The article examines the cultural, historical and philosophical prerequisites for the emergence o... more The article examines the cultural, historical and philosophical prerequisites for the emergence of subjective photography in the Soviet Union in the middle and late 20th century. A subjective view of photography among photographers and photo amateurs in the USSR was formed by avant-garde currents in world and Soviet culture in the middle of the 20th century. The concepts of subjectivity and the author’s subjectivity are considered in the spirit of the ideas of French existentialists about humanism and existentialism, etc. The Being, essence, and being of a person are the subjects of research not only of existential philosophers. Photographers are also able to capture their subjective experience and the experiences of others in their immediacy and acuteness. Along with their foreign colleagues, Soviet photographers in the late 20th century turned to the study of the conditions of human existence, human essence, etc. In the post-war period, the author’s subjectivity of Soviet photographers manifested itself to the greatest extent in the networks of creative groups (self-organizations), created against the background of numerous art studios, photography clubs, etc., which were part of the system of state amateur clubs. Independent creative groups that were created in the 1970s–1980s, had chosen photography as a medium for the creation of photo-based Art. The Another (the other people) turns out to be a condition for the existence of the author’s subjectivity in photography. During the study, conceptual and descriptive-phenomenological methods were used, as well as comparative studies and hermeneutics. A historical and cultural analysis of little-known sources regarding the development of subjective photography was carried out. Key words: author’s subjectivity, subjective photography, Otto Steinert, Sartre, Camus, humanism, existentialism, Interpress-photo 66, Lithuanian photography, Kharkiv photography, the Immediate Photography group, Oleksandr Slyusarev, Boris Mikhailov.
У статті проаналізовано важливі історичні події та факти біографії Б. А. Михайлова (нар. 25 серпн... more У статті проаналізовано важливі історичні події та факти біографії Б. А. Михайлова (нар. 25 серпня 1938 р., м. Харків, УРСР), за яких актуалізувалося ігрове мислення митця на перших етапах його художньої творчості. Наведено посилання на досить рідкісні архівні документи, які до цього не було введено до теоретичного дискурсу. Вивчено художнє та інтелектуальне середовище митця та взаємні впливи оточення у 1970-1980-і роки. Моделювання «гри в мистецтво» Б. Михайлова здійснено згідно з концепцією ігрового мислення О. Барановської, концепцією «станковізації фотографії» О. Лаврентьєва, концепцією жанрів «серйозно-сміхового» М. Бахтіна тощо. Твори Б. Михайлова належать до серйозно-сміхових жанров. Після знайомства з колами литовських фотографів та московських художників-авангардистів він звернувся до мистецьких практик, що мають наративну природу. Внаслідок спілкування під час зустрічі «Можливості фотографії», яка презентувала мистецтво, інспіроване фотографією, у листопаді 1981 року у Москві, у Б. Михайлова з'являється «станкове ставлення до твору». У художніх наративах Б. Михайлова, що було створено з 1981 по 1988 роки, присутні елементи карнавалізації та Меніппової сатири. Властивості ігрового мислення Б. Михайлова-надмірність, заміни та зміщення, інтенсивність, непередбачуваність та випадковість уможливлюють здійснитися ігровим подіям у художньої творчості митця. У статті проаналізовано обрані твори, створені на другому-«концептуальному» етапі творчості Б. Михайлова. У ході дослідження було застосовано біографічний, концептуальний, дескриптивно-феноменологічний методи аналізу, компаративістику та герменевтику. Ключові слова: ігрове мислення, гра, карнавальне світовідчуття, художня творчість Б. Михайлова, художній наратив, станковізація фотографії, серйозно-сміхові жанри, меніппова сатира.
The article analyzes important historical events and facts from Boris Mіkhaіlov’s biography (born... more The article analyzes important historical events and facts from Boris Mіkhaіlov’s biography (born August 25, 1938, Kharkiv, Ukrainian SSR), іn which the artist’s playful thinking was actualized at the first stages of artistic creativity. References are made to documents that are rather rare and have not been introduced into the theoretical discourse before. The artistic and intellectual environment of the artist and the mutual influences of the environment in the 1970s and 1980s are studied. The modeling of Mіkhaіlov’s ‘Play in the Art’ is carried out in accordance with Baranovskaya’s concept of ‘playful thinking’, Lavrentiev’s concept of ‘photography stankovization’, Bakhtin’s concept of ‘serio-comical’, etc.Mikhailov’s works belong to the serious-comical genres. After meeting with Lithuanian photographers and Moscow Avant-garde artist circles in the 1970–1980s, he turned to artistic practices that have a narrative nature. As a result of communication during the meeting ‘At The Round Table’ – ‘POSSIBILITIES OF PHOTOGRAPHY’ (Moscow) in November 1981, Mikhailov has developed easel photography towards his creativity. Some of Mikhailov’s artistic narratives, which were made between 1981 and 1988, have elements of photography carnivalizing and Menippean satire. The properties of Mikhailov playfully thinking – redundancy, substitutions and shifts, intensity, unpredictability, and randomness make it possible for play events to take place in the artist’s artistic work. The article analyzes selected Mikhailov’s artworks, which were created at the second, ‘conceptual’ stage of his creativity. In the course of the study, biographical, conceptual, descriptive-phenomenological methods of analysis, comparativistics and hermeneutics were applied.
The paper examines the playing prerequisites of creativity and investigates the playing activity ... more The paper examines the playing prerequisites of creativity and investigates the playing activity of Boris Mikhailov (born August 25, 1938, Kharkiv, Ukrainian SSR) from 1966 to 1980. Analysis of Mikhailov’s creative works and narrative interviews enabled a historical periodisation of his legacy based on certain markers and principles. During the first, ‘metaphorical’ stage of his creativity, Mikhailov figuratively denies and praises current reality at the same time in search for the Ideal. The open ‘photo rows’ created by Mikhailov at this time had a form of slide shows of overlays of two colour diapositive films and views of thematic series of photographic prints. The artist presents them during photographic seminars, club meetings, and private meetings. Carnivaltype artistic images and meanings by Mikhailov manifests itself in the unfinished transition from life to art and back. Mikhailov’s laughter at this stage is already carnival-like, i.e. ambivalent, universal and nationwide, it has a folk-celebratory nature and is aimed at everything and everyone. The author of the paper introduced the concept of ‘carnivalization of photography’ into the theoretical discourse, which means the transfer of carnival-type images and folk-holiday forms of carnival laughter into photography. In the course of the study, biographical, conceptual, descriptive-phenomenological, hermeneutical, and comparative methods of analysis were applied.
The article analyzes the play prerequisites for the creation, methods of implementation and condi... more The article analyzes the play prerequisites for the creation, methods of implementation and conditions of perception of B. Mіkhaіlov’s and S. Bratkov’s works — multimedia installations ‘Sacrifice to the God of War’ and ‘Box for Three Letters’, presented in the exhibition project ‘Alchemical Surrender’ of the Soros Center for Contemporary Art in Sevastopol in 1994. As a result of the research, it was found that S. Bratkov and B. Mikhaіlov had chosen ‘non-photographic’ as an artistic language for the project ‘Alchemical surrender’ — the language of carnival forms and carnival symbols. The multimedia installation ‘Sacrifice to the God of War’ combines the following forms of folk ridiculous carnival culture: theatrical and spectacular forms — happening, recorded on video, and three art objects — assemblages created on the basis of photographic images. The multimedia installation ‘A Box for Three Letters’ combines different forms of folk ridiculous carnival culture: theatrical and specta...
Рецензія до книзі: Павлов Є., Павлова Т. Скрипка = Violin. Київ :
Родовід, 2018. 128 с. ISBN 978-... more Рецензія до книзі: Павлов Є., Павлова Т. Скрипка = Violin. Київ : Родовід, 2018. 128 с. ISBN 978-617-7482-26-9
НАРОДЖЕНИЙ ТВОРИТИ: АКАДЕМІЯ В КОЛІ СТОЛІТТЯ. СЛОВО РЕДАКТОРА З НАГОДИ ЮВІЛЕЮ, 2021
Євген КОТЛЯР
головний редактор «Вісника Харківської
державної академії дизайну і мистецтв»,
к... more Євген КОТЛЯР
головний редактор «Вісника Харківської
державної академії дизайну і мистецтв»,
кандидат мистецтвознавства, професор
2021 р. відзначається знаменною датою – річницею заснування Харківської державної академії дизайну і мистецтв. Хоча історія розвивається в лінійному часі, на різних етапах свого шляху вона замикається в коло: історія світу, історія людини, історія вишу. Що більший цей цикл – рік, декада, сторіччя, то важче сприймати деталі, але більше відкривається ціле: звідки ми вийшли, де стоїмо і куди йдемо, де помилялися, де ризикували й вигравали. Але саме дні роблять рік, роки визначають десятиліття, з окремих фрагментів складається весь пазл. Саме про це ми думали, коли починали йти назустріч ювілею і запрошували наших авторів до створення колективного літопису вищої художньої школи Харкова.
The paper outlines the play preconditions of artistic creativity of the artist Valera Cherkashin ... more The paper outlines the play preconditions of artistic creativity of the artist Valera Cherkashin (Valery T.Cherkashenko, was born 1948 in Liptsy village, Kharkiv region, USSR) during the 1960s–1980s, as well asthe first period of his collaboration with Natasha Cherkashin (Natalia S. Polyakova, born 1958 in Damascus, Syria). From the first half of the 1960s to the 1980s, V.Cherkashin organized a number of art events in Kharkiv, using elements of Soviet and Western mass culture. Cherkashin’s artworks blur the boundaries between traditional genres and styles in the visual arts. While experimenting with the art form, Cherkashins in addition to the language of art action have been using the language of photography, of cinema, painting, graphics and video. Artists continue to create art in different media. Currently, Cherkashin’s artworks are in the collections of the leading museums and corporate collections around the world. The aim of the research is to reveal the ontological, methodol...
While experimenting with the art form, Cherkashins in addition to the language of art action have been using the language of photography, of cinema, painting, graphics and video. Artists continue to create art in different media. Currently, Cherkashin’s artworks are in the collections of the leading museums and corporate collections around the world. The aim of the research is to reveal the ontological, methodological and axiological bases of Cherkashin’s artistic creativity. During the analysis the playing preconditions in Cherkashins’ creativity. Feelings of tension and joy, as well as sense of otherness are inherent in all the artistic work of the Cherkashins. V. Cherkashin creates a new conceptual meaning—the image of the “other” in the early photographic series of 1965–1966 and the image of a social outcast who is between two worlds in 1972. During Cherkashin’s play, the seriousness is eliminated, it becomes funny. The funny side of Cherkashins’ artworks is rooted in harmless nonsense. Artists turn ideological and verbal codes and images into “funny nothing”. Joyful life-affirming laughter in the Cherkashins’ works is the second “actor,” along with the ‘new plasticity.’ Biographical, conceptual, descriptive-phenomenological methods of analysis, comparative studies and hermeneutics were used during the research.
RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, 2019
The article considers the socio-cultural context of the art works
of B. Mikhailov in the first ... more The article considers the socio-cultural context of the art works
of B. Mikhailov in the first half of the 1980s. The philosophical statements
in the photo series “Unfinished dissertation” were analyzed. The philosophical foundations of the art work of B. Mikhailov were revealed and analyzed.
The basic aesthetic principles of artistic creativity and artistic techniques of
B. Mikhailov were revealed.
For B. Mikhailov, the 1970–1980s were an attempt to bring photography
in various ways to the field of culture using viriating, coloring, working with
texts, the method of parallel associations, etc. The desire to destroy (deconstruct) the traditional art form through various artistic techniques lead to the
creation by B. Mikhailov of the concept of “New Photographicity”, and also
the first handmade albums – “artist’s books”.
The source base of this research is the photo series of B. Mikhailov, presented in the form of photo books, archival documents, as well as recordings of
biographical interviews published in specialized media that study the theory
and history of culture.
Structural-narrative analysis as a research methodology can be used to
analyze and interpretation artistic narratives, including photo series. The
content of a photo series expressed in the form of a philosophical narrative
is always philosophical. However, a photo series may not have a narrative
structure.
The article examines the cultural, historical and philosophical prerequisites for the emergence o... more The article examines the cultural, historical and philosophical prerequisites for the emergence of subjective photography in the Soviet Union in the middle and late 20th century. A subjective view of photography among photographers and photo amateurs in the USSR was formed by avant-garde currents in world and Soviet culture in the middle of the 20th century. The concepts of subjectivity and the author’s subjectivity are considered in the spirit of the ideas of French existentialists about humanism and existentialism, etc. The Being, essence, and being of a person are the subjects of research not only of existential philosophers. Photographers are also able to capture their subjective experience and the experiences of others in their immediacy and acuteness. Along with their foreign colleagues, Soviet photographers in the late 20th century turned to the study of the conditions of human existence, human essence, etc. In the post-war period, the author’s subjectivity of Soviet photographers manifested itself to the greatest extent in the networks of creative groups (self-organizations), created against the background of numerous art studios, photography clubs, etc., which were part of the system of state amateur clubs. Independent creative groups that were created in the 1970s–1980s, had chosen photography as a medium for the creation of photo-based Art. The Another (the other people) turns out to be a condition for the existence of the author’s subjectivity in photography. During the study, conceptual and descriptive-phenomenological methods were used, as well as comparative studies and hermeneutics. A historical and cultural analysis of little-known sources regarding the development of subjective photography was carried out. Key words: author’s subjectivity, subjective photography, Otto Steinert, Sartre, Camus, humanism, existentialism, Interpress-photo 66, Lithuanian photography, Kharkiv photography, the Immediate Photography group, Oleksandr Slyusarev, Boris Mikhailov.
У статті проаналізовано важливі історичні події та факти біографії Б. А. Михайлова (нар. 25 серпн... more У статті проаналізовано важливі історичні події та факти біографії Б. А. Михайлова (нар. 25 серпня 1938 р., м. Харків, УРСР), за яких актуалізувалося ігрове мислення митця на перших етапах його художньої творчості. Наведено посилання на досить рідкісні архівні документи, які до цього не було введено до теоретичного дискурсу. Вивчено художнє та інтелектуальне середовище митця та взаємні впливи оточення у 1970-1980-і роки. Моделювання «гри в мистецтво» Б. Михайлова здійснено згідно з концепцією ігрового мислення О. Барановської, концепцією «станковізації фотографії» О. Лаврентьєва, концепцією жанрів «серйозно-сміхового» М. Бахтіна тощо. Твори Б. Михайлова належать до серйозно-сміхових жанров. Після знайомства з колами литовських фотографів та московських художників-авангардистів він звернувся до мистецьких практик, що мають наративну природу. Внаслідок спілкування під час зустрічі «Можливості фотографії», яка презентувала мистецтво, інспіроване фотографією, у листопаді 1981 року у Москві, у Б. Михайлова з'являється «станкове ставлення до твору». У художніх наративах Б. Михайлова, що було створено з 1981 по 1988 роки, присутні елементи карнавалізації та Меніппової сатири. Властивості ігрового мислення Б. Михайлова-надмірність, заміни та зміщення, інтенсивність, непередбачуваність та випадковість уможливлюють здійснитися ігровим подіям у художньої творчості митця. У статті проаналізовано обрані твори, створені на другому-«концептуальному» етапі творчості Б. Михайлова. У ході дослідження було застосовано біографічний, концептуальний, дескриптивно-феноменологічний методи аналізу, компаративістику та герменевтику. Ключові слова: ігрове мислення, гра, карнавальне світовідчуття, художня творчість Б. Михайлова, художній наратив, станковізація фотографії, серйозно-сміхові жанри, меніппова сатира.
The article analyzes important historical events and facts from Boris Mіkhaіlov’s biography (born... more The article analyzes important historical events and facts from Boris Mіkhaіlov’s biography (born August 25, 1938, Kharkiv, Ukrainian SSR), іn which the artist’s playful thinking was actualized at the first stages of artistic creativity. References are made to documents that are rather rare and have not been introduced into the theoretical discourse before. The artistic and intellectual environment of the artist and the mutual influences of the environment in the 1970s and 1980s are studied. The modeling of Mіkhaіlov’s ‘Play in the Art’ is carried out in accordance with Baranovskaya’s concept of ‘playful thinking’, Lavrentiev’s concept of ‘photography stankovization’, Bakhtin’s concept of ‘serio-comical’, etc.Mikhailov’s works belong to the serious-comical genres. After meeting with Lithuanian photographers and Moscow Avant-garde artist circles in the 1970–1980s, he turned to artistic practices that have a narrative nature. As a result of communication during the meeting ‘At The Round Table’ – ‘POSSIBILITIES OF PHOTOGRAPHY’ (Moscow) in November 1981, Mikhailov has developed easel photography towards his creativity. Some of Mikhailov’s artistic narratives, which were made between 1981 and 1988, have elements of photography carnivalizing and Menippean satire. The properties of Mikhailov playfully thinking – redundancy, substitutions and shifts, intensity, unpredictability, and randomness make it possible for play events to take place in the artist’s artistic work. The article analyzes selected Mikhailov’s artworks, which were created at the second, ‘conceptual’ stage of his creativity. In the course of the study, biographical, conceptual, descriptive-phenomenological methods of analysis, comparativistics and hermeneutics were applied.
The paper examines the playing prerequisites of creativity and investigates the playing activity ... more The paper examines the playing prerequisites of creativity and investigates the playing activity of Boris Mikhailov (born August 25, 1938, Kharkiv, Ukrainian SSR) from 1966 to 1980. Analysis of Mikhailov’s creative works and narrative interviews enabled a historical periodisation of his legacy based on certain markers and principles. During the first, ‘metaphorical’ stage of his creativity, Mikhailov figuratively denies and praises current reality at the same time in search for the Ideal. The open ‘photo rows’ created by Mikhailov at this time had a form of slide shows of overlays of two colour diapositive films and views of thematic series of photographic prints. The artist presents them during photographic seminars, club meetings, and private meetings. Carnivaltype artistic images and meanings by Mikhailov manifests itself in the unfinished transition from life to art and back. Mikhailov’s laughter at this stage is already carnival-like, i.e. ambivalent, universal and nationwide, it has a folk-celebratory nature and is aimed at everything and everyone. The author of the paper introduced the concept of ‘carnivalization of photography’ into the theoretical discourse, which means the transfer of carnival-type images and folk-holiday forms of carnival laughter into photography. In the course of the study, biographical, conceptual, descriptive-phenomenological, hermeneutical, and comparative methods of analysis were applied.
The article analyzes the play prerequisites for the creation, methods of implementation and condi... more The article analyzes the play prerequisites for the creation, methods of implementation and conditions of perception of B. Mіkhaіlov’s and S. Bratkov’s works — multimedia installations ‘Sacrifice to the God of War’ and ‘Box for Three Letters’, presented in the exhibition project ‘Alchemical Surrender’ of the Soros Center for Contemporary Art in Sevastopol in 1994. As a result of the research, it was found that S. Bratkov and B. Mikhaіlov had chosen ‘non-photographic’ as an artistic language for the project ‘Alchemical surrender’ — the language of carnival forms and carnival symbols. The multimedia installation ‘Sacrifice to the God of War’ combines the following forms of folk ridiculous carnival culture: theatrical and spectacular forms — happening, recorded on video, and three art objects — assemblages created on the basis of photographic images. The multimedia installation ‘A Box for Three Letters’ combines different forms of folk ridiculous carnival culture: theatrical and specta...
Рецензія до книзі: Павлов Є., Павлова Т. Скрипка = Violin. Київ :
Родовід, 2018. 128 с. ISBN 978-... more Рецензія до книзі: Павлов Є., Павлова Т. Скрипка = Violin. Київ : Родовід, 2018. 128 с. ISBN 978-617-7482-26-9
НАРОДЖЕНИЙ ТВОРИТИ: АКАДЕМІЯ В КОЛІ СТОЛІТТЯ. СЛОВО РЕДАКТОРА З НАГОДИ ЮВІЛЕЮ, 2021
Євген КОТЛЯР
головний редактор «Вісника Харківської
державної академії дизайну і мистецтв»,
к... more Євген КОТЛЯР
головний редактор «Вісника Харківської
державної академії дизайну і мистецтв»,
кандидат мистецтвознавства, професор
2021 р. відзначається знаменною датою – річницею заснування Харківської державної академії дизайну і мистецтв. Хоча історія розвивається в лінійному часі, на різних етапах свого шляху вона замикається в коло: історія світу, історія людини, історія вишу. Що більший цей цикл – рік, декада, сторіччя, то важче сприймати деталі, але більше відкривається ціле: звідки ми вийшли, де стоїмо і куди йдемо, де помилялися, де ризикували й вигравали. Але саме дні роблять рік, роки визначають десятиліття, з окремих фрагментів складається весь пазл. Саме про це ми думали, коли починали йти назустріч ювілею і запрошували наших авторів до створення колективного літопису вищої художньої школи Харкова.
The paper outlines the play preconditions of artistic creativity of the artist Valera Cherkashin ... more The paper outlines the play preconditions of artistic creativity of the artist Valera Cherkashin (Valery T.Cherkashenko, was born 1948 in Liptsy village, Kharkiv region, USSR) during the 1960s–1980s, as well asthe first period of his collaboration with Natasha Cherkashin (Natalia S. Polyakova, born 1958 in Damascus, Syria). From the first half of the 1960s to the 1980s, V.Cherkashin organized a number of art events in Kharkiv, using elements of Soviet and Western mass culture. Cherkashin’s artworks blur the boundaries between traditional genres and styles in the visual arts. While experimenting with the art form, Cherkashins in addition to the language of art action have been using the language of photography, of cinema, painting, graphics and video. Artists continue to create art in different media. Currently, Cherkashin’s artworks are in the collections of the leading museums and corporate collections around the world. The aim of the research is to reveal the ontological, methodol...
While experimenting with the art form, Cherkashins in addition to the language of art action have been using the language of photography, of cinema, painting, graphics and video. Artists continue to create art in different media. Currently, Cherkashin’s artworks are in the collections of the leading museums and corporate collections around the world. The aim of the research is to reveal the ontological, methodological and axiological bases of Cherkashin’s artistic creativity. During the analysis the playing preconditions in Cherkashins’ creativity. Feelings of tension and joy, as well as sense of otherness are inherent in all the artistic work of the Cherkashins. V. Cherkashin creates a new conceptual meaning—the image of the “other” in the early photographic series of 1965–1966 and the image of a social outcast who is between two worlds in 1972. During Cherkashin’s play, the seriousness is eliminated, it becomes funny. The funny side of Cherkashins’ artworks is rooted in harmless nonsense. Artists turn ideological and verbal codes and images into “funny nothing”. Joyful life-affirming laughter in the Cherkashins’ works is the second “actor,” along with the ‘new plasticity.’ Biographical, conceptual, descriptive-phenomenological methods of analysis, comparative studies and hermeneutics were used during the research.
RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, 2019
The article considers the socio-cultural context of the art works
of B. Mikhailov in the first ... more The article considers the socio-cultural context of the art works
of B. Mikhailov in the first half of the 1980s. The philosophical statements
in the photo series “Unfinished dissertation” were analyzed. The philosophical foundations of the art work of B. Mikhailov were revealed and analyzed.
The basic aesthetic principles of artistic creativity and artistic techniques of
B. Mikhailov were revealed.
For B. Mikhailov, the 1970–1980s were an attempt to bring photography
in various ways to the field of culture using viriating, coloring, working with
texts, the method of parallel associations, etc. The desire to destroy (deconstruct) the traditional art form through various artistic techniques lead to the
creation by B. Mikhailov of the concept of “New Photographicity”, and also
the first handmade albums – “artist’s books”.
The source base of this research is the photo series of B. Mikhailov, presented in the form of photo books, archival documents, as well as recordings of
biographical interviews published in specialized media that study the theory
and history of culture.
Structural-narrative analysis as a research methodology can be used to
analyze and interpretation artistic narratives, including photo series. The
content of a photo series expressed in the form of a philosophical narrative
is always philosophical. However, a photo series may not have a narrative
structure.
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Papers by Natalia Chekh
their subjective experience and the experiences of others in their immediacy and acuteness. Along with their foreign
colleagues, Soviet photographers in the late 20th century turned to the study of the conditions of human existence, human essence, etc. In the post-war period, the author’s subjectivity of Soviet photographers manifested itself to the greatest extent in the networks of creative groups (self-organizations), created against the background of numerous art studios, photography clubs, etc., which were part of the system of state amateur clubs. Independent creative groups that were created in the 1970s–1980s, had chosen photography as a medium for the creation of photo-based Art.
The Another (the other people) turns out to be a condition for the existence of the author’s subjectivity in photography. During the study, conceptual and descriptive-phenomenological methods were used, as well as comparative studies and hermeneutics. A historical and cultural analysis of little-known sources regarding the development of subjective
photography was carried out.
Key words: author’s subjectivity, subjective photography, Otto Steinert, Sartre, Camus, humanism, existentialism, Interpress-photo 66, Lithuanian photography, Kharkiv photography, the Immediate Photography group, Oleksandr Slyusarev, Boris Mikhailov.
created by Mikhailov at this time had a form of slide shows of overlays of two colour diapositive films and views of thematic series of photographic prints. The artist presents them during photographic seminars, club meetings, and private meetings. Carnivaltype artistic images and meanings by Mikhailov manifests itself in the unfinished transition from life to art and back. Mikhailov’s laughter at this stage is already carnival-like, i.e. ambivalent, universal and nationwide, it has a folk-celebratory nature and is aimed at everything and everyone. The author of the paper introduced the concept of ‘carnivalization of photography’ into the theoretical discourse, which means the transfer of carnival-type images and folk-holiday forms of carnival laughter into photography.
In the course of the study, biographical, conceptual, descriptive-phenomenological, hermeneutical, and comparative methods
of analysis were applied.
Родовід, 2018. 128 с. ISBN 978-617-7482-26-9
головний редактор «Вісника Харківської
державної академії дизайну і мистецтв»,
кандидат мистецтвознавства, професор
2021 р. відзначається знаменною датою – річницею заснування Харківської державної академії дизайну і мистецтв. Хоча історія розвивається в лінійному часі, на різних етапах свого шляху вона замикається в коло: історія світу, історія людини, історія вишу. Що більший цей цикл – рік, декада, сторіччя, то важче сприймати деталі, але більше відкривається ціле: звідки ми вийшли, де стоїмо і куди йдемо, де помилялися, де ризикували й вигравали. Але саме дні роблять рік, роки визначають десятиліття, з окремих фрагментів складається весь пазл. Саме про це ми думали, коли починали йти назустріч ювілею і запрошували наших авторів до створення колективного літопису вищої художньої школи Харкова.
While experimenting with the art form, Cherkashins in addition to the language of art action have been using the language of photography, of cinema, painting, graphics and video. Artists continue to create art in different media. Currently, Cherkashin’s artworks are in the collections of the leading museums and corporate collections around the world. The aim of the research is to reveal the ontological, methodological and axiological bases of Cherkashin’s artistic creativity. During the analysis the playing preconditions in Cherkashins’ creativity. Feelings of tension and joy, as well as sense of otherness are inherent in all the artistic work of the Cherkashins. V. Cherkashin creates a new conceptual meaning—the image of the “other” in the early photographic series of 1965–1966 and the image of a social outcast who is between two worlds in 1972. During Cherkashin’s play, the seriousness is eliminated, it becomes funny. The funny side of Cherkashins’ artworks is rooted in harmless nonsense. Artists turn ideological and verbal codes and images into “funny nothing”. Joyful life-affirming laughter in the Cherkashins’ works is the second “actor,” along with the ‘new plasticity.’ Biographical, conceptual, descriptive-phenomenological methods of analysis, comparative studies and hermeneutics were used during the research.
of B. Mikhailov in the first half of the 1980s. The philosophical statements
in the photo series “Unfinished dissertation” were analyzed. The philosophical foundations of the art work of B. Mikhailov were revealed and analyzed.
The basic aesthetic principles of artistic creativity and artistic techniques of
B. Mikhailov were revealed.
For B. Mikhailov, the 1970–1980s were an attempt to bring photography
in various ways to the field of culture using viriating, coloring, working with
texts, the method of parallel associations, etc. The desire to destroy (deconstruct) the traditional art form through various artistic techniques lead to the
creation by B. Mikhailov of the concept of “New Photographicity”, and also
the first handmade albums – “artist’s books”.
The source base of this research is the photo series of B. Mikhailov, presented in the form of photo books, archival documents, as well as recordings of
biographical interviews published in specialized media that study the theory
and history of culture.
Structural-narrative analysis as a research methodology can be used to
analyze and interpretation artistic narratives, including photo series. The
content of a photo series expressed in the form of a philosophical narrative
is always philosophical. However, a photo series may not have a narrative
structure.
their subjective experience and the experiences of others in their immediacy and acuteness. Along with their foreign
colleagues, Soviet photographers in the late 20th century turned to the study of the conditions of human existence, human essence, etc. In the post-war period, the author’s subjectivity of Soviet photographers manifested itself to the greatest extent in the networks of creative groups (self-organizations), created against the background of numerous art studios, photography clubs, etc., which were part of the system of state amateur clubs. Independent creative groups that were created in the 1970s–1980s, had chosen photography as a medium for the creation of photo-based Art.
The Another (the other people) turns out to be a condition for the existence of the author’s subjectivity in photography. During the study, conceptual and descriptive-phenomenological methods were used, as well as comparative studies and hermeneutics. A historical and cultural analysis of little-known sources regarding the development of subjective
photography was carried out.
Key words: author’s subjectivity, subjective photography, Otto Steinert, Sartre, Camus, humanism, existentialism, Interpress-photo 66, Lithuanian photography, Kharkiv photography, the Immediate Photography group, Oleksandr Slyusarev, Boris Mikhailov.
created by Mikhailov at this time had a form of slide shows of overlays of two colour diapositive films and views of thematic series of photographic prints. The artist presents them during photographic seminars, club meetings, and private meetings. Carnivaltype artistic images and meanings by Mikhailov manifests itself in the unfinished transition from life to art and back. Mikhailov’s laughter at this stage is already carnival-like, i.e. ambivalent, universal and nationwide, it has a folk-celebratory nature and is aimed at everything and everyone. The author of the paper introduced the concept of ‘carnivalization of photography’ into the theoretical discourse, which means the transfer of carnival-type images and folk-holiday forms of carnival laughter into photography.
In the course of the study, biographical, conceptual, descriptive-phenomenological, hermeneutical, and comparative methods
of analysis were applied.
Родовід, 2018. 128 с. ISBN 978-617-7482-26-9
головний редактор «Вісника Харківської
державної академії дизайну і мистецтв»,
кандидат мистецтвознавства, професор
2021 р. відзначається знаменною датою – річницею заснування Харківської державної академії дизайну і мистецтв. Хоча історія розвивається в лінійному часі, на різних етапах свого шляху вона замикається в коло: історія світу, історія людини, історія вишу. Що більший цей цикл – рік, декада, сторіччя, то важче сприймати деталі, але більше відкривається ціле: звідки ми вийшли, де стоїмо і куди йдемо, де помилялися, де ризикували й вигравали. Але саме дні роблять рік, роки визначають десятиліття, з окремих фрагментів складається весь пазл. Саме про це ми думали, коли починали йти назустріч ювілею і запрошували наших авторів до створення колективного літопису вищої художньої школи Харкова.
While experimenting with the art form, Cherkashins in addition to the language of art action have been using the language of photography, of cinema, painting, graphics and video. Artists continue to create art in different media. Currently, Cherkashin’s artworks are in the collections of the leading museums and corporate collections around the world. The aim of the research is to reveal the ontological, methodological and axiological bases of Cherkashin’s artistic creativity. During the analysis the playing preconditions in Cherkashins’ creativity. Feelings of tension and joy, as well as sense of otherness are inherent in all the artistic work of the Cherkashins. V. Cherkashin creates a new conceptual meaning—the image of the “other” in the early photographic series of 1965–1966 and the image of a social outcast who is between two worlds in 1972. During Cherkashin’s play, the seriousness is eliminated, it becomes funny. The funny side of Cherkashins’ artworks is rooted in harmless nonsense. Artists turn ideological and verbal codes and images into “funny nothing”. Joyful life-affirming laughter in the Cherkashins’ works is the second “actor,” along with the ‘new plasticity.’ Biographical, conceptual, descriptive-phenomenological methods of analysis, comparative studies and hermeneutics were used during the research.
of B. Mikhailov in the first half of the 1980s. The philosophical statements
in the photo series “Unfinished dissertation” were analyzed. The philosophical foundations of the art work of B. Mikhailov were revealed and analyzed.
The basic aesthetic principles of artistic creativity and artistic techniques of
B. Mikhailov were revealed.
For B. Mikhailov, the 1970–1980s were an attempt to bring photography
in various ways to the field of culture using viriating, coloring, working with
texts, the method of parallel associations, etc. The desire to destroy (deconstruct) the traditional art form through various artistic techniques lead to the
creation by B. Mikhailov of the concept of “New Photographicity”, and also
the first handmade albums – “artist’s books”.
The source base of this research is the photo series of B. Mikhailov, presented in the form of photo books, archival documents, as well as recordings of
biographical interviews published in specialized media that study the theory
and history of culture.
Structural-narrative analysis as a research methodology can be used to
analyze and interpretation artistic narratives, including photo series. The
content of a photo series expressed in the form of a philosophical narrative
is always philosophical. However, a photo series may not have a narrative
structure.