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Journal articles on the topic 'Artistic union'

Author: Grafiati

Published: 3 June 2025

Last updated: 31 July 2025

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1

Satbai, T. Y., and K. M. Ilyassova. "The financial situation of creative unions of Kazakhstan in the post-war years." BULLETIN of L.N. Gumilyov Eurasian National University. HISTORICAL SCIENCES. PHILOSOPHY. RELIGION Series 130, no. 1 (2020): 64–74. http://dx.doi.org/10.32523/2616-7255-2020-130-1-64-74.

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The article discusses the socio-material situation of the artistic intelligentsia and creative unions of Kazakhstan in the post-war years. The most active of the creative unions was the Union of Writers of the country, which did not have their own premises, not to mention the rest of the creative associations. The building of the Writers ‘Union, consisting of five or six small rooms, housed five blocks: two magazines, a literary fund, a copyright office, and all departments of the Writers’ Union. Even in the fiftieth, this issue was acute on the agenda. And the Union of Composers did not even

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Teodora, Hubenco. "Artistic Perception of Visual Art Works - Imperative of Art Education." Journal of Educational Theory and Practice DIDACTICA PRO... 22, no. 2-3 (132-133) (2022): 20–23. https://doi.org/10.5281/zenodo.6685274.

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 The complexity of artistic perception is defined by the contradictions between subjective and objective, by the rapport between the rational and the emotional, real perceptions and creative abilities. Artistic perception is a complex matter that requires a multilayered approach: the development of perception in an emotional-logical way; the union of the act of artistic creation with the act of artistic perception; the decoding of the visual creative language through the lens of the sensibilities of the individual receptor; the manifestation of the received message by the receptor; the un

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Mirzanazarova, Etibor Yadgarovna. "ARTISTIC FEATURES OF FASHION SCHOOLS OF UZBEKISTAN IN ALL-UNION MODELING." Art and Design: Social Science 05, no. 01 (2025): 122–27. https://doi.org/10.37547/ssa-v5-01-26.

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Despite the fact that the development of model art in the country is in line with the Sovet union model art, Uzbek artists have conducted to modern conditions. Clothes are created due to the plasticity of the human body, body harmony and constructive lines. In the mid-1950s, new images appeared in the modeling of women's dresses. The dress was completely form-fitting, light silhouette lines were formed. At the same time, a wide summer national shirt was also worn.

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Calvert, Robyne. "‘The Artistic Aspect of Dress’: The Story of the Healthy and Artistic Dress Union." Costume 54, no. 2 (2020): 175–201. http://dx.doi.org/10.3366/cost.2020.0163.

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This article presents a short biography of the Healthy and Artistic Dress Union, a dress reform society formed in 1890 with the aim of ‘teaching both men and women how to discriminate by choosing and rejecting, and so gradually moulding the exigencies of our climate and situation, the claims of artistic arrangement of drapery, and harmony of colour’. It presents a new account of the group that goes beyond previous discussions, which have been solely gleaned from the group's journal Aglaia. A brief history of the organization under the leadership of artists such as Henry Holiday, Walter Crane a

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Ганна, Гаврилів. "Мистецьке товариство «Шлях» як каталізатор культурно-мистецьких процесів Львова 1980 – 1990-х рр". ВІСНИК Львівської національної академії мистецтв, № 31 (10 травня 2017): 295–306. https://doi.org/10.5281/zenodo.573926.

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This paper conducts a comprehensive study and analysis of the first post-Soviet non-conformist Artistic Union «Shlyakh», that launched its activities in Ukraine on the verge of 1980-1990's. The author found historical-political, socio-cultural and artistic preconditions of uprise, functioning and actual demise of the fellowship. There has been made analyzes of artists-members’ creativity, free of remnants of socialist realism, in particular, their post-modernist play with form, color, space and time. The paper revealed that innovative experiments and creative searchings of «Shlyakh» members si

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Karoieva, Tetiana. "Production Volume of the Vinnytsia Interregional Artistic Industrial Union as an Indicator of the Success of Artistic Industrial Cooperation, 1944–1949." Ethnic History of European Nations, no. 75 (2025): 109–16. https://doi.org/10.17721/2518-1270.2025.75.14.

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In the post-war recovery of the devastated economy of the Ukrainian SSR, industrial cooperation played a significant role, aiming to ensure the production of consumer goods. A special responsibility was placed on the artels of artistic crafts that operated within this system. Their task was to create everyday comfort for the population returning to peaceful life by producing clothing, household items, haberdashery, and mass cultural products. Politically, they were meant to demonstrate that, under the socialist system, there were many opportunities for the development of folk art. The purpose

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Наталія, Сапак. "До питання становлення і розвитку Миколаївської організації Національної спілки художників України". ВІСНИК Львівської національної академії мистецтв, № 34 (10 лютого 2018): 148–60. https://doi.org/10.5281/zenodo.1170620.

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The history of Mykolaiv Organization of National Union of Artists of Ukraine has been researched. Conditions, that contributed to its formation during the twentieth century are defined, for example, the formation and development of artistic education, activities of private schools and Art College. Сreation of the first industrial-artistic associations, the further development of artistic training in the postwar years are determined. Author revealed the gradual establishment and formation of creative organizations and the role of individuals in this process. The features of creative interests o

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Grishchenko, Anton Borisovich. "Features of Fixing the Architectural Heritage in the Belarusian Fine Arts (on the Example of the Exhibition «My Minsk – My Inspiration»." Ethnic Culture 4, no. 3 (2022): 18–22. http://dx.doi.org/10.31483/r-103090.

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The exhibition titled «My Minsk – My Inspiration» was organized at the Museum of the History of Minsk and the Belarusian Union of Artists and held in 2021 from September 9 to 26 at the Mikhail Savitsky Art Gallery. This exhibition brought together fine arts and cinema: along with pictorial and graphic works, a number of documentaries in Minsk were presented for viewing, as well as feature films shot especially in Minsk. The purpose of the article is to evaluate paintings and graphic works from the collection of the Belarusian Union of artists presented at the exhibition «My Minsk – my inspirat

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Svyatoslavsky, A. V. "Mikhail Prishvin in the mirror of the literary process in the USSR in the early 1930s." Voprosy kul'turologii (Issues of Cultural Studies), no. 12 (December 28, 2023): 999–1005. http://dx.doi.org/10.33920/nik-01-2312-01.

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This article is dedicated to the 150th anniversary of the birth of one of the most mysterious writers and thinkers of the 20th century, Mikhail Prishvin, and to the upcoming 90th anniversary of the First All-Union Congress of Soviet Writers in 2024. Through the prism of Prishvin’s diary, the reasons that prompted the leadership of the All-Union Communist Party of Bolsheviks to begin in the early 1930s are examined. The initiative of I.V. Stalin to reform the literary and artistic process in the country is regarded — in connection with the rejection of the narrowed proletarian approach towards

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Besaha, Maryan, Yuliya Babunych, and Orest Holubets. "Cultural and Artistic Dialogues in Galicia in the Second Half of the 20th Century." Baltic Journal of Art History 24 (August 22, 2023): 93–119. http://dx.doi.org/10.12697/bjah.2022.24.04.

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The research aims to define the dialogical nature of culturaland artistic processes in the historical environment of late 20thcentury Galicia, and to determine a list of significant events, artistassociations, and personalities. The Research methodology is basedon the principles of combining the system approach with historicalprinciples, comparison, and synthesis. Historical and cultural, andformal-analytical, approaches with elements of comparative anddescriptive analysis are used.The mutual impact of policy and authorities on the artisticenvironment and education processes is analysed for th

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Lisitsina, Yana Yu. "The Reverse Regional Effect of the All-Union Unification (On the Example of the East Siberian Regional Union of Soviet Artists)." Observatory of Culture 18, no. 2 (2021): 212–23. http://dx.doi.org/10.25281/2072-3156-2021-18-2-212-223.

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The establishment of Soviet artists’ unions in remote parts of the country has not been fully studied, but it is of interest for understanding the processes of formation of national fine art. One of the most important documents for the Soviet cultural space of the 1930s was the resolution of April 23, 1932, of the Central Committee of the All-Union Communist Party of Bolsheviks “On the restructuring of literary and artistic organizations”. Its impact is of a prolonged nature: artistic associations, originally created in the form of regulated unions, still exist, already having the status of en

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Tyszka, Juliusz. "Student Theatre in Poland: Vehicles of Revolt, 1954–57 and 1968–71." New Theatre Quarterly 26, no. 2 (2010): 161–72. http://dx.doi.org/10.1017/s0266464x10000291.

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Polish student theatre was a unique artistic movement in the Soviet post-war empire, with a liberty of expression unparalleled elsewhere in the Soviet bloc. As in every political system, in any country, its creators and its public were students and young intellectuals. These theatre-makers used the umbrella of the Polish Students' Union – a surprisingly democratic institution in a totalitarian political order – and all attempts at their repression were usually appeased by the activists of the student organization, often the friends and supporters of the theatre-makers. After the creation of th

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Castro, Gabriela. "A dúvida de Cézanne como propedêutica da arte no século XXI." Phainomenon 18-19, no. 1 (2009): 175–84. http://dx.doi.org/10.2478/phainomenon-2009-0010.

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Abstract Starting from the question of Émile Bernard to Cézanne: “nature and art are not different?”, and the painter’s answer: “ I would like to join them”, we thought that it would be possible to link the spirit of this sentence with the advances of the art in the 21st century. Cézanne’s attitude designs the union between the two realities: art and nature. This union, in the 21st century, has a new artistic representation called bio-art. With bio-art the dichotomy between art and nature disappears and the artistic-scientific product, as a phenomenological object, is a new substance and opens

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Ūsaitė, Kristina. "Creative Union as the Mechanism of the Ideological Censorship in Lithuania in 1956–1980." Genocidas ir rezistencija 2, no. 18 (2025): 119–55. https://doi.org/10.61903/gr.2005.206.

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The communist "cultural revolution" was realised as a whole-inclusive permanent process which aimed to destroy any individuality and to apply all forms of human self-expression to collectivism. One of the main to achieve this was an overall control of the artistic creation. Referring to the archival materials, the writing attempts to reveal the administrative and control mechanism of one of the lowest branches of the ideological censorship system, the creative unions, which operated in Lithuania in 1956–1980. Following concrete aspects of the organisational structure (membership in a creative

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Z.R., Khamzatova. "PHILOSOPHICAL AND CULTURAL ASPECTS OF UNDERSTANDING SOVIET PAINTING OF THE 60-80S OF THE XX CENTURY (BASED ON THE MATERIAL OF A. ASUKHANOV'S CREATIVITY)." “Educational bulletin “Consciousness” 24, no. 11 (2022): 83–91. http://dx.doi.org/10.26787/nydha-2686-6846-2022-24-11-83-91.

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The purpose of the article is a culturological analysis of the artistic creativity of Amanda Abasovich Asukhanov in the context of the development of Soviet painting in the 1960s-80s. The study involves the consideration of socio-cultural, regional, national-ethnic aspects, contemporary trends of the artist, which are manifested in the painting of the Honored Artist of Russia, People's Artist of the Chechen Republic, Honored Artist of the Republic of Dagestan, a representative of the first generation of Chechen artists who joined the Union of Artists of the USSR. From the point of view of the

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Pasa, Barbara. "Industrial Design and Artistic Expression." Brill Research Perspectives in Art and Law 3, no. 2-3 (2020): 1–137. http://dx.doi.org/10.1163/24684309-12340008.

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Abstract The complex nature of industrial design, which combines functional and aesthetic elements, allows for different modes of protection, with cumulative, separate or partially overlapping regimes applicable according to different legal systems. The legal framework is rapidly changing, especially in Europe where the principle of cumulation of a special sui generis regime for protecting industrial design with copyright rules has been established. Over the last decade, the national courts of some Member States construed the “cumulative regime” with a peculiar meaning, while other courts enfo

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17

Traumane, Māra. "Instructive, Dramatic, and Corrective Collectivity: Socialist Realism in the Mirror of Collegial Debates. A Case Study of Documents of the Artists' Union of the Latvian Soviet Socialist Republic, 1944–55." ARTMargins 8, no. 1 (2019): 31–55. http://dx.doi.org/10.1162/artm_a_00226.

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Based on the study of protocols of the Latvian Artists' Union and the Organizational Committee of the Artists' Union of the USSR, the article surveys three stages of the introduction of Socialist Realism in Latvia and different forms and functions of the enforced collegial collectivity facilitating this process. The article examines the transformation of artistic life in Latvia during the period of Stalinism, which not only meant stylistic transition towards Socialist Realism but also involved the imposition of a range of practices of collective supervision of artistic production and censorshi

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18

Politkovskaya, Kseniya Valer’evna. "Tea-jazz in artistic culture of Soviet Union, 1920-1930’s." Vestnik of Saint Petersburg State University of Culture 2 (June 2018): 65–70. http://dx.doi.org/10.30725/2619-0303-2018-2-65-70.

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19

Golomshtok, Igor, and Michel Vale. "The History and Organization of Artistic Life in the Soviet Union." International Journal of Sociology 15, no. 1-2 (1985): 16–59. http://dx.doi.org/10.1080/15579336.1985.11769881.

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20

Bovino, Emily Verla. "On union, displaced: Capture and captivity with the Hong Kong Artist Union (HKAU)." Journal of Contemporary Chinese Art 8, no. 1 (2021): 49–70. http://dx.doi.org/10.1386/jcca_00037_1.

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In 2016, between Guangdong strikes in mainland China and Hong Kong’s unionization momentum, Hong Kong artist Wong Ka Ying posted a call on Facebook founding the Hong Kong Artist Union (HKAU). The gesture followed the mischievously named Come Inside, Hong Kong’s ‘first female artist duo’ created by Wong and artist Mak Ying Tung, which declared it would combat art’s ‘formalized system’. Ironically, one of its first actions was to enrol in a course on insurance that could help it formalize healthcare for artists. Come Inside welcomed the idea that opposition to the ‘system’ brings artists into it

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Żuk, Mariola. "PEOPLE WITH DISABILITIES IN THE ARTISTIC FIELD." Wiadomości Lekarskie 73, no. 9 (2020): 1840–43. http://dx.doi.org/10.36740/wlek202009106.

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According to statistic reports the number of disabled people in the world is still increasing. Nowadays it’s estimated that one for six citizens in European Union is disabled. New laws are established to improve the social attitude towards the sick and the disabled. The perception of people with disabilities is widely dominated by their limitations that often take priority. Completely different social attitudes concern artists. They are admired. The aim of the paper is to discuss the extent to which the disabled people can contribute to the culture and to reflect on the importance of art for t

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Ponamarchuk, Igor. "Kyiv Association of Artists in the context of consolidation of the artistic forces of Kyiv in turn of the 19-20th cc." Text and Image: Essential Problems in Art History, no. 2 (2018): 68–83. http://dx.doi.org/10.17721/2519-4801.2018.2.04.

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The article is based on the statutory materials and catalogs of the exhibitions of artistic works which were held in Kyiv in the late nineteenth and early twentieth centuries. It reveals the basic principles of activity of the Kyiv artistic associations. The author focuses his attention on the main trends in the development of the exhibition activities in Kyiv during the specified period. In this article we can see the preconditions of the unifying processes in the local artistic environment, the role of the Peredvizhniki (“The Wanderers”) as well as exhibition events of the Kyiv Drawing Schoo

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홍지석. "Artistic Interchanges between North Korea and Soviet Union from 1945 to 1953." 중소연구 35, no. 2 (2011): 199–230. http://dx.doi.org/10.21196/aprc.35.2.201108.007.

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Kraevskaia, Natalia, and Nora Annesley Taylor. "Moscow's Outreach to Hanoi: Artistic Ties between the Soviet Union and Vietnam." Art History 45, no. 5 (2022): 952–73. http://dx.doi.org/10.1111/1467-8365.12688.

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Matzig, Catherine. "Toronto Playwrights Union of Canada and Playwrights Canada Press: A Profile." Canadian Theatre Review 98 (March 1999): 17–19. http://dx.doi.org/10.3138/ctr.98.005.

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In the late 1960s, Canada’s regional theatres – those established by the federal government to celebrate the 1967 Centennial – had a general reputation for offering few opportunities for Canadian work to appear. Artistic directors of these houses tended to be primarily European-born – Christopher Newton at Theatre Calgary and Heiner Piller at Neptune Theatre, for example – and were inclined to produce remounted Broadway hits and musicals or popular foreign-stage classics. Theatre companies like Edmonton’s Citadel Theatre, Winnipeg’s Manitoba Theatre Centre and Nova Scotia’s Neptune Theatre wer

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Lopatkina, Katarina. "A REVIEW OF THE BOOK THE MOSCOW UNION OF ARTISTS. A PERSPECTIVE FROM THE 21ST CENTURY. BOOK TWO BY B. IOGANSON (MOSCOW: BOOKSMART, 2021)." Scientific and analytical journal Burganov House. The space of culture 18, no. 2 (2022): 93–100. http://dx.doi.org/10.36340/2071-6818-2022-18-2-93-100.

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A monograph by Boris Ioganson, The Moscow Union of Artists. A Perspective from the 21st Century. Book Two, is a continuation of his fundamental text on the history of the Moscow Union of Artists from 1932 to 1962, published in 2019 1. The second volume (or Book Two) covers the period from 1962 to the end of the 1980s, the late Soviet period when cultural life was full of contradictions, and the Moscow Union of Artists, in the most bizarre way, combined the features of a large bureaucratic institution and a creative organisation. Fairly pointing out that “the history of the Moscow Union of Arti

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Satbay, T., T. Zholdassuly, and B. Akhmetbek. "CONTRIBUTION OF CREATIVE UNIONS OF ARCHITECTS AND ARTISTS TO CULTURE DEVELOPMENT OF KAZAKHSTAN (1946-1970 y.)." History of the Homeland 97, no. 1 (2022): 149–60. http://dx.doi.org/10.51943/1814-6961_2022_1_149.

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The article analyzes the activities of the Union of architects and artists of Kazakhstan and its contribution to the development of national culture in the post-war period. In their practical work, the architects of Kazakhstan tried to combine functional and artistic requirements for the construction of administrative and residential buildings and the implementation of standards that would contribute to the solution of professional artistic and aesthetic problems. However, since the mid-1950s, the activity of the Union of architects of Kazakhstan was completely subordinated to the requirements

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Eremeeva, Anna N., and Timofey V. Kovalenko. "Preserving the Memory of the Great Patriotic War: Regional Practices (1941–1945)." Izvestia of the Ural federal university. Series 2. Humanities and Arts 23, no. 1 (2021): 25–39. http://dx.doi.org/10.15826/izv2.2021.23.1.002.

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The perpetuation of the feat of the Soviet people during the Great Patriotic War through monuments, museum displays, and artistic texts has been going on for three-quarters of a century now. Perpetuation strategies at various stages have been determined by official interpretations of events, processes, and commemorative practices. Referring to the analysis of the situation in Krasnodar Krai, this article reconstructs the initial stage of war commemoration and the mechanisms of historical memory production that were formed synchronously with the events of 1941–1945. The sources for the reconstr

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Haselwanter, Oriana, and Marja Soila-Wadman. "Design thinking and artistic interventions - tools for understanding and developing organizational creativity?" Swedish Design Research Journal 12 (June 28, 2016): 32–42. http://dx.doi.org/10.3384/svid.2000-964x.14232.

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Organizations in both the private and public sectors need to find new, creative ways of handling challenges in the complex environments of global competition. Engaging creative professionals like designers and artists - with the aim of developing organizational creativity as a strategic tool - has attracted a lot of interest in different kinds of organizations.In our study, we followed a weekly intervention process led by an artist, within a trade union. The union wanted to bring change to its working processes, with the ultimate goal of increasing membership numbers.The study is based on qual

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Barkáts, A. "Artistic world of the novel The Master and Margarita." Science and Education a New Dimension IX(258), no. 47 (2021): 7–9. http://dx.doi.org/10.31174/send-hs2021-258ix47-01.

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“The manuscripts don’t burn,” said Woland, the enigmatic Satan of Bulgakov’s novel. Bulgakov paints a suggestive picture of Moscow, the Soviet Union in the 1920s and 1930s, by means of satire, grotesque and fantasy. At all ages, it validly presents the personal offerings of historical tortures, the eternal problem of a man struggling between bounds, a caller, and an unbelieving, fluctuating man. The main characters in the novel are unforgettable: Woland, who is both Satan and a representative of higher justice; the Master, who became the eternal symbol of the Artist opposed to the machinery of

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Karoieva, Tetiana, and Valentyna Hrebenova. "Men’s Shirt in the Assortment of Embroidery Industry of Post-War Ukraine (1945–1949)." Folk Art and Ethnology, no. 2 (June 30, 2024): 58–67. http://dx.doi.org/10.15407/nte2024.02.058.

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The purpose of the article is to characterize the functioning peculiarities of the embroidery industry of post-war Ukraine (1945–1949) exemplified by men’s embroidered shirts produced by artistic artels in Vinnytsia. The archival fund of the Vinnytsia Interregional Artistic Industrial Union serves as the primary source base for the research. It is emphasized in the published work on the fact that after the Second World War because of the lack of money for the restoration of all industrial production, the Soviet government has relied on the manual labour of cooperative artisans to ensure the pr

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Bakhtin, Viktor Viktorovich. "ART ASSOCIATIONS OF THE CENTRAL CHERNOZEM REGION IN THE LATE XIX – FIRST THIRD OF THE XX CENTURY." Journal «Bulletin Social-Economic and Humanitarian Research» 6 (8), 2020, (April 25, 2020): 33–43. https://doi.org/10.5281/zenodo.3733601.

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The article discusses the emergence and development of artistic associations in the Central Black Earth Region before their unification in the early 1930s. Artistic life in provincial cities arose with the arrival of volunteers from the Imperial Academy of Arts. In Voronezh, this is L.M. Soloviev, in Kursk - A.K. Damberg, it was they who became the center of regional public art associations of the late XIX century. In Voronezh, the first circles of art lovers and the Voronezh free drawing school arose. The institutionalization of art associations in Orel and Kursk ended with their registration

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Joanna Ostrowska, Joanna Ostrowska. "Festiwale – święta sztuki czy projekty intelektualne." Człowiek i Społeczeństwo 33 (June 15, 2012): 179–87. http://dx.doi.org/10.14746/cis.2012.33.11.

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The article tries to analyze the phenomenon of the growing numbers of artistic festivals with an intellectual agenda. In the author's opinion the very appearance of artistic festivals in the beginning of the 20th Century was already an intellectual project of healing war wounds through art, which later created the background for the political project of a common union of European countries. Contemporary artistic festivals are as much presentations of different kinds of art as they are intellectual projects that try to introduce various issues: urban studies, ethnical diversity or results of sc

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Vaneyan, Stephan. "Before and after the Ikon." CrossCurrents 74, no. 2 (2024): 85–109. https://doi.org/10.1353/cro.2024.a951551.

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Abstract: This paper takes a critical look at the ikonic type of image, the “sacred image” as the “face” of the Eastern Christian tradition and the way it identifies itself, both aesthetically and ideologically. Is the union of the two inevitable and inseparable? Does this union still work? How and when did the ikon become the only possible artistic form of sacred representation for the Eastern Christian tradition? Has the ikon, with its origins in a form of art for which any mimetic (figurative and objective) representation becomes merely one among its many motifs—that is, in decorative art—h

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Tolz, Vera. "‘Cultural Bosses’ as Patrons and Clients: the Functioning of the Soviet Creative Unions in the Postwar Period." Contemporary European History 11, no. 1 (2002): 87–105. http://dx.doi.org/10.1017/s0960777302001054.

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The article argues that the postwar years rather than the 1930s, as hitherto has been assumed, was the period when top administrators of the Soviet creative Unions acquired their super-elite status. It shows how in this period the Union leaders finalised their control over the production and distribution of, as well as the reward for, literary and artistic work. The article looks at the reasons behind the government's conscious decision to allow a small group from the intelligentsia to become part of the state elite. It also assesses the consequences of postwar government policies towards the

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Rawlings, David, and Barnaby Nelson. "Its Own Reward: A Phenomenological Study of Artistic Creativity." Journal of Phenomenological Psychology 38, no. 2 (2007): 217–55. http://dx.doi.org/10.1163/156916207x234284.

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AbstractThe phenomenology of the creative process has been a neglected area of creativity research. The current study investigated the phenomenology of artistic creativity through semi-structured interviews with 11 artists. The findings consisted of 19 interlinked constituents, with 3 dynamics operating within these constituents: an intuition-analysis dynamic, a union-division dynamic, and a freedom-constraint dynamic. The findings are discussed in relation to the issues of creativity and spirituality, intuition and analysis, the creative synthesis, affective components, and flow. The findings

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Faulkner, Katie. "Grace made manifest: Hamo Thornycroft’s Artemis and the Healthy and Artistic Dress Union." Sculpture Journal 23, no. 3 (2014): 317–30. http://dx.doi.org/10.3828/sj.2015.4.

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Galeyev, Bulat M. "Grigory Gidoni: Another Renascent Name." Leonardo 33, no. 3 (2000): 207–13. http://dx.doi.org/10.1162/002409400552522.

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The author discusses the life and work of Grigory Gidoni, artist-inventor of the early days of the Soviet Union. Nearly forgotten, Gidoni's works and ideas shed light on the spirit and the artistic and ideological atmosphere of the U.S.S.R. in the decades following the Revolution.

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Womack, Kenneth. "Wallace Stevens, Communism, and the Artistic Imagination." International Journal of Literature and Arts 13, no. 2 (2025): 23–29. https://doi.org/10.11648/j.ijla.20251302.11.

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In his lectures and poetry across pre- and postwar America, Wallace Stevens evinced an increasingly fervent anti-communist stance. In several seminal poems, including “A Duck for Dinner,” “A Dish of Peaches in Russia,” “Description without Place,” and “Mountains Covered with Cats,” Stevens addressed aspects of life in the Soviet Union, as well as what he perceived to be communism’s assault upon the creative imagination. For Stevens, this strident political position was in keeping with North American sentiments at the time. As Samuel French Morse remembers, Stevens “was very conservative, essen

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Masson, V. M., and G. F. Korobkova. "Eneolithic stone sculpture in south Turkmenia." Antiquity 63, no. 238 (1989): 62–70. http://dx.doi.org/10.1017/s0003598x0007558x.

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This report of a tradition of Copper-Age stone sculpture from the Caucasus introduces a wider discussion of the place of stone sculpture in the artistic traditions of early Asiatic civilizations. It underlines once more the special place of evidence from the Soviet Union, the northern periphery of the regions of early states.

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Wibowo, Afrizal Mukti. "The Future of Copyright Protection for AI-Generated Art: Lessons from the Ghiblification Phenomenon." SIGn Journal of Social Science 6, no. 1 (2025): 1–27. https://doi.org/10.37276/sjss.v6i1.436.

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The rapid development of AI-generated art that mimics the signature styles of human artists, exemplified by the ghiblification phenomenon, poses a crucial problem for the copyright protection of artistic style, which is traditionally unprotected. This research aims to critically analyze this legal challenge, conduct a comparative study of the copyright regulatory frameworks in Indonesia, the United States, the European Union, and Japan concerning AI art and the issue of artistic style, and formulate policy recommendations for Indonesia. Using a normative juridical research method through statu

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Lindovská, Nadežda. "Ján Jamnický’s Ten Days with Soviet Theatre." Slovenske divadlo /The Slovak Theatre 65, no. 2 (2017): 121–41. http://dx.doi.org/10.1515/sd-2017-0008.

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Abstract Art was perceived in the Soviet Union as a part of ideology and propaganda aimed not only at the domestic environment but also at foreign countries. State cultural policy was presented through a series of magnificent meetings and shows, to which also participants from abroad were invited. In the 1930s Moscow was the venue of several theatre festivals, which were attended by Czechoslovak theatre makers. In 1936 it was also attended by Ján Jamnický, the novice theatre director of the Slovak National Theatre in Bratislava. The Slovak theatre maker saw a lot of inspiring productions and e

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Lampard, Marie Turbow. "Larger Than Life: Soviet Monumental Sculpture in the Stalin Period." Experiment 18, no. 1 (2012): 209–39. http://dx.doi.org/10.1163/221173012x643116.

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Abstract This article considers the proliferation of monuments in the Soviet Union from Lenin’s Plan for Monumental Propaganda in 1918 until Stalin’s death. It examines the artistic climate in which monuments were commissioned and made and explores the relationship between the central city and the provinces in the creation of a Soviet monumental style.

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Cemalovic, Uros. "Creativity and ownership: Protection of rights in musical works in the European Union from digitisation to artificial intelligence." Muzikologija, no. 29 (2020): 149–62. http://dx.doi.org/10.2298/muz2029149c.

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Even more than intelligence, creativity is considered as a quintessentially human capacity. The same conclusion is fully applicable to the artistic creation in music sector. However, rapid technological development is constantly challenging not only the creative process as such, but also the legal instruments intended to protect the results of intellectual and artistic work. The first part of this article examines the provisions of the new EU Directive 2019/790 dedicated to online content-sharing service providers and fair remuneration of authors/performers, while its second part maps the main

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Gavrilyuk, M. N. "UNION OF ARTISTS AS A CENTER OF ARTISTIC LIFE OF THE PRE-WAR CRIMEA." Vestnik of the Kyrgyz-Russian Slavic University 23, no. 6 (2023): 4–11. http://dx.doi.org/10.36979/1694-500x-2023-23-6-4-11.

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Eversone, Madara. "Kampaņa pret abstrakcionismu un formālismu 1963. gadā. Latvijas Padomju rakstnieku savienības valdes nostāja." Letonica, no. 35 (2017): 43–52. http://dx.doi.org/10.35539/ltnc.2017.0035.m.e.43.52.

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Between 1962 and 1963 the First Secretary of the Communist Party of the Soviet Union Nikita Khrushchev launched several campaigns against abstractionists and formalists in Moscow, thus marking the end of the so-called Thaw throughout the Soviet Union. The Central Committee of the Communist Party of Latvia also started a campaign against national abstractionists and formalists. On the 22nd and 28th of March 1963 the works of the new poets Vizma Belševica, Monta Kroma, Ojārs Vācietis as well as writer Ēvalds Vilks came under the criticism cross-fire at the Intelligentsia Meeting of the Latvian S

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Тяньцюань, Лю. "ИСТОРИЯ ДЕЯТЕЛЬНОСТИ КИТАЙСКОГО ХУДОЖЕСТВЕННОГО ОБЩЕСТВА «ШТОРМ»". Вестник Восточно-Сибирского государственного института культуры 160 (17 жовтня 2023): 22–30. http://dx.doi.org/10.31443/2541-8874-2023-2-26-22-30.

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The article is devoted to the study of the history of the creation and activities of the artistic society «Storm», which existed from 1931 to 1935. The purpose of the article is to study the creative life of Shanghai in the 1930s. The material about four exhibitions held by the union of 30 painters who brought European traditions to the fine arts of China was collected, systematized and analyzed. The article provides some information about the works that were exhibited at the exhibitions and the responses of the audience to them. Particular attention in the study of the artistic life of Shangh

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Wang, Zhan. "New media art design based on fast visual segmentation and 3D image processing." PeerJ Computer Science 9 (October 25, 2023): e1640. http://dx.doi.org/10.7717/peerj-cs.1640.

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Acquiring innovative styles and compositions from intricate and heterogeneous artistic imagery has emerged as a pivotal research quandry within contemporary new media art image conception. In a concerted effort to adeptly distill the quintessence of artistic styles and elements embedded within these visuals, an innovative methodology is posited herein, underpinned by an enhanced U-net segmentation framework and harmoniously fused with the surface extraction image reconstruction algorithm. This meticulous amalgamation endeavors to attain accurate segmentation and tridimensional reconstruction o

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Lemon, Ralph. "The Trace Dance Leaves Is Air: On Steve Paxton (1939–2024)." October, no. 189 (2024): 189–93. http://dx.doi.org/10.1162/octo_a_00529.

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Abstract Artist, writer, and choreographer Ralph Lemon tangentially marks his life in dance through an account of the times he witnessed the work of an important artistic guide, Steve Paxton, a founding member of Judson Dance Theater (1962–64) and Grand Union (1970–76), two collectives that indelibly redefined dance for the following decades. In addition to composing major works, while involved with Grand Union Paxton first formulated the dance form known as contact improvisation, which has become influential worldwide. “The Trace Dance Leaves Is Air” is a personal reflection and tribute, hono

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Zhamolidddinovich, Paigamov Bakhtiyor. "The Concept Of "Socialist Realism" As A Universal Method." European International Journal of Multidisciplinary Research and Management Studies 5, no. 5 (2025): 113–14. https://doi.org/10.55640/eijmrms-05-05-24.

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This article explores the concept of socialist realism as a universal method of artistic representation, officially established in the Soviet Union during the 1930s. It examines the ideological foundations, aesthetic principles, and implications of its proclaimed universality across various art forms. The article also discusses the limitations and transformations of the method, particularly in the context of its post-Soviet reevaluation.

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