High Art Research Articles

CODE OF SPANISH PAINTING IN RUSSIAN CULTURE (BASED ON THE RUSSIAN FICTION OF THE XIX - EARLY XX CENTURIES)

The paper deals with reception of the Spanish pictural images presented in the Russian fiction of the XIX - early XX centuries. The material of the study are works by I.A. Goncharov, A.F. Pisemsky, N.S. Leskov, N.D. Khvoshchinskaya, N.A. Leykin, L.N. Andreev, A.T. Averchenko. The analysis results show that the theme of the Spanish painting in the Russian fiction is focused on images of two painters - Bartolome Murillo and Diego Velazquez. What is more, with time there is a shift of contexts in which the writers put the images of the Spanish painters and their masterpieces. If in the middle of the XIX century these images are markers of the high art sphere that connect the Russian space with the latter, in the early XX century they represent gaps between elite classic art and mass culture of the epoch fin de siècle.

ART AND COMMUNICATION AS A NOVEL EXPERIENCE IN MODERN CULTURE

In this paper we discuss the deadlocks of defining art in modern culture. The lack of criteria and modernism revisited are of crucial issue in this account. The theoretical mainframe of our approach is founded on the Frankfurt School thinkers (Max Horkheimer, Theodor Adorno, Walter Benjamin), and of course Jürgen Habermas. This theoretical apparatus also draws on contemporary accounts given by Sorbonne Professor Marc Jimenez and art critic John A. Walker.[1] The paper discusses whether fine art may survive, in what forms – and to what purpose – in an age of mass media and in conditions of rapid networked communication. The paper sets off from the critical role radical art plays in today’s divided yet global world and on the continuing debates between high art and low culture, but reflects on the interaction between art, media and technology.
 To support our argument we suggest Body Art and other web/digital and technological applications in art, and the cyber-art currently being produced for the internet. The paper acknowledges the numerous interactions between art and culture in a postmodern pluralistic world, and draws from the vast range of contemporary works of art to illustrate and to criticize theoretical points. The true test of theory in aesthetics is their application to particular cases. When a theory shows limitations in such an application, we gain clues as to what theoretical adjustments or innovations are called for to accommodate today’s works.
 The introductory part of the essay comprehensively surveys recent debates on works of art, mass culture and society, and their socio-philosophical significance. The main discussion refers to the work of Walter Benjamin and Jürgen Habermas, aptly commented on by Marc Jimenez;[2] after exploring the complex relationships between culture and art as it’s reflected in that work, the argument provides an account of the 1980s political turn in aesthetics and explicates the impact of new communication technologies in modern culture. The narration is enhanced by specific examples of works of art in the era of mass media, web and digital culture, and underlines both the styles’ pluralism and the variety of parameters affecting the interaction between art and mass media communication. Critical findings and suggestions for further research conclude the paper.
 
 [1] Marc Jimenez, Qu’est-ce que l’esthétique, Paris: Gallimard, 1997; John A. Walker, Art in the Age of Mass Media, London: Pluto, 2001.
 [2] Jimenez, Ibid.

Dziedzictwo Fryderyka Chopina z perspektywy społeczności lokalnej i turystów

Although cultural tourism has been known since the very beginning of the European civilisation (the Ancient Greeks and Romans peregrines’), nowadays cultural events are a great attraction not only for a local community, but they are also a strong motivation for tourists to travel. It seems that one of the special research value is to consider how deeply cultural events, connected with ‘high art’ (museums, classical music, art events of superior quality), motivate a local community and tourists. Therefore, the main aim of our survey was to recognize the role and contribution of top cultural events (on the example of ‘the Chopin Year 2010’) in marketing a city’s image and to evaluate its significance as a tourist attraction and its meaning to the local community. To examine the cultural tourism from visitors and the local community perspective and to obtain primary data, we undertook the explanatory and evaluative research. We also used (as secondary data) an academic literature review results, statistic information and materials obtained from the Chopin Museum in Warsaw, the Fryderyk Chopin Association and the Fryderyk Chopin Institute. This paper describes the main outcomes of the survey conducted in 2011–2015. In the past, cultural activities were rarely regarded as part of the tourism industry in Warsaw. The International Fryderyk Chopin Festivals and the International Fryderyk Chopin Piano Competitions were considered as different. From the beginning, they were aimed to be widely recognised international events, rather than attractions organised to meet the needs of the residents and domestic tourists. However, ‘the Chopin Year 2010’ celebrations remained highly exceptional as many different events took place, including ‘street music.’ They were aimed broader than to satisfy only a rather narrow niche of professional musicians. In 2010 both the International Fryderyk Chopin Festival and the 16th International Fryderyk Chopin Piano Competition were events not only shaped for special groups of music lovers, but also for the local community who was able to actively participate in these two big festivals.

Martin Shuster, New Television: The Aesthetics and Politics of a Genre

Martin Shuster aims with this book to elevate critically acclaimed television through an aesthetic appreciation of particular series. The complexity and importance of the themes typified in the series on which he focuses – all high-end US subscription service shows, specifically Weeds (Showtime, 2005–12), The Wire (HBO, 2002–08) and Justified (FX, 2010–15) – underscore his objective to place these works alongside the greatest achievements of screen art. Shuster situates New Television: The Aesthetics and Politics of a Genre within the tradition of studies of ‘Quality TV’ by stripping his chosen programmes from TV ‘flow’ and distancing them from television’s ‘tainted’ legacy of quick, ‘low-quality’ programming. Instead he places these shows amongst the high arts, comparing them to films, novels and paintings. He argues that television has ‘come of age’ because certain series are worthy of serious consideration and philosophical reflection. Consequently New Television seems targeted at the readers interested more in film-philosophy and art criticism than in television as television.

Poet-Critics and the Administration of CultureAmerican Guides: The Federal Writers’ Project and the Casting of American Culture

Poet-Critics and the Administration of CultureAmerican Guides: The Federal Writers’ Project and the Casting of American Culture

Review: The Palace Complex: A Stalinist Skyscraper, Capitalist Warsaw, and a City Transfixed, by Michał Murawski

Review: <i>The Palace Complex: A Stalinist Skyscraper, Capitalist Warsaw, and a City Transfixed</i>, by Michał Murawski

‘Pakis from Outer Space’: Oriental postmodernity in Leigh Bowery’s performative costuming

With his extraordinary self-styled personas, the late London-based costume designer, nightclub extravaganza and subcultural icon Leigh Bowery constantly unsettled clear divisions between fashion, performance and visual art. His performative costuming reflects in a prolific manner his hybrid aesthetic and his ability to fuse a wide range of visual elements stemming from high fashion, art, mainstream culture and underground practices that en masse render his bizarre presence highly enigmatic. Inspired primarily by the aesthetics and the representations of South Asian culture, and noticeably deviating both from the subcultural style of the early New Romantics and mainstream fashion trends, Bowery’s allegedly first performative look, the ‘Pakis from Outer Space’, integrates an array of clashing symbols and motifs in a distinctively postmodernist fashion. As fetishization of South Asian iconography, Bowery’s enactment provides a platform for deeper analysis in regard to the problems that postmodernist cultural appropriation poses for the politics of representation of the ‘exotic’, non-western other. Drawing on the discourses of postmodernism and orientalism, this article examines the visual codes of the controversial look and unfolds the ways in which by constructing a distorted and eccentric image of an inclusive South Asian identity, Bowery slips in cultural stereotyping and ethnic generalization. Although his postmodernist parodic ethos could potentially be read as an attempt to create a critical – but politically problematic – dialectical space regarding orientalist clichés, it does not only fail to deconstruct monolithic representations but, conversely, reinforces oriental banality.

ТЕОРЕТИКО-МЕТОДОЛОГІЧНІ ПІДХОДИ ДОСЛІДЖЕННЯ ІННОВАЦІЙ У НАВЧАННІ МАЙБУТНІХ УЧИТЕЛІВ МУЗИЧНОГО МИСТЕЦТВА

The article considers the priority tasks of the higher school of art education, such as: improvement of its structure, strengthening of personal orientation, technologicalization of the educational process. It is emphasized that the modernization of the system of higher art education, first of all, is projected on the problem of improving its content, which is one of the main indicators of the general condition and quality of the education system, its prospects and innovation. The basis of innovative behavior is proposed to consider the initiative as a kind of activity, creativity of the individual. The term "initiative" is given as an initiative, an internal motivation for new forms of activity, entrepreneurship, the ability to act independently. The various definitions of "pedagogical technology" are united by the idea that the meaning of this concept is the design and implementation of a reproducible learning process aimed at achieving goals. pedagogical technology allows to design the educational process in advance and, as an integral part of the pedagogical system, meets the demands of modern society. Diagnostics, efficiency, cost- effectiveness, projectivity, integrity, manageability − features that distinguish pedagogical technology from other pedagogical phenomena.

Instructional patterns for the teaching and learning of argumentative writing in high school English language arts classrooms

Argumentative writing has long been considered an essential skill for disciplinary learning. For researchers and curriculum developers to develop ecologically valid instructional approaches to argumentative writing, a pivotal prerequisite is the understanding of how teachers use various instructional methods in tandem to teach different argumentative components. This exploratory study identified instructional patterns for the teaching and learning of argumentative writing by observing 187 English language arts class sessions taught by 31 highly regarded high school English language arts teachers (529 students; 40% of the students were males). Multidimensional scaling identified three instructional patterns that vary in the level of teacher centeredness and dialogic interaction. These instructional patterns may reflect the occurrence of explicit teaching, dialogic learning, and in-class writing that was sometimes accompanied with teacher conferencing or coaching. Common across all of these practices was the teaching of claim and evidence. Warranting, counterargument, and response to counterargument, which are more complex forms of argumentation, tended to be taught by instructional practices involving low- to mid-level teacher centeredness and high-level dialogic interaction (e.g., small grouping, discussion). Overall, our findings highlight the gaps between what researchers suggest as effective approaches to teaching argumentative writing and how argumentative writing is currently taught in classrooms.

Development of Art Learning Supplement Books for Middle School Students

Fine art, creative, and innovative are the components are interlinked and inseparable on the one hand, the students are also required to love and raise the value of art subjects. In line with this, the peseta students must also have skills that are competent for the results of his art deserves to be appreciated, economic value, and has a high resale value in the community around.That it is necessary to supplement the Book Development has the feasibility to use on learning in junior high art is Development Education Supplement Book Arts For junior high school students. The book is said to be feasible on the basis of the results of validation of educational materials experts art creative and innovative. The results of the feasibility design validation scored 90.9% and validation of the feasibility of fine art materials gained 72.6% value. The results of the validation predicate good for fine arts material, it is reflected in the percentage achieved value included in the interval 52% -75%. Books Arts Education Supplement For Junior High School Students. a supplement book learning that can be accepted by the students, the acceptance rate includes aspects of display with a value of 88% and 85% eligibility rate presentation. Small-scale test results entered in the range of 76% -100% value and the whole predicate is very good.

Dark Times: Art and Artists of Vilnius in 1939–1941

&#x0D; &#x0D; &#x0D; The aim of this paper is to discuss and reconstruct in general features the reality of the Vilnius artistic community from late autumn 1939 to June 1941. This period of less than two years significantly changed the configuration of the artistic community of the city, the system of institutions shaping the art scene as well as the artistic goals. It also brought forth new names and inspired new images. These changes were above all determined by political circumstances: the war that broke out in Poland on 1 September 1939; the ceding of Vilnius and the Vilnius region to Lithuania; two Soviet occupations: in the autumn of 1939 and June 1940, and the subsequent Nazi occupation a year later. The influence of politics on the art scene and the life of artists has been explored in institutional and other aspects by both Lithuanian and Polish art historians, but the big picture is not yet complete, and the general narrative is still under construction. A further aim of this paper is to highlight some elements that have not received sufficient attention in historiography and that are necessary for the reconstruction of the whole. Some facts of cooperation or its absence among artists of various ethnicities are presented, and the question is raised on the extent to which these different groups were affected by Sovietisation, and what impact this fragmentation had on the city’s art scene. The timeline of the activity of the higher art school and the Art Museum has been detailed.&#x0D; &#x0D; &#x0D;

Enacting Wide-Awakeness: Stories of Challenging Moments and Personal Change in High School Visual Arts

Abstract Maxine Greene theorized that art and aesthetic education invite teachers and students to enact wide-awakeness. Wide-awakeness is a state of mind and relational practice lived out through actively approaching experience with interested attentiveness and careful consideration. To uncover moments of wide-awakeness in practice, I conducted a narrative inquiry instrumental case study of a high school visual arts course over a period of 9 weeks. In this article, I invite the reader into three distinct stories of the students’ enactment of wide-awakeness during this research study. These stories reveal how the students entered into, persisted through, and were impacted by their unique experiences within the course. As these narratives allow us to vicariously experience these moments, I highlight evidence of Greene’s theory in the contemporary context of a high school visual arts course. These compelling stories of change also reveal the power of a visual arts education in the lives of individuals and advocate for the significance of arts education in providing a well-rounded education for all students.

Reading Motivation in High School: Instructional Shifts in Student Choice and Class Time

AbstractResearch has shown that student choice of text and increased time spent on reading independently are two factors that can result in an increase in students’ reading motivation and enjoyment. The authors investigated implementation of evidence‐based practices to show how they played out in a high school English language arts classroom. The research was guided by two questions: (1) How does choice affect the reading motivation of a group of high school students? (2) How does silent reading time in class affect these students’ perceptions of reading? Findings reveal that students valued freedom of text choice, leading to increased reading self‐concepts and reading value. In addition, dedicating class time to reading and literature circle discussions helped students have more positive reading experiences than otherwise. These findings suggest benefits from flexibility in literature selection and instructional time, thereby providing a space in the classroom for student‐driven reading and discussion.

Kaposi sarcoma in people living with HIV: incidence and associated factors in a French cohort between 2010 and 2015.

Kaposi sarcoma is still observed among people living with HIV (PLHIV) including those on ART with undetectable HIV viral load (HIV-VL). We aimed to assess Kaposi sarcoma incidence and trends between 2010 and 2015 in France and to highlight associated factors. Retrospective study using longitudinal data from the Dat'AIDS cohort including 44 642 PLWH. For the incidence assessment, Kaposi sarcoma cases occurring within 30 days of cohort enrollment were excluded. Demographic, immunological, and therapeutic characteristics collected at time of Kaposi sarcoma diagnosis or at last visit for patients without Kaposi sarcoma. Among 180 216.4 person-years, Kaposi sarcoma incidence was 76 (95% CI 64.3-89.9)/10 person-years. Multivariate analysis (Poisson regression) revealed the positive association with male sex, MSM transmission route, lower CD4 T-cell count, higher CD8 T-cell count, not to be on ART, whereas HIV follow-up time, duration with an HIV-VL 50 copies/ml or less were negatively associated with Kaposi sarcoma. According to the different models tested, HIV-VL, CD4 : CD8 ratio and nadir CD4 cell count were associated with Kaposi sarcoma. Moreover, stratified analysis showed that patients with a CD4 : CD8 ratio 0.5 or less or a CD8 T-cell count greater than 1000 cells/μl were at higher risk of Kaposi sarcoma regardless of the CD4 T-cell count. This study showed that in a resource-rich country setting with high ART coverage, Kaposi sarcoma still occurred among PLWH. CD8 hyperlymphocytosis and CD4 : CD8 ratio should be now considered as two useful markers to better identify patients at increased Kaposi sarcoma risk, including those with a CD4 T-cell count greater than 500 cells/μl.

Aesthetic Views and Ideas of F. Busoni in the Development of Musical Art of the XX Century

Summary: The main direction of the article is the study of the leading aesthetic attitudes and ideas of F. Busoni, who influenced the development of music in the twentieth century. The purpose of the work is to systematize and generalize the representations of musicians of the twentieth century on the role of F. Busoni in the development of composer and performing musical art. For this, a comprehensive, hermeneutic, comparative approach is applied. In his books, F. Busoni outlined many ways in which the music of the twentieth century subsequently developed – from an expanded interpretation of tonality, harmony and harmony to new ways of composition, which he summarized in his letter to P. Becker as “new classicism”. The aesthetic views and ideas of F. Busoni expressed by him in relation to both composer and performing creativity were repeatedly discussed by the composer in a polemic with A. Schoenberg and G. Pfitsner, were supported by his students L. Grünberg, O. Luning, as well as many other composers and performers in the twentieth century. Attempts at creating F. Busoni’s new modal structures summarized the leading directions in the search for “new expressiveness” from N. Rimsky-Korsakov, M. Mussorgsky and the late A. Scriabin to O. Messian, P. Hindemith and B. Bartok. The composer’s desire to expand the ability of the fret by dividing it not by semitones, but by quarter tones and less influenced his creation of plans for the production of a new instrument – harmonium for producing a third of tones, which anticipated subsequent experiments and achievements in the field of electronic music. His aesthetic attitudes regarding the expression of feelings in the measures of art “opened” the discussion regarding the art of interpretation, dividing the music audience into two camps – who welcomed the freedom of expression of the musician-performer and who considered the requirements of musical objectivity to be quite justified, like M. Ravel, P. Hindemith and I. Stravinsky. It was they who supported the aesthetic essence of “new classicism” formulated by F. Busoni in the ideals of clear logic, a sense of style and the high art of polyphony – all those qualities that were his guide in the music of I.S. Bach. Formulated in the works of the composer, aesthetic views and ideas continue to develop and make sense in the musical art of the twenty-first century.

'The Inexhaustible Surface of Things'

This article explores the work of Stefano Tamburini (1955–1986) in relationship to the ‘high arts’ in the 1980s. By concentrating on Tamburini’s least known works (to this day, among his many works, only the RanXerox saga is actually available for English-speaking readers), it is possible to regard his art as a bridge tying comics with the aesthetic and theoretical preoccupations of many of the leading artists of the postmodern trans-avant-garde of the late-1970s and early-1980s in Italy. This article demonstrates how Tamburini offered a model of comics in dialogue with the rest of the contemporary art world, often taking the lead and generating fruitful exchanges both with the field of literature and the visual arts.

O novome nakon modernizma: stvaralaštvo u kontekstu proširenog pojma umjetnosti*

U radu se ispituje što pojam stvaralaštva podrazumijeva nakon povijesnih avangardi, odnosno neoavangardi i postavangardi gdje dolazi do radikalnog preispitivanja i proširenja pojma umjetnosti sve do točke u kojoj umjetnost samu sebe dovodi u pitanje, postaje neprepoznatljiva čisto zamjedbenim svojstvima te se potvrđuje kao neka vrsta filozofije. Često se navodi kako je umjetnost time došla do kraja svojeg povijesnog razvoja, odnosno do „povijesne samosvijesti koja je u stanju prepoznati sve povijesno determinirane razlike.” Riječ je o kontroverznom razdoblju u povijesti umjetnosti koje s jedne strane obilježava vrhunac modernizma najčišćim formalističkim izrazom, a s druge strane napuštanjem njegove glavne ideje (vjera u napredak i emancipaciju čovječanstva), kritikom autonomije umjetnosti, ukidanjem razlike između visoke i popularne umjetnosti, izlaskom iz studija i muzeja u svakodnevni život, na ulicu, u krajolik i sl. Cilj je rada analizirati pojam stvaralaštva u kontekstu suvremene umjetničke prakse gdje je diskurs o nemogućnosti novog, prema teoretičaru umjetnosti B. Groysu, postao osobito utjecajan i raširen.

Jazz, space and labor

Pianist and composer Jason Moran's multimedia project STAGED debuted at the 2015Venice Biennale and was later expanded for an exhibition at the Walker Art Center in Minneapolis.Its centerpieces are three sculptures: life-size replicas of stages from venuesnow closed. Live performances occur on the stages within the galleries that host theexhibition, and recorded sound plays when performers are absent. These stages originallyappeared in the Savoy Ballroom, a major social dancing hub, the Three Deuces, asmall club associated with early bebop, and Slugs', a haven for free jazz. Through themixture of musical genres and historical eras created on both sonic and visual levels,Moran transforms the notion of a single thread of jazz history progressing through timefrom folk and popular culture toward high art into a web that elevates everyday formswhile questioning assumptions about the freedom and autonomy of highbrow forms.

Strange Eventful History

Theater magazine founding editor Gordon Rogoff puts the history of the American theater over the last five decades under a critical retrospective lens, examining how shifting political, social, and economic conditions have shaped theater as both industry and art form. Rogoff ’s essay mixes memory with polemic and humor with outrage while attempting to untangle the threads of high art and big business that have held up and ensnared the art of theater across the last half century.

Amateur Aesthetics as State Narrative in Iranian Martyrdom

Focused on modern and contemporary Iranian visual culture, this article traces the shifts from an institutionalised high art ethos under the Pahlavi dynasty to a hegemonic, yet, populist-amateur cultural environment after the Iranian Revolution of 1979. By raising questions about the (dis)position of populism, amateurism, and people-made art in the streets, cemeteries, and public parks of the Islamic Republic, it proposes that, however defined and labelled, contemporary Iranian art cannot be properly understood without addressing the art historical and dialectic co-dependence of street kitsch and closeted avant-garde. In Iran, subversive art can hardly be grasped without the beauty of fake flowers.