The second of the DESIGN catalogue series with the subtitle Creative Olomouc, through which it intends to adequately promote the elite actors of the creative industries operating in the Olomouc ...Region. The catalogue offers texts in both Czech and English. It is an explicit support for talented artists, companies and entrepreneurs and an incentive towards the public to take into account high quality local production with high added value and to take notice of elite creatives operating in Olomouc and its surroundings who deserve more consistent recognition. The content of the edition draws on the online database of creative entities Kreativní Olomouc, which brings together hundreds of creatives, companies and institutions for the needs of the professional public, local government, as well as the general public demanding products and services from local producers.
The Ultimate Paintings, a series of abstractions made by Ad Reinhardt during the 1960s, are coupled with writings with obvious affinities to the apophatic formulas of the commentaries of the ...Upanishads (the philosophical conclusions of the Vedas) known as the “nondual Vedānta” (Advaita Vedānta). The abstractions themselves refer to the model of the yantra, the geometrical diagram into which Brahmanic iconography is supposed to subside. In this instance, the apophasis defeats the attempt to signify through painting and language what constitutes itself in painting and language.
Iași Art Residency is an artistic residency program that takes place in Iasi and involves the monthly invitation of an international visual artist, in order to materialize a specific art project ...related to the experience lived in the cultural space of Iasi. The program aims to connect the students of the Faculty of Visual Arts and Design within “George Enescu” National University of Arts in Iași with the invited artists, in order to exchange artistic experiences. This article will briefly present the activity of the American resident artist Emery Hall which took place here, in Iasi,in May and June 2022.
Appropriation is one of the determining concepts of the post-productive theory, denoting the choice of an object and its use or modification according to a specific intention. Operating in an index ...of famous images from universal art, the photographer artist calls upon the performative strategies of the environment to structure behavioral positionings observed in social space. The series of examples accesses a segment of these artistic practices in which the biblical icon plays the role of the symbolic reference, but especially of the pretextual condition within the author's conceptual construction.
This article is an attempt to look at the way in which the art exhibition “Ukraine. A different angle on neighbourhood” (presented in Cracow from September 2021 to January 2022) conceptualised this ...eponymous country, as well as the Polish-Ukrainian neighbourhood. To this end, ten “discourse keystones” were identified, illustrated with examples of relevant exhibits, sometimes also provided with a historical and cultural commentary and with reference to relevant theoretical concepts. The educational and informational dimension of the exhibition was framed by content analysis, asking the questions: who is speaking through the exhibition, what are they saying, to whom, and for what purpose? In line with the intention of its curators, the Polish public as the main target was taken into account in the content analysis of the exhibition.
The playing cards are one of the oldest game tools which are originated in China. Over the centuries they have been produced with in a variety of sizes, materials, colors, symbols and figures. In ...general, it is possible to classify playing cards as standard and non-standard according to their design features. The standard playing cards are just a tool of playing games. However, the non-standard playing cards are produced to be seen rather than to be played. The fact that both sides of the playing card are in a physical structure suitable for illustration has been an opportunity for these non-standard cards to emerge. Therefore, the playing cards are a miniature canvas for a designer and the range of topics is quite wide. In this sense, the playing cards are interesting for collectors and museums as well as for designers. The aim of this study is to draw attention to the existence of playing cards which have a wide variety of illustrative content and are produced as a design object; in this context, the aim is to evaluate the playing card designs of the caricaturist Semih Balcıoğlu and to emphasize their importance. The concept of game, the geographical origin of the playing cards, the types of playing cards were determined as research questions. In the study, the literature review method was used; Balcıoğlu's designs were evaluated according to design principles and methods.
The purpose of the article is to investigate the multidimensional artwork of Andriy Bludov – a representative of Ukrainian visual art in the context of his appeal to traditional Western European ...symbolic trends and appeals to the Ukrainian cultural code, which is manifested in archetypal symbols. The research methodology consists of the complex application of analytical and comparative methods. Through the prism of aesthetic and philosophical analysis, to explore the manifestations of symbolic trends in the artwork of Andriy Bludov. Using the comparative method of research to trace the influence of Western European cultural tradition on the artwork of Ukrainian artist. Scientific novelty: for the first time a culturological analysis of the manifestation of symbolic tendencies in the work of Andriy Bludov was carried out on the example of his works in the art projects «Voices» and «Emblemata». Also, the specifics of the author's use of symbols and symbolic images in the context of contemporary Ukrainian visual art are studied. Conclusion. The article presents a detailed culturological analysis of the multidimensional creative activity of the famous Ukrainian symbolist artist Andriy Bludov – a representative of modern Ukrainian visual art, which organically combines painting with the techniques of silk-screen printing, lacing and collage. The artist works in various genres, giving his own works a range of traditional symbols and symbolic images that evoke in the viewer's own associative images to interpret the meanings in the depicted symbols. It was also analyzed that in the works of the series «Voices» Andriy Bludov, through the use of Ukrainian archetypal ethno-national images and symbols, highlights important themes of today – identity and national consciousness of the Ukrainian people. In addition, it is determined that the master, researching Baroque encyclopedias «Emblems», refers to the language of sacred ancient symbols of Western European art. He creates his own project «Emblemata» and interprets traditional symbols in the context of modern worldview in his own way, thus urging the viewer to attempt to decode symbolic mysterious images. Thus, it should be concluded that this study confirms the existence and dynamic development of symbolism in the context of contemporary Ukrainian visual art on the example of the world-famous Ukrainian symbolist artist Andriy Bludov.
The purpose of the work is to comprehend the experiments conducted by artists with traditional technology «levkas» and describe their results in modern art practice. Methodology. The study used a ...comparative method and comparative analysis of technical and technological features of the traditional icon-painting levkas and modern painting (using this soil). For this purpose, in the practice of modern levkas, works were identified that correspond to the concept of «artistic experiment». The scientific novelty lies in the analysis and refinement of technical and technological innovations in the modern artistic practice of levkas, which were invented and applied by some Ukrainian artists. Conclusions. In the modern artistic practice of levkas there are works: created on the plane (one and two-sided) and art objects. On surface treatment, they can be smooth and textured; with low (bulk) and high (overhead) sculptural relief. When creating textures, different fillers are added to the soil. Components of traditional recipes are sometimes replaced by modern materials. Usually the basis for the levkasny ground is a board, but also it can be pieces of wooden furniture or a canvas. Levkasny ground covers the surface of the work completely or partially. Collage techniques in levkas are becoming a common practice. The mixing of techniques and technologies of fine arts led to the creation of a new technique – «gesography». The inclusion of finished objects in the work is a new technique (it is associated with ready mades). The graphite pencil in levkas showed a new function of the material (drawing on levkas). This way of using a graphite pencil opens up space for new experiments with graphics and levkas.
The formation and developments of the developments in the field of plastic arts in our country; based on a traditional understanding and on a national line; are targeted in the article. It is ...observed that these formations reflect a synthesis effort aiming at national modernization and reaching universal dimensions. The renewed efforts identified as the Westernization process in Turkey; form the only factor in determining changes in the area in the form of prejudice that was thought to bring Europe together. The original forms of historical Turkish art; especially in Islamic times; have been influential as a dynamic element in the renewal process. The phenomenon of modernization gained speed from the nationalism scale adopted by the intellectuals; and by separating the cosmopolitan elements within it; a brand new synthesis aimed at the universal was created. The orientation towards a new synthesis in art in historical or contemporary periods paved the way for creating new; original models by fusing with cosmopolitan and foreign influences and sorting them out. In the 19th century; the military painters; who had a share in all major events in the field of art; were especially important and the reasons for their establishment was that these painters played a major role in the political propaganda of the Turkish state administration; which turned to the Republican regime. Military artists represented the goals reflected in the field of art and culture in the new political awareness. The military artists movement; which started in the first half of the 19th century; was also supported by the Palace circles; whose relations with the West have been established since the early 18th century.Miniature art; which has been effective in Ottoman painting for centuries; has formed a strong painting tradition. In the development of Turkish painting; which has a solid tradition since the 19th century; social values and progress throughout the periods have been effective. First of all; the studies in the Western understanding of painting were shaped by the work of military painters. Turkish painting was limited to foreigners; minorities and the periphery of the palace in the early periods.It is known that painting education in Military Schools has made important contributions to the development of Turkish painting art in our country. These artists constitute the basis of Turkish painting art. Our military painters; who started training in the Ottoman Empire Engineering Center from the beginning of the 19th century; contributed to the art of Turkish painting. They have revealed their own unique styles. The painters who opened up to the West in the following periods transferred their experiences and experiences to other artists in our country. Towards the end of the 19th century's first industrial-i Nefise of schools in Turkey (School of Fine Arts) with the opening; the artist studied painting in our country with the exception of military development; there has been a significant milestone.The fact that Turkish artists received art education in the West; learned their understanding of Western painting; and grasped their styles; was realized thanks to our painters who worked devotedly on this subject. The generation of painters of military origin; who had important influences in the history of Ottoman painting; gradually became civilian in time thanks to the 1914 Generation; and left its place to groups formed by civilian painters with the establishment of the Republic.Artist groups such as Yeniler; They group and D group were the pioneers of the development in Turkish painting art before 1950. In the later periods; II. Turkish artists were also influenced by the abstract painting seen in Europe after World War II.Great progress has been made in still life; landscape and portrait subjects in paint paintings. In fact; the success and solid foundations of Turkish painting today were laid by our first artists who worked before and after the Republic. Developments in Turkish art have formed the phenomenon of modernization; which is interlocked with historical and traditional data; within a unique chain of progress and continuity.
Stiklo menininkė Indrė Stulgaitė-Kriukienė Stulgaitė-Kriukienė, Indrė
LOGOS - A Journal of Religion, Philosophy, Comparative Cultural Studies and Art,
2021
107
Journal Article
Recenzirano
Odprti dostop
Artist Indrė Stulgaitė Kriukienė was born in 1975 in Kaunas. After becoming interested in glass art, she studied in the Kaunas department of the Vilnius Art Academy from 2001 to 2007. In 2007 to 2009 ...she continued her studies in the Vilnius Art Academy postgraduate studies and defended her art licensee degree. At the same time she was working as a laboratory assistant in the Vilnius Art Academy Glass department. In this period she married a known glass artist, Remigijus Kriukas, and moved to Panevėžys, where she started working in her husband’s glass studio „Glasremis“ as a designer. From 2015 Indre continued doctoral studies in the Vilnius Art Academy and in 2020 defended her doctoral dissertation „Studio glass movement transformations: from functional to conceptual art creation.” From 2002 the artist actively participated in various exhibitions, creative symposia, conferences and seminars in Baltic and Scandinavian countries, Poland, Russia, Ukraine, Germany, The Netherlands, Luxembourg, Bulgaria, Slovakia, China, and other countries. She is also one of the organizers of the famous international glass festivals „Vitrum Balticum“ and „Glass Jazz“, which take place in Kaunas and Panevėžys. Some of the works of Indre have been purchased by Lithuanian art museum, Panevėžys Art Gallery, Lviv Art Gallery in Ukraine, Evald Okas museum in Estonia, Finnish Glass Museum in Riihimaki, All-Russia Museum of Decorative, Applied and Folk Art, Ningbo Glass Museum in China and others. I. Sulgaitė Kriukienė is also interested in photography and journalism. She is a member of Lithuanian Artists‘ Association (2009). Lithuanian Union of Journalists (2020) and an honorary member of Russian Arts Academy (2013).
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