MARKETING OF VISUAL ART IN SYNERGY WITH CIRCUS ARTS, PERFORMANCE IN ART SPACES, AND INTEGRATIVE CONCEPTS

Currently, the rapid emergence of the digital economy has spawned the arrival of the era of big data.With the rapid development of science and technology, Chinese has also entered the era of big data for contemporary art.The engagement of big data in every aspect of our life has begun to influence the development process of Chinese contemporary art, which has also begun to shape a new form of Chinese contemporary art, with many creation modes emerging at home and abroad. The influence of the era of big data is first reflected in many aspects, such as digital art media, art collection and trading market, art management education, etc. In some colleges and universities, design disciplines, such as art and technology, digital media art and interactive design, have emerged to meet the needs of the development of contemporary science and technology and art. They are new forms of art expression at the historic moment with great development prospects and possibilities. This paper mainly studies the influence and change of the development of big data on the contemporary art world, how they change, integrate and develop, and evaluates the value of statistical thinking under the background of big data and the new form of contemporary art.

The topic of the research is devoted to the creation and development of the science of “Circology” in contemporary Ukrainian art criticism. Its phenomenon, definition, goals, objectives, and place in the scientific space are specified in the context of performative art and its stage samples. It is important to note that this topic and the process of studying its problem are practically unexplored, with very few fragments and references available regarding its generalization in modern art criticism, particularly concerning circus art. Given the importance of building a professional scientific school to engage in detailed studies, there is a need for research into the historical, educational, and artistic processes within the circus space. The concept of “Circology” in a cultural and art-critical format indicates that this science is a systemic professional component of the theory, history, and artistic practice of circus art and its genres. The purpose of the study is to clarify, define, and generalize the most important principles of todayʼs scientific research on circus art within the context of contemporary art criticism. As an example, scientific and methodological research is provided, focusing on the artistic samples of circus art and the educational processes surrounding circus genres today, based on the scientific work of the pedagogical staff of the Department of Circus Genres at the Kyiv Municipal Academy of Circus and Performing Arts. The concept of genre in circus art has a dual definition, unlike other types of art and artistic culture. For example, in the circus genre of acrobatics, a mixed couple (a guy and a girl) demonstrates their professionalism through stunts in the neoclassical style and lyrical genre. Features of circus theory include terms, ontological considerations, and the definition of concepts related to circus equipment, props, types of genres, and safety rules. Circus art, much like sports, is an area of increased risk of injury for performers. Additionally, circus traditions and narrow-profile professional concepts and terms are vital within contemporary circus genres – such as acrobatics, aerial gymnastics, equilibristic, juggling, illusion, clown shows, and training. The conclusions show that the development of circusology in contemporary Ukrainian art criticism is important today due to its poorly studied phenomenon. A clear definition of circusology, its system, and research methods as a professional component of the theory, history, and artistic practice of circus art and its genres is necessary. This is evidenced by specific factors of scientific research (articles, textbooks, presentations at scientific conferences) conducted by the scientific and pedagogical staff of the Department of Circus Genres at the Kyiv Municipal Academy of Circus and Performing Arts.

The paper aims to explore the potential of research by design in architecture and visual arts. The main objective of the paper is to analyze the different models and epistemological positions advanced in the academic milieus as far as doctoral research by design is concerned, to explore the differences and similarities between research by design in the field of architecture and in the field of visual arts. Even though the research by design in the fields of architecture and visual arts is focused on the production of knowledge through visual, associative, and experimental research, the models of research by design in visual arts differ from those prevailing in architectural programs. The paper focuses on a corpus of models of doctoral research by design carried out within different university programs in schools of architecture and visual arts, and various multi-university and supra-disciplinary programs (architecture and visual arts) which share the intention to develop their research projects through creative practice. Two questions to which this paper aims to respond are the following: Under which circumstances and conditions a work in the field of architecture (drawn, graphic, or con-structed) or its formulation (verbal or written) can be recognized as active in the constitution of knowledge? What are the modes of inquiry specific to architectural and artistic practices that make it possible to build knowledge that can be transmitted and shared?

SUPERPOSITION: Equilibrium & Engagement, 21st Biennale of Sydney

The job market in the field of visual arts has taken a relatively recent form since the middle of the twentieth century at the globallevel, so there are important roles such as artistic values, museum management and marketing, to name just a few. Thus, the locallabor market for visual arts needs some development to keep pace with regional and international standards at the present time,in order to create a balanced work environment that accommodates graduates of various artistic programs with their skills andvarying levels locally, and to expand the circle of beneficiaries regionally and internationally. That is why the importance of thisstudy lies in limiting the courses to be added to the curricula in the business administration major in the field of visual a rts, inpossession of the leading international colleges in this specialization. Which paves the way for researchers in the near future towork interdisciplinary studies between the fields of business administration and visual arts to study ways to provide the needs ofthe labor market professionally and in pursuit of sustainable development in that field.

In the field of visual arts, there are a few studies conducted on the subject of es-capism among artists. This research paper is conducted, in the context of contemporary visual arts, with the purpose of contributing to the knowledge regarding escapism and the experiences of artists who resort to art as an escape. Using the narrative research design, the central research question is “How do personal experiences trigger a Fine Arts graduate artist to resort to art as an escape?”. A graduate of Fine Arts who personally considers art as an escape was the participant of the study. Data were gath-ered using semi-structured interviews, and analysed based on the narrative inquiry research framework by Connelly and Clandinin (1990). The findings were categorised into the following three themes: (a) situation, (b) interac-tion, and (c) continuity. This research will contribute to the existing knowledge of escapism in the field of visual arts even in the local context. Further research on the lives of contemporary artists and artisans is needed in the field of narrative inquiry. Moreover, a deeper understanding of the mental and emotional issues among artists will clary misconceptions in the field of visual art and also give new perspectives and insights to a common mentality of artists as introverts or other negative stereotypes..

The purpose of this practice-based paper is to investigate the artistic reflections and self-aesthetics into the process of artwork making. Every stage of this process represents a particular significance from the initial stage to the finishing stage. Furthermore, this exploration aims to develop the employment of practical research in the field of Visual Arts on personal, communal and institutional levels. In this exploration, the methodology is the vehicle that transforms the research into reality. Making the artwork itself is the methodology, and this process is the primary reference of the present research. Therefore, the author presents the synthesis of the artwork making rather than the analysis of its aftermath, the focus in this context is the construction of the artwork. This is the result of this research, the artwork itself. Regarding the employability aspects of this approach, it involves the practitioners and researchers in the fields of the visual arts toward further realizations of the actual creative process. This employability takes place into the signs of progress on different levels through academic and artistic practices in schools, universities as well as higher learning and teaching institutions. The present practical paper is significant because it investigates reflections of the cultural identity as well as the narratives of personal memory into academic research. In the multicultural present temporality, research-oriented artists highlight the diversity of their societies and represent significantly personal aesthetics as themes in their artworks. This approach would elevate the mutual understanding among people from different aesthetical backgrounds; people's trends enhance multicultural perceptions, harmony, and coexistence. In addition, artists in this regard illustrate such an approach in their visual art when they compose practice and research with the symbolic content, which reflects social motives. Artists practice such art to critique the violent content in communication media and educate people that media may fake reality to create more audience and viewers. This study focused on the significance of subjective representations in contemporary arts, and the impact of such representations on the mutual understanding among people of multicultural societies. Keywords: Contemporary Art Practice, Studio-Based Methodology, Practice-Based Research, Hybrid Painting Techniques, Multimedia, Mixed media, Photography. DOI: 10.7176/JEP/11-12-18 Publication date: April 30 th 2020

Стаття містить у собі аналіз системи викладання історії театру у мистецьких закладах вищої освіти та презентацію новітніх принципів викладання цього курсу на основі досвіду Київської Муніципальної академії естрадного та циркового мистецтв, а саме: феноменологічного, т. зв. «вертикально-горизонтального» та індуктивного підходів з урахуванням спеціалізації студентів. Також обґрунтовується ефективність інтеграції історії українського театру до загального навчального курсу історії світового театру.
 Ключові слова: світовий театр, український театр, історія, викладання, навчальний курс, феноменологія, інтеграція.

Art-photography is a form of contemporary art that marked itself in the early 1960s. Its historical evolution has not been sufficiently studied. At the same time, it provides an opportunity to identify and understand the logic of the internal development of art-photography and its relationship with the external cultural context. The cultural and aesthetic dynamics of art-photography is associated with three historical stages: early, mature and late postmodernism (meta modernism) and the corresponding forms of contemporary art. The first stage (1960—1970) saw the realization by contemporary artists of the conceptual possibilities of photography. It was mainly the photographic documentation of process-action forms of contemporary art. The same period saw the birth and formation of the main artistic strategies and creative methodologies of art-photography: adherence to documentaries, the use of staging (directing), the introduction of seriality (typology), the combination of word and image. The second stage (1980s — 1990s) of art-photography functioning is characterized by further development and enrichment of established artistic tendencies and the emergence of new practices in which photographic material expands its subject matter and claims the role of a text that problematizes (thematizes) the represented reality. The development of art-photography at the third stage (2000s to the present) is determined by two main factors: the processes of digitalization and oscillation of contemporary culture and art, which leads to the transformation of the “mode of truth” of the photographic image and the strengthening of the importance of the aesthetics of the individual photographic frame. At the level of practice, this is expressed in the creation of photographic pictures where reality and fantasy images merge into a single whole and become indistinguishable. This effect was reinforced by printing photographs of enormous size and exhibiting them in museum spaces and galleries. Nowadays, art-photography, while remaining a form of contemporary art, seeks to go beyond it and acquire signs of aesthetic self-sufficiency.

Vangelis Athanassopoulos, Ph.D. in Aesthetics, is an Associate Professor of Philosophy of Art at the Department of Visual Arts of the University Paris I Panthéon-Sorbonne in Paris, France. He is a member of the LETA (Laboratory of Theoretical and Applied Aesthetics, University Paris I), the AICA (International Association of Art Critics), and co-editor of Proteus, an online French journal on aesthetics (www.revue-proteus.com). He has published two books on postmodernism and advertising (La publicité dans l'art contemporain, 2 t., Paris: L'Harmattan, 2009) as well as several articles on modern and contemporary art. His research fields include visual semiology, philosophy of language and critical theory.This article is an attempt to organize the general axes of a research on mirror image in the visual arts, addressing the concept of specularity and its problematic status in Western aesthetics. The argument is that, paradoxically, despite the central role of reflection in the theory of representation, specularity is constantly repressed as false and dangerous. Hence the historical duplicity of the mirror in its relation to art: on the one hand it consolidates the Western system of representation while on the other it deconstructs the very principles upon which this system is erected. Literary theory and psychoanalysis enable us to focus on the ways which, in the founding myths of representation such as the ones of Narcissus and Medusa, vision, discourse and identity are articulated around reflection, relating a physical phenomenon with the mental processes defining self-consciousness. In the field of visual arts, this articulation is operated through the opposition between two different conceptions of the image, “painting-as-window” and “painting-as-mirror”. Locating this opposition in Svetlana Alpers’ reading of Las Meninas and Louis Marin's approach of the Brunelleschian optical box, we point out the discontinuity which comes to the fore in the latter's description of the reflexive/reflecting apparatus and which constitutes the blind spot of the classical system of representation. In contemporary art, specularity returns as a tautological figure, “zero degree” representation establishing a closed circuit in which the gaze is sent back to itself like Joseph Kosuth's self-referent linguistic propositions. But in the same time it problematizes the process of self-reference, opening it to similar specular apparatuses which destabilize tautological circularity. Works by Dan Graham, Robert Smithson and other artists demonstrate that mirror, which in the classical system guarantees the subjugation of the gaze to the eye, can on the contrary be used in order to emancipate the former from the latter, displacing the relation between the art work and the viewer.

Contributors

This study focuses on the identification of gifted individuals in the field of Visual Arts and the differentiated visual arts teaching offered to these individuals. Gifted individuals are different from individuals with normal potential by nature. Even if they have the same intelligence area, gifted individuals may have different learning styles, different learning speeds, different interests and desires from each other. Therefore, they need an education that is differentiated according to their nature. In the study, firstly, the criteria for identifying gifted individuals in the field of visual arts were explained. Standard measurement tools that will detect gifted individuals in visual arts, which have a unique structure, cannot be developed. Therefore, gifted individuals in visual arts are tried to be identified by adhering to the subjective opinions of artists and art educators. When the literature is examined, it is seen that there are more than one variable such as visual perception, creativity levels, pictorial types, interests and motivations, and linear development levels of individuals as indicators of giftedness in visual arts. In this study, these variables that will be used in the identification of gifted individuals in visual arts are explained. In addition, why there should be differentiated teaching practices for gifted individuals in visual arts was discussed and differentiated visual arts designs were explained.

African Modernism in America, 1947–1967

Malaysia has a scarcity in the presentation of art knowledge through visual art. Therefore, this study aims to investigate the importance of art knowledge in the field of visual art. In fact, Malaysian contemporary visual artists appear to have insufficient values of intellectualism and lack shared vision. The intention of this study was to reveal the factors in Malaysian visual arts that led to the crisis in art knowledge development. This project uses a qualitative triangulation method in order to reveal similarities from face-to-face interviews and document studies. The analysis was supported by evidence obtained from observation of several art discourses. The findings of this study revealed the importance of world knowledge and perception of art based on critical thinking. In addition, the results of this study also present the awareness of the valuable contributions of art knowledge in visual art. This paper revealed the factors that lead to the unconvincing development of art knowledge, specifically in Malaysia. The importance of art knowledge can be investigated further in order to validate visual art as an intellectual product that communicates knowledge.

The article considers choices and opportunities to access the arts in the contemporary UK, connecting these to engagements in culture in relation to position in social space. The reflection is informed by the ESRC funded investigation of the Cultural Capital and Social Exclusion project, CCSE, which assessed the applicability to Britain of Pierre Bourdieu's work in Distinction (1984), 40 years after his original French study. While exploring the broader thesis the project probes and disagrees with many elements of Bourdieu's arguments. This article outlines the main thesis about how cultural capacity affects the structure of social inequality and explores how this takes shape in the current British context. After considering the broader picture emerging from the interplay of various cultural fields, based on Multiple Correspondence Analysis, the discussion focuses on the field of visual art. This has the aim to reflect about the links that this field has with broader cultural processes in the UK and its specificities. The field of visual art appears as one of the most distinctive fields of cultural practices, and one where the intensity of participation is highly relevant for social position. The engagements of individuals indicate powerful tensions in the ways people conceive visual art. Cultural capital is relevant for the kind and level of involvement in this field with individuals being positioned predominantly according to possession of cultural capital, but with inflections linked to particular demographics where divisions of gender, age and ethnicity, as well as biographical patterns are significant. These are mixed in different ways as resources for social position in the field of visual art.