CONSELHOS PARA UM JOVEM ARTISTA NEGRO / Advices to a young black artist

Nesse ensaio confessional, a artista afro-americana Howardena Pindell rememora alguns epis�dios de racismo em sua trajet�ria profissional como artista e curadora, al�m de oferecer alguns conselhos profissionais para jovens artistas negros, a fim de escapar de rela��es abusivas de trabalho, golpes e demais�problemas existentes no sistema das artes.Palavras-chave:Ensaio de artista. Sistema das artes. Conselhos.�AbstractIn this confessional essay, the African-American artist Howardena Pindell recalls�some episodes of racism in her professional trajectory as an artist and curator, as well as offering some professional advice to young black artists, in order to escape from abusive work relationships, scams and other problems existing in the arts system.Keywords:Artist essay. Art system. Advice.

Violeta Parra: Her Life, Work, and Legacy

Violeta Parra (1917–1967) was a multifaceted and talented musician and artist. A prolific songwriter, she composed more than two hundred songs as well as experimental pieces for guitar, documentary soundtracks, and music for ballet. Her most famous song, “Gracias a la vida,” has been performed by musicians the world over. In the realm of the visual arts, she was a ceramicist, sculptress, painter, and tapestry maker. In 1964, she became the first Latin American artist to have a solo exhibition at the Louvre Palace’s Musée des Arts Décoratifs. Parra was also an award-winning folklorist who collected hundreds of songs and other folklore from every region of Chile. Born in southern Chile, she moved to Santiago at age fifteen, where she spent two decades performing a mixture of popular songs from Latin America that is often referred to as música criolla. At age thirty-five she turned to the authentic, first as a folklorist and then as an artist. She was a leader of the Chilean folk revival of the 1950s and inspired the generation of Chilean musicians who formed the protest song movement known as nueva canción in the 1960s. A communist sympathizer, she traveled to Europe as a member of the Chilean delegation to the Soviet-sponsored World Festival of Youth and Students in 1955 (Warsaw) and 1962 (Helsinki). Each time she toured the Soviet Bloc, then made her way to Paris for an extended sojourn. Parra contributed a significant voice to the national debate over chilenidad (Chilean identity) during a critical juncture in Chile’s economic, social, and cultural development. Her biography sheds light on transnational cultural movements and competing notions of authenticity at the height of the Cold War. It is also the deeply human story of Parra’s tenacious struggle to be seen and heard as an artist on her own terms.

The Depths of My Africa: Travelogues on the Land of Ancestors by Claude McKay and Langston Hughes

The article is devoted to the image of Africa in the travelogues by poets Claude McKay (A Long Way From Home, 1937) and Langston Hughes (The Big Sea, 1940), the significant figures of Harlem Renaissance; and also compares this image with Africa in the poems of both writers. The image of Africa as the land of ancestors and the foremother of the Negro people was popular among the artists and philosophers of the Harlem Renaissance, but at the same time, it was often idealized. That is why meeting a real Africa becomes, to some extent, a moment of truth for an African-American artist, the reason to take a new look at himself and his values. Biographies of Hughes and McKay reveal why equally motivated, at first glance, writers united by a common dream of a black peoples home, when faced with the real Africa, react to it in exactly the opposite way. The article shows that young cosmopolitan poet Langston Hughes did not find respond to his poetic ideals in real Africa and after that forever divided Africa into real and poetic, while Claude McKay, who kept up the reunification of the Negro people and had traveled around the whole Europe, only in Africa for the first time in his life went native. At the same time, Hughes is significantly influenced by his mixed origins and McKay - by his colonial background. The article contains materials of correspondence, fragments of the travelogues never been translated into Russian before.

AVANT-GARDE DIALOGUES

The article is dedicated to comparative analysis of spatial constructions created by the Russian Avant-Garde Artist Alexander Rodchenko and the famous kinetic European and American artist Alexander Calder in the first half of the 20-th century. For both artists technology played the decisive role in constructing spatial objects, both of them used line as a basic expressive element. Still there is a certain difference stressed by the author: Rodchenko used linear elements to express structural and constructive qualities of spatial objects, while Calder was more intending to represent emotion and movement. Rodchenko and Calder belong to the common abstract artistic trend in 20th century sculpture. But their works served as the basis for the two different traditions: minimalist conceptual and geometric art of Donuld Judd on one side and spontaneous mechanisms of Jean Tinguely on the other.

Performing More-Than-Human Corporeal Connections in Kiki Smith’s Sculpture

The article examines work by contemporary American artist Kiki Smith, who proposes a future in which human and nonhuman bodily borders merge. The artist’s contribution to the more-than-human artistic entanglements is juxtaposed with Joseph Beuys’s artistic manifesto from 1974 which proposes, among other things, an attempt to get outside of the represented human towards the asignified ahuman. In Kiki’s sculpture, both human and nonhuman animals undergo constant morphogenesis, becoming hybrid forms far beyond the human-social paradigm, implying that the human and nonhuman binary, due to the exchange of affective entanglements, is no longer valid in the heyday of techno-scientific development. The analyzed work shows that both human and nonhuman bodies are raw materials not separated from one another but always interconnected with the world and its ongoing material processes. Thus, the article emphasizes that it is only through the transgression of the human and nonhuman border that one can acknowledge the more ethical and political ways of cooperation needed for the appreciation of the multispecies dimension of our world and its survival.

Queer insurgency: Slava Mogutin and the politics of camp

The subject of this article is Russo-American artist Slava Mogutin. A close associate of Gosha Rubchinskiy and Lotta Volkova, Mogutin has been based in New York since 1995. While he originally shot to fame as a poet and novelist, Mogutin is today better known as a performance artist, filmmaker and photographer. The aim of my article is to locate Mogutin, and in particular his fashion photography, within current debates around the representation of masculinity and the construction of masculine subjectivity/-ies. More specifically, using a visual analysis methodology, I analyse the camp aesthetics of Mogutin’s fashion imagery. In a number of ways, Mogutin’s camp aesthetic raises questions about displacement and identity, the clash between individual desires and social norms and – as he puts it – ‘what it means to be a young man in the modern world’. It also constitutes an avowedly political challenge, not just to the state-sponsored homophobia and heteronormativity of Mogutin’s native Russia but also to the identity politics underpinning today’s fashion industry. I conclude by suggesting that Mogutin’s openly political form of camp might pose a challenge to the traditional Sontagian view of camp as apolitical.

American as Apple Pie

This brief tribute to Carolee Schneemann examines her self-conception as an American artist, considering how it intersects with the disruptive performance of gender norms in Americana I Ching Apple Pie (1972). The work was originally staged for the camera in Schneemann's London kitchen in 1972, during a period in which the artist was living in voluntary exile. She published a performance score for the piece in her artist's book Parts of a Body House (1972) and reprinted it in Cezanne She Was a Great Painter (1974–75). This essay reads Americana I Ching Apple Pie as an unruly reenactment of the highly gendered role that the filmmaker Stan Brakhage cast Schneemann to play in his short experimental film Cat's Cradle (1959). It considers the way she understood home and homeland as two interlocking fronts in the ongoing battle over how gender is encoded and enacted. It concludes by briefly considering the reception of Schneemann's work by a younger generation of artists, including Sondra Perry, who staged an homage to Americana I Ching Apple Pie in 2015.

AN ANALYSIS OF THE SYMBOLS OF LOVE, LIFE, AND DEATH IN KAHLIL GIBRAN'S POEMS

Kahlil Gibran is a Lebanese-American artist, writer, and poet. He is no stranger to literary lovers and connoisseurs. His phenomenal works made Kahlil Gibran famous. His life experience also adds its unique value to his works. The various meanings hidden behind each of his works deserve further analysis. Some of them are typical poems from Kahlil Gibran. He has his way of expressing the true meaning of life through his poems. Therefore, this study will show the symbolic meaning of these poems by using the hermeneutical analysis method from Paul Ricoeur. This method explains the meaning of the symbol in real life. A symbol is a form that gives meaning to every word or sentence contained in a literary work. The result of this analysis is the discovery of various kinds of symbols contained in the poems by Kahlil Gibran, including symbols of love, life, and death. Based on these findings, it can be concluded that love, life, and death are some of the symbols found in Kahlil Gibran's poems.

“The lantern of the world rises to mortals by varied paths”: Paul Laffoley (1935–2015) and Dante

American artist and architect Paul Laffoley (1935–2015) had a life-long fascination with Dante. Not only did he refer to Dante and the Commedia throughout his writings and paintings, but he created a large-scale triptych illustrating the poem, as well as sketched out plans for a full-immersion Dante study center on a planetoid orbiting the Sun, complete with a to-scale replica of the medieval Earth, Mount Purgatory, the material heavens, and the Empyrean through which a “Dante Candidate” could re-enact the Pilgrim’s journey. Laffoley’s work is often placed by art critics within the visionary tradition and Laffoley himself embraced that label, even as he deconstructed the term in his writing. Among the many visionary artists, poets, and philosophers Laffoley studied, Dante was central. He was, for Laffoley, a model seeker of knowledge, a seer beyond the illusions of everyday life. The essay that follows offers a brief biography of Laffoley and his works; an overview of his two main Dante projects ( The Divine Comedy triptych [1972–1975] and The Dantesphere [1978]); and initial considerations on how Dante’s works and thought fit into Laffoley’s larger epistemological project.

Maxim Shaligin’s Ballet “Hopper”: at the Crossroads of Interspecific Interpretation and Artistic Translation

Relevance of the study. Maxim Shalygin’s ballet “Hopper” is for the first time explored both from the point of view of its genre and intonation specifics, and in terms of interspecific connections with the painting by American artist Edward Hopper “Morning Sun”. The author’s methods of interspecific literary translation of E. Hopper’s style are revealed by immanently intonation means. The expediency of using the definition of intermedial interpretation, which is a kind of interpretation by composer of a work of a related art form by means of interspecific literary translation, has been substantiated. The relevance of the study is due to the first scientific appeal to the ballet work of the Ukrainian-Dutch composer Maksim Shalygin (1985) in the context of an intermedia composer’s interspecific. An analytical study of M. Shalygin’s ballet "Hopper" with an emphasis on identifying the specifics of the transplantation of E. Hopper’s style into the genre-intonational essence of ballet provides the innovative status of the presented study. The main objective of the study is to reveal the interpretational specifics of M. Shalygin’s ballet “Hopper” in the aspect of intermedial interpretation. Based on the study of the artistic style of E. Hopper (in particular, his painting “Morning Sun”), the features of the composer’s work on the “translation” and transplantation of the artist’s style into the immanent-musical plane (the model of “pictorial music”) are investigated. The following research methods are adapted in the work: the comparative method (to compare the genre features of M. Shalygin’s ballet and E. Hopper’s painting), the method of genre-intonation analysis — to highlight the immanently musical specifics of ballet; the method of theoretical generalization — for understanding the tendencies of the composer’s work in the intermedial space. Results. In the course of the research, it was found that M. Shalygin, who displays a tendency to-wards intermedial artistic thinking in his work, creates in the ballet “Hopper” an interpretation and sound commentary on the painting by E. Hopper. An important feature of the ballet is the process of transformation at all levels of genre-intonation organization. It is a partial rethinking of the themes of his already existing work “Duet” with the transformation of a non-ballet work into a ballet one proper, and, if we take into account the author’s title of the work “Serenade”, a transformation of the serenade`s genre, which in the process of development loses its real genre coordinates, and, occurrence intonational “transformers” from two ballet themes, each of which represents the main features of E. Hopper’s work (clarity of lines, playing with the light’s).In the process of intermedial interpretation, the phenomenon of “musical painting” is born, which realizes the artistic translation of the American artist’s style by means of music. Thanks to finding musical and intonational equivalents to the main stylistic features of the artist (clear geometric lines, playing with light, the imaginative system of loneliness and alienation) M. Shalygin manages to create a picturesque picture by intonation means.