Abstract
The article is devoted to «post-media optics» — a specific vision system «through the camera lens» in the context of Ukrainian artistic practice and criticism from the beginning of the 1990s to our time. The author considers the concept of «post-media» or «other media» in view of his own practical curatorial activity — as forming a professional worldview and its priorities. Compared with the main examples of the world artistic process — from the appearance of photography in the middle of the XIXth century, the result of which became the movement of impressionism / post-impressionism in painting, as «injections» of different media they change the specifics of both new and traditional forms of art, the media, change the direction of their self-reflection, understanding their own goals and opportunities. The development of both Ukrainian and world art leads to the fact that reflections over their own blurry, synthetic media-specificity and is the main message of it. The main contributors to the process of «mediatization» of painting — Oleg Tystol, Arsen Savadov, Oleksandr Gnilitsky, Vasyl Tsagolov and others — are considered.
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