COMMERCIALIZATION OF ART IN THE CONTEXT OF CONSUMPTION CULTURE

The Enlightenment philosophy, inspired by the intellectual movements of the Renaissance and Reformation, emerging from the scholastic darkness of the Middle Ages, led to the emergence of the Industrial Revolution with its strong light; With the great acceleration given by the production, it has become the dominant ideology of science, culture and art by spreading first to Europe and then to the whole world. Modernism, which was shaped by the idea of Enlightenment, transformed into capitalism in a short time and caused the formation of a consumption culture. The enlightenment ideology brought the understanding of "objective reason" and "progressive history" to humanity, which transformed it into a consumer society shaped by capitalism instead of the "promised paradise". This is why the 'Age of Modernity' is called the age of capitalist transformation. The spread of capitalism to the whole world has been achieved through mass communication and production techniques. TVs, which are the broadcasting organs of capitalism, have become the main tool of capital transformation and have ensured the spread of consumption culture with advertising and marketing techniques. Modernism has carried the material, thinking and comprehension stages of art to a materialistic dimension within a structure that is far from emotional, formed by a technocentric and mechanical mentality. Art integrated with technology has become commodified with capitalist regulation and institutionalization; has gained a commercial dimension. Pop Art, which emerged in the 1960s, has become the symbol of commercialized art; It has emerged as an art movement that deals with the consumption society and its values. Andy Warhol, the famous representative of Pop Art, is one of the artists known to play a role in the commodification of works of art. Warhol's art has made serious contributions to the process of transforming today's art into commodity aesthetics. Meta art/aesthetics is a tradeable world of copies. This artificial world has turned into the real world in the consumer society, which can be reproduced in line with the possibilities of art production technologies; They have become objects of consumption whose uniqueness has been lost. Keywords: Art, Consumption Culture, Commercialization, Kitsch, Andy Warhol

Artistic and aesthetic characteristics of vocal and pop performance as a genre synthesis of arts

The purpose of the article is to study the artistic and aesthetic features of vocal and pop art as a genre synthesis of arts. The research methodology involves the use of system-structural, comparative methods of analysis and culturological and art approaches in the study of these issues. The scientific novelty of the work is to expand the theoretical boundaries of understanding vocal and pop performance as a synthetic genre that combines different arts, and its defining artistic and stylistic features that directly affect the structure and stylistic features of vocals, interpretation of the work, its perception by listeners and representation of values, ideas and impressions generated in the process of performance and its perception. Conclusions. Conclusions. Variety vocal performance as a kind of musical text involves special manifestations of intertextuality, so it is possible to find layers of artistic and species series, expressive forms and meanings, artistic and linguistic means and interpretive techniques. From the point of view of specific tasks of artistic communication, it appears as a generalized form of musical and artistic activity that can claim universality and has its stage and staging canons, determined by value concepts of culture, but in their new popular sense. There are also exemplary compositional and semantic models in this field, the imitation of which is a recognized way to join the pop vocal and performing professionalism. In the field of pop and vocal performance in its theatrical and staged form there is a specific mythologizing, which concerns the figure of the singer as the central actor of the concert program, which forms a certain image to achieve extreme artistic persuasiveness. Therefore, it is not an image of a fictional character, but of a person close in time and meaning to life, as she can and should be in virtual artistic reality - aesthetically sublime and morally balanced. The main components of the intertextual sphere, which is formed around the variety show and determines the special director's interest in it, are semantic positions on the singer as a semantic core of the whole moving picture of pop and stage action. It is these semantic factors that organize and lead to a holistic artistic result all the structural indicators of pop performance. Keywords: vocal and pop art, artistic and aesthetic characteristics, genre specifics, genre synthesis of arts.

The Art of Everyday Objects: A Non-Invasive In Situ Investigation of Materials and Techniques of Italian Pop Art Paintings on Aluminium

Two paintings, made on aluminium support by Silvio Pasotti (among the major exponents of 1960s Italian pop art) were investigated in a totally non-invasive manner to identify the materials used by the artist. Raman spectroscopy, Fourier-transform infrared spectroscopy (FTIR), visible reflectance spectroscopy, and spectrofluorimetry with visible excitation were exploited as molecular analysis techniques, which are particularly suitable to recognise also synthetic organic materials, such as pigments and binders. The effectiveness of this multi-analytical approach was demonstrated, leading to the identification of several synthetic organic pigments, both conventional and “special effect” ones, introduced during the first half of the 20th century, as well as some well-established inorganic ones. Combining FTIR results both in the medium and near IR ranges, considerations regarding the binders employed by the artist could also be made, suggesting the use of both nitrocellulose and acrylic paints. Imaging techniques, such as IR reflectography, false colour IR, UV induced fluorescence, and portable microscopy, were also used to achieve a better knowledge of the painting practice.

Marilyn’s Dyptich: The Evolution of the Image from Pop Art to Thrash Art (to the 95th Anniversary of the Birth of the Actress)

Marilyn Monroe is already a mass culture personage. Andy Warhol created an image that removes us from the original source, on the basis of impressions associated with the life of a real person. The diptych has turned into a kind of template that can be easily filled with different meanings. The author of the article reflects on the characteristic features of this template, which is often used by contemporary artists to reproduce. The question of the citation of this diptych in the culture of the second half of the 20th century is quite well studied. But the experience of a specific kind of appropriation of this image by artists of the new millennium has already accumulated. Among them, the masters of thrash art are of particular interest: Vik Muniz and Jane Perkins. It is significant that they do not refer to the numerous photographic and film images of Marilyn Monroe. They refer specifically to the template created by Andy Warhol. They play with it, translating the substantive problems of this famous diptych into the plane of design.

Linen Boxes and Slices: Raoul De Keyser and American Modernism in Belgium in the 1960s and 1970s

Before his international breakthrough shortly before the turn of the century, Belgian painter Raoul De Keyser (1930–2012) had a long career that reaches back to the 1960s, when he was associated with Roger Raveel and the so-called Nieuwe Visie (New Vision in Dutch), Belgium’s variation on postwar figurative painting that also entails Anglo-Saxon Pop Art and French nouveau réalisme. Dealing with De Keyser’s works of the 1960s and 1970s, this article discusses the reception of American late-modernist art currents such as Color-Field Painting, Hard Edge, Pop Art, and Minimal Art in Belgium. Drawing on contemporaneous reflections (by, among others, poet and critic Roland Jooris) as well as on recently resurfaced materials from the artist’s personal archives, this essay focuses on the ways innovations associated with these American trends were appropriated by De Keyser, particularly in the production of his so-called Linen Boxes and Slices. Made between 1967 and 1971, Linen Boxes and Slices are paintings that evolved into three-dimensional objects, free-standing on the floor or leaning against the wall. Apart from situating these constructions in De Keyser’s oeuvre, this article interprets Linen Boxes and Slices as particular variations on Pop Art’s fascination for consumer items and on Minimalism’s interest in the spatial and material aspects of “specific objects”.

Variety and vocal art in the context of development mass culture

The aim of the work is to study pop and vocal art in the context of the development of mass culture, which is genetically determined and mediated by a number of its characteristics and traits. The research methodology involves recourse to an interdisciplinary approach, as well as the use of comparative, historical and logical methods of analysis and culturological approach in the study of these issues. The scientific novelty lies in the expansion of information on the development of pop and vocal art in the context of mass culture and the mediation of its main characteristics by the formats of mass art. Conclusions. The study found that the modern system of pop art, combined with the show business, reflects the state, trends and prospects of pop music, which can be improved by understanding the socio-cultural significance of mass culture and popular art, as well as a developed sense of responsibility the creators of mass culture. The development of musical variety should be based on the generalization of previous creative experience and inherited compositional and performing traditions. The current realities of socio-cultural life determine the fact that the substantive and professional components of pop music should be based on both traditional artistic and aesthetic ideas and the search for new views on art, relevant to modern trends, tendencies and spiritual needs of society. The intensification of the musical-performing process leads to the discovery of new horizons of mastering the artistic and creative space, which, in turn, will help update the paradigm of pop art, focusing on modern pop music as an important phenomenon of socio-cultural life.

Interplay of Things

In Interplay of Things Anthony B. Pinn theorizes religion as a technology for interrogating human experiences and the boundaries between people and other things. Rather than considering religion in terms of institutions, doctrines, and creeds, Pinn shows how religion exposes the openness and porousness of all things and how they are always involved in processes of exchange and interplay. Pinn examines work by Nella Larsen and Richard Wright that illustrates an openness between things, and he traces how pop art and readymades point to the multidirectional nature of influence. He also shows how Ron Athey's and Clifford Owens's performance art draws out inherent interconnectedness to various cultural codes in ways that reveal the symbiotic relationship between art and religion as a technology. Theorizing that antiblack racism and gender- and class-based hostility constitute efforts to close off the porous nature of certain bodies, Pinn shows how many artists have rebelled against these attempts to counter openness. His analyses offer a means by which to understand the porous, unbounded, and open nature of humans and things.

Del objeto al espacio. La «indisciplina» de Christo and Jeanne-Claude

En Christo and Jeanne-Claude se aprecia un salto conceptual de las primeras obras a los últimos proyectos. Vamos a comprobar cómo buscan trascender los límites disciplinares en un proceso de evolución que apenas dura veinte años. Nos centraremos en finales de los cincuenta y la década de los sesenta. En una primera etapa, que corresponde a su periodo de residencia en París, entienden el arte de una manera objetual. Un arte de vanguardia que tiene de referencia a figuras como Picasso y Duchamp. En un segundo momento, su idea transita del objeto al espacio artístico. Un cambio de mentalidad que coincide con un cambio de residencia. De París se trasladan a Nueva York, dónde descubrirán las posibilidades del espacio y trabajarán bajo la influencia de artistas como Pollock o los del Pop-Art. A partir de entonces, sus trabajos excederán los límites disciplinares, pudiendo recibir múltiples definiciones como la de instalación. Un entendimiento del arte de plena actualidad.