Slovenian Primary School Teachers' Opinion on Interdisciplinary Approach Between Fine Art and Science Education

<p style="text-align: justify;">In this article we present research on Slovenian primary school teachers' opinion about the interdisciplinary approach between fine art and science education. With the help of questionnaires, interviews, and analysis of lesson plans, we determined how primary school teachers use this type of interdisciplinary approach, how often and what their views are. We included 138 primary school teachers from every region in Slovenia. It turned out that primary school teachers in Slovenia use an interdisciplinary approach between fine art and science teaching quite often and consider it useful to achieve different aspects of pupils' development. The study revealed that most teachers find it difficult to consider the educational goals of both fields (fine art, science). They often use the connection between the subjects only on an associative level - they only mention the teaching content of one subject quickly and carelessly, without making meaningful connections and without achieving the goals of both subjects. Content taught in this way cannot be considered a cross-curricular approach in the subject sense.</p>

The visual gamut and syntactic abstraction

Charles S. Peirce’s second trichotomy, which introduces the concepts of iconicity, indexicality, and symbolicity, is probably the only piece of his semiotic that is familiar to visual artists and designers. Although the concepts have found their way into the academy, their utility in the field has been reduced for a couple of reasons. First, as with all of Peirce’s philosophy, his second trichotomy is a concept that is subtle, fluid, and difficult to fully grasp in a sound bite. Second, there has simply been no bridge concept that would form a working connection between that philosophy in its logical guise and the studio practice in the visual arts. The purpose of this article is to remedy that situation by investigating the subtle ways the second trichotomy functions within the visual sphere, and to then suggest a model that can serve to bridge the divide between pure theory and practice. The article makes four main points: first, using examples from visual identity and the graphic arts, it demonstrates how the modes of icon, index, and symbol tend to be blended; second, examples from fine art are used to illustrate how the concept of abstraction, as used in the art world, can only be partially accounted for within the second trichotomy, but can be modeled by supplying a syntactical supplement; third, it expands on and elaborates a previously sketched model, the visual gamut, which makes it possible to classify visual entities according to their position within a map of semantic and syntactic space; finally, it concludes by suggesting ways this enhanced version of the visual gamut model might be used in the analysis of, or creation of, art and design, presenting suggestions for further study.

EKSPLORASI LIMBAH PLASTIK DALAM KARYA SENI RUPA

Art creation: Exploration of Plastic Waste in Fine Art is an experiment in utilizing plastic waste around the author into an aesthetic 2-dimensional work of art as an effort to reduce waste on earth, and at the same time enriching the treasures of art in Indonesia, especially and the world in general. Plastic waste can unknowingly threaten the survival of the human environment. Plastic cannot be destroyed through natural processes and lasts a very long time in nature. It takes 500-1000 years for plastic to degrade, but it will still leave microplastic particles that are harmful to living things. Creating works of art is one of the efforts of the author as an artist to take care of reducing plastic waste. The concept of the work in this creation is a spooky facial expression that conveys a message to the audience that plastic waste is dangerous for the future of living things. To achieve the goal of creation, it is done by using the method of material experimentation and exploration of the form of the work of creation. The materials used are various kinds of plastic waste which are cleaned, sorted by color and then pressed using an electric iron on the prepared medium. Through this method, several works of spooky facial expressions were obtained. Abstrak Penciptaan karya seni: Eksplorasi Limbah Plastik dalam Karya Seni Rupa adalah sebuah eksperimen dalam memanfaatkan limbah plastik yang ada di sekitar penulis menjadi sebuah karya seni 2 dimensi yang estetis sebagai upaya dalam mengurangi limbah sampah di bumi, dan sekaligus dapat memperkaya khasanah kesenirupaan di tanah air khususnya dan dunia umumnya. Limbah plastik tanpa disadari dapat mengancam kelangsungan lingkungan kehidupan manusia. Plastik tidak dapat hancur lewat proses alami dan bertahan sangat lama di alam. Dibutuhkan 500-1000 tahun bagi plastik agar tergradasi, tapi tetap saja akan menyisakan partikel mikroplastik yang berbahaya bagi makhluk hidup. Menciptakan karya seni adalah salah satu upaya penulis sebagai perupa untuk ikut peduli mengurangi limbah plastik. Konsep karya dalam penciptaan ini adalah ekspresi wajah seram yang membawa pesan kepada audiens bahwa limbah plastik berbahaya bagi masa depan makhluk hidup. Untuk mencapai tujuan penciptaan dilakukan dengan menggunakan metode ekspremen bahan dan eksplorasi bentuk ciptaan karya. Bahan yang digunakan adalah berbagai macam limbah plastik yang dibersihkan, dipilah warnanya kemudian dipress menggunakan setrika listrik pada medium yang telah disiapkan. Melalui metode ini kemudian didapatkan beberapa karya ekspresi wajah seram.

Cultural studies methodology of gender analysis of works of fine art (on the example of the story "Judith and Holofernes" in European painting)

The purpose of the Article. Based on the generalized object of gender research as the interaction of men and women in society, to test the cultural studies methodology of gender analysis of works of fine art on the example of the story "Judith and Holofernes" in European painting. The methodology consists of a combination of a number of general theoretical: analysis and synthesis – and special methods of scientific research: chronological, problem-chronological, historical-comparative, iconological, iconographic methods, method of formal-stylistic analysis, method of semantic analysis of visual series, and biographical and retrospective methods. The principle of psychoanalytic interpretation of art as a form of sublimation of the subconscious was taken into account. Scientific novelty. The study allows gaining new knowledge about the specifics of gender analysis in the field of art history and the application of its cultural studies methodology to the analysis of works of fine art. Conclusions. Applying the described methodology of analysis to the paintings on the gender-relevant plot "Judith and Holofernes", created by women artists and male artists, allowed us to conclude: 1) in quantitative terms, paintings by men are an order of magnitude higher than paintings by women artists; 2) with the exception of two paintings by Artemisia Gentileschi, whose composition is determined not only by an example of a similar painting by Caravaggio but also by dramatic events in the artist's life, the composition is based on the post-factum principle, 3) among the paintings by male artists stands out a quantitatively significant group of works in which, starting with "Judith" by Giorgione, there is an eroticization of the image of the protagonist, thus objectifying the erotic fantasies and desires of men; 4) in parallel with eroticism, thanatological objectification is formed: "eroticized death" (R. W. Whalen) and men's subconscious fear of "women's power". Keywords: cultural studies methodology of gender analysis, painting, European painting, "Judith and Holofernes", Artemisia Gentileschi, Elisabetta Sirani, Fede Galizia, Virginia Vezzo, eroticization of the image, thanatological objectification, gender-relevant plots.

KUSTOM KULTURE EVENT MARKETING AS A BRAND COMMUNITY CREATIVITY

The purpose of this study is to describe kustom cultural events as a form of branding program from Retro Classic Cycles Jogjakarta and House of Customland Surabaya. During the event, we saw a touch of creative creation of the kustom kulture brand community. This study uses a qualitative method. Data were obtained based on observations and interviews with several people involved in the annual kustom kulture event. In addition, the researcher also developed data collection by looking at the social media managers of Retro Classic Cycles and House of Customland. Research findings show that there are efforts to develop brand communities, initiators routinely carry out annual activities in kustom cultural events. The kustom kulture event presents creative culture from a variety of artistic collaborators, both fine art and motor builder, which inclusively makes event collaborators really enjoy and actively participate in displaying their artworks as a medium for creativity exhibitions. Originality shows that kustom culture events are used as community media for kustom culture activists Retro Classic Cycles and House of Customland, as an effective way to build a certain identity of a community, so as to increase public knowledge about kustom kulture. Therefore, the quality and quantity of kustom cultural events can be increased according to the differences and novelty of the theme of the event being held.

Symbolic consumers of fine art in the art market and their motivations

The purpose of the article. Research and analysis of algorithms of marketing technologies in the art market by studying the motivations of symbolic consumers of fine arts, namely, individuals who consume products of fine arts through symbolic appropriation. The research methodology is to apply comparative, empirical, and theoretical methods. This methodological approach allows us to analyze the motivations of symbolic consumers of works of art with the subsequent use of research results in the marketing processes of promoting works of art in the art market. The scientific novelty lies in the expansion of ideas about the motivations of symbolic consumers of the fine arts market and in the study of further marketing processes in it. The article analyzes the algorithms of marketing technologies in the analysis of motivations of symbolic consumers of the fine arts market. The article establishes that in the marketing of fine arts it is relevant and necessary to study the behavior of symbolic consumers of works of art as Individuals through the analysis of types of symbolic Consumers, as well as through the analysis of situations of symbolic consumption of works of art as a symbolically appropriated Product at the art market while viewing works of art in exhibition halls. Based on research in the field of art market marketing, we can say that artistic creativity is an area of activity of non-profit public and private museums, gallery and exhibition institutions, as well as large and small businesses, which should professionally analyze consumer motivations, which in turn makes it possible to highly segment consumers of works of fine art in accordance with their motivations. Conclusions. The article defines and analyzes the model of consumption of fine arts by symbolic appropriation, and, accordingly, describes the group (segment) of consumers. We are talking about symbolic consumption, which is associated with the possibility of obtaining aesthetic pleasure through the symbolic appropriation of the work without material possession. It is also proved that consumer behavior in art marketing is determined by three mandatory components: Individual - Product - Situation. It is on these components that the types of motivation are formed, on which the model of consumption and consumer behavior is built. Thus, we have studied individuals who consume works of art, which in turn are products presented in exhibition halls, and we have studied the situations of consumption of works of art that are consumed by symbolic appropriation in exhibitions. Key words: art market, marketing research, motivation of consumers of works of art, symbolic consumption of works of art, behavior of consumers of art market.

Exhibitions of Soviet fine art in 1930 in the reviews of the foreign press

The article examines the reviews of the German, Austrian and Swedish periodicals about some exhibitions of Soviet fine art held in 1930. On the basis of archival materials, the attitude of the foreign press to the Soviet exhibition projects in Berlin, Vienna and Stockholm is analyzed. The influence of the political orientation of periodicals on the assessment of the plots of the works of Soviet artists is emphasized. When characterizing the painting technique and compositional structure of the works, critics pointed to their continuity from the Western European tradition. Soviet graphics and sculpture made a positive impression. Critics associated the artistic successes mainly with the masters of the old Russian school.

DETERMINATION OF COLORED SURFACE PROPERTIES ART OBJECT AS A MEANS OF CREATING A HARMONIOUS ARCHITECTURAL ENVIRONMENT

The article examines the properties of the colored surface of the Art object as a means of creating a harmonious architectural environment. The question was raised about the relevance of increasing the comfort, functionality, ergonomics, environmental friendliness and aesthetics of the design of the architectural environment, which is associated with global problems caused by the deterioration of the environment and unprecedented measures in connection with the pandemic. Taking into account the fact that the introduction of elements of fine art into the architectural space is always accompanied by only positive emotions, the necessary design of various types of Art objects in the modern architectural space has been determined. It is indicated that the artistic material is the main factor in the objects of fine art, capable of participating in the formation of the aesthetic perception of the environment. The analysis of the existing sources of theoretical and practical experience has shown the relevance of this problem. Based on the results of the analysis, the main properties of the colored surface were systematized, identified and determined, which affect the perception of the texture of colored surfaces of different types of art forms of Art objects, depending on the following factors: 1) color saturation and lighting; 2) distance from observer; 3) property of the surface of the material and the nature of its processing; 4) the color tone of the material surface, its saturation and lightness. Methods of its use in different types of Art objects are proposed. Typical examples of the practical implementation of the use of Art objects using the possibilities of a colored surface in a modern architectural space, made by the authors of the study and modern examples of world art, are presented in a visual table. Based on the results of the study, the main tools were identified that may be necessary in the design practice of architects, designers, artists to create a harmonious architectural environment.