Art World Research Articles

Лексические средства выражения художественного образа (на материале романа Е. Д. Айпина «В поисках Первоземли»)

The paper is devoted to the system of linguistic means used to embody a literary image, the specifics of their functioning in a literary work, as well as the characteristics of the language of a regional text. The research aims to describe the lexical linguistic means involved in creating the image of a man in a literary text. The paper is original in that it is the first to consider a new novel by the well-known Ugric writer E. D. Aypin in terms of studying the linguistic means through which the author creates his artistic world, outlining the artistic space of his characters. Since the literary image in the text is represented solely by linguistic means, presenting the system of such means is necessary for a more complete and profound understanding of the character, or the literary image that is key to the author’s intention. As a result of the research, it is for the first time discovered that the lexical means in this novel, although not numerous, are nonetheless quite diverse. Their diversity serves as an indicator of the detailed representation of the work’s protagonist and recreates the unique ethnopoetics of this literary text.

Über einige Bedingungen gegenwärtiger ART (Artistic Research Theory)

Abstract Theories that treat Artistic Research (AR) as their object have been experiencing a boom since the beginning of the 21st century. Increased interest in AR resulted from a historical situation interconnecting at least three fields. First, the art world, which, starting in the 90s, produced AR as a phenomenon in the first place; second, higher education policy, which, in the implementation discussions concerning the Bologna reforms from the 90s onwards, drew on reflections on AR; and third, Germanophone aesthetics, which, during the 2000s, paid increased attention to heteronomy aesthetics. Within these fields, multiple factors are to be accounted for to understand both the sudden increase in pertinence as well as the concrete shape that these theories took in the Germanophone sphere.

Миры и смыслы Александра Асмолова (беседа с ученым)

<p>A transcript of a conversation with A.G. Asmolov in the program "Learning to Live", which was recorded 2 years ago, but was released recently, on the eve of his anniversary, on the YouTube channel "Enlighteners" (link to the video: https://www.youtube.com/watch?v=bW1pP2c99oM&t=1373s). The conversation is conducted by the editor-in-chief of the TV channel "Enlighteners" and the electronic newspaper "Vesti Obrazovaniya" T.N. Voloshko, a graduate of the MGPPU master's degree and a candidate for the UNESCO chair "Cultural and Historical Psychology of Childhood of MGPPU". And the interview tells about childhood, youth and the first steps in psychology, describes his most ordinary day, recalls a meeting with his teacher Alexey Nikolaevich Leontiev and other teachers, invites him to the worlds of psychology, art, literature and human relations.</p>

Who’s Afraid of Red, Yellow and Blue: On the Ukrainian Abstract Art of the 1960s

The paper focuses on the creative experiments of Ukrainian artists during the 1960s in the field of abstract art, analyzing them against the background of social and cultural events of the time, which were reflected in the features of artistic life. In this regard, Western fine art revealed to Ukrainian artists during the years of the Thaw after decades of strict separation from foreign art during the Stalinist era, was a profound influence on them. However, the perception of the Western experience was rather specific due to the lack of information and theoretical understanding of the latest trends, as most works of world art became known in Ukraine through the exhibitions in Moscow and printed reproductions. The ambiguity of the cultural policy in the USSR played a significant role here, where the official declaration of the renewal of art and the right of artists to individual self-expression were combined with a new ideological attack on creativity. State control over art gained new dimensions, due to which the authors’ experiments in the realm of abstract painting were doomed to exist in the circle of unofficial art. The article examines the “campaign against abstractionism and Western influences” launched by the authorities in the early 1960s, which had a dramatic impact on individual creative destinies. Using the example of artists from Lviv, Kyiv, Kharkiv, Odesa, and Uzhgorod, the article analyzes creative directions in the realm of painterly abstraction, the features of its versions in Ukraine. It is significant that in most cases the appeal to non-figurative art remained only an episode in the work of artists, or coexisted with other ways of figurative expression. Abstract art in Ukraine generally was experimental, the presence of similar works in the art of the late Soviet era testified to a deep crisis of the socialist realist doctrine, the affirmation of individual creative thinking. Abstract works of Ukrainian artists of the 1960s are an important page in the history of Ukrainian art.

Stars and precariousness in the art world.

Stars and precariousness in the art world.

Features of Nina Dashevskaya's art world

The article is devoted to the work of the famous modern children's writer, whose works have repeatedly won prestigious literary competitions, including the All-Russian Kniguru Competition (2013, 2014, 2015), the International Children's Literary Prize named after V. Krapivin (2013, 2014), the New Children's Book Competition (2014), the Literary Prize named after. S. Ya. Marshaka (2018) and others. The relevance of this study is due to the lack of theoretical works devoted to the analysis of Nina Dashevskaya's works published over the past decade. The purpose of the work is to study the integral system of the author's texts, which has certain characteristics. The object of research are collections of short stories "About Music" (2015), "The Second" (2018), "The Key" (2022), the novels "The Violin of an unknown master" (2015), "I am not a brake" (2016), "The Day of Pi" (2018), "Timofey: notebook; Irka: Sketchbook" (2020), "Sound Search. Cottage cheese" (2021). As a result, it is concluded that the author's characters are modern teenagers, original, enthusiastic, talented, they are looking for their own way, learning to communicate, make decisions, interact with other people. The author raises the problems of social isolation, lack of friends and relationships between brothers and sisters. The paper analyzes the values of the author's artistic world, the dominant artistic space, and the peculiarities of the plot structure of the works. Musicality and its realization in texts are considered as a fundamental feature of Dashevskaya's prose. The works demonstrate an educational aspect and a serious cognitive orientation of short stories and novellas, which is realized in information from the field of music, painting and literature. This work represents a stage in the study of modern literature for children and the work of Nina Dashevskaya, in particular, and opens up prospects for further research. Статья посвящена творчеству известного современного детского писателя, чьи произведения не раз становились победителями престижных литературных конкурсов, среди которых Всероссийский конкурс «Книгуру» (2013, 2014, 2015), Международная детская литературная премия имени. В. Крапивина (2013, 2014), конкурс «Новая детская книга» (2014), Литературная премия им. С. Я. Маршака (2018) и другие. Актуальность настоящего исследования обусловлена недостатком теоретических работ, посвященных анализу произведений Нины Дашевской, опубликованных в течение последнего десятилетия. Целью работы является изучение целостной системы текстов автора, обладающей определенными характеристиками. Объектом изысканий становятся сборники рассказов «Около музыки» (2015), «Второй» (2018), «Ключ» (2022), повестей «Скрипка неизвестного мастера» (2015), «Я не тормоз» (2016), «День числа Пи» (2018), «Тимофей: блокнот; Ирка: скетчбук» (2020), «Поиск звука. Творогов» (2021). В результате сделан вывод о том, что герои автора – современные подростки, самобытные, увлеченные, талантливые, они ищут свой путь, учатся общаться, принимать решения, взаимодействовать с другими людьми. Автор поднимает проблемы социальной изолированности, отсутствия друзей и взаимоотношений между братьями и сестрами. В работе проанализированы ценности художественного мира автора, доминанты художественного пространства, особенности сюжетного построения произведений. Рассматривается музыкальность и ее реализация в текстах как основополагающая черта прозы Дашевской. Произведения демонстрируют воспитательный аспект и серьезную познавательную направленность рассказов и повестей, которая реализуется в сведениях из области музыки, живописи и литературы. Настоящая работа представляет собой этап в изучении современной литературы для детей и творчества Нины Дашевской, в частности, и открывает перспективы для дальнейших исследований.

Guidelines for art-based interventions in parental training

Art-based parental training involves engaging the parents in creative processes and the observation of their art products. The current paper presents guidelines for art-based parental training, based on the assumption that the encounter between the world of art and the world of therapy creates a rich triangular relationship between therapist, parent, and artwork. Semi-structured interviews were conducted with 15 art therapists who described their experiences and the interventions they have developed for parents. The findings show how these interventions can be applied in clinical settings and how these art therapists see the impact of these art-based interventions on the therapeutic process. Most therapists believe that encouraging parents to create spontaneously and authentically in a suitable environment that contains a range of art materials for painting and sculpture can support the initiation of emotional communication on the part of the parents with themselves, their partner, and their child. In this type of therapy, the parents’ responses and the creative product are primordial since they are considered to reflect the parents’ development, personal skills, fields of interest, concerns, and difficulties. The guidelines are derived from these findings.

Between Scientific and Sensory Knowledge: Exploring the Enactment of Clay Sensibilities Among Clay Artists in Singapore

This article explores how clay artists in Singapore utilize both their scientific and sensory knowledge of clay-making in producing clay works. Based on a study of the biographies and sensory experiences of clay artists, clay artists rely simultaneously on their scientific knowledge and understanding of clay firing processes, temperatures, and glazing, together with their sensory judgment and experience of the same set of processes, to produce clay works of different design, effect, and form. Thermoreceptive understanding and knowledge of how clay reacts and behaves toward the different styles of firing are deployed by clay artists through both a scientific calibration of temperature, as well as one’s sensory evaluation—including visual and sonic judgments—of fire-control toward producing intended textures and forms. Through making sense of how scientific and sensory knowledges are concurrently enacted but not without contradictions, we make a case for how creative clay work-making straddles across different domains of learning, knowledge use, teaching, and evaluation emerging through kairotic moments. The article contributes to extant debates on art worlds, material culture, sensory knowledges, and embodied experiences through clay work as a medium of analysis.

The art world is not perfect. On "Man is Not Perfect", 1976 by Miklós Erdély

Miklós Erdély (1928-1986), an exceptional artist in the international and Hungarian scene, created the work that serves as the basis of this analysis in 1976. Man is Not Perfect – the title refers to Karl Jaspers – consists of four panels. In its current state, the work bears little resemblance to what spectators saw in 1976 in the event Exposition - photo/art, for which the work was made. The changes in the visibility, what we can see in the reproductions from different periods, were “pre-programmed”, if we may say so, into the materiality of the work by the author, as Erdély was always especially conscious of the use of materials. Does this transformation in time change the meaning of the artwork, and if so, why and how? The relations between the diverse elements or “medium” of the montage, like original photographs, reproductions, blueprints, citations, ready-made parts, photograms and phantom images, may explain the “story” in a pictorial way.

Decolonising neo-colonial hegemonies in Africa: A comparative case for socialist realism in the drama and law of Kenya, Nigeria and South Africa

Through a comparative investigation of the function of socialist realism in the drama and law of Kenya, Nigeria, and South Africa, this research investigates the decolonization of neo-colonial hegemonies in Africa. Using the drama and legal systems of Kenya, Nigeria, and South Africa as comparative case studies, the research explores how African societies can challenge and demolish oppressive systems of domination sustained by colonial legacies and contemporary neo-colonial forces. Relying on the Socialist Realism and Critical Postcolonial theoretical frameworks which both support literary and artistic genre that encourages social and political transformation, the research deploys the case study analysis, comparative literature analysis and focused group discussion methods. Data obtained are subjected to content and thematic analysis. The study emphasizes how important the relationship between the legal and artistic worlds is to the fight against neo-colonialism. It further reveals the transformational potential of socialist realism as a catalyst for social change by looking at themes of resistance, social justice, and the amplifying of disadvantaged voices in drama and legal discourse. The research contributes to ongoing discussions about de-neo-colonization through this comparative case study, and emphasizes the role socialist realism plays in overthrowing neo-colonial hegemonies. The study sheds light on the distinct difficulties and opportunities these nations—and indeed, all of Africa—face in their pursuit of decolonial justice by examining the experiences of Kenya, Nigeria, and South Africa.

What Matisse and Picasso Owed to Jewish Collectors and Dealers

Abstract While the prominence in twentieth-century painting of Henri Matisse and Pablo Picasso remains unquestioned, neither of these great artists could have emerged in their shared Parisian art world without the direct support of Jewish collectors and dealers. Foremost among the Jewish collectors of their earlier works were Americans living in Paris, especially the Steins: Leo, Gertrude, and Michael and Sarah Stein. While Leo followed by Michael and Sarah was an early purchaser of Matisse’s bold early Fauvist works, led by Bonheur de Vie (1905), Gertrude turned increasingly to Picasso, who painted her portrait (1906). Their support for Matisse was avidly seconded by the Cone sisters, whose extensive collection was donated intact to the Baltimore Museum of Art. Jews were also early adopters of French modern art in general as dealers. Chiefly led by the Rosenberg brothers, Léonce and Paul, prominent Jewish dealers during the teens also included the perceptive, if underfunded, Berthe Weill as well as the German immigrant Daniel-Henry Kahnweiler. Both of the latter gave crucial support to experimental art, the latter in particular to the art of Picasso’s Cubist phase (including a Cubist portrait of the dealer). In addition, a number of Jewish art critics served as influencers, supporting contemporary artists, albeit often castigating paintings by immigrant Eastern European Jewish artists, whom they viewed as outsiders. In their view, it was the multinational School of Paris’ often Jewish immigrants, against the greater, local School of France.

Smart Painting Exhibitions: Utilizing Internet of Things Technology Creating Interactive Art Spaces

INTRODUCTION: With the rapid development of science and technology, intelligent painting exhibitions have gradually attracted people's attention with their unique forms. This study aims to create an interactive art space using Internet of Things (IoT) technology to provide audiences with a more prosperous and deeper art experience. OBJECTIVES: The primary purpose of this study is to explore how to use IoT technology to transform a painting exhibition into a digital space that can interact with the audience. By fusing art and technology, the researchers aim to promote innovation in traditional art presentations and stimulate the audience's freshness and interest in art.METHODS: In the Smart Painting exhibition, the researchers used advanced Internet of Things (IoT) technology to incorporate the audience's movements, emotions, and feedback into the artworks through sensors, wearable devices, and cloud computing. The digital devices in the exhibition space could sense the audience's presence and generate and adjust the art content in real-time according to their movements or emotional state, creating a unique display that interacted with the audience. RESULTS: After implementing the Smart Painting exhibition, the audience's sense of participation and immersion in the art display was significantly increased. Through IoT technology, viewers can interact with the artwork in real-time and feel a more personalized art experience. The digitized exhibition space provided the audience a new level of perception, deepening their understanding and appreciation of the artworks. CONCLUSION: This study demonstrates the feasibility of using IoT technology to create interactive art spaces and shows that this innovation can inject new vitality into traditional painting exhibitions. Through digitalization, the interactivity of the art space is enhanced, providing the audience with a more profound art experience. This approach provides artists with new possibilities for creativity and opens up a fresh vision of participatory art for the audience. The Smart Painting Exhibition is expected to become a new model for integrating art and technology, pushing the art world towards a more innovative and open future.

Exploring the impact of ChatGPT on art creation and collaboration: Benefits, challenges and ethical implications

This paper examines the chaos caused by introducing advanced language models, specifically ChatGPT, to art. Our focus is on the potential impact of ChatGPT on art creation and collaboration. We explore how it has been utilized to generate art and assist in creative writing and how it facilitates collaboration between artists. This exploration includes an investigation into the use of AI in creating art, music, and literature, emphasizing ChatGPT’s role in generating poetry and prose and its ability to provide valuable suggestions for sentence structure and word choice in creative writing. We conduct case studies and interviews with diverse artists and AI experts to understand the benefits and challenges of using ChatGPT in the creative process. Our findings reveal that artists find ChatGPT helpful in generating new ideas, overcoming creative blocks, and improving the quality of their work. It enables remote collaboration between artists by providing a real-time communication and idea-sharing platform. However, ethical concerns relating to authorship ownership and authenticity have emerged. Artists fear using ChatGPT may lead to losing their artistic identity and ownership of their work. While our data suggests that ChatGPT holds the potential to transform the art world, careful consideration must be given to the ethical implications of AI in art. We recommend future research to focus on developing guidelines for the responsible use of AI in art, safeguarding artists’ rights, and preserving artistic authenticity.

ARTIFICIAL INTELLIGENCE IN CONTEMPORARY VISUALITY

The new discourses in the contemporary art space and in the art education field regarding artificial intelligence are a consequence of a major mutation in the paradigm of contemporary art. Starting from the visual forms generated by artificial intelligence as a creative-technological instance, the current research aims to discuss the reconsideration of the human contribution in the authorial legitimation of art. The author, the lecturer, the systemic process of communication specific to art, all other instances and relationships submit to the effort to incorporate a tool of knowledge that goes beyond the traditional functionality of a passive resource, migrating to forms of active autonomy. We are witnessing the revolutionizing of the dialogue between creative technologies and the world of art, in which active instances systematically reinvent themselves, eluding the specific quantification of information technologies specific to the artistic field.

Reflection of Aesthetic Concepts of Russian Realism in Chinese Visual Art

This paper examines the impact of Russian realism on Chinese visual art, focusing on how Chinese artists have adapted and reinterpreted Russian aesthetic concepts. The study highlights the role of cross-cultural exchanges in enriching both traditional Chinese art and the broader understanding of realism. Through a detailed analysis, the author explores the reflection of Russian realism's social criticism and humanistic ideals in Chinese artistic practices, and how these influences have fostered new artistic forms and themes within China.The research employs comparative analysis of artworks and artistic traditions alongside historical and cultural contexts of both Russia and China. This approach underscores the importance of international artistic exchanges in creating a more diverse and multicultural art world. The study's novelty lies in uncovering the mechanisms of cultural integration and innovation through artistic exchanges between the two countries, detailing how Russian realism has not only shaped Chinese art but also spurred the creation of unique forms that reflect contemporary societal and cultural demands.Significantly, the fusion of Russian realism and traditional Chinese aesthetics has led to a new artistic direction in China that melds global artistic trends with local cultural values. This synthesis has facilitated deeper cultural dialogues and mutual understanding, enriching the artistic traditions of both Russia and China. Artists have been provided with new opportunities to explore innovative ideas and forms, thus strengthening cross-cultural ties and expanding the boundaries of artistic interaction. The paper emphasizes the transformative power of this artistic merger in enriching the global art space and fostering a more inclusive and varied artistic milieu.

On Collaboration

Abstract “On Collaboration” attempts to situate the withdrawal of support from the magazine Artforum (precipitated by the firing of its editor-in-chief David Velasco in October 2023) within a longer history of institutional antagonism. It compares strategies of opposition available to the avant-garde and counterculture in the 1960s (as exemplified by Fluxus's George Maciunas and the novelist Thomas Pynchon) with those that emerged in the 1970s, with particular attention paid to the machinery that sustained the appearance of the art world and, more broadly, the public sphere. Citing Vito Acconci's contributions to the exhibition ROOMS P.S. 1 (1976), it argues that much of what has been historically recognized as strategies of institutional opposition from the 1970s onward, including institutional critique and the alternative space movement, might be better understood within a framework of “institutional collaboration.”

A Comparative Analysis of Two Creative Metal Sculptors: Adeola Balogun and Dotun Popoola

Welded metal sculpture has gained significant recognition within the art world. It is exhibited in prestigious galleries, museums, and public spaces globally. This article presents a comparative analysis of two renowned welded metal sculptors, Adeola Balogun and Dotun Popoola examining their artistic styles, techniques, and thematic representations. Research has been carried out on these two artists but the comparative analysis of their works is yet to be documented hence this study. By exploring the work of these artists, the article aims to provide insights into the diverse approaches employed in the field of welded metal sculpture. The analysis is supported by critical evaluation of relevant sources including scholarly articles, books, and gallery exhibitions, to highlight the distinctive characteristics and contributions of each artist. Keywords: Welded metal, sculpture comparative analysis

Eurasian Characteristics and Acculturation Reflected in the Artistic World of Han Jin, a North Korean Defector and Refugee

Eurasian Characteristics and Acculturation Reflected in the Artistic World of Han Jin, a North Korean Defector and Refugee

The Interrelation and Influence of Cultural Identity in the Performing Arts: Archetypes, Reflections, Interpretations

Relevance. In the modern global world, the relationship between cultural identity and the performing arts is becoming increasingly relevant. The academic paper focuses on the role of cultural identity, its search and transformation, based on archetypes, reflection and interpretation in forming the identity of performers. Archetypes, which are universal symbols and images, influence the creative process of performers. They can be manifested in musical compositions, choreography, acting, and other forms of art. Performers’ reflections on their cultural heritage and identity help them enrich their performances and express themselves. Purpose. The present academic paper will help reveal important aspects of the interaction between cultural identity and the performing arts, and it will also consider practical examples from the world of art, in particular, music. The object of the research is the specificity of the cultural identity of certain countries (Ukraine, the USA, Brazil, India, and China) and the possibilities of the performing arts to use cultural specificity/identity in the modern world. The principles of tolerance, awareness of cultural relativism and tolerance, cultural variety, and the aim to preserve cultural heritage by popularizing these notions served as the methodological basis for writing the academic paper. In order to accomplish the research tasks, the works of the following scholars and their methodological approaches were used, namely: the works of C. Jung, T. Adorno, the theories of F. Clackson and F. Strodtbeck, and the development of the study of cultural features of countries by G. Hofstede. In the context of cultural globalization, the issues of cultural identity are gaining particular importance. Musical art is particularly appropriate for demonstrating both timeless and supranational aspects of existence, and vice versa – for shaping and cultivating cultural differences, using both established archetypal images and performing reflections and interpretations of the author's intent, interpreted in accordance with the personal background and historical and cultural context.

인간-AI 공동창작 공연예술 특성 연구

With the advent of the AI era, various artistic experiments utilizing generative AI are actively unfolding in the art world. In the performing arts industry, performances co-created and performed by humans and AI are being announced one after another. Consequently, there is a growing interest and debate on whether AI can be considered an equal artistic creator alongside humans and whether AI can replace human creativity. This study aims to examine the artistry, potential, and validity of AI performing art by identifying the characteristics of human-AI collaborative creation performing art based on the premise that AI performing art is the result of collaboration between humans and AI. To achieve this, we will first briefly examine fundamental concepts to understand artificial intelligence and artificial creativity. Following that, we will briefly review trends and creative processes in domestic human-AI collaborative performance arts, divided into dance <Beyond Black>, music <Sangmyung AI+X Project I AI Concert>, and theatre <Paphos 2.0>, among other examples from various performing arts fields. Lastly, we will examine the characteristics of contemporary human-AI collaborative performance arts from the perspectives of existence and aura.