This article is an attempt to look at the creativity of prominent sculptor Anton Popel through the prism of diversity of controversial performances in the works of artists of the XX – beginning of XXI century.
This article explores the peculiarities of using immersive technologies in art. This sphere of human activity is not separated from all the changes that take place in the process of social informatization. As it is stated in the paper, the main information technologies that are commonly used by most art institutions and artists today are augmented reality and virtual reality, which offer a wide range of opportunities to implement their ideas. As for artworks presented in the form of paintings and exhibits, the use of augmented reality prevails here.
This article critically examines Roger Scruton’s arguments against recognizing photography as art due to its mechanical nature. Scruton claims that photography is merely a reproduction of reality, lacking the creative intentionality found in traditional art forms like painting or theatre. The paper analyzes Scruton’s views within the context of contemporary philosophical discussions on the nature of art and photography. The research methodology includes a comparative analysis of Scruton’s ideas and those of philosophers such as Stanley Cavell, Kendall Walton, and Jean Baudrillard.
This is Ukrainian translation of the article "Substantive and Functional Definition of Philosophy" by the famous Polish thinker, researcher and critic of Marxism, epistemologist, Leszek Kolakowski. It examines the nature of philosophy, its purposes, and its functions, which it performs in the life of an individual as well as in social life. Therefore, the author examines various definitions of philosophy from different positions: scientific, transcendental, traditional and functional. The latter is the main one, because Leszek Kolakowski adheres to it.
This is the first Ukrainian translation of Isaiah Berlin's essay "The Purpose of Philosophy".
In the twentieth century, there were significant changes in the paradigm of nderstanding and
creating art and architecture. A revolutionary idea was formed that anything can become a work of art because it
depends not on the quality of the object itself, but on the readiness of the viewer to perceive it. If the visitor of the
exhibition, looking at the exhibits, is overwhelmed with emotions and deep thoughts, then the goal of the gallery
owners and displayed artists is achieved. If not, then no matter how well the canvases or sculptures are done, the
Kiesler’s art was not based on the theory of form, color, and means; his art was not a political instrument to comment on the state of society, and he did not consider his art to be the product of a scientific process, a result that contained a truth that was absolute. He believed that his art revealed a truth that science could not see, and that truth was the key to a “core” existence. He believed that his process and his ritual were attacked by the deceptive beliefs of others.
The paper presents an attempt to analyze certain art projects created during the Maidan Revolution: shields painting, Strike Poster, a barbican. The emphasis is placed on a cause-and-effect relationship between all these pieces of art and the idea of creating an entirely new memorial complex, which will include sites of commemoration and the Revolution of Dignity Museum. All these artist-run initiatives are considered as the sources of filling of the new museum. The artistic works during the Revolution of Dignity are undoubtedly interesting and educational for the descendants.
Aspects of architectural and artistic creativity of professor of architecture Vladislav Sadlovsky, as well as his contribution to the architectural heritage of Lviv during the secession period are covered. The archival curricula of the architectural school of the mentioned period, art disciplines and methods of their teaching are analyzed. This year, June 25 marks the 150th anniversary of the birth of the famous Lviv architect, designer, restorer and teacher of the Lviv Architectural School Vladyslav Sadlovsky, author of a number of secession buildings in Lviv and beyond.
The article briefly describes the artistic and restoration activity of the Lviv Polytechnic National University senior teacher of the Department of Restoration of Architectural and Artistic Heritage – Orest Ivanovych Shykh. The results of many years of pedagogical practice and his creative work, the activity of which is aimed at the development of the professional discipline at the Department of Restoration of Architectural and Artistic Heritage, are highlighted.