Professional Artists Research Articles

Отражение художественной жизни Сибири в публикациях Г. Н. Потанина по вопросам искусства

The article analyzes the literary and journalistic activities of the key pre-revolutionary period for the city of Tomsk, the ideologist of Siberian regionalism, ethnographer and public figure Grigory Nikolaevich Potanin, concerning the regional aspect of artistic life. The materials of pre-revolutionary periodicals are used as sources. The author sets himself the task of identifying the features of G. N. Potanin ideas on Siberian regionalism (a local variant of regionalism) in texts on issues of art. It is noted that in his texts Grigory Potanin is trying to systematize the artistic heritage of Siberia, singles out the names of famous painters who came from the region, analyzes the creative heritage of Vasily Surikov. Grigory Potanin insists on the need to create art galleries in the region and regularly hold exhibitions of paintings, graphics and sculpture in order to increase the level of artistic taste among the population, and as a result, general education. The author also mentions that Grigory Potanin pays attention to the work of not only professional artists, but also masters of arts and crafts, urging the motifs drawn from local flora and fauna in ornaments. Being an ethnographer, Grigory Potanin does not miss the opportunity to talk about the life of the indigenous population of Altai on the examples of a number of paintings and graphic works by local artists, such as Grigory Gurkin, Lidia Bazanova and others. Accordingly, the great importance of Grigory Potanin contributes to the development of the local intelligentsia in Tomsk, largely linking the factors influencing this process with the establishment of higher educational institutions in the city. The ideologist of regionalism considers it necessary to culturally bring the commonalty and the intelligentsia closer together and zealously experiences the outflow of the intelligentsia from the city. It can be stated that the ideas expressed by Grigory Potanin on the pages of the Tomsk press had a huge impact on his contemporaries. Perhaps, in other historical circumstances, the regional ideology could take deeper roots in Siberia. Today we can only respect the literary heritage of Grigory Potanin and keep the memory of him as a man who sincerely loved his native land and sought to enrich it culturally.

Finansiranje kao instrument kulturne politike u oblasti amaterskog stvaralaštva na primeru kulturno-umetničkih društava

Amateur creativity in various areas of arts and culture is of great importance for cultural development. Amateur associations enable citizens living in both urban and rural areas to actively participate in the creation of cultural content and encourage them to actively participate in reception of various cultural content created by professional artists. In addition, it is important that amateur associations stay open for all generations (from junior to senior participants), and that they cherish cultural expressions of national minorities. The importance of amateurism is acknowledged in the Law on Culture as the key act for implementation of cultural policy in Serbia. This is important for financial support, as another key instrument of cultural policy implementation. Based on results of a research conducted among amateur associations in Serbia at the turn of the 2020s, this paper will analyse the financial support for amateurism from public funds (Republic of Serbia, Autonomous Province of Vojvodina and local self-governments) in the period 2019 - 2021. The case study covers amateur associations active in traditional dance and folklore as the most numerous amateur associations in Serbia.

Одеський період у житті та творчості Никанора Онацького

The article is devoted to revealing the influence of the Odesa Art School on the formation of the personality of Nikanor Onatsky as a teacher-artist. The purpose of the article is to summarize the information of leading domestic scientists regarding the formation of N. Onatsky’s worldview during his stay in the artistic and educational environment of Odesa at the beginning of the 20th century. The priority methods of this research were chosen: theoretical and historical-logical analysis of printed sources on the researched problem; the personalistic-biographical method used to study the life and creative path of N. Onatskyi; chronological-systemic, which helped to consider the peculiarities of the artist’s stay in Odesa region in time sequence. It was established that art education since the second half of the 19th century was represented by professional art schools in the largest cities of Ukraine, in which great attention was focused on solving the problems of training art and education personnel. One of the leading art schools was the Odesa Art School (1865), which, in 1901 was reformed into the Odesa School of the Society of Fine Arts, after graduating from which, in 1905, he received a diploma as a teacher of drawing and calligraphy It was founded, that N. Onatsky received high marks for the successfully executed drawings of academic compositions, which testified to the high level of the artist’s professional and artistic skills during his years of study. It is shown that the almost five-year stay in Odessa had a significant influence on the formation of the creative credo of the young artist; the teachers of the school had a special effect: professor K. Kostandi, who taught painting, composition, drawing, and academician O. Popov, a teacher of art history. Conclusions were made that the professional art and artistic training obtained by N. Onatsky in Odesa became the basis for further studies at the St. Petersburg Higher Art School at the Imperial Academy of Arts in the class of the painter I. Repin.

Whites Only: Race and Mobility in Kym Ragusa's The Skin Between Us: A Memoir of Race, Beauty, and Belonging and Claudia Rankine's Citizen: An American Lyric

Whites Only: Race and Mobility in Kym Ragusa's <i>The Skin Between Us: A Memoir of Race, Beauty, and Belonging</i> and Claudia Rankine's <i>Citizen: An American Lyric</i>

Jan Sawka: Theatre of Image and Metaphor

Jan Sawka: Theatre of Image and Metaphor

Following the Footsteps of Russian Tuvian Folk Music Scientists

This article aims to highlight the significance of song folklore recordings when documenting the scientific heritage of the first scientists and researchers of Tuvan musical folklore—A. N. Aksenov and E. V. Gippius—during the period 1927 to 1965. The methodological basis consists of the principles of historical continuity, objectivity, a holistic approach to the analysis of the history of the development of traditional Tuvan vocal music and the prospects for its development. The study of folk music is inextricably linked with the development of professional art. Currently, the works of visiting Soviet composers, melodically associated with Tuvan folklore, are practically not performed in the repertoire of concert programs of creative collectives of the city of Kyzyl. One of the main obstacles to their further application is the absence of these works in the curricula in music educational institutions. The issues of the prospects for the use of preserved sources in the digital archive of the Academy "X&amp;#1257;&amp;#1257;mei" are analyzed. The question is raised about the need to create a single institutional repository of works and materials on the work of Russian specialists, musicologists, and scientists who studied the musical culture of Tuvinians in the Soviet period. Modern Tuvan musical folklore was largely based on the results of Aksenov's research, whose activities served as the main reference point for the study of Tuvan folk music and contributed to the flourishing of Tuvan musical art in Tuva.

Эпос «Манас» в инкультурации современной молодежи

This article analyzes the significance of the epic «Manas» in the historical heritage of the Kyrgyz people, as well as its status and role in the modern cultural space of the republic. The significance of the epic «Manas» is defined as a core of traditional kyrgyz culture and one of the main institutions of modern artistic culture. Examines creative experiences in the interpretation of epic images embodied in the Kyrgyz fine art of the twentieth century (Theodore Gertsen, Taalai Kurmanov, Turgunbai Sadykov). The problem of inculturation of young generation through the use of epic heritage is raised. We are talking about multi-dimensional use of the rich content of artistic images of the epos in different spheres of culture and purposeful inclusion of the young generation of different ages to the system of fundamental values contained in them. In addition, the question is raised about the need to create modern professional art works based on the epos on a solid literary basis, on the basis of serious drama and a deep reading of the images and precepts of the ancestors, accumulated in the great poetic heritage of the Kyrgyz people.

Following the Footsteps of Russian Tuvian Folk Music Scientists

This article aims to highlight the significance of song folklore recordings when documenting the scientific heritage of the first scientists and researchers of Tuvan musical folklore—A. N. Aksenov and E. V. Gippius—during the period 1927 to 1965. The methodological basis consists of the principles of historical continuity, objectivity, a holistic approach to the analysis of the history of the development of traditional Tuvan vocal music and the prospects for its development. The study of folk music is inextricably linked with the development of professional art. Currently, the works of visiting Soviet composers, melodically associated with Tuvan folklore, are practically not performed in the repertoire of concert programs of creative collectives of the city of Kyzyl. One of the main obstacles to their further application is the absence of these works in the curricula in music educational institutions. The issues of the prospects for the use of preserved sources in the digital archive of the Academy "X&amp;#1257;&amp;#1257;mei" are analyzed. The question is raised about the need to create a single institutional repository of works and materials on the work of Russian specialists, musicologists, and scientists who studied the musical culture of Tuvinians in the Soviet period. Modern Tuvan musical folklore was largely based on the results of Aksenov's research, whose activities served as the main reference point for the study of Tuvan folk music and contributed to the flourishing of Tuvan musical art in Tuva.

СУЧАСНІ ПРОБЛЕМИ ЯКОСТІ ОСВІТИ У ФАХОВИХМИСТЕЦЬКИХ КОЛЕДЖАХ

The scientific problem of the quality of ed-ucation is considered, which is key to the renewal of educational activities in professional musical colleges, colleges of culture and arts, and colleges of arts. It has been established that modern problems of the quality of education in professional art colleges are insufficiently researched and require scientific understanding. Based on the analysis of the Law of Ukraine "On Vocational Pre-Higher Education", the content of the main concept of compliance of the conditions of educational activity and learning outcomes with the requirements of legislation, educational and professional standards, which is ensured by the implementation of internal and external procedures for ensuring the quality of education, is highlighted. In terms of the experience of the modern activity of profes-sional art colleges, key questions of the theory and prac-tice of pedagogy of the quality of education, the content and structure of the educational process, the artistic spec-ificity of methods, forms and means of education, in par-ticular, distance learning and the use of Internet services, were analyzed.

미술작품의 위작 여부 판단 결과와 저작자의 주장이 상반된 경우에 대한 저작권법적 고찰

Cases that the artists denied the works which were known to be their own works (i. e. forgery cases) have been raised for a long time. Also, there were cases that the artist voluntarily acknowledged a forgery as the authentic work of the artist. There are various reasons why artists carry through their arguments that contradict the facts and court’s decision of the authenticity of the artwork in issue; to defend the artist's own social honor or subjective honor, or to strongly express the artist’s favor on the usage or ownership of the work, or due to some other interest matters related the work, etc. There are two types of artists’ disavowal; (1) the artist’s denial of the fact that the artist oneself created the work (i.e. usually meaning the 'forgery'); (2) the artist’s announcement that the artwork is no longer his or her work based on some incidents (damage, alteration of the work, or consumption and usage of the work that the artist did not want, etc.) to prevent further attribution of the artist’s name on the work or transaction of the work. When the dispute over the forgery of a work or the legality of an artist’s disavowal of a work rises, the artwork’s price in the market might go extremely unstable or it could be excluded from the auction. Moreover, not only the author but also the various parties such as the dealer, gallery owner, collector, or owner of the artwork can file lawsuits involving diverse issues like infringement of the artist’s right to attribution or right to integrity, or breach of contract issues, etc. The court reviews the claims of the parties, expert opinions, and the evidence of facts relevant to the work. Factual evidence of the art transaction and the artist’s history tends to play a great role in the court’s decision. However, if the parties continue to adhere to their stance despite the authentication results or the court decision, it causes various problems in the art market. This paper tries to find a way to protect both the freedom of trade and the safety of trade while respecting the various parties’ interests, the opinions of the art professionals, and the decision of the judiciary. In addition, this paper covers the methods of attributing the author and indicating artwork’s information during controversies, and ideas for drafting the contract and legal documents for such cases.

Contemporary Usage of Riddles in Lithuania

This empiric study surveys the existence of riddles and akin phenomena during the recent decade – both in written and oral, passive and active forms. The material includes schoolbooks and collections that publish riddles and have seen several editions in recent times; therefore, the survey embraces a longer period, reaching back to the restoration of Lithuanian independence. Material for the study also includes periodicals, internet sites and social media, as well as works by professional artists, advertisements and other media forms using classical riddles, their fragments, remakes and new compositions. Although recordings of the traditional folklore have almost ceased, the classical riddles retain their audience. They are frequently used in altered forms, but most of their functions are nevertheless preserved. The cases that are most similar to the traditional usage of riddles can be found in the virtual space – like Facebook. There is a tendency to adapt the old riddles to the modern realities; this is often tinted with political satire. The function of testing the participants’ knowledge and dexterity is readily visible in the context of “brain-battles” arranged by various bars and cafés, radio and TV programs, quizzes, contests, and internet. The traditional riddles, their fragments or newly created riddles that follow the typical riddle structure are willingly used as article captions, introductions, or image underlines. It is notable that people sometimes use riddles as indisputable facts or conveyors of the folk wisdom.&#x0D; This short survey could be regarded as a prelude to the comprehensive research into the contemporary riddles, which aims at finding out whether riddles and their performance exist nowadays as a phenomenon deserving scholarly attention.

“Kunstiajalugu on ju siinses ülikoolis uus distsipliin.” Tartu ülikooli kunstiajaloo kabineti rajamine

“Kunstiajalugu on ju siinses ülikoolis uus distsipliin.” Tartu ülikooli kunstiajaloo kabineti rajamine

The Chair's Role in Assurance of Learning

The Chair's Role in Assurance of Learning

Artistic Interpretation of National Idea in Professional Music Creation

The purpose of the paper is to research the realisation of national idea in professional music creation. The research aims are the following: to reveal the essence of artistic-esthetic phenomenon of national idea; to distinguish basic principles of its manifestation in cultural and artistic heritage; to make a compendious retrospective review of the existing approaches the creators use to the given topic; to systematise the ways of implementing the national paradigm by means of music. Research methodology lies in the use of a set of methods. The analytical and structural-logical methods have been used to describe the concept of the national idea in creative work. The historical method has enabled the creation of the chronology of addressing the given paradigm in the composer’s activity. The method of sources analysis has been applied to study the existing scientific papers on the adjacent issues. The systemic analysis has been used to study the national idea as a complex sociocultural phenomenon, while the method of theoretical generalisation has helped to draw conclusions. Scientific novelty of the research. The article is the first attempt in Ukrainian study of art to generalise the problems of manifesting the national idea in music. Conclusions. Composers manifest national features in their music first of all through their reinterpretation of folk sources that concentrate cultural, philosophical, historical, geopolitical, and psychological knowledge of a specific ethnic group. In a more abstract form the national creation paradigm may be manifested through its connection with the traditions of professional art of a certain country via the use of typical music genres, the specificity of musical language, particular style, and the mode of thinking. Followers of the national idea in music make a lot of effort to restore traditions, their artistic reconsideration, actualization, and renewal with the projection to the modern. Moreover, they try to create a cultural «matrix», an original concept of the nation’s musical creativity.&#x0D; Key words: national idea, artistic-esthetic paradigm, music creation.

TYPOLOGY OF CONTINUITY OF PARADIGMS OF VISUAL TRAINING OF SPECIALISTS IN ART SPECIALTIES

The review article provides a theoretical analysis of the essence of concepts related to the issue of continuity of paradigms of visual training of future specialists in art specialties. The article describes the terminological thesaurus in the context of the methodology of professional art education and reveals the essence of traditional, value-normative, and scientifically managed types of continuity of paradigms of visual training of specialists in art specialties. Paradigms of the artistic and educational process are characterized by I. Levin who highlighted canonical, academic, ethnocultural, cultural-synthetic, activity-based, creative, and arbitrary paradigms of visual training. It is proved that the outlined types of continuity of paradigms of visual training are necessarily associated with the time parameters of mastering the valuable artistic and educational heritage both within one and several generations of artists-educators, as well as a deep understanding of the essence of traditional, value-normative and scientifically managed types of continuity of paradigms of visual training of specialists in art specialties and flexible use of their principles in the real artistic and pedagogical process will guarantee the high quality of modern art education.

Assets and Investee Condition of Art Education, Practice, and Research

This article postulates that MA students of the arts and professional artists need to assess the conditions implicated by financialization and its effect on their practice. What are the options, futures, and risks for an artist? How are intangible assets like reputation, loyalty, or affective capacity evaluated, even priced? In institutional contexts, assetization and functioning as investee are already a necessity for the management of value, risk, and volatility. Through processes of privatization, universities are on their way to becoming strategic hubs that, for their part, start to promote self-assetization. These are included in participatory and care activities or collective and processual practices in the arts.At the same time, students and artists are conditioned by their assets worth investing in. They are becoming investees.

DEVELOPING PUBLIC COMMUNICATION METHODS BY COMBINING SCIENCE, CREATIVE ARTS AND INTERGENERATIONAL INFLUENCE: THE TRACE PROJECT

E-waste is one of the fastest growing global waste streams. As e-waste accumulates scientists struggle to communicate scientific findings and concepts effectively and expediently to the public in a way that raises awareness and inspires discussions. The TRACE (TRAnsitioning to a Circular Economy with creative artists) project was a collaboration between scientists, creative artists and primary schoolchildren to develop new ways to communicate to the public about e-waste. It combined i) intergenerational influence and ii) music / art to raise public awareness, educate and provoke discussion. Two musical performances by schoolchildren and two art exhibitions by a professional artist were created to evoke emotional responses to e-waste, particularly by imbuing e-waste with personality through anthropomorphism in their songs and artwork. Key findings indicate that awareness was raised in audiences, artists, schoolchildren, and their caregivers due to their involvement in the TRACE project; 99% of the audience reported a rise in awareness of e-waste issues; 70% of participants indicated an intention to change e-waste disposal; and 65% indicated an intention to change reuse and repair behaviour. Audiences demonstrated strong emotional reactions to the project alongside change in behavioural intent. The degree to which awareness was raised, and its intensity, demonstrates the viability of the use of intergenerational influence and the creative arts as tools to communicate environmental issues effectively. The project consequently won a prestigious 2021 UK National Recycling Award for (communication) Campaign of the Year (Large).

Artistic motivations are intrinsic, specific, and temporally stable by nature: Evidence from large real-life Brazilian public data between 1987–2004

AbstractArtistic behavior as aesthetically enhancing activities is conceptualized as a functionally autonomous activity within the evolved human behavioral repertoire. Accordingly, it should be intrinsically motivated, and it might also be expected to be temporally stable and domain specific. Preferential freely-pursued activities reflect intrinsic motivation and offer a valuable measure of artistic motivation. We used a large decades-long real-life public Brazilian data set from university applications to test these ideas. We analysed data on extra-class activities from 674.699 late-adolescents applying for university courses between 1987 and 2004, mostly between 17 and 19 years of age; approximately half men and half women. We found that 27% of individuals reported that Artistic/cultural activities were the leisure-time activity they participated in most frequently, and 32% reported they spent the longest period of free-time doing Artistic-activities (theater/cinema, music, dance, art-craft/plastic arts). Interestingly, from this whole sample, only less than 3% actually applied for artistic careers, which suggests that the prevalence of prioritizing artistic activities is higher than commonly assumed and includes not only professional artists, but also many hobbyists, amateurs and dedicated fans. Further, artistic careers applicants prioritize art almost three times more than the total of applicants, suggesting its specificity. After controlling for inconsistency of answer options during the period, prioritizing both Artistic/cultural and Artistic-activities remained temporally stable, as predicted. Despite limitations, overall results supported the hypotheses that artistic behavior is more intrinsically motivated, domain specific, and temporally stable. This plausibly demonstrates that artistic propensity has at least partly an evolved nature.

Editorial

The Rijksmuseum Bulletin is the quarterly, peer-reviewed journal presenting scholarly articles that contribute to historical and art-historical research into the Rijksmuseum collections to an international audience of curators, scholars, students, art professionals and enthusiasts.

YUEHUA's Business Analysis Based on SWOT Model

In the current electronic age, the demand for the quality entertainment industry is becoming more and more important. There is a growing interest in celebrity artists, and the entertainment industry is evolving around them. YUEHUA Entertainment, a well-known professional artist management company in China, is thriving as consumer demand for high-quality monthly entertainment is increasing. This article will analyze the corporate development of YUEHUA Entertainment based on the SWOT model. It is found that the development of YUEHUA Entertainment has limitation in terms of artist resources and the expanse of popularity. Its professional trainee training system, and its long-term stable partners due to its long development time. On the contrary, the main weakness is that the company's business situation is overly dependent on the development of the artist management business. The significance of this thesis research is to summarize the development of YUEHUA and help others to understand this company.