The article examines the transformation of artistic creativity in Ukraine under the impact of the ongoing war resulting from Russian aggression. The full-scale invasion of Ukraine by the Russian Federation in 2022 has led to profound shifts in the cultural environment, activated the artistic community, and altered the format of art education. The study analyzes changes in the themes, forms, and means of artistic expression, as well as in the creative strategies of contemporary artists and students of higher art education, focusing on their engagement with topics of war, memory, and national identity. Special attention is given to the experience of the Mykhailo Boichuk Kyiv State Academy of Decorative and Applied Arts and Design, which actively organizes exhibitions, educational initiatives, and art therapy projects. The article explores key aspects of the war’s influence on the creative practices of contemporary Ukrainian artists and students, on forms of artistic communication and self-identification, and on the transformation of art education. It is emphasized that, under wartime conditions, art becomes a form of collective memory, a tool of psychological resilience, and a means of international communication. The wartime experience contributes to the renewal of Ukrainian art, stimulates the search for new artistic solutions, and promotes the preservation and development of cultural identity.

Between 1957 and 1974, a small professional theater company in Washington, D.C. staged ninety Equity (union) productions and ten non-Equity shows, including ten world premieres, four American premieres, thirty Washington premieres, and works by sixty-four writers whose works had not been performed previously in the Washington region. The Washington Theater Club staged new works by several of the era’s leading English-language playwrights. The club also served as a proving ground for actors starting out their careers, including several who would come to dominate the American stage and screen. By the time the club closed, it had played a far more important role in the evolution of American regional theater than its diminutive size might suggest. Theater enthusiasts Hazel and John Wentworth opened the Washington Theater Club during the late 1950s. Hazel and John were hungry for innovative drama of a sort absent in Washington. They established their group to promote fresh dramatic forms, to present new ideas, and to support novice playwrights and their works. They nurtured a slightly bohemian tone, often presenting non-mainstream works. The Wentworths viewed their theater’s mission to rise above artistic achievement to embrace social activism. They sought to present quality productions performed and enjoyed by diverse casts and audiences outside the restrictions of Washington’s racial segregation of the period. From the beginning, the Club promoted Black theater and Black writers and artists. The club’s story also is one highlighting the destructive power of bureaucratic and political petty tutelage. Washington remained under the direct control of the U.S. Congress throughout this period. The commissioners and bureaucrats charged by Congress to run the city remained unaccountable to the city’s residents. In the end, a tax code unfavorable to cultural institutions undermined the club’s survivability. Various courts ruled against the Club, leaving the club with an expensive property tax bill that it could not cover. Bankers foreclosed on their loans. The rise and fall of the Washington Theater Club offers a cautionary tale of what can happen when a community’s fate is left in the hands of those who have little connection to it. This loss of accountability can breed oppression, servility, cruelty, and loathsome in its own way, idiocy.

The article explores the phenomenon of clay therapy (hlinotherapy) as a component of art therapy in the context of the Russo-Ukrainian War. The focus is on clay therapy not only as a therapeutic practice but also as a sociocultural phenomenon that unites artistic, psychological, and humanitarian dimensions of the contemporary Ukrainian wartime experience. The process of clay modeling is considered as an act of self-expression that helps individuals—both soldiers and civilians who have suffered physical injuries, concussions, or psychological trauma—to restore contact with their bodies, memories, and emotions. It is emphasized that clay therapy has proven to be one of the most effective methods of rehabilitation. The author demonstrates how this method of art therapy acquires new cultural significance through initiatives of Ukrainian artists, sculptors, educators, and psychologists. Collaborative clay modeling between wounded soldiers and artists becomes not only a form of therapy but also an artistic act that creates a new aesthetic of traumatic experience. The research is based on interviews with specialists, including art historian Orest Holubets and sculptor Oleksii Pergamenshchyk, and includes an analysis of international art therapy practices alongside Ukrainian developments. The author stresses that clay therapy is significant not only for individual rehabilitation but also for the formation of collective memory—as a shared experience that overcomes isolation, fear, and trauma. Through collective creativity, the connection between the individual and the community, between the past and the future, is restored. In this sense, clay therapy emerges as an important phenomenon of contemporary Ukrainian culture, integrating art, psychology, and civic engagement.

A structural model of the theory of dominants is proposed, relevant to the analysis of artists working across various media and at the crossroads of historical epochs. The theoretical interpretation of the concept of “dominant” is carried out through the lens of several disciplines, including art history, philosophy, linguistics, cultural studies, architecture, psychology, iconography, and literary studies. Particular attention is given to the interdisciplinary approach as a methodological tool for exploring artists’ creativity and figurative thinking. The article demonstrates the application of the adapted DIFI model (Domain—Individual—Field Interaction) by Mihaly Csikszentmihalyi using the case of Andriy Bokotey, a leading Ukrainian glass artist. Imagery and artistic dominants of different creative periods of the artist have been identified, and a generalized analytical framework has been developed. The results allow for the recognition of key features of the author’s style within a broader sociocultural context and provide a foundation for the systematization of knowledge about cultural phenomena and artistic personalities. For the preparation of this scholarly study, materials were examined from the libraries of the University of Wisconsin– Green Bay (USA) and Memphis, Tennessee (USA).

The contemporary art space requires innovative marketing strategies that can effectively position artworks and generate revenue from cultural offerings. This article examines integrative art strategies in which performance functions as a key element that hybridizes traditional and contemporary exhibition practices in the field of visual art. The study presents a conceptually coherent and thoroughly developed marketing strategy for a hybrid cultural model of Site-Specific Performance Art that combines the dynamics of circus art with the aesthetics and spatial characteristics of visual art (painting and sculpture) in art venues— museums, galleries, art clusters, and similar spaces. The research goes beyond classical approaches to arts marketing (in both visual and circus arts) by proposing a step-by-step framework based on the principle of recontextualization. Recontextualization is understood as the reinterpretation of an existing artwork and its endowment with new meanings through inclusion in another creative, artistic, or technological context. Such recontextualization transforms audience perception, reveals additional layers of meaning, prompts a reassessment of established traditions, and contributes to the emergence of new forms of contemporary art. The article analyzes how the mechanisms of circus dramaturgy and the visual language of fine art can be translated into effective tools for audience engagement and for shaping a distinctive image of art institutions. It demonstrates that performance practices drawing on the physical plasticity and risk inherent in circus art, together with the aesthetics and corporeality of sculpture, painting, and photography, generate a new format of arts marketing—an “immersive visual narrative.” This format is characterized by strong communicative and commercial effectiveness, immersing audiences in a synergistic environment in which they become active participants in artistic processes. The findings deepen understanding of the marketing functions of circus performance and offer concrete models for the development of hybrid art projects.

Drawing on the multi-genre materials published in the monthly lit-erary and artistic magazine of Ukrainian futurists Nova Generatsiia (The New Generation), this article traces the evolution of the journal’s views on theatre. The study identifies what proportion of the magazine’s content was devoted to theatre in Ukraine and abroad, and shows that theatrical discourse within the Futurist cir-cle—and among a small number of theatre practitioners—was articulated in a wide range of forms: novels, poetic pamphlets, dramatic poems, informational and criti-cal articles, minutes of organisational meetings, as well as photographs, architec-tural drawings, and reproductions. The periodical’s literary style was highly dis-tinctive and artistically expressive, while its visual presentation made Nova Gen-eratsiia resemble art-historical journals with their characteristic reproduction plates. Unlike most magazines and newspapers that covered theatre, Nova Gen-eratsiia did not publish performance reviews, extended critiques, or interviews with creators. During 1927–1928, the journal offered only a limited number of pieces on Ukrainian theatrical life. It focused chiefly on brief notes about devel-opments in directing, architecture, theatre theory, and artistic pedagogy abroad, while Ukrainian theatre was represented mainly through visual materials such as paintings and theatrical masks. The editorial board’s aspiration to establish broad contacts with Western European art periodicals is evident in its citations and polemics with foreign authors, as well as in the regular notifications about newly re-ceived publications in various languages. The magazine printed Ukrainian transla-tions of literary and critical works by foreign writers, while some texts by members of Nova Generatsiia appeared in Polish and French translation. Italian Futurist art-ist and theatre theorist Enrico Prampolini even joined the editorial board. However, at the end of 1928, under the leadership of Mykhailo Semenko, the journal launched a sharply worded debate on the state of modern Ukrainian theatre, with particular criticism directed at the Berezil Theatre. Throughout this period, the magazine’s editorial strategy oscillated between appealing to a broad, mass reader-ship and addressing a narrower professional audience of artists and cultural work-ers. Based on the articles analysed, the study situates Nova Generatsiia in relation to other contemporary periodicals, including Pluh (The Plough), Kharkivskyi pro-letarii (The Kharkov Proletarian), Molodniak (The Youth), and others.

The author lays the groundwork for considering a cosmic-scale space of possible conscious experiences. He introduces the principles underlying a vision of the cosmic potential of an intelligent civilization, in which computation forms the core. The author demonstrates that consciousness can arise in substrates different from biological human brains, particularly in computers. He concludes that, ultimately, such a cosmic-scale space of conscious experiences is possible and that intelligent beings will be able to exercise fine-grained control over their phenomenal content. This prospect raises challenges for disciplines such as the philosophy of art and the philosophy of music. For example, the traditional approach to classifying the arts by the physical media in which artworks are created comes under scrutiny. The author proposes a framework for systematizing all possible conscious experiences, including those related to the perception of traditional artworks, and applies this framework to the question of generalizing music to many other, nonbiological, conscious systems.

The article examines the artistic and design strategies used in Ukrainian propaganda posters created during the period of Russian military aggression against Ukraine. The analysis reveals a high level of artistic skill, demonstrating how Ukrainian patriotic posters employ diverse visual methods to convey national pride, patriotism, and responses to key historical events. Color schemes, geometric composition, and expressive imagery help to produce emotionally resonant and symbolically rich works that strongly influence viewers’ perception and identification. The study highlights the importance and effectiveness of artistic and design tools in patriotic posters during wartime, showing how they contribute to shaping and sustaining national identity, reinforcing patriotic values, and engaging viewers. Key design components investigated include typography, font usage, layout principles, and technical production methods. Artistic components include photography, digital and hand-drawn imagery, stylization, and techniques such as montage, collage, and image processing

The article examines the cultural policy of the main Ukrainian émigré pe-riodicals in France from the 1920s to the 1950s, focusing on the editorial strategies of Tri-dent, Ukrainian News, and Ukrainian Word in representing art and cultural identity. It analyses the dynamics of the dialogue between traditionalist and modernist discourses in the assessment of artistic modernism, and outlines the political and cultural polarisation within the diaspora. This largely shaped the criteria for covering artistic phenomena and led to selectivity in the presentation of innovative artistic trends. The article argues that the cultural policy of Ukrainian emigrant publications was not only an instrument for preserving national identity. It was also a factor in the creation of a new system of values and artistic codes in response to global transformations in the European and Soviet contexts. The noticeable influence of editorial policies on collective memory and the formation of cultural and historical narratives of the diaspora can be traced in the ways modernism and the avant-garde were received. Also, in the resistance to political and cultural assimilation. Based on archival sources, comparative analysis of publications, and political and sociocultural contexts, it has been found that the integration of modern artistic experience was gradual and ambiguous. It was often accompanied by ideological controversy and the reduction of innovation to political unreliability. The relevance of rethinking the forms and strategies of presenting culture in the context of new waves of migration due to the Rus-sian-Ukrainian war is highlighted. Radical experiments by artists are no less important than the preservation of cultural heritage. The negative experience of one-sided coverage of cultural processes that existed during the 1920s and 1930s reminds us of the importance of supporting the entire spectrum of cultural life.

The study aims to conceptualize the processes of renewing academic traditions in contemporary art education, particularly within the system of training painters in the fields of painting and color theory. The central focus lies on the question of how to integrate the classical school of realistic painting with new pedagogical and digital approaches that shape the mindset of the twenty-first-century artist. To achieve this goal, the research employs a comparative analysis of traditional and modern painting techniques, methods of systemic and structural analysis, as well as observation of instructional processes in professional art education. The analysis demonstrates that the academic school remains the foundation of artistic training, although its content and forms are gradually evolving. Contemporary curricula combine exercises from nature, the copying of classical models, and the use of digital technologies: interactive palettes, computer-based color simulations, and multimedia platforms. Technical mastery no longer exists in isolation; it becomes a means of fostering creative thinking and the ability to visualize ideas across various media. Color theory, which was traditionally regarded as a craftoriented discipline, is transforming into an intellectual tool for shaping artistic vision. It has been established that the transformation of academic traditions does not undermine them but expands their scope: new project-based methodologies, integrated courses, and hybrid teaching formats are emerging. Academicism functions not as a constraint but as the core around which a new system of art education is being developed—one that is open to innovation yet rooted in classical culture. Thus, academic methods retain their pedagogical value but require reinterpretation in light of digitalization, the evolution of artistic media, and the growing influence of the creative economy. An effective model of art education must be grounded in the synthesis of the traditional school and contemporary technological possibilities, enabling the formation of a new type of artist—technically proficient, conceptually flexible, and culturally aware. The results of this study may be useful for educators in higher art institutions, developers of educational programs, curators of artistic projects, and students working to integrate classical techniques with modern means of artistic expression.