Art In City Research Articles

Book Review: Women Made Visible: Feminist Art and Media in Post-1968 Mexico City by Gabriela Aceves Sepúlveda

Book Review: <i>Women Made Visible: Feminist Art and Media in Post-1968 Mexico City</i> by Gabriela Aceves Sepúlveda

Nicolas Whybrow, Contemporary Art Biennials in Europe: The Work of Art in the Complex City

Nicolas Whybrow, Contemporary Art Biennials in Europe: The Work of Art in the Complex City

The Department of Restoration and Examination of Works of Art of the Kharkiv State Academy of Design and Arts in the History of Restoration in Slobozhanshchyna

The article is devoted to the scientific, practical and pedagogical experience of the Department of Restoration and Examination of Works of Art of the Kharkiv State Academy of Design and Arts throughout its existence in the context of the development of this industry in the historical territory of Sloboda Ukraine. The REWA department of KSADA is the only educational institution in the East of Ukraine that trains artists-restorers of easel and monumental painting, specialists in expertise. Over the years, the department has restored many hundreds of works of art, and graduates of the department successfully work in restoration and museum institutions in Ukraine and the EU. The establishment of the REWA department was preceded by a long historical process of restoration activities in the region, which dates back to the second half of the seventeenth century, the time of the founding of Slobozhanshchyna. The first local restorers were icon painters, who were invited to perform works of art in cities and monasteries. Later, in the nineteenth century, the role of restorers was performed by local, including well-known, painters (I. Bunakov, I. Kulikovsky, M. Uvarov). Restoration education in Slobozhanshchyna dates back to 1902, when the training and icon-painting workshop was opened in Sloboda Borysivka, where the restoration of icon-painting was taught for the first time in the historical Ukrainian lands. During the First World War, the unveiling of the icon of St. Nicholas of Miletus Monastery became a significant event in Kharkiv (1915). In the 1920s and 1930s well-known restorers and representatives of related professions who mastered the profession of a restorer (M. Kasperovych, I. Sviatenko, P. Fomin, etc.), worked in Kharkiv. A restoration workshop operated at the Ukrainian Art Gallery in 1930s, and in 1938 the first Ukrainian-language edition on this subject was published and a separate section devoted to restoration (V. Lokhanko “Artistic Materials and Painting Techniques”). In 1984, Kharkiv branch of the State Research and Restoration Workshops was opened. Higher restoration education in Slobozhanshchyna was started in 1988, as a section of painting restoration, which was transformed into an independent graduating department in 1994. Teachers and students of the department within the educational process carry out practical restoration of works of art, monitoring of private and museum collections, the state of preservation of monumental paintings. They develop and improve methods of restoration, publish and patent developments and discoveries. The Department of REWA is constantly working on improvement of teaching and methods of evaluating the work of students, planning to open new educational programs.

A place for everything and everything in its place: New York's role in the art market

A crucial point in any sale is the choice of the market where to sell. This issue is much more important in the case of the artworks, where there is evidence that arbitrage does not necessarily equalise prices of comparable items across different cities of sale. Are these price differences due to the specific characteristics of items sold in different places or do they capture the idiosyncratic nature of the markets? In order to answer to this question, we apply the unconditional Recentered Influence Function (RIF) regression method to a sample of Picasso paintings sold worldwide during the period 2000-2019. Specifically, we compare percentile price differences between New York City, which is known for its status as a world art city and the Rest of World. Overall, results illustrate that the law of one price fails with Picasso's ‘blue chips’, his most expensive artworks. However, after the 2008-09 financial crisis the art market became more efficient and the idiosyncratic nature of New York's art market faded.

The Adelaide Festival and the development of arts in Adelaide

ABSTRACT This paper asks: why, given the Australian city of Adelaide’s early intervention to embed a flagship arts festival, has it failed to develop as an arts city with a more democratized cultural terroir, with greater diversity and inclusion? We argue that part of the answer lies in the continuing influence of its flagship Adelaide Festival, which, from the beginning, was not of, and for, the entire city, nor “art for all,” but very much the opposite. It was explicitly orientated to the virtues of high art, packaged for a social elite, and linked to tourism–led urban regeneration. Rather than a celebration of Adelaide’s cultural terroir, it established a marketized form of arts festival built around a core of imported art. Informed by multiple data sources, this case study offers a positive critique at a pivot point in Adelaide’s festival history, suggesting that a consideration of other types of art city offers alternatives for the future.

미디어아트 도시의 정책에 대한 방향성 연구 - 린츠, 카를스루에, 광주를 중심으로 -

2014년 광주가 미디어아트로 유네스코 창의도시에 선정되었다. 한번의 재수 끝에 일궈낸 쾌거였다. 많은 도시가 유네스코 창의도시 네트워크(UCCN: UNESCO Creative Cities Network)에 선정되기를희망한다. 세계 각국의 도시들이 앞을 다퉈 UCCN(UNESCO Creative Cities Network)에의 가입을희망하는 것은 무엇 때문일까. 글로벌 시대에 세계에 도시를 어필하지 않으면 살아남기 힘들기 때문이다. 특히 20세기 후반부터 도시 단위의 경쟁력이 치열해졌고 각 도시는 문화를 내세워 도시 브랜드확보에 나서고 있다. 본 연구의 목적은 미디어아트 도시 광주가 도시 이미지와 위상을 드높이고 지속가능한 창의도시로거듭나기 위해선 어떻게 해야 하는가를 고찰하는데 있다. 대표적인 미디어아트 창의도시인 오스트리아 린츠, 독일의 카를스루에의 미디어아트 관련 정책과 사업을 분석했다. 그리고 광주는 그들 도시와어떤 점에서 같은 흐름으로 가고 어떤 점에서 다르게 가는지를 고찰했다. 세 도시는 모두 미디어아트로 선점효과를 누리고 있다. 린츠는 2014년 광주와 비슷한 시기에 선정되었으나 미디어아트와 관련해선 오랜 역사를 지녔다. 1979년 아르스 일렉트로니카 페스티벌을 개최한점을 고려하면 40년이 넘는 전통을 갖고 있다. 카를스루에는 2019년 다소 후발 주자로 미디어아트창의도시에 선정되었지만 미디어아트도시의 기반이 된 ZKM(Zentrum für Kunst und Medien)의 개관이1989년이라는 점을 감안하면 꽤 오랜 역사를 자랑한다. 광주는 아시아에선 두 번째, 세계적으론 네번째로 미디어아트 창의도시에 선정되며 미디어아트와 관련된 정책과 사업에 열정을 불태우고 있다. 본 연구자가 분석한 바에 따르면 세 도시는 같은 방향을 가면서도 부분적으로는 차별화된 정책과사업을 진행하고 있다. 세 도시의 공통점으로는 열정적 의지를 비롯해 미디어아트 페스티벌, 플랫폼운영, 협업 추진 등을 들 수 있다. 그에 반해 도시의 배경에 따라 지향점이 다르고 추진방법이 다르다는점이 확연하게 나타났다. 광주는 2019년 AI((Artficial Intelligence)허브도시를 선포하고 제4차산업의전진기지임을 선포한 바 있다. AI(Artficial Intelligence)와 미디어아트의 접점을 이루며 도시의 미래혁신성장을 도모하려 하고 있다. 본 연구는 광주의 미디어아트 추진 방향이 올바르게 진행되고 있는지를 살펴 도시가 안고 있는이슈를 미디어아트를 기반으로 하여 해결하는 토대를 삼고자 한다. 또 나아가 아시아문화중심도시, 비엔날레도시, AI(Artficial Intelligence)허브도시와 연계해 미디어아트가 광주의 실질적인 성장동력이되기를 기대한다.

The Use of Augmented Reality in Contemporary Art

The article analyzes the use of augmented reality (AR) in creative projects of contemporary art. Features of application of augmented reality technologies are investigated. The author reviews the possibilities and options for using augmented reality technology to support museums and galleries. This article will help contemporary artists to better understand these technologies, understand the role of AR in modern society and assess its prospects. Analysis of scientific research has shown that the use of augmented reality in art is increasingly of interest to artists and scientists. There are also articles dedicated to improving the learning experience of art gallery visitors using augmented reality. The present study reveals the chronology of research on this phenomenon. An analysis of the experience of Ukrainian, European and American artists and designers in the implementation of AR‑technologies in the field of culture has also been conducted, on the basis of which a system of thematic areas of augmented reality in contemporary art has been presented. There are five areas where augmented reality in the field of art is used. These are museums of history and art and exhibition halls, art city tourism, film industry, concerts and television. But it turns out that the number of these areas is not final. Eventually, AR will be used in other art venues. The materials of this article provide recommendations for the spread of augmented reality technologies in art. With the help of these technologies, the image of an innovative progressive museum and exhibition hall, open to new opportunities, can be created, which gives the opportunity to attract new visitors, generating a unique complex interactive experience. So far, augmented reality is used exclusively in art, but more and more artists and designers are beginning to move towards interactive implementations in their work. Many of these authorial experiments grow into unique creative projects and provide enormous advantages in the system of culture and art.

Ways of Art Education Development in Kharkiv (1896–1918)

This article analyzed the activities of Kharkiv City Art School (1896–1912) and Kharkiv Art School (1912–1918) on the basis of unpublished archival materials. The article reveals the connection of these educational institutions with the pedagogical system of Rayevska-Ivanova’s private art school (1869–1896) in Kharkiv, although the industrial art profile inhered in that school was lost. The author showed that the bureaucratic red tape on the part of St. Petersburg Academy of Arts regarding the transformation of Kharkiv City Art School into Specialized School with the corresponding rights stretched for 16 years and slowed down the development of art education in Kharkiv during that period of time. It is emphasized that the opening of Kharkiv Art School finally took place in 1912, that is, much later than other similar educational institutions on the territory of the Russian Empire. It did not have time to fully deploy its work due to the events associated with the First World War and the establishment of Soviet power in Ukraine. Therefore, some talented graduates of that school were forced to emigrate and develop their creativity on other continent, becoming famous masters in the world (V. Bobrytsky, B. Tsybis). At the same time, the teachers of the school under the leadership of its director, a former student of I. Ryepin’s at St. Petersburg Academy of Arts, O. Lyubimov managed to preserve the best traditions of serious academic training in that era of uncertainty about the further development of art education. These best achievements were inherited by the higher art education of Kharkiv, whose centennial anniversary will be celebrated in September 1921. The teachers of the Art School, who themselves joined the innovative pursuits of their time, did not interfere with the “cubofuturistic” preferences of their students, which became a new sign of stylistic changes in art. Subsequently, both supporters of traditions and innovators worked together in the system of higher art education in Kharkiv. But this is the subject of some further research.

A STUDY ON WORK COMMITMENT AND SATISFACTION AMONG THE WORKERS OF GOTA INDUSTRY AJMER, RAJASTHAN

The study discusses the work satisfaction of workers of the Gota industry Ajmer. Ajmer is a central city of Rajasthan, India. It is fabulous for its unity in diversity in religion, race, caste and workmanship. It is a religious center for Muslims and Hindus. A number of tourists visit the palace and are impressed by city art and architecture. The city is famous for Gota patti work. More than 400 families work in the industry. As the demand for its products is increasing day by day; it developed the researcher's interest to measure the commitment and satisfaction of the workers in the area. Factors like commitment and job satisfaction are equally important for the employee and employer. The knowledge of these factors is important for the business. The data for the study was collected with the help of the District Industrial Center, Ajmer. A total of 100 respondents were selected through convenience sampling. They voluntarily participated in the survey. Well reputed scale from renowned journals was adopted for the study. The study is cross-sectional in nature. The researcher found a low level of commitment and satisfaction among the workers of the industry. The researcher found the need for training among the workers of the industry on various aspects.

КУЛЬТУРНЫЕ КОНТАКТЫ РОССИИ И КИТАЯ В ОБЛАСТИ МУЗЫКАЛЬНОГО И ДРАМАТИЧЕСКОГО ТЕАТРА (50-е годы XX века)

The article is devoted to the cultural cooperation between the USSR and the People's Republic of China in the field of musical theater. The Treaty of Friendship, Alliance and Mutual Assistance between these two countries, signed in Moscow on February 14, 1950, became a starting point in the development of cultural contacts. The most productive period was from 1949 to early 1960s. An important marker of the development of Soviet-Chinese cultural relations was the tour of theater troupes from both countries to the Soviet Union and the Celestial Empire. The Stanislavsky and Nemirovich-Danchenko Moscow Musical Theater team visited China in 1954, and later the artists of the Shaoxing Opera and the Shanghai Theater of Beijing Musical Drama demonstrated their art in Russian cities. The two countries' directors showed mutual interest in the classical opera art of their counterparts: in Beijing and Tianjin P. I. Tchaikovsky's "Eugene Onegin" and "The Queen of Spades" were performed by Chinese singers, while in Russian cities the traditional Chinese theatre plays "The Spilled Cup" and "The Grey-Haired Girl" were staged by Russian artists.

Bob Bilyeu Camblin: An Iconoclast in Houston's Emerging Art Scene by Sandra Jensen Rowland

Reviewed by: Bob Bilyeu Camblin: An Iconoclast in Houston's Emerging Art Scene by Sandra Jensen Rowland Caleb Bell Bob Bilyeu Camblin: An Iconoclast in Houston's Emerging Art Scene. By Sandra Jensen Rowland. (Denton: University of North Texas Press, 2020. Pp. 320. Illustrations, notes, references, index.) Written by art historian Sandra Jensen Rowland, this monograph chronicling the life and art of the late Houston artist Bob Camblin offers readers a true insider's look into a complex individual's world. Rowland, a former student of Camblin's as well as his one-time companion, provides an intimate account of much of his life while also discussing the evolution of his art and placing it within larger artistic movements. Laid out chronologically, the twenty-one-chapter biography opens with the artist's upbringing in Ponca City, Oklahoma. Despite touching on his hometown community, its influential individuals, and various related occurrences, however, personal details about Camblin's rearing are somewhat lacking. But Rowland does a good job of discussing major international events and their impact on him, a shining hallmark found throughout the book. The Great Depression and World War II establish the framework for Camblin's trajectory. The real look into his life begins in 1947, when the artist joined the army. His military service, enrollment at the Kansas City Art Institute, a Fulbright-sponsored year in Italy, and introduction to academia at the Universities of Illinois and Utah preceded his move to Texas in the 1960s, a significant event in his life and career. Camblin accepted a position with [End Page 478] the art department at Rice University in Houston and joined artists John O'Neil, David G. Parsons, and Earl Staley. His connection to Staley was almost instant. Even though they only worked together at Rice for a year, Camblin remained in Houston through the 1980s, and the two remained longtime collaborators, forming B&E Productions, B, E & J Productions, and the Holding Firm. Their relationship is well documented, and Rowland includes Staley's insightful words about Camblin in the book's epilogue. It was also during Camblin's stint at Rice University that he and Rowland, a student at the time, first met. She describes her firsthand experiences with the artist, including the end of their relationship, offering readers information only she could. Mentored herself by Dominque de Menil during the 1970s, Rowland expands readers' view of the Houston art scene at the time and aptly describes Camblin's position in it. The book also offers insights into his relationships with various Texas artists and key players as well pivotal exhibitions. It discusses in some depth his connection to Penny Cerling and Dave Folkman of Little Egypt Enterprises, the now-defunct printmaking studio. The inclusion of a thorough timeline provides a succinct overview of Camblin's major exhibitions and life events. The author's notes are a great resource as well, offering interested readers even more details and facts. While the book could benefit from more imbedded images or an additional appendix of artworks, those provided do a good job of illustrating the narrative and providing a sense of Camblin's artistic evolution. The image selection, much like Rowland's text, offers a nice balance between his art and personal life. Her writing style is accessible and guides one through Camblin's story, including his cast of alter egos, with ease. Overall, the book serves as a detailed account of the life and times of Bob Bilyeu Camblin, an iconoclast, as the book's title says, in Houston's emerging art scene. Caleb Bell Tyler Museum of Art Copyright © 2021 The Texas State Historical Association

А.В. ХУДЯШЕВ (1885–1927): ЧЕРТЫ БИОГРАФИИ И АНАЛИЗ ТВОРЧЕСКОГО НАСЛЕДИЯ ХУДОЖНИКА

Alexander Khudyashev is a sculptor, painter, teacher, organizer who played a prominent role in the artistic life of two Siberian cities - Tomsk and Barnaul in the 10–20s of the twentieth century. This article, based on the documents found, represents for the first time the main stages of his life and work, active participation in the All-Siberian Association of Artists «New Siberia». Until recently, very little was known about the life and work of this artist. The authors of the article, relying on archival materials, restored the biography of A. Khudyashev, in particular, more fully covered the Barnaul period of his life. On the basis of the documents found in the State Archive of the Altai Krai, the facts of the early years of the master's biography, the period of study at the Kazan Art School, and studies at private art studios in Moscow became known. The article describes his organizational work in Tomsk: on the board of the Tomsk Society of Art Lovers, participating in annual periodic art exhibitions, organizing a number of exhibitions («Exhibition of paintings and sculptures by local artists» and «Autumn exhibition of local and non-resident authors»). In Novonikolaevsk (now Novosibirsk), together with the assistant of the Leipzig Royal Academy of Arts, Czech artist F. Havelka, he participated in the preparation of the first in the history of the city art exhibition of Tomsk and Novikolaevsk professional artists and students of the Tomsk Real School and private studio F. Havelka. The pedagogical activity of the master is noted: in parallel with the creative and organizational work, Khudyashev taught sculpture in F. Havelka’s private drawing classes, drawing in the theological schooland first city women’s school, as well as in the Mariinsky female gymnasium. In 1918, the artist returned to Barnaul, where, according to A. Khudyashev's questionnaire recently discovered in the State Archive of the Altai Territory, he continued his teaching activities at the Barnaul Pedagogical Technical School and at the Workers' Faculty, and also worked in the Altai provincial department of public education. In addition, the artist was engaged in design activities. Becoming a member of the AllSiberian Society of Artists «New Siberia», he took part in the First All-Siberian exhibition of painting, sculpture, graphics and architecture, opened by members of the "New Siberia" in 1927 in Novosibirsk. The history of the Museum of Fine Arts in Barnaul, the first art museum in Altai, is connected with the name of A. Khudyashev. In difficult historical times, the change of the social and political system, the civil war, the introduction of the New Economic Policy A.V. Khudyashev sought to save a unique collection of the first art museum in Altai, understanding the importance and necessity of his work for future generations. The article introduces for the first time into the scientific parlance and analyzes three of his remaining paintings, now stored in the State Art Museum of the Altai Krai, tells about the composition and fate of the collection of the Museum of Fine Arts in Barnaul.

Art Building Design Using Byblos Local Value Themes Approach

This article discusses the design of an arts building with an approach to the theme of local values. This design is carried out considering the importance of the existence of an art and culture in big cities to boost the local economy and also become an attraction for the tourism sector, as well as the desire of the community to enjoy the beauty of art, as well as the desire of artists to be witnessed and exhibit their works of art. The location that is used as a place for the art building must fill the city spatial planning, where the location of the building that I designed is on Jalan Tanjung Bunga is the central business district, where several supporting facilities such as public transportation, clean water, electricity, telephone network etc., this is the basis for my choosing a location on this flower promontory road. Efforts to increase the attractiveness of the Arts Building by combining traditional Makassar ethnic styles. So that visitors can also find out the typical regional ornaments through this art building. Paying attention to the harmony and balance of design elements in the Arts Building is expected to provide comfort to visitors and organizers of a show.

Reforming Housing Policies for the Sustainability of Historic Cities in the Post-COVID Time: Insights from the Atlas World Heritage

In recent years, finding affordable housing has been a notable challenge for the residents of historic cities in Europe. This paper aims to develop a novel vision for improving housing policies in the post-COVID time to moderate the long-lasting issue of affordable housing in historic cities. The research was developed based on the findings of the Atlas World Heritage in 2019. In this project, five European Art Cities, namely Florence, Edinburgh, Bordeaux, Porto, and Santiago de Compostela, discussed their common management challenges through the shared learning method. Focusing on the case study of Florence and using a mixed-method, we collected data through the municipality of Florence, map analysis, and distribution of a questionnaire among the city residents. Then, we used inductive reasoning to explain how reforming housing policies in the post-COVID time could moderate the long-lasting issue of affordable housing in historic cities. The findings suggest that housing policies need to be supported simultaneously at both international and local levels. From the international perspective, associated cultural heritage organizations, like United Nations Educational, Scientific and Cultural Organization (UNESCO) and its advisory bodies and the World Tourism Organization (UNWTO), need to develop restriction policies that manage tourism flows in historic cities like increasing the airline taxation. At the local level, Florence needs decisive housing policies that ban the growth of illegal tourist accommodation in the city. However, the privilege of establishing new hotels can be awarded in suburban or rural areas to support sustainable tourism goals.

Artistic Genius versus the Hanse Canon from the Late Middle Ages to the Early Modern Age in Tallinn

In the article, the author examines one of the most outstanding andproblematic periods in the art history of Tallinn as a Hanseatic city,which originated, on the one hand, in the Hanseatic tradition andthe medieval approach to Gothic transcendental realism, and onthe other, in the approach typical of the new art cities of Flanders,i.e. to see a reflection of the new illusory reality in the pictures. Acloser examination is made of two works of art imported to Tallinnin the late 15th century, i.e. the high altar in the Church of the HolySpirit by Bernt Notke and the altarpiece of Holy Mary, whichwas originally commissioned by the Brotherhood of Blackheadsfor the Dominican Monastery and is now in St Nicholas’ Church.Despite the differences in the iconography and style of the twoworks, their links to tradition and artistic geography, which in thisarticle are conditionally defined as the Hanse canon, are apparentin both of them.The methods and rules for classifying the transition from theMiddle Ages to the Modern Era were not critical nor exclusive.Rather they included a wide range of phenomena on the outskirtsof the major art centres starting from the clients and ending with&#x0D; the semantic significance of the picture, and the attributes that wereemployed to the individual experiences of the different masters,who were working together in the large workshops of Lübeck, andsomewhat later, in Bruges and Brussels.When ‘reading’ the Blackheads’ altar, a question arises of threedifferent styles, all of them were united by tradition and the waythat altars were produced in the large workshops for the extensiveart market that stretched from one end of the continent to the other,and even further from Lima to Narva. Under the supervision ofthe leading master and entrepreneur (Hans Memling?) two othermasters were working side by side in Bruges – Michel Sittow, whowas born in Tallinn, and the Master of the Legend of Saint Lucywere responsible for executing the task.In this article, the author has highlighted new points of reference,which on the one hand explain the complex issues of attributionof the Tallinn Blackheads’ altar, and on the other hand, placethe greatest opus in the Baltics in a broader context, where, inaddition to aesthetic ambitions, both the client and the workshopthat completed the order, played an extensive role. In this way,identifying a specific artist from among the others would usuallyremain a matter of discussion. Tallinn was a port and a wealthycommercial city at the foregates of the East where it took decadesfor the spirit of the Renaissance to penetrate and be assimilated.Instead of an unobstructed view we are offered uncertain andoften mixed values based on what we perceive through the veil ofsemantic research.

LOYAL: TO WHAT EXTENT? A shift in destination preference due to the COVID-19 pandemic

The choice of a holiday destination is affected both by the destination's image and the tourists' loyalty. Previous epidemic and pandemic outbreaks have consistently affected the way people holiday, since their perception of risk is associated to the destination's image and influenced by media coverage and graphic imagery.We studied tourists’ perceptions and behaviours during the first period of COVID-19 with the objective of investigating how preferences and loyalty for different types of destinations (seaside, mountain, art cities) change during health emergencies.We segmented tourists according to their perceived risk, over months and towards different types of destinations. We found that mountain locations are perceived as safer than seaside destinations and art cities. Despite their expression of loyalty to the same destination, in times of respiratory disease-related risk perception, tourists have shifted destination categories, thus changing their preferences from seaside to mountain destinations.

ОСОБЛИВОСТІ ВІЗУАЛЬНОГО ВІДОБРАЖЕННЯ СПОРТИВНОГО ЖИТТЯ У ВУЛИЧНОМУ МИСТЕЦТВІ УКРАЇНИ

Determining the features of the visual display of sports life in the existing street art of Ukraine. Issuing recommendations on the conceptual improvement of the visual display of sports life in the existing street art of Ukraine, for the created objects of art and design related to the reflection of personality in sports. The paper used the methods of systematization and updating of analytical information about the features of the visual display of sports topics in the street art of Ukraine. The accumulation, systematization and implementation of information was carried out by studying specialized professional literature, relevant sites, field studies in Kyiv and the region. Studies were conducted with a focus on street art in large cities of Ukraine. The main displays of sports life in the existing street art of Ukraine are identified and characterized. The main trends of the visual series of modern street art of Ukraine, reflecting sporting events, are described. A comparative analysis of some trends in the design of murals and graffiti is done. Abstract recommendations are given for improving street art in the country. The paper describes the features of street sculpture, murals and graffiti of the country. Abstract recommendations are given to improve the modern street art of Ukraine, aimed to solve aesthetic and, as a result, ethical problems.The paper shows modern trends in the design of murals and graffiti of Ukraine, reflecting the sports life of Ukraine, which can serve as a guide for creating new murals.

Urban Art Practices in the Vision of Projective Aesthetics

Modern urban art practices (public art, street art, flash mob, performance, etc.), are engaged in a radical aesthetic transformation of everyday life. The problem of projective aesthetics is taken as a variant of the praxis of modern aesthetics. Projective aesthetics suggests that one should mark out art projects which are created in the real aesthetic experience and which represent topical cultural issues in daily human life. Being the subject of projective aesthetics, the main examples of that kind are the projects of actual art in the urban environment. It is a group of artifacts at the border of art and everyday life that is called urban art practices. This article is devoted to the study of the features and possibilities of projective aesthetics in relation to contemporary urban art. Interacting with the developing practical aesthetics – environmental and urbanistic – the projective aesthetics allows us to include in the philosophical discourse the urban culture where actual art practices work. In the relations between urban art and projective aesthetics a special place is given to the idea and practice of potentiations (Epstein’s concept). According to this concept, the potential of the contemporary city is revealed by means of art for creating a polylogue for intertwining various aspects and forms of city life and for developing a rhizome of urban culture. City art practices, being a phenomenon of everyday life, represent in a single image all aspects of everyday life – from political, ethnic, national, and regional to aesthetic and artistic meanings. Article received: April 25, 2020; Article accepted: June 30, 2020; Published online: September 15, 2020; Review article

Map of Art Development of Batu City in Indonesia

This research is a follow-up to the study entitled ”Historical Mapping of the Development of Modern and Contemporary Art in Malang”, conducted by researchers in 2016. From the results of the study, it appears that in several periods of the development of arts in Malang, a noted Batu art figure was recorded, a trend seen since 1982. In addition, this research identifies the work of Batu artists as having a style with distinctive characteristics, namely the so-called ”Batu realism style”. This study seeks to map the stages of the development of arts in Batu City from the initial period to the current situation. This study used a qualitative approach by utilizing the data sources of Batu artists, Malang cultureists, curators from the city of Malang, curators, documents and art loci in Batu, whose data analysis utilizes interactive data analysis. The map of the development of arts in Batu has been started since the ”Beginning” period, where the initial period was identified as an embryo of the development of Batu art which is still in the form of motivation that appears on a group of young Batu people who are inspired by illustrations, garden exterior decoration, and some aesthetic works from some seniors in Batu. Mapping can be noted from the development of Batu City arts is its existence and development since: (a) the ”Batu Seni Pondok” period, starting in the 1980’s, (b) the ”Raos Gallery” period, starting in the 1989’s, and (c) the ”Current” period, which is recorded as the third generation since the ”Pondok Seni Batu” where each period with variations in its development has implications for the development of art in East Java and in Indonesia.&#x0D; Keywords: modern art, contemporary art, art history

Notes on Contributors

Notes on Contributors