Reconciling Authenticity and Reenactment

Locating authenticity in artworks that are remade (all or in part) or re-performed over time presents a unique challenge for art conservators, whose activities have traditionally been oriented toward caring for the material aspects of art objects. The paper offers a brief overview of perspectives on authenticity and discusses various theoretical models that have been developed to conceptualize how media, installation, and performance artworks are displayed and cared for over time. These include the score/performance model, the concepts of autographicity and allographicity, the concept of iteration, and authenticity as a practice. The author proposes a theoretical model based on the ritual aspects of presenting artworks, arguing that authenticity, repetition, and community participation can be reconciled within a ritual context.

The Revelation of Beauty in Nursing

A recent insight into the attributes of beauty is used to show its relations to nursing science and its theories and paradigms. It is indicated how insight into beauty came from energyspirit perceptions-experiences of feelings from art objects. Rogers and her science of unitary human beings are viewed from the attributes of beauty. It is recommended nursing consider beauty as a concept for the advancement of nursing science.

DETERMINATION OF COLORED SURFACE PROPERTIES ART OBJECT AS A MEANS OF CREATING A HARMONIOUS ARCHITECTURAL ENVIRONMENT

The article examines the properties of the colored surface of the Art object as a means of creating a harmonious architectural environment. The question was raised about the relevance of increasing the comfort, functionality, ergonomics, environmental friendliness and aesthetics of the design of the architectural environment, which is associated with global problems caused by the deterioration of the environment and unprecedented measures in connection with the pandemic. Taking into account the fact that the introduction of elements of fine art into the architectural space is always accompanied by only positive emotions, the necessary design of various types of Art objects in the modern architectural space has been determined. It is indicated that the artistic material is the main factor in the objects of fine art, capable of participating in the formation of the aesthetic perception of the environment. The analysis of the existing sources of theoretical and practical experience has shown the relevance of this problem. Based on the results of the analysis, the main properties of the colored surface were systematized, identified and determined, which affect the perception of the texture of colored surfaces of different types of art forms of Art objects, depending on the following factors: 1) color saturation and lighting; 2) distance from observer; 3) property of the surface of the material and the nature of its processing; 4) the color tone of the material surface, its saturation and lightness. Methods of its use in different types of Art objects are proposed. Typical examples of the practical implementation of the use of Art objects using the possibilities of a colored surface in a modern architectural space, made by the authors of the study and modern examples of world art, are presented in a visual table. Based on the results of the study, the main tools were identified that may be necessary in the design practice of architects, designers, artists to create a harmonious architectural environment.

Pottery, Glass, and the Pictorial Habit between Late Republic and Early Empire

In the period of classical antiquity, art objects, especially objects of ceramic and glass, were not always used as image bearers to the same extent. Depending upon the prevalent pictorial habit, the phenomenon of images was by no means de rigueur, and imagery was used optionally depending upon the historical, political, and social situation. This chapter focuses on the late Roman Republic and the early imperial period. Like no other period of antiquity, the time span between the second century bce and the first century ce was a phase of accelerated change and upheaval but also one of consolidation. In this period, a pictorial habit developed that differed enormously from the artistic practice of the preceding period and that also continued into the imperial period. Furthermore, imagery was no longer limited to consumption by the elite class but was also available to the broader population. The development of ceramic and glass as visual media provides an excellent example of the profound changes in the culture of the image.

Black Gold: A Black Feminist Art History of 1920s Montréal

The 1920s have been touted as the golden era of jazz and Black history in Montréal. Similarly, the decade is well known for the Harlem Renaissance, a key moment in African American art history. Yet this period in Black Canadian art histories remains largely unknown. As a first step toward shedding some light on this period in Black Canadian art history, I propose to use what I term a Black feminist art-historical (bfah) praxis to discuss some visual art practices undoubtedly active alongside well-known jazz musicians and cultural producers in 1920s Montréal. This paper presents an overview of critical race art history and feminist art history, as well as Black feminist approaches to visual representation, to outline what might be considered four tenets of bfah praxis. Applying these tenets, I propose that a new art history may emerge from well-known art objects and practices as well as lesser-known ones. I posit that through a deliberately bfah approach, new meanings emerge and the voices of Black women, even when obstructed by mainstream white narratives, may begin to stand out and shed light upon a variety of histories. This praxis aims to underline the subtext lurking at the edges of these images and to make intangible presences visible in the archive and in art history. I propose bfah as a strategy for more nuanced discussion of the work of Black Canadian artists and histories that have by and large been left out of official records.

Immersive Environments, VR, AR in Ukrainian Contemporary Art of The Recent Years

The article is devoted to the scientific problem of theoretical elaboration and contextualization of immersive environment realized in the physical space of a gallery or museum, in VR and on the new virtual platforms on the Internet, as well as in hybrid space, in the augmented and mixed reality of the 21st century. The aim of the research is to identify the peculiarities of the formation of the immersive environment and of the practices of VR and AR projects creation in Ukrainian contemporary art in recent years. The task is to elaborate the theoretical bases of the development of immersive environments and VR, review and analysis of projects that use the digital technologies in order to create an immersion and AR. The methodology of the study consists in theoretical and field research of immersivity and in the author’s experiments development. The main method is a comprehensive and systematic approach to the development of the theory of virtuality, visual and photometric methods, analysis of concepts, spatial structure and technological features of online VR platforms and artistic realizations. The concept of sensorium is involved, which describes the feeling, perception and interpretation of information about the world around. The peculiarities of creating immersive environments in physical space in the projects «MetaPhysical Time-Space», «Refraction of Reality», «Living Energy» were explored (to be included into the national art discourse), as well as in VR in the frame of VR-festivals, such, as Carbon Media Art Festival, «Frontier» and «Virtuality» that serve as a testing ground for the development of new technological art. The possibilities of new online VR platforms, such as Mozilla Hubs, WebXR, AltspaceVR, artspaces.kunstmatrix, Cryptovoxels, Transmadatac Virtual Museum, are analyzed. The practice of creating VR projects on platforms on the Internet: Artefact Chornobyl 33 and Artefact Chornobyl + MADATAC, «VR Collider» and «Genesis» are considered as case study. Drift from immersive environments in physical space to virtual reality has been detected. The multi-vector nature of AR projects and different types of connection with book publishing, public art objects, contemporary sculpture and urban practice have been revealed.

On the crisis of criticism and public art

At the turn of the millennia, the politically unbiased analytical thought of the world describes the total humanitarian entropy, which has unsafely plunged the theory and practice of art into a deep crisis. Accordingly, academic scientists, and primarily philosophers and culturologists, as well as art historians who have not lost their independent critical thinking ability, are consolidating into an ever-increasing front of those analysts who resist the current situation, because they tend to see behind the superficial statistics of a sharply increasing number of glossy magazines, exhibition reviews and other printed materials, including circulations of ordinary booklets that massively accompany any art projects of all kinds of galleries or public art actions, which go to significant investment funds from private foundations and centers — the premature death of art criticism, which, in the figurative expression of James Elkins, has become “like a trackless thicket, tangled with with unanswered questions”. Artistic practitioners, accustomed to servile survival in the conditions of the global art market, which imposes the rules for the production of a creative product solely in their own interests, are in a state of crisis no less severe than criticism. Manipulative interpretations of the concept of publicity, as well as the orientation of public art towards the function of socio-political and socio-educational regulatory action, like a mediator between society and power, legitimizes and strongly supports the phenomenology of things. Without a transcendental goal, the reification of the community’sthinking leads to a slide of creative consciousness and formal vocabulary of art expression to the level of kitsch, which was sharply criticized back in 1939 by Clement Greenberg. The fetishization of an art object as a commodity contributes to the steady cultivation of an instrumentalized consciousness by artists. Public visual practices, formally inheriting the idea of dissolving in the stream of everyday life, first proclaimed by the historical avant-garde, actually dissolve in consumerism, turning art objects into objectified political and sociocultural invectives, or, according to D. Lukacs’ terminology, such invectives that have undergone the process of reification. Meanwhile, visual public projects also actively use conceptualized clichés in the form of neutral abstract design objects, where the dominant criterion of conformity to the spirit of the times as quasi-modernity is the uncommonness of an innovative solution to lexical expression. The phenomenology of a thing legitimizes any experimentation, but it is not able to overcome the deepening crisis of theory and practice, drawing the cultural and artistic existence of society into a prolonged state of hysteresis. Analysts see the only way out of this situation in the return to the culture of the theory and practice of the traditions of Kantian-Hegelian philosophy, and in particular the postulates of transcendental aesthetics.

The visual arts

The visual arts, as compared to the performing arts, are defined by their static nature as fixed objects. However, visual art objects often have a ‘dual static/dynamic’ nature that allows them to convey a sense of both motion and emotion, especially when they depict human models. As a result, such objects appear to viewers as frozen snapshots of ongoing actions or gestures. The most art-specific process for the visual arts is the production of two-dimensional images. Compared with the production of three-dimensional objects, two-dimensional images require a dimensional reduction in order to create a flattened representation of a scene on a surface. Drawing is thus the ultimate visual arts activity.

A Portrait of a Place: A New Frame to View Artwork in the Academic Library

<p>The act of displaying artwork and art objects in academic libraries has been called both a “natural idea and common practice” (Cirasella and Deutsch, 2012, p. 2), but this position lacks a considered and critical analysis. The motivation for displaying artwork in academic libraries and an evaluation of its impact on the library environment, as perceived by librarians, similarly lacks meaningful examination. This absence of previous inquiry provides a major stimulus for this research project, which uses a case study approach to examine and explore the ‘natural’ preoccupation for displaying artwork in academic libraries, and additionally considers such environments as public art spaces.</p>

A Portrait of a Place: A New Frame to View Artwork in the Academic Library

<p>The act of displaying artwork and art objects in academic libraries has been called both a “natural idea and common practice” (Cirasella and Deutsch, 2012, p. 2), but this position lacks a considered and critical analysis. The motivation for displaying artwork in academic libraries and an evaluation of its impact on the library environment, as perceived by librarians, similarly lacks meaningful examination. This absence of previous inquiry provides a major stimulus for this research project, which uses a case study approach to examine and explore the ‘natural’ preoccupation for displaying artwork in academic libraries, and additionally considers such environments as public art spaces.</p>