The Turn of 20th Contemporary Art under the Big Social Crisis

The current COVID-19 pandemic has immensely impacted artists and their artwork. Such as the spread of the epidemic has led to the emergence of a new art form-NFT and so on, and also made online art exhibitions and virtual spaces became a popular way of viewing exhibitions. The same applies to the 20th century, artists knew that they had entered a unique and modern age of artistic expression. The modern world would bring both opportunities and challenges to the people. Historical evidence has shown that art is a highly dynamic field characterized by its ever-changing nature. Characterized by various social crises such as the Great Depression, 1918 Influenza Pandemic, First World War, and the Second World War, among many others. The Great Depression of the 1930s influenced art, particularly painting, to a great extent. During the depression, art became a tool for reflecting the current conditions, social critique, and activism.

The pilgrimage and illustrated journals of David Roberts in the southern Mediterranean Sea and the Near East (1838-39) and the marketing of his illustrated journals in the Shows of London

The body of drawings and sketches created by the Scottish painter David Roberts (1796-1864) during his expedition to the Holy Lands in 1838-9 marked the high point of his professional career. This paper will look at the period after his return to Britain in July 1839, particularly to 1842. It will suggest that although Roberts was no doubt influenced by his Scottish Presbyterian upbringing, religious faith was not as central to his trip as has often been supposed. It was instead through the business acumen of his publisher F.G. Moon that this body of work came to be regarded not merely as an aesthetic achievement but as a cause célèbre. A skilful and coordinated marketing campaign elevated these drawings to the status of a pilgrimage; a contemplative journey through the sites of biblical antiquity. Through detailed analysis of contemporaneous accounts it will show how one of the costliest publications of the era was disseminated, passing from prestigious galleries and the libraries of a wealthy elite through a continuum of public art exhibitions and popular media including panoramas, dioramas and the newly-emerging field of dissolving views. This will provide a rare case study into the interconnectedness of London’s exhibition culture in the 1840s.

Likovna umetnost v Mariboru v času nemške okupacije 1941–1945

The article deals with the organisation of art life in Maribor during the German occupation. Based on archival material, various aspects of the Maribor affiliate of the Graz-based association Comradeship of Styrian Artists and Friends of Art (Kameradschaft Steirischer Künstler und Kunstfreunde) are presented, as well as art exhibitions held in Maribor from 1941 to 1943. The activity of the Maribor affiliate is set in the context of the German occupation policy in Lower Styria, especially in the context of their efforts to Germanise the region and annex it to the Third Reich.

Embroidery and Textiles: A Novel Perspective on Women Artists’ Art Practice

The manuscript focuses on the autobiographical artistic practice of women artists and feminist expression in visual art, particularly those women artists who use embroidery and textiles as mediums, techniques, processes, styles, subjects, and themes. Women artists often use a variety of unique materials and techniques to create artwork which are primarily related to them and show a feminist identity. The research explores the mediums, tools and techniques applied by women artists in their artworks and the reasons behind choosing that particular medium and methods. In addition, women artists when, where, and how these diverse creation strategies have been adopted and developed over time are examined and analysed with the help of earlier literature, articles, research papers, art exhibitions, and artworks created by women artists. This manuscript discusses the chronological development of embroidery and textiles in the context of women’s art practice, the efforts and achievements of the “Feminist Art Movement” and the cause and concept of “Entangled: Threads & Making”, a contemporary woman artist art exhibition at Turner. Embroidery and textiles are associated with women’s art practice; women artists used embroidery, needlework, and textiles as a powerful symbolic medium of expression and resistance against the male-dominated art society. They began to use feminist expressions, forms, and materials to present their new characteristics. Women artists use embroidery, textiles and needlework as feminist traditional materials and techniques, and continue to struggle to blend them with other new contemporary mediums.

Les concepts en mouvement : une méthode basée sur la poésie pour la visite de groupe dans l’exposition d’art contemporain

Résumé : L’objectif de cet article consiste à présenter ma méthode de recherche des concepts en mouvement basée sur la poésie pour la visite de groupe dans l’exposition d’art contemporain. Cette méthode s’élabore en dialogue avec l’approche pédagogique de l’équipe de l’éducation à la Fondation PHI qui s’ancre dans la notion de mouvement et dans la méthodologie des concepts migratoires (Bal, 2002). Ma pédagogie féministe basée sur les concepts en mouvement est une extension des concepts migratoires, mais elle s’en distingue en se situant spécifiquement dans l’écriture poétique née d’une fulgurance de conscience-lucidité qui connecte mon corps-sujet avec l’affect de l’œuvre. Mots-clés : Recherche poétique; Art contemporain; Éducation à l’art; Pédagogie du mouvement; Philosophie féministe; Corporéité; Poésie comme pédagogie. Abstract: The purpose of this article is to introduce my poetry-based research method that draws from concepts in movement to develop group visits within contemporary art exhibitions. This method was conceived in dialogue with the pedagogical approach of the PHI Foundation’s Education Team, which is anchored in the travelling concepts’ methodology (Bal, 2002). Although an extension of travelling concepts, my feminist pedagogical approach is distinct because it is rooted in poetic writing which emerges in response to a lucid awareness of the connection between my body-as-subject and the artwork’s affect. Keywords: Poetic inquiry; Contemporary art; Art education; Pedagogy of movement; Feminist philosophy; Embodiment; Poetry as pedagogy

YULII MYKOLAIOVYCH YATCHENKO (1928–2020). MEMORIES OF THE ARTIST [publication of the document]

The article is a publication of the memories of Yulii Mykolaiovych Yatchenko, a Ukrainian painter, graduate of the Kyiv State Art Institute (KSAI), student of S. Hryhoriev, M. Sharonov, H. Melikhov, and K. Ieleva. Yulii Yatchenko dedicated almost his entire life to pedagogical and organizational work: Director of the Republican Art Secondary School named after T.H. Shevchenko, Professor of the Department of Drawing and Vice-Rector for scientific work of the KSAI, as well as he headed the Directorate of Art Exhibitions of the Ministry of Culture of the USSR. The manuscript work «Memories of the Artist» of Yulii Mykolaiovych Yatchenko was prepared by him for printing in 2014. The manuscript contains two parts: «Memories of the Artist. The Story» and «Work on the Images of Princes and Kings». Now the first part is published, in which the author recalls both his training at the KSAI (now — «the NAFAA») and the methods of work and education of the teachers; describes moments of the creative process over the painting «With the Dream of Peace. Rescuing Works of Dresden Art Gallery by Soviet Troops in 1945» (1959) and other major paintings; revives in memories trips to Dresden and communication with the management of the Dresden Gallery, visits of the Ukrainian delegation for culture to Portugal, creative trips to Lithuania and Latvia, stay in Sedniv and Kanev; as if relives the pleasant moments associated with personal exhibitions in the halls of the National Academy of Fine Arts and Architecture. Yulii Yatchenko also draws attention to the issues of pedagogy, drawing teaching methods, reflects on the needs of creative youth. Finally, the author dives into his childhood memories, verbally describing his family and his ancestors. The feature of «Memories of the Artist» of Yulii Yatchenko is the absence of a rigid chronology and informality of presentation; the artist wrote down his own memories in the sequence in which they surfaced in his memory. After reading the «Memories», there is a feeling of personal communication with Yulii Mykolaiovych Yatchenko. The publication is a unique original testimony of the artist, a representative of that generation, whose creative path began in the difficult postwar period, in times of severe ideological constraints. The material of his memories is useful for teachers, graduate and undergraduate students, as well as connoisseurs of art in general and the creativity of Yulii Mykolaiovych Yatchenko in particular.

Overview of Exhibition Work of the First Jinan International Biennale

"Harmony Power: The First Jinan International Biennale" was officially presented on December 12, 2020. The rich and complex varieties of exhibition works are unique in art exhibitions in recent years in Shandong province. This paper summarizes the characteristics of biennale exhibition with summary of the experience of biennale exhibition, hoping to bring some enlightenment for the industry colleagues through the combination of the size of the work, weight, equipment type, quantity, the number of participants, the length of lines in the exhibition, the number of types of construction and other technical parameters based on the biennial exhibition in Shandong Art Museum.

“…Undeniably FInest Choice of Frame” ( on the Question of PIcture Framing by I. E. Repin)

Numerous paintings by I. E. Repin in the collections of the Russian Museum, Tretyakov Gallery, Ateneum are distinguished by interesting, richly decorated, at times unique frames. The vast majority of these decorative art pieces have not been studied. Not only the creator of the sketch and the framemaker are left undisclosed, but also those who stood behind the choice of the frame – the artist himself or, rather, the buyer, customer. The contemporary ideas regarding Repin’s frames have largely been influenced by a highly critical commentary of Y. D. Minchenkov, which he recorded in his memoirs dedicated to artists – members of the Association of Traveling Art Exhibitions. Yet, the frames of Repin, which we have successfully identified and attributed, make us doubt the objectivity of Minchenkov's words. The question of Repin's contribution to the art of picture framing has not yet been considered in the works of specialists. Nonetheless, the original decor of the frames for such paintings as “Sadko” give grounds to assume that they were created according to the artist's drawings. Remarkably, a number of the artworks considered in the article have been introduced into scholarly literature for the first time.