- Saint Petersburg, Russia
Ida Shik
The State Hermitage Museum, Museum of the Imperial Porcelain Factory, Department Member
In the article, the researcher made a comprehensive study the American photographer Jerry Uelsmann art as a kind of contemporary digital photo-surrealism “prehistory”. The author revealed connections of Jerry Uelsmann works with American... more
In the article, the researcher made a comprehensive study the American photographer Jerry Uelsmann art as a kind of contemporary digital photo-surrealism “prehistory”. The author revealed connections of Jerry Uelsmann works with American modernist photography and historical surrealist photography. The researcher analyzed the structure of Jerry Uelsmann’s hybrid images in the context of the ideas of analytical psychology, and also outlined the themes and concepts proposed in the works of the photographer that would be relevant in contemporary digital photography. The study showed that Jerry Uelsmann art continued the traditions of American modernist photography and started a new, post-modernist period in the development of photographic art in the United States characterized by the use of photography as a tool of self-knowledge and philosophical expression. Jerry Uelsmann applied such important for the historical Surrealist photography conceptions as convulsive beauty, the principle o...
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В статье автор ставит целью проследить эволюцию репрезентации образа Ленинграда в фарфоре 1930-х – начала 1950-х годов на материале произведений мастеров Государственного фарфорового завода им. М.В. Ломоносова из собрания Государственного... more
В статье автор ставит целью проследить эволюцию репрезентации образа Ленинграда в фарфоре 1930-х – начала 1950-х годов на материале произведений мастеров Государственного фарфорового завода им. М.В. Ломоносова из собрания Государственного Эрмитажа (отдел «Музей Императорского фарфорового завода»). В 1930-х – начале 1950-х годов виды Ленинграда привлекают внимание таких художников, как В.П. Фрезе, Т.Н. Безпалова-Михалева, М.А. Брянцева, И.И. Ризнич, Л.И. Лебединская, Е.П. Кубарская, А.Ф. Большаков, Г.Д. Зимин, А.И. Быстров. В фарфоре 1930-х годов складывается советская «иконография» Ленинграда, подчеркивающая его значение как «колыбели революции» и города с богатым культурно-историческим наследием. В произведениях военного периода, посвященных блокадному Ленинграду, находят отражение трагические события в жизни города, переданные с особенным драматизмом и высокой степенью достоверности. В то же время художники стремятся подчеркнуть величие города и мужество его защитников. Во второй ...
The paper explores the peculiarities of interpretation of Jacques Lacan’s concept of “the mirror stage” in the surrealist photography. In the context of addressing to the concept of “the mirror stage” the surrealist photography... more
The paper explores the peculiarities of interpretation of Jacques Lacan’s concept of “the mirror stage” in the surrealist photography. In the context of addressing to the concept of “the mirror stage” the surrealist photography concentrates on the problems of the encounter of a person with his double, and also of narcissism and gender identifi cation. Th e author makes the conclusion that practice of using the mirrors and other ways of duplication of an image in the surrealist photography may be considered as fi xation on “the mirror stage”, as well as the interpretation of the photographic process as the medium of an endless repetition of an image of the other.
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In the article, the researcher explored the work of contemporary Argentinean photo artist Manuel Archain. He creates spectacular images based on the principle of paradoxical juxtapositions which can be described as “Surrealism of everyday... more
In the article, the researcher explored the work of contemporary Argentinean photo artist Manuel Archain. He creates spectacular images based on the principle of paradoxical juxtapositions which can be described as “Surrealism of everyday life”. The author analyzed such Manuel Archain’s series as “Small world”, “Hyperrealist intimacy”, “Museum of natural science”, “Thinking about…”,
“Square Portraits”, “From the window”, “Situations”, “Sleepers”, “Contemporary still life”. In conceptual terms, Manuel Archain often seeks to take the position of an “invisible observer”, spying on
someone else’s life and discovering something very unusual in it. Being a professional creator of advertising and comics, he knows how to attract the attention of the viewer and cause him to laugh, while at the same time making him think about things he didn’t pay attention before. At the same time, Manuel Archain radically modernizes the “Surrealist” language, using contemporary themes and images. The researcher summarized that Manuel Archain actualized a number of topics important for the contemporary subject such as physicality, self-observation and interpersonal observation, relationships, the interaction of the reality and fantasy in his works. The author concluded that the art
of Manuel Archain can be described as a typical example of contemporary “surreal” photography, seeking the marvelous in everyday life (as the historical Surrealism did), interpreted in accordance
with the cultural discourse of the metamodernist era.
“Square Portraits”, “From the window”, “Situations”, “Sleepers”, “Contemporary still life”. In conceptual terms, Manuel Archain often seeks to take the position of an “invisible observer”, spying on
someone else’s life and discovering something very unusual in it. Being a professional creator of advertising and comics, he knows how to attract the attention of the viewer and cause him to laugh, while at the same time making him think about things he didn’t pay attention before. At the same time, Manuel Archain radically modernizes the “Surrealist” language, using contemporary themes and images. The researcher summarized that Manuel Archain actualized a number of topics important for the contemporary subject such as physicality, self-observation and interpersonal observation, relationships, the interaction of the reality and fantasy in his works. The author concluded that the art
of Manuel Archain can be described as a typical example of contemporary “surreal” photography, seeking the marvelous in everyday life (as the historical Surrealism did), interpreted in accordance
with the cultural discourse of the metamodernist era.
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В XX-XXI вв. язык фарфорового искусства переживает радикальное обновление и трансформацию, вбирая в себя опыт новейших художественных течений. В данной статье проводится комплексное исследование абстракции в современном фарфоре на примере... more
В XX-XXI вв. язык фарфорового искусства переживает радикальное обновление и трансформацию, вбирая в себя опыт новейших художественных течений. В данной статье проводится комплексное исследование абстракции в современном фарфоре на примере произведений, созданных художниками Государственного (Ленинградского) фарфорового завода им. М. В. Ломоносова (в настоящее время-АО «Императорский фарфоровый завод»). Первым этапом развития «диалога с абстракцией» в искусстве фарфора являются 1920-е гг., ознаменованные сотрудничеством с заводом Василия Кандинского, Казимира Малевича и его учеников-Николая Суетина и Ильи Чашника, а также Николая Лапшина. Наиболее длительной и плодотворной была на заводе деятельность супрематистов, произведения которых пользовались значительным успехом на международных выставках и в экспортной продаже. В конце 1920-х-1930-х гг. вернувшийся к сотрудничеству с заводом Николай Суетин продолжает в своем творчестве линию беспредметного геометризма, выводя развитие абстракции в фарфоре на новый уровень. В фарфоре «оттепели» абстракция развивается в рамках «современного стиля» в декоративно-прикладном искусстве, интегрируя в себя наработки модерна, ар деко, супрематизма, оп-арта, абстрактного экспрессионизма. К абстракции и переосмыслению орнаментов обращаются такие художники завода, как Людмила Протопопова, Лидия Лебединская, Эдуард Криммер, Владимир Семенов, Нина Павлова, Нина Славина, Владимир Городецкий. Абстрактные композиции становятся неотъемлемой частью художественного языка современного фарфора, являясь одновременно рефлексией о традициях модернизма и репрезентацией новаторского авторского видения, примером чего могут служить работы Михаила Сорокина, Сергея Русакова, Юлии Жуковой, Веры Бакастовой и др. Диапазон абстрактных композиций в фарфоре конца XX-XXI вв. широк и разнообразен: это геометрическая и лирическая абстракция, абстрактные пейзажи, декоративные композиции. Таким образом, абстракция может рассматриваться как одно из ключевых направлений в искусстве фарфора XX-XXI вв., в рамках которого художникам удается гармонично сочетать стильный лаконичный дизайн предметов с глубокой философской рефлексией.
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Статья посвящена выявлению особенностей интерпретации флоральных мотивов в советском фарфоре эпохи «оттепели» на примере работ художников Ленинградского фарфового завода им. М. В. Ломоносова. Цветочные росписи в этот период... more
Статья посвящена выявлению особенностей интерпретации флоральных мотивов в советском фарфоре эпохи «оттепели» на примере работ художников Ленинградского фарфового завода им. М. В. Ломоносова. Цветочные росписи в этот период трансформируются в полном соответствии с требованиями «современного стиля». Художники предлагают упрощенные, стилизованные изображения цветов, превращая их в самостоятельный мотив и отказываясь от классических для росписи фарфора типов композиции и сложных орнаментов. При этом значительная часть поверхности предметов нередко остаётся не расписанной, что позволяет им показать красоту фарфора как материала и продемонстрировать его высокое качество. Художники-фарфористы выбирают для своих композиций тюльпаны, маки, условные, геометризированные розы и абстрактные цветы. Растительные мотивы приобретают в фарфоре «оттепели» тематическую автономию и активно применяются как в надглазурной, так и в подглазурной росписи. Часто они сближаются с пейзажем, становясь его «символическим заместителем». Таким образом, интерпретация флоральных мотивов в «оттепельном» фарфоре отличается тяготением к стилизации, лаконичностью колористического решения, живописной свободой и своеобразной непосредственностью. Произведения художников Ленинградского фарфового завода им. М. В. Ломоносова, декорированные флоральными композициями, активно экспонировались на региональных, всесоюзных и международных выставках и часто получали высокие оценки на специализированных художественных совещаниях.
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В статье автор ставит целью проследить эволюцию репрезентации образа Ленинграда в фарфоре 1930-х – начала 1950-х годов на материале произведений мастеров Государственного фарфорового завода им. М.В. Ломоносова из собрания Государственного... more
В статье автор ставит целью проследить эволюцию репрезентации образа Ленинграда в фарфоре 1930-х – начала 1950-х годов на материале произведений мастеров Государственного фарфорового завода им. М.В. Ломоносова из собрания Государственного Эрмитажа (отдел «Музей Императорского фарфорового завода»). В 1930-х – начале 1950-х годов виды Ленинграда привлекают внимание таких художников, как В.П. Фрезе, Т.Н. Безпалова-Михалева, М.А. Брянцева, И.И. Ризнич, Л.И. Лебединская, Е.П. Кубарская, А.Ф. Большаков, Г.Д. Зимин, А.И. Быстров. В фарфоре 1930-х годов складывается советская «иконография» Ленинграда, подчеркивающая его значение как «колыбели революции» и города с богатым культурно-историческим наследием. В произведениях военного периода, посвященных блокадному Ленинграду, находят отражение трагические события в жизни города, переданные с особенным драматизмом и высокой степенью достоверности. В то же время художники стремятся подчеркнуть величие города и мужество его защитников. Во второй половине 1940-х – начале 1950-х годов образ города-героя Ленинграда приобретает особую величественность и монументальность, характерную для стиля «Победа» в советском декоративно-прикладном искусстве.
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Тема сказки была одной из самых значительных для советского фарфорового искусства, будучи созвучной самому его духу, поскольку оно нередко творило некую идеальную, «сказочную» реальность, в которой «добро» побеждает «зло», а жизнь полна... more
Тема сказки была одной из самых значительных для советского фарфорового искусства, будучи созвучной самому
его духу, поскольку оно нередко творило некую идеальную, «сказочную» реальность, в которой «добро» побеждает «зло», а жизнь полна радости и изобилия. Статья посвящена выявлению специфики трактовки сказочных образов в творчестве художника Ленинградского фарфорового завода им. М. В. Ломоносова Т. Н. Безпаловой-Михалевой. В своих работах она обращается к авторским и народным сказкам, славянской мифологии и восточной тематике. Сказочные образы Т. Н. Безпаловой-Михалевой отражают как общую идейно-стилистическую эволюцию искусства фарфора 1930-х – 1970-х гг., так и изменения ее собственного творческого стиля. Работы художника 1930-х – 1940-х гг. отличаются развернутой нарративностью. В числе любимых сюжетов Т. Н. Безпаловой-Михалевой — сказки Пушкина и народные сказки. Для ранних работ художника характерна свободная композиция, некоторая условность форм, экспрессия, яркий колорит. Начиная со второй половины 1930-х гг. роспись приобретает большую упорядоченность и строгость. В 1940-е гг. Т. Н. Безпалова-Михалева активно работает с росписью кобальтом, в том числе в композициях на сказочные темы, которые отличаются особой живописностью. В произведениях 1960-х – 1970-х гг. она нередко предпочитает изображение отдельных сцен или сказочных/мифологических персонажей. В начале 1960-х гг. художник отдает должное «современному стилю» и создает лаконичные композиции, основываясь на традициях народного искусства. Во второй половине 1960-х гг. интерес к славянской мифологии сочетается в работах Т. Н. Безпаловой-Михалевой со сложностью и разнообразием форм, техническим совершенством и изысканностью колорита. В 1970-е гг. характерный для этого периода праздничный, жизнерадостный декоративный стиль воплощается художником в виртуозно исполненных нежных или, напротив, ярких по колориту произведениях на сказочную тематику. Авторские сказки Т. Н. Безпаловой-Михалевой «Волшебная уточка», «Златокудрая Айно», «Подарок Ахто» по своим сюжетным линиям близки народным сказкам, а их образы и персонажи находят параллели в ее фарфоровых композициях.
его духу, поскольку оно нередко творило некую идеальную, «сказочную» реальность, в которой «добро» побеждает «зло», а жизнь полна радости и изобилия. Статья посвящена выявлению специфики трактовки сказочных образов в творчестве художника Ленинградского фарфорового завода им. М. В. Ломоносова Т. Н. Безпаловой-Михалевой. В своих работах она обращается к авторским и народным сказкам, славянской мифологии и восточной тематике. Сказочные образы Т. Н. Безпаловой-Михалевой отражают как общую идейно-стилистическую эволюцию искусства фарфора 1930-х – 1970-х гг., так и изменения ее собственного творческого стиля. Работы художника 1930-х – 1940-х гг. отличаются развернутой нарративностью. В числе любимых сюжетов Т. Н. Безпаловой-Михалевой — сказки Пушкина и народные сказки. Для ранних работ художника характерна свободная композиция, некоторая условность форм, экспрессия, яркий колорит. Начиная со второй половины 1930-х гг. роспись приобретает большую упорядоченность и строгость. В 1940-е гг. Т. Н. Безпалова-Михалева активно работает с росписью кобальтом, в том числе в композициях на сказочные темы, которые отличаются особой живописностью. В произведениях 1960-х – 1970-х гг. она нередко предпочитает изображение отдельных сцен или сказочных/мифологических персонажей. В начале 1960-х гг. художник отдает должное «современному стилю» и создает лаконичные композиции, основываясь на традициях народного искусства. Во второй половине 1960-х гг. интерес к славянской мифологии сочетается в работах Т. Н. Безпаловой-Михалевой со сложностью и разнообразием форм, техническим совершенством и изысканностью колорита. В 1970-е гг. характерный для этого периода праздничный, жизнерадостный декоративный стиль воплощается художником в виртуозно исполненных нежных или, напротив, ярких по колориту произведениях на сказочную тематику. Авторские сказки Т. Н. Безпаловой-Михалевой «Волшебная уточка», «Златокудрая Айно», «Подарок Ахто» по своим сюжетным линиям близки народным сказкам, а их образы и персонажи находят параллели в ее фарфоровых композициях.
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“New Art Studies” journal issue 02/2021 is dedicated to the memory of Nina Nikolaevna Kalitina — Full Doctor of Art History, Honorary Professor of St. Petersburg State University, a leading Russian specialist in French art of the 19th –... more
“New Art Studies” journal issue 02/2021 is dedicated to the memory of Nina Nikolaevna Kalitina — Full Doctor of Art History, Honorary
Professor of St. Petersburg State University, a leading Russian specialist in French art of the 19th – 20th centuries, a talented teacher and
scientific advisor. The magazine was prepared based on the “Kalitin Readings-2021” conference materials (1-2 June 2021, Institute of History, St. Petersburg State University). It contains articles by colleagues, students and followers of Nina Nikolaevna investigating the problems of the art history and theory of the New and Modern times.
Professor of St. Petersburg State University, a leading Russian specialist in French art of the 19th – 20th centuries, a talented teacher and
scientific advisor. The magazine was prepared based on the “Kalitin Readings-2021” conference materials (1-2 June 2021, Institute of History, St. Petersburg State University). It contains articles by colleagues, students and followers of Nina Nikolaevna investigating the problems of the art history and theory of the New and Modern times.
Research Interests:
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The issue of the journal “New Art Studies” 03/2020 was prepared based on the materials of the conference “The Art of the Book of the Late Middle Ages and the Early Modern Time: Problems and Prospects of Study”, which took place on... more
The issue of the journal “New Art Studies” 03/2020 was prepared based on the materials of the conference “The Art of the Book of the
Late Middle Ages and the Early Modern Time: Problems and Prospects of Study”, which took place on September 24-25, 2020 at Russian
Academy of Sciences Library with the participation of the New Art Studies Foundation. The articles of the conference participants, published in the journal, address the most important issues for Russian and Western European book art related to typology, visual narrative, reception, migration and transformation of iconographic and decorative samples.
Late Middle Ages and the Early Modern Time: Problems and Prospects of Study”, which took place on September 24-25, 2020 at Russian
Academy of Sciences Library with the participation of the New Art Studies Foundation. The articles of the conference participants, published in the journal, address the most important issues for Russian and Western European book art related to typology, visual narrative, reception, migration and transformation of iconographic and decorative samples.
Research Interests: Book Art and Medieval Art
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Issue of the magazine “New Art Studies” (02/2020) is dedicated to the 70th anniversary of the birth of Elena Olegovna Vaganova (April 13, 1949 – January 9, 1984) – Leningrad art historian, researcher in Spanish art, associate professor of... more
Issue of the magazine “New Art Studies” (02/2020) is dedicated to the 70th anniversary of the birth of Elena Olegovna Vaganova (April 13, 1949 – January 9, 1984) – Leningrad art historian, researcher in Spanish art, associate professor of the Department of Art History at Leningrad State University (St. Petersburg State University), talented teacher, author of the fundamental monograph on B. E. Murillo. The issue includes articles devoted to the art of the East, Early Christian art, foreign art of the Renaissance and Modern times, art and culture of Russia in the 18th – 20th centuries.
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The main theme of the issue is the study of the heritage of Diaghilev’s “Russian Seasons” and Soviet ballet in various types of culture and art. The issue includes articles prepared on the basis of the materials of the All-Russian... more
The main theme of the issue is the study of the heritage of Diaghilev’s “Russian Seasons” and Soviet ballet in various types of culture and
art. The issue includes articles prepared on the basis of the materials of the All-Russian scientific conference with international participation
“Russian Seasons” and Soviet Everyday Culture: Names, Events, Processes ”(October 22, 2019, 20 years after the War. Museum of Leningrad everyday culture. 1945–1965, St. Petersburg), memories about ballet masters and reviews.
art. The issue includes articles prepared on the basis of the materials of the All-Russian scientific conference with international participation
“Russian Seasons” and Soviet Everyday Culture: Names, Events, Processes ”(October 22, 2019, 20 years after the War. Museum of Leningrad everyday culture. 1945–1965, St. Petersburg), memories about ballet masters and reviews.
Research Interests:
In the article, the researcher concerned the interpretation of the concept of automatism and the principle of “double image” in Surrealist photography of the 1920s – 1980s. The author considered the works of Surrealist photographers from... more
In the article, the researcher concerned the interpretation of the concept of automatism and the principle of “double image” in Surrealist photography of the 1920s – 1980s. The author considered the works of Surrealist photographers from France (Man Ray, Brassai, M. Tabard), Belgium (R. Ubac), Great Britain (B. Brandt), the Czech Republic (V. Reichmann, M. Hák, M. Korecek), the USA (F. Sommer). For the Surrealists, photography became a kind of automatic writing, offering a new look at the familiar things and revealing the optical unconscious of reality inaccessible to the naked human eye. Surrealist automatism manifests itself both in “straight” images and in experimental works in the techniques of camera-less photography, solarization, brulage, distortion, etc. with an unpredictable result. The Surrealist photographers’ experimental works demonstrate the limitlessness of creative possibilities in the purely photographic means, without any imitation of painting, abandoning the conventional “realism” of photographic art. This transforms the habitual reality in the works of the Surrealist photographers, imparts an unexpected look. Photographs that actualize the concept of automatism and the “double image” principle call into question the ratio of the objective and subjective in a photographic work and undermine the status of photography as a simple “mirror” of the reality while still maintaining a direct link with it. Unlike other Surrealist concepts, automatism and the principle of “double image” are not widely spread in contemporary photography for representativeness and shock effects have taken over a chance and free playing of imagination.
Research Interests:
Research Interests:
A special conference issue of the journal “New Art Studies” is devoted to the actual problems of domestic and foreign sculpture investigation – from antiquity to modernity. The issue includes articles prepared on the basis of the reports... more
A special conference issue of the journal “New Art Studies” is devoted to the actual problems of domestic and foreign sculpture investigation –
from antiquity to modernity. The issue includes articles prepared on the basis of the reports at the scientific conference “The Art of Sculpture:
Classics and Modernity” (St. Petersburg, Arts Square Gallery, May 14, 2019).
from antiquity to modernity. The issue includes articles prepared on the basis of the reports at the scientific conference “The Art of Sculpture:
Classics and Modernity” (St. Petersburg, Arts Square Gallery, May 14, 2019).
Research Interests:
Oriental and folklore problems occupied a significant place in Soviet porcelain sculptures of the 1930s. It was a continuation of the traditions that developed in the first post-revolutionary years. This reflected the ideological line of... more
Oriental and folklore problems occupied a significant place in Soviet porcelain sculptures of the 1930s. It was a continuation of the traditions that developed in the first post-revolutionary years. This reflected the ideological line of that time with its focus on the “Orient” and to the heroic epic. In the article, the researcher examined the historical and cultural context and artistic qualities of the sculptural group “Rustem” by Rimma Nikolaeva and the inkwell “Shota Rustaveli” by Natalia Danko, considering the pieces from the Museum of the Imperial Porcelain Factory of the State Hermitage. The jubilee celebrations dedicated to Abu-l-Qasim Firdowsi (1934) and Shota Rustaveli (1937) contributed to the growth of translation and scientific activity in relation to their works, as well as popularization of their creative heritage which acquired new social and political connotations in Soviet culture. The author underlined that in the sculptural image of Firdowsi’s hero Rustem, Rimma Nikolaeva emphasized his fabulous epic character, his strength, and determination and paid special attention to the details of his costume. A. V. Vorob’evsky’s painting gave decorative expression to the sculptural group (versions 1936 and 1937). The researcher accented that Natalia Danko interpreted the image of Shota Rustaveli according to the poet’s “iconography” that was traditional for Soviet art. Nevertheless, she made his image more poetic and intimate. In their creative manner, artists Elena Danko (1938), Mikhail Mokh (1938), Elizaveta Lupanova (1941), Alexey Vorob’evsky (1938) made original paintings of the inkwell Shota Rustaveli, emphasizing the romantic character of the sculptural image.
In the article, the focus of the study was on the “Inversage” series of photographs by M. Napravnik. In the series, the photographer duplicates his objects (trees, roots, stones, rocks) and turns them into a kind of mysterious pagan... more
In the article, the focus of the study was on the “Inversage” series of photographs by M. Napravnik. In the series, the photographer duplicates his objects (trees, roots, stones, rocks) and turns them into a kind of mysterious pagan deities or demons. While doing this, he relies on the principle of symmetry inherent in animate and inanimate nature. Не applies the principle of “double image” that is traditional for Surrealist photography. In addition, he uses the animation of the inanimate things in the interpretation of natural forms. At the same time, his “inversion” method enriches the visual language of Surrealist photography. The author underlined that the specularity, the motive of the Other’s gaze and the gloomy mystical atmosphere give rise to the feeling of the uncanny, which is immanent to Surrealist convulsive beauty. In the “Inversage” series, the photographer seeks to undermine conventional, rationalistic ideas about reality, demonstrating how the familiar world transforms into magical reality or into the surreality. Napravnik’s poems accompanying the photographs in the book “Nightly Breath, Night of Ghosts — Night Spirit, Night of Breath” (1995) have unpredictable poetic imagery, mysticism, the presence of black humor, and elements of eroticism and absurdity, providing the images with additional semantic connotations. The author concluded that, on the one hand, M. Napravnik’s “Inversage” is a concentrated synthesis of traditional for Surrealism concepts and techniques. On the other hand, it offers some new expressive means. The researcher summarized that it is possible to view the “Inversage” series of photographs as an organic part of creative searches in postmodern photography with its characteristic desire to reform the artistic language of photographic art.
Research Interests:
Research Interests:
The article presents a systematic analysis of widespread in the digital age “surreal” photography phenomenon and identifies its characteristic features. The author underlines that contemporary “surreal” photography works with such... more
The article presents a systematic analysis of widespread in the digital age “surreal” photography phenomenon and identifies its characteristic features. The author underlines that contemporary “surreal” photography works with such concepts of Surrealism as convulsive beauty, black humor, surreality, the principle of “paradoxical juxtapositions”. These ideas contribute to the satisfaction of its aspirations to spectacularity and shock effects. Contemporary photographers make a kind of “modernization” of Surrealist photography creative language, using specific for the beginning of the 21st century themes and motifs. At the same time, the “hybrid” images created by contemporary photographers, have either intellectual accessibility and “rationality” or extreme absurdity. Contemporary photographers transform surreality from the synthesis of reality and dream into the representation of spectacular fantasies, visions, or nightmares. Photographers often turn to Surrealist aesthetics to satisfy the need for escapism, grown in modern society. They create fantastic, almost fabulous images. There is an increased interest in manifestations of transgression and sadomasochism in contemporary “surreal” photography as well. Contemporary photographers pay special attention to the “alternative anatomy” of people and animals. The problematic field of historical Surrealism partially retains its relevance for contemporary photographers. They are interested in the issues of
self-knowledge, eroticism, physicality, and also speak about the problems of ecology and the crisis of civilization in surrealist terms. Contemporary “surreal” photography doesn’t constitute a general art movement with its conceptual program, so some of the identified features may seem mutually exclusive. Each photo artist creates his/her own original version of “photo-surrealism”, responding his/her inner needs and creative ideas. The author concludes that contemporary “surreal” photography is a typical example of the fact that aesthetical-philosophical ideas of surrealism remain relevant in the present-day art, transforming in accordance with changes in the socio-cultural discourse of the end of the 20th — the begging of the 21st centuries.
self-knowledge, eroticism, physicality, and also speak about the problems of ecology and the crisis of civilization in surrealist terms. Contemporary “surreal” photography doesn’t constitute a general art movement with its conceptual program, so some of the identified features may seem mutually exclusive. Each photo artist creates his/her own original version of “photo-surrealism”, responding his/her inner needs and creative ideas. The author concludes that contemporary “surreal” photography is a typical example of the fact that aesthetical-philosophical ideas of surrealism remain relevant in the present-day art, transforming in accordance with changes in the socio-cultural discourse of the end of the 20th — the begging of the 21st centuries.
Research Interests:
Research Interests:
The article deals with the issues of the interpretation of the concept of found objects in Surrealist photography. The author identifies such types of found objects in Surrealist photography as found images, ordinary things acquiring the... more
The article deals with the issues of the interpretation of the concept of found objects in Surrealist photography. The author identifies such types of found objects in Surrealist photography as found images, ordinary things acquiring the second life and found photographs. The researcher supposes that Surrealist photography creates a specific ‘counter-archive’ of found objects, including items that can describe not only the individual unconscious but also the collective socio-cultural unconscious. The author brings out three main approaches to the treatment of the concept of found object in Surrealist photography: interpretation by the title, using it as a work element or leaving without any comments. The author emphasizes that photographs of found objects are very “democratic”, each thing can become an art object; every person regardless of his or her professional skills can become the creator of found objects or their assemblages. The author concludes that by working with found objects, Surrealist photographers actualize such important concepts as automatism, objective chance, paranoiac-critical method, principle of visual analogy, black humor, principle of paradoxical juxtapositions. The author summarizes that photographs of found objects assure us that sur-reality is the essential part of the reality hidden in the most banal and habitual things.
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The article analyzes the key strategies of Leonardo da Vinci’s “old paranoid wall” representation in Surrealist photography and reveals their connections with the conceptual program of the Surrealist movement. The author marks tree main... more
The article analyzes the key strategies of Leonardo da Vinci’s “old paranoid wall” representation in Surrealist photography and reveals their connections with the conceptual program of the Surrealist movement. The author marks tree main approaches to that problem in surrealist photography: 1) extracting from the reality complete pictures/easy-interpreted forms showing how a wall texture participates in creation of the image; 2) representation of the surface with the rich texture and chance images as an aesthetically valuable object, close to abstraction; 3) using the picturesque texture as a work element acquiring historical and cultural references. The author considers that working with the “old paranoid wall” motif the Surrealist photographers can find answers in the external world to the inner requests and explore the process of artistic creation and the role the chance plays in it as well. The author concludes that photographs representing the “old paranoid wall” motif actualize such key Surrealist conceptions as the marvelous, automatism, found object, paranoiac-critical method, principle of visual analogy. The author summarizes that the application of “Leonardo’s lessons” allows surrealist photographers to show that surreality is the immediate part of reality, which is yet to be uncovered and understood.
Research Interests:
The paper explores the key strategies of the androgyne myth reception in surrealist photography. One of the most common images of an androgyne in the surrealist photography is a phallic woman, allocated with a penis symbolically, or... more
The paper explores the key strategies of the androgyne myth reception in surrealist photography. One of the most common images of an androgyne in the surrealist photography is a phallic woman, allocated with a penis symbolically, or literally, or associated with it (works of Man Ray, Brassai, H. Bellmer, P. Molinier). This interpretation goes back to infantile fantasies about the phallic mother and has its historical parallels with images of ancient androgynous gods (according to S. Freud). The image of an androgyne as a desired unity of male and female bodies is created by H. Bellmer, whose photographs of dolls with two pairs of legs remind us that Eros is inseparable from Thanatos, an act of love is inseparable from an act of mutual destruction. The idea of an androgyne as an ideal “third sex” reflecting the initial bisexuality of human nature is represented in self-portraits of C. Cahun and P. Molinier. While C. Cahun deconstructs the concept of a sex radically, reducing it to a theatrical masquerade, P. Molinier presents the image of an androgyne as a wizard — the shaman. The author concludes that the strategies of the androgyne myth reception represented by surrealist photography
and the associated problems, such as fetishism, gender identification, intersexual dressing up, etc., still remain valid for modern culture (works of J.-P. Witkin, C. Sherman, Y. Morimura, M. Barney).
and the associated problems, such as fetishism, gender identification, intersexual dressing up, etc., still remain valid for modern culture (works of J.-P. Witkin, C. Sherman, Y. Morimura, M. Barney).
Research Interests:
The paper explores the peculiarities of interpretation of Jacques Lacan’s concept of “the mirror stage” in surrealist photography. In the context of addressing to the concept of “the mirror stage” surrealist photography concentrates on... more
The paper explores the peculiarities of interpretation of Jacques Lacan’s concept of “the mirror stage” in surrealist photography. In the context of addressing to the concept of “the mirror stage” surrealist photography concentrates on the problems of the encounter of a person with his double, and also of narcissism and gender identifi cation. The author makes the conclusion that practice of using the mirrors and other ways of duplication of an image in the surrealist photography may be considered as fixation on “the mirror stage”, as well as the interpretation of the photographic process as the medium of an endless repetition of an image of the other.
Research Interests:
The article analyses the interpretation of the night city motif in the art of Brassai and Bill Brandt in the context of Surrealism. The author focuses on the representation of such ideas as “ethnographic Surrealism”, surreality, the... more
The article analyses the interpretation of the night city motif in the art of Brassai and Bill Brandt in the context of Surrealism. The author focuses on the representation of such ideas as “ethnographic Surrealism”, surreality, the marvelous, eroticism in Brassai’s and Brandt’s photographs. The researcher draws some formal and conceptual parallels between their works, and reveals its specifics as well. The author concludes that Brassai’s and Bill Brandt’s photographs are quite close to the Surrealist aesthetics.
Research Interests:
The paper explores the conceptual and formal parallels between the nude of the British photographer Bill Brandt and the surrealist photography (Man Ray, Brassai, A. Kertesz and the others). The author draws a conclusion that Bill Brandt... more
The paper explores the conceptual and formal parallels between the nude of the British photographer Bill Brandt and the surrealist photography (Man Ray, Brassai, A. Kertesz and the others). The author draws a conclusion that Bill Brandt created his original version of the nude using the key concepts and motifs of the surrealist photography.
Research Interests:
The article analyzed the specificity of the political agitation theme interpretation in Soviet porcelain of the 1960s on the example of the artists of the Leningrad Porcelain Factory named after M.V. Lomonosova such as Tamara... more
The article analyzed the specificity of the political agitation theme interpretation in Soviet porcelain of the 1960s on the example of the artists of the Leningrad Porcelain Factory named after M.V. Lomonosova such as Tamara Bezpalova-Mikhaleva and Mikhail Mokh. The object of the research was the works of Tamara Bezpalova-Mikhaleva and Mikhail Mokh from the collection of the Museum of the Imperial Porcelain Factory of the State Hermitage. The subject of the research was their stylistic and conceptual originality in the context of the traditions of porcelain art of the 1920s – 1930s and the aesthetic trends of the 1960s. The author concluded that the works of Tamara Bezpalova-Mikhaleva and Mikhail Mokh of the 1960s traced propaganda porcelain traditions of the 1920s – 1930s (the use of slogans and emblems, the combination of floral paintings with Soviet symbols, active work with color, stylization of forms, narrative elements), organically combined with the brevity and expressiveness of the new artistic language of the “Thaw” era. Artists addressed the topic of comparing the “old” and “new” worlds (the vase “We will Destroy the Whole World of Violence ...” (1966) by T. Bezpalova-Mikhaleva), interpreting the events of the revolution (the vase “Night in October” (1966) by T. Bezpalova-Mikhaleva; the vase “The Last Assault” (1967) by M. Mokh), glorifying various forms of agricultural and industrial work (service set “Hymn to Work” (1967–1968) by
M. Mokh). They paid special attention to the image of V. I. Lenin (the vase “On the Leninist Way” (1969) by M. Mokh) and the theme of “Leninist places in the USSR” (the vase “In Leninist places” (1969) by
T. Bezpalova-Mikhaleva), etc. The works of Tamara Bezpalova-Mikhaleva and Mikhail Mokh of the 1960s corresponded their own earlier works related to the topic of political agitation, and found parallels in the art of the other porcelain artists who created the “anniversary” compositions.
M. Mokh). They paid special attention to the image of V. I. Lenin (the vase “On the Leninist Way” (1969) by M. Mokh) and the theme of “Leninist places in the USSR” (the vase “In Leninist places” (1969) by
T. Bezpalova-Mikhaleva), etc. The works of Tamara Bezpalova-Mikhaleva and Mikhail Mokh of the 1960s corresponded their own earlier works related to the topic of political agitation, and found parallels in the art of the other porcelain artists who created the “anniversary” compositions.
Research Interests:
Специальный конференц-выпуск журнала «Новое искусствознание» посвящен проблемам отечественной культуры и искусства второй половины XX — начала XXI вв. В номер вошли статьи специалистов в области исследования русского академического и... more
Специальный конференц-выпуск журнала «Новое искусствознание» посвящен проблемам отечественной культуры и искусства второй половины XX — начала XXI вв. В номер вошли статьи специалистов в области исследования русского академического и декоративно-прикладного искусства, книжной графики, «неофициального искусства», а также актуальных художественных и музейных практик, подготовленные по материалам докладов на научной конференции «Русское искусство второй половины XX — начала XXI вв.» (Санкт-Петербург, Arts Square Gallery, 13 декабря 2018 г.)
A special conference issue of the journal “New Art Studies” is devoted to the problems of Russian culture and art of the second half of the
20th — the beginning of the 21st centuries. The issue includes articles on Russian academic and applied art, print graphic, unofficial art,
actual art and museum practices prepared on the basis of the reports at the scientific conference “Russian Art of the Second Half of the
20th — the Begging of the 21st Centuries” (St. Petersburg, Arts Square Gallery, December 13, 2018).
A special conference issue of the journal “New Art Studies” is devoted to the problems of Russian culture and art of the second half of the
20th — the beginning of the 21st centuries. The issue includes articles on Russian academic and applied art, print graphic, unofficial art,
actual art and museum practices prepared on the basis of the reports at the scientific conference “Russian Art of the Second Half of the
20th — the Begging of the 21st Centuries” (St. Petersburg, Arts Square Gallery, December 13, 2018).
Research Interests:
The article considers the specificity of works made by contemporary Spanish photo artist Ángela Burón in the context of the aesthetics of Surrealism. In works of Ángela Burón the human body becomes a construction which she compiles like... more
The article considers the specificity of works made by contemporary Spanish photo artist Ángela Burón in the context of the aesthetics of Surrealism. In works of Ángela Burón the human body becomes a construction which she compiles like an engineer in various options, often duplicating body parts or giving them autonomy. The author underlines that the photo artist represents female body as an ideal, passive, impersonal object of sexual desire. However, Burón’s erotic images are often ironic and absurd. The photographer pays special attention to the problems of self-reflection and self-knowledge, the theme of the mask and the multiplicity of the human ego. In the art of Ángela Burón sadomasochistic images are prominent and reflect contemporary visual culture. The author stresses that Burón’s images are based on the principle of “paradoxical juxtapositions” and quite simple visual analogies, which allow her to submit the unusual interpretation of ordinary things and sometimes make the viewer feel shocked and confused. The author summarizes that, on the one hand, Ángela Burón continues the tradition of historical Surrealism and develops its typical themes and motives. On the other hand she gives a specific example of “surreal” digital photography, closely related to the contemporary sociocultural and art contexts.
Research Interests:
Специальный конференц-выпуск журнала «Новое искусствознание» посвящен проблемам исследования искусства и культуры Испании. В номер вошли статьи отечественных специалистов в области исследования испанского искусства, культуры, литературы и... more
Специальный конференц-выпуск журнала «Новое искусствознание» посвящен проблемам исследования искусства и культуры Испании. В номер вошли статьи отечественных специалистов в области исследования испанского искусства, культуры, литературы и языка, подготовленные по материалам докладов на научной конференции «Искусство и культура Испании: классика и
современность» (Санкт-Петербург, Arts Square Gallery, 17 апреля 2018 г.).
A special conference issue of the journal “New Art Studies” is devoted to the problems of the study of art and culture in Spain. The number included articles of Russian specialists in the field of research of Spanish art, culture, literature and language, prepared on the basis of the reports at the scientific conference “Art and Culture of Spain: Classics and Modernity” (St. Petersburg, Arts Square Gallery, April 17, 2018) .
современность» (Санкт-Петербург, Arts Square Gallery, 17 апреля 2018 г.).
A special conference issue of the journal “New Art Studies” is devoted to the problems of the study of art and culture in Spain. The number included articles of Russian specialists in the field of research of Spanish art, culture, literature and language, prepared on the basis of the reports at the scientific conference “Art and Culture of Spain: Classics and Modernity” (St. Petersburg, Arts Square Gallery, April 17, 2018) .
Research Interests:
The article is devoted to identifying peculiarities of interpreting motives of picturesque destruction in Surrealist photography. The author emphasizes the fact that for Surrealist photographers entropy images are reservoirs of accidental... more
The article is devoted to identifying peculiarities of interpreting motives of picturesque destruction in Surrealist photography. The author emphasizes the fact that for Surrealist photographers entropy images are reservoirs of accidental beauty originated
by time, stimulators of creative fantasy, a source of psychological-philosophical and historical-political reflection. The paper concludes that, referring to destruction motives, photographers actualize such key surrealistic concepts as automatism, the visual
analogy principle, the marvelous, objective chance, surreality.
by time, stimulators of creative fantasy, a source of psychological-philosophical and historical-political reflection. The paper concludes that, referring to destruction motives, photographers actualize such key surrealistic concepts as automatism, the visual
analogy principle, the marvelous, objective chance, surreality.
Research Interests:
For the first time the article carries out the complex study of the main strategies for interpreting the mask theme in surrealist photography in the national art history. The work reveals such approaches to the interpretation of the mask... more
For the first time the article carries out the complex study of the main strategies for interpreting the mask theme in surrealist photography
in the national art history. The work reveals such approaches to the interpretation of the mask theme in surrealist photography as its representation as an artifact / found object, fetish / element of sexual game, interpretation as a form of identity. The research shows that when referring to the mask motive surrealist photography updates such topics as ethnography, colonialism, eroticism, desire, violence, death, gender identity, and self-knowledge.
in the national art history. The work reveals such approaches to the interpretation of the mask theme in surrealist photography as its representation as an artifact / found object, fetish / element of sexual game, interpretation as a form of identity. The research shows that when referring to the mask motive surrealist photography updates such topics as ethnography, colonialism, eroticism, desire, violence, death, gender identity, and self-knowledge.
Research Interests:
The article analyses the specifics of Czech photographer A. Nožička’s “anti-esthetic still lifes” in the context of French philosopher G. Bataille’s concept of the formless. The idea of the formless, which received the complex theoretical... more
The article analyses the specifics of Czech photographer A. Nožička’s “anti-esthetic still lifes” in the context of French philosopher G. Bataille’s concept of the formless. The idea of the formless, which received the complex theoretical interpretation in the work of R. Krauss and Y.-A. Bois “Formless: A User’s Guide” (1997), is one of the keys to the conceptual specifics of the contemporary art. The author comes to the conclusion that A. Nožička’s “anti-esthetic still lifes” of the 1960s are a textbook example for the category of the formless reception in Surrealist photography and actualizes such aspects as “low materialism”,“horizontality”, “pulse” and “entropy”. The author concludes that A. Nožička’s “anti-esthetic still lifes” eliminate the cultural vertical, make the object of art out of something traditionally excluded from the sphere of the social and aesthetic, inspire the desire and death as the only authentic reality and stubbornly resist any interpretations.
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The article analyzes the key strategies of the “disappearance of subject” representation in the works of F. Woodman and S. Grav in the context of Surrealist aesthetics as well as the theory and history of photography.
Research Interests:
Conference Papers and Program of the 1st International Scientific Conference PHOTOGRAPHY AS AN ART: Current trends in study and the history of national schools Moscow, May 27-29, 2019 Organizers: Russian Academy of Arts Research... more
Conference Papers and Program of the 1st International Scientific Conference
PHOTOGRAPHY AS AN ART: Current trends in study and the history of national schools
Moscow, May 27-29, 2019
Organizers:
Russian Academy of Arts
Research Institute of Theory and History of Fine Arts
International Council of Museums (ICOM), Russian Committee
UNESCO International Chair for Fine Arts and Architecture of the Russian Academy of Arts
Moscow Museum of Modern Art
Moscow International Foundation for Support to UNESCO
The conference “Photography as an art: Current trends in study and the history of national schools" covers three main areas:
- the study of photography as a medium and the scope of its realization as an art;
- the methods and practices for writing national photography histories;
- the teaching of photography, its history and technology, within art education and the study of photography in the educational context of the humanities.
The aim of this meeting of experts is to define the current state of theory and research in the field, and also to create a foundation for future scholarship and study.
Russian / English
PHOTOGRAPHY AS AN ART: Current trends in study and the history of national schools
Moscow, May 27-29, 2019
Organizers:
Russian Academy of Arts
Research Institute of Theory and History of Fine Arts
International Council of Museums (ICOM), Russian Committee
UNESCO International Chair for Fine Arts and Architecture of the Russian Academy of Arts
Moscow Museum of Modern Art
Moscow International Foundation for Support to UNESCO
The conference “Photography as an art: Current trends in study and the history of national schools" covers three main areas:
- the study of photography as a medium and the scope of its realization as an art;
- the methods and practices for writing national photography histories;
- the teaching of photography, its history and technology, within art education and the study of photography in the educational context of the humanities.
The aim of this meeting of experts is to define the current state of theory and research in the field, and also to create a foundation for future scholarship and study.
Russian / English