeneutic and the semiotic method, which contributed to the opportunity to explore the specifics of the director's representation; the hermeneutic method is dominant in the process of evaluating performances since it contributes to the perception of the production as an artistic whole, provided that the functionality of its individual components is understood; the method of semiotic analysis of postmodern stage works, etc. The scientific novelty of the article lies in the fact that the specificity of the representation of classical and modern texts in the work of theatrical director A. Prikhodka is considered in the context of the trends of this process in the modern theatrical space on the basis of comprehensive art history, theater, and cultural analysis. The theoretical views of A. Prikhodka are analyzed, the factors of influence on the production process and its specifics are revealed; an attempt is made to consider the phenomenon of the representation of literary texts from the perspective of postmodern trends in the development of modern Ukrainian theater. Conclusions. The work of A. Prikhodka is characterized by the reworking of the literary source of the production at the text level, including, among other things, a significant substantive reworking - highlighting plot lines, building plot lines, a successive reworking of prose characters into dramatic ones, the emergence of new, non-fictional characters, etc. - turning into a unique a literary script for the author's embodiment of a stage composition with the help of specific means of director's expressiveness of postmodern, realistic and avant-garde theater. The study revealed that the creative representations of classical and modern tests by A. Prikhodka reveal the hidden potential of the literary source, giving it a new philosophical and worldview understanding. The purpose of the article is to reveal the peculiarities of the interpretive theater direction of A. Prikhodka in the context of experiments with the representation of classical and modern texts. Methodology. Comparative and structural methods have been applied in order to reveal the versatility of the director's intention; the method of hermeneutic and the semiotic method, which contributed to the opportunity to explore the specifics of the director's representation; the hermeneutic method is dominant in the process of evaluating performances since it contributes to the perception of the production as an artistic whole, provided that the functionality of its individual components is understood; the method of semiotic analysis of postmodern stage works, etc. The scientific novelty of the article lies in the fact that the specificity of the representation of classical and modern texts in the work of theatrical director A. Prikhodka is considered in the context of the trends of this process in the modern theatrical space on the basis of comprehensive art history, theater, and cultural analysis. The theoretical views of A. Prikhodka are analyzed, the factors of influence on the production process and its specifics are revealed; an attempt is made to consider the phenomenon of the representation of literary texts from the perspective of postmodern trends in the development of modern Ukrainian theater. Conclusions. The work of A. Prikhodka is characterized by the reworking of the literary source of the production at the text level, including, among other things, a significant substantive reworking - highlighting plot lines, building plot lines, a successive reworking of prose characters into dramatic ones, the emergence of new, non-fictional characters, etc. - turning into a unique a literary script for the author's embodiment of a stage composition with the help of specific means of director's expressiveness of postmodern, realistic and avant-garde theater. The study revealed that the creative representations of classical and modern tests by A. Prikhodka reveal the hidden potential of the literary source, giving it a new philosophical and worldview understanding.

scholarly journals Open Fora

2020 ◽  
Vol 5 ◽  
pp. 139-155
Author(s):  
Vita Susak
Keyword(s):  
Art History ◽  
Three Dimensional ◽  
Visual Language ◽  
Urban Spaces ◽  
Avant Garde ◽  
Political Narratives ◽  
National Competition ◽  
Realistic Images ◽  
Universal Nature ◽  
Late Recognition

Just half a century ago, Malevich’s name was familiar to very few people. On a wave of international interest to the avant-garde, he became a world-famous artist. Kazimir Malevich (1879–1935) was born into a Polish family in Kyiv and created the Black Square (1915) in Moscow. These are the most important facts that todayallow three countries (Poland, Ukraine, and Russia) to consider him as their “own” artist. Art historians and curators actively research Malevich’s work, usually arguing that he belongs to the culture they themselves represent.This paper gives a brief overview of the discovery of Malevich in the West and of his late recognition in the USSR. It also deals with the growth of his popularity since the early 1980s, and provides examples of the current use of his name and work in cultural-political narratives. Malevich’s legacy has gone far beyond art history tobecome iconic in each of the three countries. Today the abstract visual language unseats realistic images due to its universal nature; pure abstract forms become incorporated with their three-dimensional configurations into urban spaces. Million-dollar prices at auctions encourage counterfeits, resulting in some huge scandals. Suprematist language is employed in a very broad range: from the tragic to the entertaining. Malevich becomes a “trump card” in national “decks.” It is precisely the international meaning of Malevich’s ideas that has caused national “competition” for this author.

The Avant-Garde of System-Cybernetic Governmentality

2016 ◽  
Author(s):  
Eglė Rindzevičiūtė
Keyword(s):  
Market Economy ◽  
Systems Approach ◽  
Free Market ◽  
Self Regulation ◽  
Free Market Economy ◽  
The West ◽  
Avant Garde ◽  
History Of ◽  
Soviet Russia ◽  
Complex Question

This epilogue addresses the complex question of the link between system-cybernetic governmentality and the neoliberal transformation of post-Soviet Russia. Although the system-cybernetic governmentality and economic neoliberalism did not share institutional origins, they were linked during the post-Soviet transformation as a result of historical momentum: the members of the Soviet systems approach community were best positioned to conduct the transfer of the models of the market economy from the West at a time when neoliberal ideas on the free market economy were gaining popularity. However, this should not mean that the pre-1980 history of system-cybernetic governmentality should be tainted as neoliberal; rather, this reveals the extent to which scientific governance can be appropriated by different economic and political regimes. If anything, the pre-1980 history of system-cybernetic governmentality is a history of a rather liberal governmental technology, underscoring the conditions of autonomy, self-regulation, and government at a distance.

Sign in / Sign up

Export Citation Format

Share Document