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.
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.
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.
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.
This article deals with the development of artistic and imaginative thinking, imagination and the creation of an artistic image in fine arts lessons using a graphic image. An example of a lesson for ...elementary school students on creating a mysterious tree image is given, which will help the teacher develop the ability of his students to see and creatively realize their ideas.
This article investigates the relationship between art and technology, pointing the constants of a process of cultural digestion which is mediated by the very sovereign technological environment – ...the Internet. Relying on the multiplicity and hybridization of the content formats, and also on the user involved interactivity as constructive vector-relationships, new media art and the internet art are natural consequences of the artistic practices of creative appropriation of contemporary technological media. As the complexity of the relationship between art and the technological environment becomes richer than ever, we assist to the creation of a contemporary ultra-technological culture, structurally dependent on the media and responsible for relativizing the critical positioning of the art consumer. Defining the premises of the interaction with a technologically interfaced world of art, the user (reader) of the Internet as a medium of expression is – equally – a consumer, and a producer of information (content).
By adopting posthuman ecology as its methodological framework, the author of this paper examines how British environmental artist Andy Goldsworthy’s conceptualization of nature can radically ...undermine the nature/culture dichotomy. To do this, the author will survey the first and the second waves of environmental art movement, also known as Representational and Performative Environmental Art, in order to situate Goldsworthy’s small-scale works within the latter. Then, by embracing Tim Ingold’s idea of “thinking through making” within materialist ecology, the author puts forward that Goldsworthy’s environmental art can resist the old-age hylomorphic model by using intuitiveness and improvisation as its strategy. In doing so, Goldsworthy eschews from turning nature into a representation that is to be manipulated by human subjectivity from afar, precisely by thinking from natural materials rather than about them, thus inviting us to conceive all human and nonhuman organisms as an intricate conglomerate of “leaky things” in an endless flux of ecological becoming.
Art in the period immediately after World War I witnessed a general interest in becoming more machine-like, and artists like Man Ray (1890-1976) challenged the functions of the basic optical machines ...used by artists. Instead of using the camera as a machine for making documents, Ray used it as an instrument for exploring ‘desire’. Drawing on Lacan’s theory of desire, I propose that, with Ray, desire entered the process and became the purpose of flows, multiplicities, production, and repeated reproduction. This claim is supported by Deleuze and Guattari in Anti-Oedipus, when they assert that “desire is not primarily connected to a specific object, but is always the desire of an arrangement (assemblage)” (Deleuze and Guattari 1983). In such constellation, ‘desire’ becomes part of diverse processes that mark the “transition” of the object to the image and vice versa, as typified in Man Ray’s art. Likewise, machine is a tool at the service of Ray’s mind, be it automatism characteristic of the surrealism or subverting typical means of reproducibility. The hypothesis is that, when observed from the perspective of Deleuze and Guattari’s machinic approach, the foundations of Man Ray’s painting can be contextualized as machinic, in a close connection with the concept ‘desiring-machines’. The aim of this paper is to renew a concern with the medium by looking at the transmedia nature of Man Ray’s painting as being machinic. The transmedia nature of Ray’s painting will be examined in the case of his painting DANGER/DANCER. L’impossibilité (1917-1920), by looking at how ‘desiring-machine’ undermines ordinary machine functions.
