Transformation of Graphic into Conceptual Artist: Innovations, Games and Improvisations

The paper problematizes the work and evolution of a Bulgarian artist from the point of view of the biographical approach, his artistic interventions and his re-legitimization as a contemporary artist. It discusses various aspects of contemporary art from the point of view of the artist, his interventions, market demands, the underlying contradictions, as well as the transformative tendencies in the small graphics. The paper argues that it is necessary to expand the understanding of contemporary art with certain actions of artists.

1. Meeting Mary

‘Meeting Mary’ introduces Mary, the mother of Jesus who has a place in the religious consciousness of the 3.8 billion Christians and Muslims. Muslims and Christians agree that by the power of God a Jewish virgin named Mary miraculously became pregnant and gave birth to Jesus the prophet, miracle-worker, and Messiah. The Virgin Mary is one of the most famous women in history but she has also been subject to misunderstandings, unquestioned presuppositions, and misinformation. The Virgin Mary continues to be a religiously divisive figure. The Marian traditions spans through the sculptures Mary of the Miraculous Medal from 1830 France and Virgin Mother by the contemporary artist Damien Hirst.

UNDERSTANDING BOUNDARIES OF SPACES AND EACH OTHER: CONTEMPORARY ARTIST USED IN VISUAL ARTS

This visual essay focuses on how social media tools and contemporary artist influence learners and the course process as one of the methods used in visual arts lectures. Participants of this project are ten 6th graders in a public secondary school selected with a random sampling method. At the beginning of the project, researchers asked to the learners about social media considerations, what social media tools were and how often they used social media. In the process of the study, participants used the Louisiana Channel and Art21 channels on YouTube to watch artist Julie Mehretu’s videos about her workshops and actual works performances. Following this implementation, researchers interviewed the learners about the course. As a result of this project, it is assumed that learners will have more active participation in the course by using social media and learners would have more positive views on using social media tools in visual arts courses. In addition, it was concluded that getting to know contemporary artists and looking at their works in detail contributed to children's artistic perspectives. Keywords: Contemporary Artist, Visual Arts Education, Social Media Tools, YouTube, Technology in Education

Branding Baldung

Hans Baldung (1484/85–1545) emerged as an artist under the shadow of Germany’s most famous contemporary artist, Albrecht Dürer (1471–1528), thus as a younger rival with considerable catching up to do. His time as a young artist with Dürer in Nuremberg (1503-ca. 1507) prompted Baldung to develop his own innovative imagery, even as it prepared him with the skills of later activity in drawings, woodcut prints, and, finally, paintings. Nuremberg also gave him his first contacts with prestigious patrons, local at first but also farther away, surely through Dürer’s well established network to nobility in Saxony. Afterward, once he was out on his own, Baldung quickly turned his acquired skills and recognizable style into his own definitive, deeply pessimistic imagery about human limitations and mortality, especially when measured against the awesome, holy magnitude of Christ and the saints.

Світобудова Михайла Гуйди

Purpose of the article is to show the particular features of the model of the universe in the genre portrait-paintings and compositions of the modern Ukrainian artist M. E. Guyda are investigated. Historico-culturalogical, comparative, iconographic and iconological methods are applied. The ideological content and the particular features of the formal solution of figurative compositions are considered in the context of the heritage of world art. The national character of the images and symbols of the house, the clan and the native land are revealed; as is the nature of the manifestation of the relationship of the earthly and the heavenly. It was found that in the center of creation in compositions of M. E. Guyda is a spiritually inspired person from the folk. The depiction of people of different ages in interaction with nature helps to convey a natural course of time. It was clarified that the European aristocratic ceremonial portrait is foundational for the Ukrainian master. Artistic-stylistic analysis revealed that in the portrait-paintings "At the Well" (2013) and "Baba Kilyna" (2016), canonical composition was transformed by the artist through the expansion of space filled with individual symbolic content. The components of the ritual ceremonial portrait (columns, draperies, table-altar) are transformed into the image of a Cossack courtyard with a hedge, a tree of life, a well, a rainbow path. In the painting "Green Festivities" (2004), the house is shown as a temple. In the composition "Chumatsky Way" (2014), the world is presented as a universe – a model of the universe-house, with the architectonics of earth and sky. Scientific novelty is that the transformation of the canonical composition of the ceremonial portrait in the work of the contemporary artist M. E. Guyda is shown. The cultural and historical content of the master’s compositions was studied in connection with the problems of national self-identification and polystylism of the art of the twentieth century.is that the appeal to archetypes and symbols allowed the artist to expand the chamber space of his native Cossack house-yard to the "Model of Guyda’s Universe". The persuasiveness of individual pictorial images and symbols is based on the unity of personal, emotional perception of life with supra-individual mythological thinking. Practical significance. The presented materials, their artistic and stylistic analysis and generalization can be used in scientific research devoted to the art of portrait painting in Ukraine and in the world.

ENSAIO PARA O ACIDENTAL: A LOUCURA E A QUEDA EM RANCIÈRE, BAS JAN ADER E DOM QUIXOTE / Essay for the accidental: loucura and fall in Rancière, Bas Jan Ader and Dom Quixote

A partir de duas figuras que marcam a modernidade – René Descartes e dom Quixote – pensamos como configuram modos de pensamento diversos e opostos. Entre o método que busca o encadeamento causal das coisas e a errância do corpo entregue às aventuras da imaginação, o filósofo e o cavaleiro instauram um embate que não é aquele entre a razão e o sensível, mas sim, entre dois modos da razão. Nosso intuito é pensar, especialmente a partir de Jacques Rancière, como o cavaleiro errante teria aberto um novo campo da experiência sensível que denominamos acidental, cujo gesto é a recusa da lógica do encadeamento causal cartesiano. Damos a ver, ainda, o modo como o gesto inaugurado por dom Quixote será reverberado nos gestos do artista contemporâneo Bas Jan Ader, com seu empenho em buscar a queda tal qual dom Quixote buscara a loucura. O que surgiria com a recusa da causalidade no cavaleiro e no artista, em nossa hipótese, é uma mudança de estatuto da própria noção de acidente ou acidental que, deixando de ser considerado erro a ser evitado, passará a ser experienciado como a única possibilidade para um mundo pautado na contingência da vida.Palavras-chave: Heterogêneo sensível; Experiência acidental; Jacques Rancière; Errância; Modos de pensamento. AbstractBased on two figures that marks the modernity − René Descartes and Don Quixote − we think about how they configure different and opposite modes of thought. Between the method that seeks the causal chain of things and the wandering of the body given over to the adventures of the imagination, the philosopher and the knight establish a clash that is not that between reason and sensible, but between two modes of reason. We think, especialy from Jacques Rancière, how the errant knight would have opened up a new field of the sensible experience that we call accidental, whose gesture is the refusal of the logic of the Cartesian causal chain. We also show how the gesture inaugurated by Don Quixote will be reflected in the gestures of the contemporary artist Bas Jan Ader, with his efforts to seek the fall just as Don Quixote sought madness. What would arise with the refusal of causality in the rider and in the artist, in our hypothesis, is a change in the status of the very notion of accident or accidental that, no longer being considered as an error to be avoided, will now be experienced as the only possibility for a world based on the contingency of life.Keywords: Heterogeneous sensible; Accidental experience; Jacques Rancière; Wandering; Forms of thinking.

O Corpo Racializado nos Muros da Cidade: imagem e decolonialidade nas intervenções urbanas de Éder Oliveira

A obra do artista contemporâneo paraense Éder Oliveira cria ressonâncias com o imaginário popular sobre os corpos racializados que pinta monocromaticamente nos muros da cidade de Belém do Pará. Este artigo traça paralelos entre autores decoloniais e o contexto brasileiro a partir da análise da obra de Oliveira. Ao esboçar as singularidades de seu trabalho, procuramos refletir sobre as potencialidades que este tem de instigar e dialogar com seus interlocutores, principalmente na problematização do racismo estrutural presente na sociedade brasileira. A partir dessa reflexão, buscamos ressaltar o importante viés crítico que a arte contemporânea exposta e acessível na cidade pode assumir na descolonização dos olhares e percepções sobre estes corpos.Palavras-Chave: Decolonialidade. Corpo. Imagem. Arte. Urbano. THE RACIALIZED BODY ON THE WALLS OF THE CITY:IMAGE AND DECOLONIALITY IN URBAN INTERVENTIONS BY ÉDER OLIVEIRA Abstract: The work of the contemporary artist Éder Oliveira from Pará, Brazil, creates resonances with popular imagination regarding bodies seen in a racial light that he paints in monochromatic murals in Belém, the capital city of his home state. This article draws parallels between decolonial authors and the Brazilian context from the analysis of Oliveira's work. When sketching the singularities of his work, we attempt to reflect on the potential it has to instigate and talk to the audience, especially on the problem of structural racism present in Brazilian society. From that reflection, we strive to highlight the important critical bias that contemporary art, when exposed and accessible throughout the city, can achieve when it comes to decolonizing the sights and perceptions on those bodies.Keywords: Decoloniality. Body. Image. Art. Urban.

La Fotografía de Ana Álvarez-Errecalde: el reciclaje de las formas en la construcción de sentido e identidad

El presente texto explora la obra visual de la artista contemporánea argentina Ana Álvarez-Errecalde en la que se opera una estrategia de transgresión de las representaciones aceptables, según los regímenes de comprensión del arte dominante. El trabajo de esta autora pretende exhibir ante los receptores ciertas representaciones de los femenino y la maternidad, que en un marco estrictamente estético serían deslegitimadas o desacreditadas como un discurso de reivindicación política.Para interpretar de manera pertinente este trabajo es necesario explorar las reflexiones de Jacques Rancière sobre los vínculos entre los regímenes de comprensión de lo estético, de naturaleza excluyente, y la noción de política, que busca la igualdad en la producción y recepción del arte. Además, se examinan los conceptos propuestos por Nicolas Bourriaud como la reapropiación de las formas y la continuidad del relato en la categoría de postproducción.Como resultado de esta exploración, en las propuestas fotográficas analizadas ‘Tres gracias sangrantes’ y ‘Anunciación’, la artista consigue generar un espacio común para mostrar la trascendencia política en los fenómenos estéticos y por tanto generar un nuevo reparto de lo sensible, en palabras de Rancière. Palabras clave: repartición de lo sensible; regímenes de lo estético, imagen fotográfica; postproducción; cuerpo. Ana Alvarez-Errecalde’s photography: the building of sense and identity thru recycling of shapes Abstract: This text explores the visual work of the Argentine contemporary artist Ana Alvarez-Errecalde, in which a strategy of transgression of acceptable representations is used, according to the systems of understanding of the predominant art. The work of this author is intended to exhibit to the viewers, certain representations of feminine and motherhood, which under a strictly aesthetic framework, would be discredited as a discourse of political vindication. In order to understand this work in an appropriate way, it is necessary to explore Jacques Rancière's reflections about the links between the selective nature of the systems of understanding the aesthetic and the political notion, which seeks equality in the production and public reception of art. In addition, we will examine the concepts proposed by Nicolas Bourriaud, such as the art of appropriation and the production of different story lines and alternative narratives in post-production notion.As a result of this arrangement, in the photographic proposals analyzed 'Three bleeding graces' and 'Annunciation', the artist manages to generate a common space to show political significance in aesthetic phenomena and, therefore, in the words of Rancière, create a new sensitive arrangement.Keywords: distribution of the sensible; esthetic regime; photographic image; postproduction; body.

The pursuance of naturalness as one of the key trends in the sphere of modern wooden sculpture: domestic practice

This article is dedicated to modern trends in the art of wooden sculpture. The key question raised in the article consists in drawing the line between art and craft. The problem of distinguishing between these two terms is one of the crucial issues of the theory of art. Having examined the works of multiple contemporary artists in the genre of wooden sculpture, the author comes to the conclusion that the fundamental difference between craft and artistic wooden sculpture is the pursuance of naturalness by the artists, work with unfinished wood, fixation of the natural the beauty of the material, which is not much inherent to craftsmen. Turning to the modern ecological trends, it is suggested that the task of a contemporary artist and a human who desires to live in harmony with nature lies in cognizing the beauty of nature, even in its unsightly forms. The author claims that the greatness of nature is its diversity, in the current era of excessive production (for example, oversaturation), which also pertains to art objects, our shared goal is to working with the objects discovered, which are exposed to minimal processing, and first and foremost, demonstrate the beauty of nature.

The Affective Feminism of Ghazaleh Hedayat

This article examines the works of the Iranian contemporary artist, Ghazaleh Hedayat. It argues that her turn from figural representation to nonfigural abstraction and consequently to what Laura Marks has called “haptic visuality” demonstrates a careful and systematic aesthetic strategy that attempts to confront and at times even exit representation. It shows that Hedayat's works since the early 2010s offer an affective approach to feminism in contemporary Iranian art that doesn't hinge on representational modes of expression, which are often susceptible to assimilation into identitarian narratives and inadvertently complicit in various forms of marginalization (gender, ethnic, etc.). Hedayat's affective feminism not only complicates clichéd interpretations of her work as a non-Western woman, but it also materializes a new form of knowledge more in tune with feminism. Focusing on the female body as a site of pain, friction, tension, love, maternality, and, more significantly, as a site where self and its other—both in terms of gender and ethnicity—encounter each other, Hedayat undermines visibility by way of pushing it across the borders of sight into the realms of visuality, haptic experience, and proprioception.