Issue 14 (2014, 2) Summary

ARTICULT #14 (2-2014)

SUMMARY

YOUNG SCHOLARS ABOUT GREAT CONCEPTIONS IN ART

SOME QUESTIONS OF THE HISTORY OF THE RUSSIAN PORTRAIT PAINTING STUDIES: HISTORIOGRAPHY AND PROSPECTS
UDC 75.041.5
Author: Abramkin Ivan, student of the 5th course of the Russian art’s department of the Historical faculty of MSU, e-mail: ivan_terracot@mail.ru
ORCID ID: 0000-0001-7648-2446
Summary: The object of this article is to consider different views on the art of a portrait in the Russian historiography and emphasize the aspects, which would be actual and seminal in contemporary portrait studies.
Keywords: portrait, historiography, theory, philosophy of art

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THE MAIN TYPES OF RUSSIAN MARQUETRY, CLASSIFIED BY ARTISTIC SIGNS
UDC 738.5+749.1
Author: Mironova Alexandra, student of the 4th year of the Russian State University for the Humanities, Faculty of Art History, Department of Restoration, e-mail: usteisiy@gmail.com
ORCID ID: 0000-0001-9294-0734
Summary: Technique of marquetry, appeared in Russia in the 18 century, was adopted by local craftsmen in a peculiar way. Most of the items made ​​in this technique show some differences from the European models. The article investigates outline of the emergence of marquetry in Russia, and provides a version of historical typology of Russian marquetry furniture of the 18 century.
Keywords: applied art, furniture, marquetry

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CHILDREN'S ILLUSTRATOR SAMUEL ADLIVANKIN
UDC 75.056
Author: Voronina Ekaterina, PhD applicant at the State Institute of Art, researcher at the State Tretyakov Gallery (Moscow, Russia), e-mail: voroninaea75@gmail.com
Summary: This article was firs collected and analyzed book graphics Soviet artist Samuel Adlivankin (1897-1966), which opens it in a new way, as an interesting children's illustrator.
Keywords: Adlivankin, Mayakovsky, illustration, "Murzilka", book graphics, children's books

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EXPO 1937: EXHIBITION OF THE THREE DICTATORSHIPS
UDC 72.036+725.212
Author: Manukyan Gemma, PhD student at Moscow State Art and Industry Academy, e-mail: dvmanukyan@yandex.ru
ORCID ID: 0000-0003-3425-0502
Summary: The article, based on archives, analyses the architecture, installation peculiarities and conceptions of the expositions of the Soviet Union, Germany and Italy at the World Exhibition (Paris 1937).
Keywords: World Exhibition, exhibition architecture, exposition, totalitarianism

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“EMOTIONAL SEISMOGRAM” OF THE OPERA WORK “A KING, RIDING” WRITTEN BY KLAAS DE VRIES
UDC 782
Author: Sanicheva Elizaveta, PhD student at the State Institute for Art Studies (Moscow, Russia) (Research Advisor is PhD., Senior Research Associate at the State Institute for Art Studies (Moscow, Russia) E. Tarakanova), e-mail: sanicheva@gmail.com
Summary: The article goes on the Dutch composer Klaas de Vries, his opera work “A King, Riding” and the situation on contemporary music scene in the Netherlands as part of international music arena and many different influences coming from across musical Europe.
Keywords: Klaas de Vries, contemporary opera works, Virginia Woolf, “A King, Riding”

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JACQUES HERZOG & PIERRE DE MEURON. ART AND ARCHITECTURE
UDC 72 (01+036)
Author: Nevlyutov Marat, architect, postgraduate student at the Research Institute of the Theory and History of Architecture and Town Planning of the Russian Academy of Architecture and Construction Sciences (NIITIAG RAASN) (Moscow, Russia), graduated from the Strelka Institute (Moscow, Russia), e-mail: mnevlyutov@gmail.com
ORCID ID: 0000-0003-0671-7187
Summary: Jacques Herzog 's and Pierre de Meuron 's work and planning is closely intertwined with artistic practice, with the artists, with their ideas about the postwar, postmodern space. These architects have focused on the issues of the day, such as an act of utterance, dematerialization, reality, estrangement and others. However, the main means of their design bases on art, not architecture. Jacques Herzog and Pierre de Meuron interpret the ideas of artists and photographers, make collaborative projects. Art for them is conceptual tool for creative decisions in architecture.
Keywords: sensual architecture, contemporary art, estrangement, materials, smells, atmosphere, reality, manifestation act

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FROM EXPRESSION TO CONCEPT AND BACKWARDS

CAMERA OBSCURA AND ITS SUBJECT 
UDC 771.319.4
Author: Jonathan Crary
Summary: An annotated and commented translation of the notes, taken from Jonathan Crary, on the development of the optical models at the Early Modern time. The idea of Crary on the camera obscura as mean of generalisation of the optic as both scientific and aesthetical work is actual for art criticism. Crary, who integrates research of the scientific revolution and progress and of the practices of everyday life, links new models of the Universe and new moods of publicity. The translation aims to show productive character of the idea in different contexts of contemporary studies.
Keywords: camera obscura, visuality, spectator, vision, visual instruments, technologies of representation, objective truth, subject

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THE COMMUNICATION CRISIS AS A MEANS OF GENRE TRANSFORMATION
UDC 82:1+82-31
Author: Shvets Anna, 4th year undergraduate in Arts (major in American Literature), Moscow State University of M.V.Lomonosov (Philological Faculty, Media Studies Department), Moscow, Russia, e-mail: ananke2009@mail.ru
ORCID ID: 0000-0002-1492-2511
Summary: The author treats Herman Melville’s story “Bartleby the Scrivener” as an example of a complex communicative strategy: performing an infelicitous speech act, or, to be more precise, an abuse (according to speech act theory as introduced by J.L.Austin). The abuse is defined as a violation of a set of rules prescribed by the print medium (a monthly magazine). Given that this premise is valid, the author aims to investigate how the violation of a formula genre (a magazine story) is achieved (by what means) and how it affects the reader. Focusing on the narrator and the composition of the story, the author concludes that 1) the narrator is unreliable and thus the attention of the reader is directed to the expression plane rather than to the content plane, 2) the structure of composition is devoid of functional elements and thus forms a “gap” to be filled in by the reader. This leads to the conclusion that the story is an example of violated genre clichés which form a new genre model for reading and writing which is open to the interpretations and consequently more demanding.
Keywords: Herman Melville, the pragmatics of literary communication, genre, art experiment, the American Renaissance

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CREATING REPRESENTATIONS OF SPACE AND INTERNATIONAL SENSIBILITY IN "THE RED TAPES" BY VITO ACCONCI (1977) AND "ZIDANE A 21ST CENTURY PORTRAIT" BY DOUGLAS GORDON AND PHILIPPE PARRENO (2006)
UDC 7.038.53:791.43
Author: Marchenkova Victoria, Ph.D, independent scholar, e-mail: marchenkova.victoria@gmail.com
ORCID ID: 0000-0002-6761-9137
Summary: Author analyzes creating methods of representations of spaces in two pieces of video art and looks how video artists regulate distance between spectator and these closed worlds. Immersion and repulsion are to be the main narrative elements. These elements allow to reproduce sensibility of the international subject.
Keywords: video art, narrative, representation of space, system of contemporary art

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THE FOOTPRINTS OF PRESENCE. REGARDING PAVEL MAKOV’S WORKS WITH A LITTLE HELP FROM HANS ULRICH GUMBRECHT
UDC 7.01+76
Author: Filonenko Boris, M.Phil., postgraduate student of philosophy in Karazin National University (Kharkiv, Ukraine), e-mail: fumblefor@gmail.com
Summary: The article deals with structural and meaningful features of works by ukrainian graphic artist Pavel Makov that are placed outside the modern/postmodern opposition. The central theme of the article is a brief meeting of Makov and an author of the book about “presence culture” – Hans Ulrich Gumbrecht. The article describes results of this meeting as crucial for the understanding of contemporary ukrainian art.
Keywords: new old masters, presence, meaning, moments of intensity

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ANALYTICAL APPROACH TO TODAYCINEMA

VAMPIRE'S UTOPIA
UDC 791.43-2
Author: Gorbunova Alla, philosopher, historian of culture, poet and essayist, researcher at the Institute of Education in Humanities, St.-Petersburg State Polytechnic University, e-mail: allagor85@yandex.ru
Summary: The essay is on Jim Jarmusch Only Lovers Left Alive (2013) as a representation of the past, framed with mythological pattern of immortality. We prove, that emotional conditions of the past experience (melancholy, fear, desire) are subject to the universal return to the same as the mythical “self”. “The death of the actor/subject” and “desire of desire” are equally necessary to improve the level of the self-consciousness of the characters.
Keywords: Jarmusch, utopia, vampire cinema, everyday life, pleasure, representations of the past

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“THE MOONRISE KINGDOM” AS STORY ABOUT HISTORY
UDC 791.43-2
Author: Denisova Irina, PhD in art history, specialist in cinema studies, reader in the Russian New University – RosNOU, e-mail: denisovairina@rambler.ru
Summary: The article is about representations of childhood in “The Moonrise Kingdom” by Wes Anderson, in the context of emotional status of the periods of human life and ideologies of human age. The artistic manner of Anderson closely related to the contradictions of the age representation in the contemporary cinema metatext. The incompatibility of individual and collective memory are the main source of the plot, transforming facts of inner life to the sense of the temporal regime of existence.
Keywords: Wes Anderson, representation, childhood, authentic, detail, veritable, inner world

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