Pub Date : 2018-12-21DOI: 10.31500/2309-8813.13.2018.152251
Світлана Роготченко
{"title":"Збереження традицій та впровадження інновацій у ковальському мистецтві України від 1970 років до сьогодення","authors":"Світлана Роготченко","doi":"10.31500/2309-8813.13.2018.152251","DOIUrl":"https://doi.org/10.31500/2309-8813.13.2018.152251","url":null,"abstract":"","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41314491","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-21DOI: 10.31500/2309-8813.13.2018.152250
О. О. Роготченко
{"title":"Видозміна подій і героїв як репрезентація дійсності в українському живописі повоєнної доби","authors":"О. О. Роготченко","doi":"10.31500/2309-8813.13.2018.152250","DOIUrl":"https://doi.org/10.31500/2309-8813.13.2018.152250","url":null,"abstract":"","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44828028","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-21DOI: 10.31500/2309-8813.13.2018.152258
Оксана Циганок
{"title":"Актуальні проблеми прикладного мистецтвознавства крізь призму сучасного законодавства України","authors":"Оксана Циганок","doi":"10.31500/2309-8813.13.2018.152258","DOIUrl":"https://doi.org/10.31500/2309-8813.13.2018.152258","url":null,"abstract":"","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42394644","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-21DOI: 10.31500/2309-8813.13.2018.152206
Наталія Булавіна
{"title":"Domestic model of contemporary art. The path to maturity","authors":"Наталія Булавіна","doi":"10.31500/2309-8813.13.2018.152206","DOIUrl":"https://doi.org/10.31500/2309-8813.13.2018.152206","url":null,"abstract":"","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44920705","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-21DOI: 10.31500/2309-8813.13.2018.152253
Дмитро Савін
{"title":"Олексій Іллюшин та друга хвиля авангарду в Одесі","authors":"Дмитро Савін","doi":"10.31500/2309-8813.13.2018.152253","DOIUrl":"https://doi.org/10.31500/2309-8813.13.2018.152253","url":null,"abstract":"","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43919676","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-21DOI: 10.31500/2309-8813.13.2018.152195
Ігор Абрамович
The early stage of creativity of Ukrainian artist Olexander Gnilitsky (1961–2009) has been studied in the article. It is shown that his works should be viewed in close connection with the historical and everyday context, taking into account the circumstances, time, social and creative environment. It is noted that the early stage of creativity, and eventually the final formation of Gnilitsky as an artist, took place at crucial times in the history of Ukraine—when the established canons of painting prescribed by the Soviet Totalitarian regime prove to be archaic and are subjected to shattering doubt by the younger generation of artists. It is emphasized that the Gnilitsky’s works of the period are characterized with subjectivism, citations, self-irony, cynical rethinking of literary subjects, the use of grotesque techniques, motifs of macabre eroticism. On the material selected for processing, a historical and cultural and art criticism analysis was carried out in the context of the formation of Ukrainian art in the late 1980s and early 1990s, where the artist’s personality seems particularly relevant, since it symbolizes the specificity of this art: from surprise to shock, from complexity to the grotesque, from incorruptibility to despair and even blasphemy. An attempt is made to show all the genuine, heroic sacrifice of a true master. This is particularly eloquent in relation to contemporary art, whose fundamental self-appraisal is fixated in the judgments and statements of its representatives. The general picture of Gnilitsky’s life and work, his personality fit perfectly into the ideal or, rather, the norm of the “avant-garde”, with both its artistic and philosophical definitions. Analyzing the artist’s works shows, in particular, his creative formation in the context of the “New Wave” movement and the “Paris Commune” group.
{"title":"Olexander Gnilitsky on the “New Wave”: Artist in the late 1980s through early 1990s","authors":"Ігор Абрамович","doi":"10.31500/2309-8813.13.2018.152195","DOIUrl":"https://doi.org/10.31500/2309-8813.13.2018.152195","url":null,"abstract":"The early stage of creativity of Ukrainian artist Olexander Gnilitsky (1961–2009) has been studied in the article. It is shown that his works should be viewed in close connection with the historical and everyday context, taking into account the circumstances, time, social and creative environment. It is noted that the early stage of creativity, and eventually the final formation of Gnilitsky as an artist, took place at crucial times in the history of Ukraine—when the established canons of painting prescribed by the Soviet Totalitarian regime prove to be archaic and are subjected to shattering doubt by the younger generation of artists. It is emphasized that the Gnilitsky’s works of the period are characterized with subjectivism, citations, self-irony, cynical rethinking of literary subjects, the use of grotesque techniques, motifs of macabre eroticism. On the material selected for processing, a historical and cultural and art criticism analysis was carried out in the context of the formation of Ukrainian art in the late 1980s and early 1990s, where the artist’s personality seems particularly relevant, since it symbolizes the specificity of this art: from surprise to shock, from complexity to the grotesque, from incorruptibility to despair and even blasphemy. An attempt is made to show all the genuine, heroic sacrifice of a true master. This is particularly eloquent in relation to contemporary art, whose fundamental self-appraisal is fixated in the judgments and statements of its representatives. The general picture of Gnilitsky’s life and work, his personality fit perfectly into the ideal or, rather, the norm of the “avant-garde”, with both its artistic and philosophical definitions. Analyzing the artist’s works shows, in particular, his creative formation in the context of the “New Wave” movement and the “Paris Commune” group.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69926600","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-21DOI: 10.31500/2309-8813.13.2018.152259
Дарія Чембержі
{"title":"Мистецька логіка художника Логова через призму інсталяції","authors":"Дарія Чембержі","doi":"10.31500/2309-8813.13.2018.152259","DOIUrl":"https://doi.org/10.31500/2309-8813.13.2018.152259","url":null,"abstract":"","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45726330","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-21DOI: 10.31500/2309-8813.13.2018.152234
А.Ю. Гончаренко
{"title":"Жіночі образи в сучасній міській скульптурі України","authors":"А.Ю. Гончаренко","doi":"10.31500/2309-8813.13.2018.152234","DOIUrl":"https://doi.org/10.31500/2309-8813.13.2018.152234","url":null,"abstract":"","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47942973","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-21DOI: 10.31500/2309-8813.13.2018.152262
Ольга Володимирівна Школьна
{"title":"Нові дані щодо діяльності Барашівського фарфоро-фаянсового заводу","authors":"Ольга Володимирівна Школьна","doi":"10.31500/2309-8813.13.2018.152262","DOIUrl":"https://doi.org/10.31500/2309-8813.13.2018.152262","url":null,"abstract":"","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42280943","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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