Development Of Contemporary Art Research Articles

Re-actualization of Traditional Themes in Contemporary Craft Art through the Concept of Hybrid Aesthetics

In the beginning, craft as a category of art was established because of its traditional cultural elements. However, in its development, contemporary craft art features many other styles and elements of art, making it difficult to distinguish craft art from other types of art. To adjust to the development and new characteristics of contemporary craft art, it is necessary to develop new methods in the creation of craft art. One of them is cultural hybridization. This article offers a method of creation by adopting the concept of a hybrid aesthetic. Through this method, artists are invited to experiment with visually re-actualizing traditional cultural elements in the creation of craft works among modern art elements. The main question that needs to be asked is how the hybrid aesthetic method can provide certain strength in reaffirming the definition of craft art according to the development of contemporary art. The adoption or application of the hybrid aesthetic concept in the creation of contemporary craft must still consider traditional elements and the adoption of other elements with the application of new methods of creation. The hybrid aesthetic concept produces a unique genre and has the opportunity to sustain an aura of originality through the re-actualization of traditional elements in a strong visual in the global art scene.

Trends in the study of the image of a modern man in the art of Russia at the beginning of the XXI century

The subject of the study is the consideration of modern trends in the study of fine art, in particular Russian portrait and narrative painting of the beginning of the XXI century. The object is scientific works related to various fields of the humanities, namely: art history, aesthetics, anthropology, sociology, philosophy, psychology, etc. Using their material, it is possible to show not only the difference in approaches to understanding the essence and role of the image of a modern person in the art process, but also to demonstrate the specifics of the artistic interpretation of this figurative system in the context of art criticism, cultural and philosophical issues. Such a study allows us to systematize existing ideas about the peculiarities of the development of anthropological subjects in the mainstream of contemporary fine art in modern Russia, to identify the main directions. The main methodological basis of the study was a systematic approach that allowed us to consider contemporary Russian art as a single system. This helped to compare the approaches of modern researchers analyzing the place and role of the human image in it. Through the postmodern paradigm of perception and interpretation of anthropological topics, to identify the essential features of the ideas of Russian scientists. Methods of art historical analysis were also used. The starting point of the research is that at the moment in Russian science there is a body of art history and cultural studies devoted to the development of contemporary art in the country. However, there are no works summarizing the existing experience of scientists and defining the main directions of scientific thought. In light of this, the scientific novelty of the article lies in expanding the understanding of the methodological apparatus necessary for the analysis of the anthropological trend in the visual arts of our time, which is a promising path for future research in this area. The most demanded conceptual philosophical and historical-cultural foundations for the analysis and solution of practical problems in the field of contemporary art in relation to the representation of the human image are identified. Empirical research material has been collected and analyzed.

Interaction of Digital Trends and Sustainable Development: The role of Contemporary Art

The purpose of the work is to analyze the impact of digital technologies on the sustainable development of contemporary art - an overview of the main trends that have emerged as a result of the integration of new media into artistic practices. The article methodologically classifies various genres of digital art by means of a critical qualitative analysis of practices, artworks, installations, exhibitions, collectives and events at the forefront of artistic innovation with new technologies. The scientific novelty lies in a comprehensive analysis of digital art through the prism of the concept of sustainable development. The work considers digital art not just as another technological innovation, but as a full-fledged artistic phenomenon of our time. The systematization of artistic practices associated with the use of the latest technologies is carried out, their common conceptual foundations are revealed. In addition, the article deals with issues of environmental sustainability, social responsibility, inclusiveness of digital practices. The dilemmas around the balance of technological innovation and artistic freedom from the perspective of sustainability ethics are outlined. The conclusions provide a conceptual understanding of optimal pathways for developing digital art in relation to societal sustainability.
 Keywords: digital art, sustainable development, new media art, network art, generative art, interactive art, AI, VR, AR, digital culture

The Use and Effect of Mass Media in the Dissemination of Chinese Contemporary Art: A Case Study of the New Star Art Awards

As a platform for the public to know the world, the media is a carrier to carry all kinds of information and spread ideas, culture, and art. Highly developed media not only popularize the basic knowledge of art, connect the relationship between art and the public, but also promote the development of contemporary art. This paper chooses the New Star Art Awards, a representative award in the field of Chinese contemporary visual art, as a case study. It is used to analyze how the mass media is used in the dissemination of Chinese contemporary art. Then, it analyzes the positive influence of mass media on Chinese contemporary art.

Exploring the Dance Training Curriculum System for Higher Vocational Performing Arts Majors

Higher vocational education should cultivate students' comprehensive problem-solving ability and advanced thinking. The quality of practical teaching should be reasonably and effectively improved in the process of cultivating art talents in higher vocational education. The teaching of higher vocational art courses can only comply with the development of contemporary art and design industry, and actively update the concepts and methods of talent cultivation in order to better realize the goal of cultivating higher vocational art and design talents, and to meet the needs of the industry and enterprises in the employment of relevant jobs.

Analyze the Study of Expressionism in the Field of Visual Communication Design

Expressionism is a complex term with different meanings in different periods. When we think of Expressionism, we think of the trend of French Impressionism, or of a wave of art in Germany and Austria in the early 20th century. The term Expressionism has a wide connotation and can include many painters. The Expressionist works represented by Munch's "The Scream" in this paper have played an active role in promoting the development of Expressionism and made an important contribution to contemporary art. Today, with the diversified development of contemporary art, it is possible to analyze the field of design from the perspective of Expressionism and explore the development characteristics suitable for visual communication design. In this paper, the influence of Expressionism on visual communication design is explained, starting from the color expression and artistic characteristics of Expressionism.

РОЗВИТОК СУЧАСНОГО ОБРАЗОТВОРЧОГО МИСТЕЦТВА ЦЕНТРАЛЬНОЇ АЗІЇ

The article examines the development of the visual arts of Central Asia from the moment the countries conquered this part of the world, from 1991 to the present day. In the context of «One Belt, One Road», there is a reinterpretation of the modern history of the visual arts of Central Asia from a global historical perspective, which has a certain strategic importance in order to carry out a joint study of the culture and art of the Silk Road. Central Asian art is a meeting place for Asian and European cultures. Although the history of the development of contemporary art in Central Asia is in the turmoil of modern world history, it is believed that it can withstand the changes of time and continue to develop dynamically. The history of contemporary art in Central Asia has experienced three important social changes and artistic trends: firstly, during the period of the Russian Empire, the artistic movement of realism influenced the strict rules and regulations of Islamic art; secondly, their own artistic style and their own cultural characteristics gradually formed; thirdly, the direction of contemporary art constantly breaks down barriers, «patterns and rules», realizing artistic aesthetics and artistic ideals in integration. During the thirty years of Central Asian independence, open borders, free external exchanges and cooperation gradually emerged from the shadow of the vast haze of Soviet art history, lifted the mysterious curtain of Central Asian contemporary art, and gradually dispelled the interest of the academic community in Central Asian art, cognitive flaws and misunderstandings. However, people’s understanding of the history of contemporary art in Central Asia cannot be achieved overnight, and its inherent shackles still influence the way the academic world thinks. Keywords: Central Asia, tradition, culture, history of modern art, fine art, painting, silk road.

TO THE QUESTION OF SOCIAL MEDIA IN CONTEMPORARY ART

TO THE QUESTION OF SOCIAL MEDIA IN CONTEMPORARY ART

Artistas en las minas, canteras y salinas. Land art o earthworks y arte ecológico

At the end of the 60s of the 20th century, a group of mostly Anglo-Saxon artists began a series of works in a context of social struggle and the beginning of the environmental movement that gave rise to what has been called land art and earthworks. Since then these initiatives have had extensive development. The historical study of these works, their symbolic meaning, their impact on the development of contemporary art and the role played as an engine of development of the territories where such works have been carried out will be the main objective of this work. These artistic works are executed on the territory and remain inextricably linked to it, where man leaves his mark on nature. They are actions that build, destroy or modify the landscape to a greater or lesser extent, since they frequently acquire large dimensions. Since the end of the 20th century, some artistic interventions will be carried out to revalue the landscape of mines, quarries and salt mines, particularly after its closure. It can be said that these works show a certain ephemeral character, depending on the qualities of the geological materials and the climate, being exposed to the direct action of the meteors, and in any case, it is an outdoor art. Ecological or environmental artists will see their initiatives enhanced after the approval of the first protectionist laws in the 70s. These artists work in mines and quarries, mainly from the point of view of landscape and environmental recovery.

Международная научно-практическая конференция «Медиаискусство XXI век. Генезис, художественные программы, вопросы образования»

The article reviews the reports delivered on November 1–3, 2022, at the International Research-to-Practice Conference Media Art—XXI Century: Genesis, Art Programs, Education Problems. It was organized by the Russian Academy of Arts, the Research Institute of Theory and History of Fine Arts, the State Institute for Art Studies, Stroganov Moscow State Academy of Design and Applied Arts, the Moscow Architectural Institute (State Academy), and the National Academy of Design. The conference aimed at comprehending the current state of media art in the context of digitalization of classical works and methods of their exposure; at identifying key program and aesthetic dominants in media art; and at systematizing the most relevant educational projects. The organizers suggested the following aspects as the major research focuses: classical arts and media in digital discourse; new media in the socio-cultural environment; current media forms and their genesis; new media in the urban environment; interdisciplinary and authorial projects; educational processes and new competencies. Cultural institutions today are faced with the search for a definition of materiality, with fixation of transitory art; and in response, contemporary art studies are forced to develop new theoretical concepts to be used in scholarly discourse. It is how contemporary media, digital and post-digital technologies influence the state and development of contemporary art and art history practice, architecture, design, and decorative arts, that became the key research task of Media Art—XXI Century Conference. The conference demonstrated the wide range of aesthetic, art history, culturological and pedagogical aspects, which are incorporated in the creation, exposure, and further circulation of media art in the socio-cultural space.

The Structure of Reproduction—Exploring Andy Warhol's Painting Style

Andy Warhol, known as one of the most influential artists in the 20th century, is the founder of pop art in the visual art movement. He often appears in front of the public with grotesque images, whitewashing the boundary between high-level art and low-level culture, and changing the way we view and understand art today. In addition to high values and aesthetic tastes, his works of art also have a very strong commercial atmosphere. The innovation of this artistic style is a sign of self-expression and self-identification, which not only affects painting but also affects artistic concepts. Starting from the background of contemporary art and Andy Warhol's personal experience, this paper discusses that Andy Warhol has formed his own unique graphic painting language and pictorial style through "copying" mass production, which is inseparable from the achievements of pop art. This style has continuously influenced the development of contemporary art in the art language, material media and strong artistic trend.

Počeci savremenog srpskog likovnog obrazovanja na Kosovu i Metohiji

The beginnings of contemporary Serbian art in Kosovo and Metohija are related to the establishment of the first educational institutions in this area, where generations of students and art students were educated. And overview of the development of contemporary art in Kosovo and Metohija can be traced back to 1949, when the High School of Art was founded in Peć. This school becomes a nursery of talents and a center of artistic development, improvement and shaping of artistic reality and Kosovo and Metohija. After that, the development of art education was infuenced by the establishment of the Higher Pedagogical School in Pristina in 1962. The conception of this educational institution included the formation of the Fine Arts Group, where young artists were successfully trained. The Academy of Arts in Pristina was re - established in 1973 an it had the following educational courses painting, sculpture, graphics and graphic design. The Academy played a key role in the development of the art scene in the province, educating young artists and future art teachers. Since the school year 1986/87, the Academy was reorganized and continued to work as the Faculty of Arts in Pristina. The most difficult period in the history of university art education in the province ocurred due to the war events in 1999, when the professors and students of this higher education institution were expelled. The faculties infrastructure, teaching space and studios were usurped, and most of works of art were looted and destroyed. The Faculty of Arts was then moved first to central Serbia, and since 2001. It has been working in Zvečan, i.e Kosovska Mitrovica.

Virtual Reality in Contemporary Theatre

This study examines how virtual reality images are used in contemporary theatre. Modern technologies get into various areas of life including the theatrical environment. Therefore, the study of the role of virtual reality in contemporary theatre is crucial for the qualitative understanding of the tendencies in development of the contemporary theatre scene in the context of the development of contemporary art. This determines the relevance of this study and subsequent academic research in this field as well. The purpose of this study is to assess the degree of influence of modern technologies on creating virtual reality in the development of theatrical art. The leading approach for this study is a combination of a systematic study of the main trends in the creation of virtual reality within the framework of the development of modern technologies and the logical construction of conclusions retrieved from the results of this study. The main results obtained in this study are supposed to be the identification of the main areas for creating virtual reality in the activities of contemporary theatres and changes in the work of theatre groups during the COVID-19 pandemic. Prospects for subsequent academic research in this field are determined by the increasing usage of modern technologies for creating virtual reality within the framework of the modern development of theatrical culture and the need for a deep study of this factor as the one that defines the prospects for the technological development of the contemporary theatre scene. The practical significance of this study lies in the possibility of using its results obtained to assess the role and place of modern technologies for creating virtual reality in contemporary theatre.

THE ART OF PERESTROIKA: NEW MOVEMENTS IN GEORGIAN ART OF THE 1980s

The study of Georgian art of the perestroika is very important, especially in the context of the history of art movements of the 1980s, linked to the establishment of the non-official art groups in Tbilisi.
 The aim of this article is to analyze the history of the establishment of the art groups Archivarius (1984) and Tenth Floor (1986) and to discuss the art movements of the 1980s in Tbilisi. The generation of Georgian artists involved in the non-official art groups fundamentally changed the art scene of that period and played an important role of the development of contemporary art in Georgia. Perestroika, associated with Mikhail Gorbachev’s policy of openness, contributed to a shift in political and sociocultural discourse throughout the Soviet Union and also played an important role in the artistic processes in Georgia. All the events that took place in the 1980s art scene of Tbilisi portray a vigorous willingness to hasten away from the Soviet dimension and maintain the memory of a historical discourse. Some artists found a way out through emigration; others discovered an intangible shelter via working collectively. Perestroika had clearly formed a special environment in which things that were previously unseen became visible. The Georgian avant-garde managed to create its own sui generis aesthetic and theoretical principles in just a decade, alongside expressing postmodernist hues at certain points.

Дискурс о теоретико-методологических подходах в современной философии искусства

The article analyses the priority problems of the development of contemporary art, as well as the evolution of aesthetic ideas, views in the situation of comprehensive and profound transformation of artistic relations, and interests. Changes in artistic practice, aesthetic attitudes, and philosophical assessments in the field of art are defined by the authors of the article as a problem of social contexts, multifactorial demands in the field of artistic creativity. The authors focus not only on stylistic, axiological, normative, public, contractual attitudes in the field of artistic practice and relations but primarily on latent, at the same time, prevailing artistic, aesthetic approaches, expressed in intentions, expectations, emotions, needs, forms of communication, self-realization that go beyond cognitive commensurability, aesthetic objectivity, taste comprehensibility, moral accessibility. The publication discusses some techniques and features of “theorizing” in the field of analysis of art problems in a broad sense and in the analysis of its phenomena. The authors highlight the functions of art theory, discover the “autonomy” of art theory, and point out its differences from everyday assessments, practical requests, aesthetic attitudes, and “scientific norms”.

Neo-baroque in modern ukrainian art: features, representatives, significance

The aim of the work is to analyze neo-baroque features in modern Ukrainian art. The research methodology is based on the principles of logic, abstractness and scientificity. The general theoretical research methods are used in the work: synthesis, induction, analysis, deduction. Particular attention is paid to the use of special art methods, including formal-stylistic, structural analysis and semantic approach. With the help of the historical method it was possible to trace the longevity of neo-baroque traditions. As a result of using the comparative method, neo-baroque samples of Ukrainian art were analyzed and compared. Scientific novelty. The article comprehensively analyzes the development of neo-baroque as a separate style in modern Ukrainian art studios, but the main vector is made for the analysis of modern Ukrainian painting. Conclusions. Neo-Baroque from the XIX century, proposed several new principles, that contradicted the principles of the „official” classicism. In particular, neo-baroque culture led to the rejection of a single, systematic, simple model and formed a view of the world as a fragmentary plurality. Ukrainian neo-baroque became a natural stage in the national tradition, which turned to its origins and formed complex relationships with other art forms. Therefore, the significance of this style is significant given the further development of contemporary art. Among contemporary artists who turn to the Baroque traditions, such figures as V. Ryabchenko, K. Reunov, A. Savadov, O. Tistol, S. Panych. and others are important. Some neo-baroque features are contained in the works of M. Storozhenko, Y. Lutskevich, D. Yablonsky, etc. The development of the neo-baroque has become so popular in contemporary art that even Ukrainian designers are actively incorporating Baroque principles into their works.
 Key words: neo-baroque, art, Ukraine, representatives, culture

Interactive Sound Installation as an Implementation of Contemporary Communication Models

Digitalization, virtualization, commercialization, loss of integrity, polystylistics, liberation from any norms are the latest trends that determine the development of contemporary art. They influence the functioning of modern communication models that evolve in accordance with the achievements of technology and acquire mobility, variability and interactivity. Interaction between social processes and scientific and technological achievements is increasing, the essence of communication in the space of modern culture is being rethought, particularly, the boundary between the types of art is being levelled. The latter phenomenon leads to the emergence of new instruments and methods of artistic creativity and expands the possibilities of artistic self-expression. One of the promising areas of artistic exploration is the creation of sound interactive installations. This paper proposes a classification of communication models that are based on the analysis of interactive sound installations. The classification is based on determining the degree to which audiences actions influence the final sound result of the creative action. The paper claims that the parameters of the exhibition space are important components of the installation’s structure and form. A dialogue with nature by way of incorporating sounds of nature, their imitations, and interpretations in art objects is found to be a current trend in interactive sound installations.
 
 

The Practical Effect and Positive Influence of Mobile Art Apps in Online Education for Contemporary Art

This study explores the real effect and positive influence of the use of two mobile art apps, The Met and Artnet News, on online art practice on the basis of understanding their cognition of contemporary art development and art apps. The target group for this study is art college students affected by Covid-19 for online learning. The main goal is to determine the daily use frequency of college art students who use mobile art apps to learn online, as well as the cognitive status of college art students and the actual effect of using mobile art apps for online learning based on a comparison of the data from the two research groups and the control group. The researchers used a quantitative study design with a simple questionnaire survey distributed to 90 pre-university students to collect their cognitive state of modern art and frequency of use of mobile art apps. They were then divided into groups to compare the actual effect of these students after utilizing the mobile art app for further study with the test data to the group that did not utilize the online learning platform to obtain the final research results. Through specific data, this study not only reveals the understanding and cognition of art college students affected by Covid-19 on the current situation of contemporary art development, but it also encourages students to use mobile art apps to expand their theoretical knowledge reserve and apply it to the practice of contemporary art creation in addition to online classroom learning in colleges and universities.

“Construction and Decorative Art” Magazine: A Forgotten Word in the Russian Artistic Criticism of the Early 20th Century

The article is devoted to the history of the Moscow magazine “Construction and Decorative Art”, which played a significant role in Russian art criticism in 1903, despite its short (within six months) existence. This topic needs to be addressed due to the small number of comprehensive studies in the field of Russian art criticism of the early 20th century. On the basis of archival materials of censorship, the article reconstructs the creation circumstances of two homogeneous magazines (“Architecture and Decorative Art”, renamed “Free Art”, and “Construction and Decorative Art”) and their actual transformation into one press organ. There is examined the rapprochement of the architects Vasily Borin and Leonid Betelev with the scandalous journalist Alexey Filippov, their struggle for the permission to publish a new Moscow magazine about art in 1900—1902, the patronizing attitude of the Main Directorate for Press Affairs and the Moscow Governor-General to the new initiative of Filippov. The author introduces into scientific circulation important recorded sources related to the transfer of the rights to publish the magazine to Vasily Borin, and his attempt to pass off the former magazine of Filippov and Betelev as his own (hitherto non-existent) magazine “Free Art”. The article analyzes three issues of the illustrated magazine “Construction and Decorative Art” published in 1903. Basing on the data on the magazine’s format and prices, the author concludes that the publication turned out to be expensive and, therefore, unprofitable. The article pays particular attention to the views of Borin and Filippov on the development of contemporary art, Art Nouveau, and the activities of the artists of the group “Mir Iskusstva” (“World of Art”). In the context of a meaningful analysis of the magazine’s articles, there is discussed the honoring of the architect Nikolai Nikitin in connection with his anniversary. The author poses the question of how the issues of “Free Art” at the end of 1903 should be assessed. There are analyzed the causes for the mysterious closure of both the magazines in 1904—1905, which was not formalized in accordance with the law.

«Eternal Images» of Antiquity: Functional Analysis in the Scope of the Late 20th – Early 21st Centuries Visual Culture

Traced the desire of star artists from France, Italy, Spain, Great Britain, Russia, different generations and with fundamentally different worldview foundations of creativity, in recent decades to include antique motifs in their imaginative programs; moreover, making them the translators of individual artistic expressions reflecting socio-cultural reception. The portrayal of ancient images, on different aesthetic and worldview bases, are present in the experimental works of the modernism, in the postmodernism (which became a reflection of the collapse of the whole picture of the world observed in modern psychology, philosophy, history), are a means of actualization gender issues, the problems of the LDF community, a reflection of glamorous aesthetics, arise in examples of street art and arte-pover, elite and mass culture, etc. For the first time in many centuries, «antique» sculptures appear at city crossroads and squares, bearing signs of the formal vocabulary of new trends. Over the past more than half a century, the individual statements of artists, in an attempt to remain in the field of polemical discourse, in an effort to expand the boundaries of the norm, including the recently approved ones, took place within the framework of large-scale (it is important to be aware) conceptual projects, thematically completely based on the interpretation of the images of Antiquity, which takes place for the first time in the history of exhibition practice. Moreover, these projects sometimes seem to be milestones in the development of contemporary art