Issue 50 (2023, 2) Summary

ARTICULT #50 (2-2023) ­April­-June

SUMMARY

THEORY OF ART

ARTISTIC PRACTICE STRATEGIZING AS AN ARTIST’S PROFESSIONLA TOOL
Research article
UDC 7.01+7.071.1
DOI: 10.28995/2227-6165-2023-2-6-22
Received: April 08, 2023. Approved after reviewing: May 19, 2023. Date of publication: June 28, 2023.
Author: Peskisheva Karolina Sergeevna, Master in Art Studies (Moscow, Russia), e-mail: karolina.ids@gmail.com
ORCID ID: 0000-0003-0721-5533
Summary: In contemporary art history and, more generally, in the humanities in general, there are many ideas of what art is, contemporary art, what it means to do art and what the functions of art are. Often these are contradictory. This leads to a complex situation that forces researchers, unable to gain coherent and consistent knowledge of “art”, to operate with essentially knowledge-based knowledge “phantoms” that express a conceptual attitude towards it rather than its mere existence. This problem, however, is not only theoretical but also practical. The artist is the creator of something that can only potentially be regarded as art. Entering the field of professional practice, the artist has to develop, from scratch, an algorithm of activity that defines not only the object he or she produces (the work of 'art') but also the potential reception of this produced object in a certain quality (as a work of 'art'). Yet, at the same time, it is likely that the artist has no such experience of methodological work, which is simply beyond the scope of professional competence. In this article we propose a model for artistic practice strategizing, which the artist can turn to in order to consciously formulate his or her own artistic concept and plan its implementation.
Keywords: methodology of art studies, theory of art, artistic practice, artistic practice strategizing, activity approach, professional activity of artist

For citation:
Peskisheva K.S. “Artistic practice strategizing as an artist’s professional tool.” Articult. 2023, no. 2(50), pp. 6-22. (in Russ.) DOI: 10.28995/2227-6165-2023-2-6-22

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HISTORY OF ART

LINE AS THE ORNAMENTAL MATRIX OF DUTCH ART NOUVEA: JAN TOOROP AND JAN THORN-PRIKKER
Research article
UDC 7.036.45+7.048
DOI: 10.28995/2227-6165-2023-2-23-36
Received: April 26, 2023. Approved after reviewing: June 04, 2023. Date of publication: June 28, 2023.
Author: Dyachenkova Olga Viktorovna, art historian, member of the Association of Art Historians, Phd student, National Research University Higher School of Economics (Moscow, Russia), e-mail: odyachenkova@hse.ru
ORCID ID: 0000-0002-8501-4115
Summary: This article examines the line as a means of artistic expression in the Dutch variant of Art Nouvea. Inspired by natural motifs, techniques of the English, French and Belgian schools, as well as Egyptian and Indonesian aesthetics, the line marked a break with traditional forms and an exit to abstract art. The aim of this article is to analyze the pictorial and graphic works of Jan Toorop and Jan Thorn-Prikker. Particular attention will be paid to how a pictorial motif develops into ornamentation. The theoretical works of Humbert de Superville and Johannes Vloten on the problem of the relationship between line and image are considered as part of the analysis. The relevance of the article is due to the insufficient study of Dutch Art Nouveau morphology.
Keywords: line, ornament, symbolism, European symbolism, аrt nouveau, art of the late nineteenth and early twentieth centuries, Holland, Netherlands

For citation:
Dyachenkova О.V. “The line as an ornamental matrix of Dutch Art Nouvea: Jan Toorop and Jan Thorn-Prikker.” Articult. 2023, no. 2(50), pp. 23-36. (in Russ.) DOI: 10.28995/2227-6165-2023-2-23-36

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VISUAL ARTS

PARK OF THE KRASNODAR STADIUM (2017-2023): MODERN INTERPRETATION OF THE CLASSICAL GARDEN STYLES
Research article
UDC 711.558+712
DOI: 10.28995/2227-6165-2023-2-37-58
Received: December 30, 2023. Approved after reviewing: Marc 20, 2023. Date of publication: June 28, 2023.
Author: Sokolov Boris Mikhailovich, Dr.Hab. in Art Studies, professor, Russian State University for the Humanities (Moscow, Russia), e-mail: sokolov.rggu@gmail.com
ORCID ID: 0000-0003-4542-503X
Summary: The paper provides, for the first time, a comprehensive analysis of the artistic features of the Krasnodar Stadium park and historical allusions associated with the compositions of this park. The park, opened to the public in 2017, has become a novelty in the international landscape culture and a landmark of Krasnodar. The main elements of the ensemble analyzed: concept, layout, roads and routes, volumes and space, green architecture and forms of the plants, water system, boundaries and zones, materials and textures, shapes and rhythms, play of light and conditions of nature. The works of art placed in the park are considered in detail: first, the compositions “Geolocation” and «Artificial Environment» of the Recycle group (2019) and, second, subsequent installations, the presence of which could be a matter of discussion. The historical garden styles that influenced the idea of the park are Italian, French, and English types and water gardens of the Middle East, as well as postmodern “landforms» by Charles Jenks. The large Japanese Garden (2023) is a new development of the park. The shift to the stylization makes it possible to summarize the image of the main park, in which the techniques of modern landscape art and the motives of historical heritage are summarized.
Keywords: garden art, contemporary art, land art, artistic means of garden art, Recycle group, sculpture park, historical gardens

For citation:
Sokolov B.M. “Park of the Krasnodar stadium (2017-2023): modern interpretation of the classical garden styles.” Articult. 2023, no. 2(50), pp. 37-58. (in Russ.) DOI: 10.28995/2227-6165-2023-2-37-58

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CINEMA

ALEXANDER PAYNE’S “DECLARATION OF INDEPENDENTS” AND REALISATION OF ITS MAIN PRINCIPILES IN DIRECTIOR’S WORKS
Research article
UDC 791.43-2+791.43.04
DOI: 10.28995/2227-6165-2023-2-59-74
Received: March 06, 2023. Approved after reviewing: April 10, 2023. Date of publication: June 28, 2023.
Author: Danilina Yulia Vladimirovna, master in Art Studies (Moscow, Russia), e-mail: julieworkplace@gmail.com
ORCID ID: 0009-0007-2809-8811
Summary: This article is devoted to “Declaration of Independents” written by Alexander Payne and published in April 2004. It presents the separate fragments of the essay, translated into Russian for the first time. Some principle features are highlighted, that distinguish, as Payne insists, an independent movie. There implementations are traced in director’s works from 2002 till 2017. Main attention is focused on screenwriting, editing and visual environment of this works. Director’s decision to make simple stories about disenfranchised man becomes a “political act” that opposes his art to studio movies and harsh reality.
Keywords: American independent cinema, Alexander Payne, New Hollywood, road-movie, family drama, screenwriting, editing, cinematography, location scouting, art direction

For citation:
Danilina Y.V. “Payne’s "Declaration of Independents" and realization of its main principles in director’s works.” Articult. 2023, no. 2(50), pp. 59-74. (in Russ.) DOI: 10.28995/2227-6165-2023-2-59-74

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ANALYTICAL SCHEME IN FILM CRITICS’ WORK. EVGENY GUSYATINSKY
Research article
UDC 7.01+791.43.01+791.45.072
DOI: 10.28995/2227-6165-2023-2-75-89
Received: May 18, 2023. Approved after reviewing: June 06, 2023. Date of publication: June 28, 2023.
Author: Kozhokaru Tatiana Igorevna, MA in Art History (Moscow, Russia), e-mail: tatiana@journalist.com
ORCID ID: 0000-0002-8987-4032
Summary: The article is devoted to identifying the analytical scheme used by film critic Yevgeny Gusyatinsky in reviews for the printed version of Cinema Art Journal. The review of domestic publications, which are focused on various aspects of the film review genre, is followed by a constructive analysis of the texts by E. Gusyatinsky, carried out in accordance with the methodology developed by S.Yu. Schtein. The film critic's reviews of feature films published in Cinema Art Journal are successively analyzed, and each text's key principles of construction are formulated. The systematization of the analytical models used allows us not only to conclude that there is a more or less unified scheme for analyzing the film used by the author but also to continue the study on a larger scale, identifying the schemes used by other film critics and comparing them.
Keywords: film analysis, film review, analytical scheme, film criticism, Cinema Art Journal, constructive analysis, contextual analysis, film presentation

For citation:
Kozhokaru T.I. “Analytical scheme in film critics’ work. Evgeny Gusyatinsky.” Articult. 2023, no. 2(50), pp. 75-89. (in Russ.) DOI: 10.28995/2227-6165-2023-2-75-89

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