O DESAFIO � AUMENTAR AS QUEST�ES QUE N�O EST�O N�TIDAS, � ENTENDER LUTA COMO DAN�A / The challenge is to increase the issues that are not clear, is to understand fight as dance

Em di�logo com o dossi� Gl�ria Ferreira ? Milit�ncia cr�tica, a revista Arte Ensaios convida quatro pessoas atuantes na cr�tica e curadoria de arte ? Ian Habib, Keyna Eleison, Nat�lia Quinder� e Talita Trizoli ? a discutir interse��es entre feminismo, transfeminismo, racializa��o, maternidade, corpo, g�nero e seus desdobramentos no campo da arte. Presen�as emergentes e posi��es que permeiam narrativas hegem�nicas na cena art�stica atual revelam-se tensionadas entre visibilidade e invisibiliza��o, em meio a outras quest�es. Entrevista realizada em 5 de novembro de 2021 pela plataforma Zoom.Palavras-chave:Feminismo; Transfeminismo; Racializa��o; G�nero; Circuito de arte.�AbstractIn dialogue with the dossier Gl�ria Ferreira ? Critical Militance, Arte Ensaios invites four people active in art criticism and curatorship ? Ian Habib, Keyna Eleison, Nat�lia Quinder� and Talita Trizoli ? to discuss intersections between feminism, transfeminism, racialization, maternity, body, gender and its consequences in the field of art. Emerging presences and positions that permeate hegemonic narratives in the current artistic scene reveal themselves to be tensioned between visibility and invisibility, amid other issues.Interview conducted on November 5, 2021 by the Zoom platform.Keywords:Feminism; Transfeminism; Racialization; Gender; Art circuit.

A ARTE DO BRASIL / The art of Brazil

Arte brasileira � j� uma alcunha consagrada. Tal chave interpretativa, se n�o � mote declarado de in�meros discursos, tampouco se furta de amplamente permear em subterr�neo muitas das abordagens. Este texto prop�e explorar, em alguma medida, o� parecimento da concep��o e seus desdobramentos em nossa tradi��o cr�tico-historiogr�fica.Palavras-chaveArte brasileira. Historiografia da arte. Cr�tica de arte.�Abstract�Brazilian art is an established concept. As such, the idea ? understood as an interpretative key ? is not only a motto explicitly repeated in uncounted speeches, neither is it far from being largely permeating many theoretical approaches. This paper explores the appearance of Brazilian art as a concept and its consequences in our critical-historiographical tradition.Keywords:Brazilian art. Art historiography. Art criticism.

Cultivating Visual Analysis and Critical Thinking Skills Through Experiential Art

Employing visual analysis in the production and critique of artwork is an essential task of an art educator. By encouraging the basic principles of Edmund Burke Feldman's Practical Art Criticism in the development of art making and art analysis, art educators can create a learning environment that guides students toward the practice of higher order thinking skills. Examples of immersive art education that activates space and invites participation from the viewer will be cited as systems for inspiring civic engagement in the classroom.

Creative dimensions of dniprovs's underground artists: Volodymyr Bublyk and Anatoly Sologub

The purpose of the article is to analyze the creative layer of the little-known Dnipro underground representatives in Ukrainian art criticism Volodymyr Bublyk (1950–2007) and Anatolii Solohub (1953–2014). As the methodology of scientific research was used an art history analysis based on the complex systematization, comparison, and generalization. The scientific novelty is in the introduction into scientific circulation of a significant part of the graphic heritage of Volodymyr Bublyk and Anatolii Solohub in the Dnipro region underground context of the 1980 s – 2000 s. Conclusions. An analysis of Volodymyr Bublyk and Anatolii Solohub’s work reveals a number of important aspects for characterizing the Dnipro “art of resistance”. The latter was formed in the conditions of a “closed” city, the impossibility of official exhibiting due to an alienated attitude towards the dominant ideology in the artistic process of that time. For many artists, these factors often became the cause of the existential catastrophe of every creative person. With contemporaries-brothers Volodymyr Loboda (1943), Serhii Aliev-Kovyka (1956), Oleksandr Nemiatyi (1954), the above-mentioned masters were related by the chosen format of radicalism, which was truly underground. However, the methods of creative communication of each person differed depending on the acquired life experience, the available body of knowledge, and personal temperament. The paintings of Volodymyr Bubluk combine the expression of images in a coloristic system that goes back to the aesthetics of the Fauves. A similar stylistic model of the master's painting can be delineated by the category of intuitive expressionism. The works of Anatolii Solohub are closely related to the folk tradition in their subject matter. The inner tension of his compositions, combined with unrestrained dynamics, strives for visual communication with the viewer. Key words: Dnipro underground, plein air, painting, graphics, sculpture, folk painting, art society "Steppe".

Dimensi Etis Iklan, Studi Kasus Pada Iklan Sampo Anti Dandruff dan Iklan Belanja Online di Media Televisi

The ethical dimension related to advertising ethics towards advertisements broadcast on television media often violates the rules. The case study of the Pantene advertisement version of "Anti Drandruf Ads" played by Anggun C. Sasmi and the online shop version of the Shopee advertisement with Korean artist Black Pink were criticized by KPI regarding broadcast hours and their effect on children. The perspective of this research is the ethical dimension by Kevin Johnston and Tanya Robertson, with descriptive qualitative research methods interpretive analysis of advertising criticism. The evaluative finding of advertising art criticism in this study is that the morality of advertising ethics by comparing it with other products orally is still considered reasonable but the advertising dimension is negative. In the case of the Shopee advertisement with the Black Pink artist, it contains elements of sexism that should not be consumed by children.

ОСОБЛИВОСТІ УКРАЇНСЬКОГО ЖИВОПИСУ У ПОСТМОДЕРНІСТСЬКОМУ ВИМІРІ

The purpose of the study is to identify the postmodernism principles' influence on formation of the distinctive features of Ukrainian painting in the XXIstсentury. Methodology. The research uses a culturological approach to consider postmodernism as a creative method and factor that influences the activities of Ukrainian artists. Formal-stylistic analysis is applied to clarify the connection between creative practices and the principles of postmodernism and to determine their features as well.Results.The analysis of Ukrainian artists' painting practice of the XXI century in the context of the postmodern worldview was carried out. The study focuses on postmodernism as a factor in the development of various artistic styles. The artistic and stylistic features of painting over recent years in Ukraine were analyzed. There was revealed the natural influence of postmodernist principles on domestic painting, characterized by the features of postmodernism, which is manifested in a variety of areas (conceptualism, transavant-garde, contemporary, etc.) and syncretism in art. Although the latest painting practices are integrating into European culture and tend to the Western European tradition, Ukrainian art still saves its distinguishing features. It was found that a feature of Ukrainian postmodernism is the conceptualization of painting, the introduction of deep content into a new format of painting and the synthesis of traditional fine art and new technologies. Scientific novelty lies in the identification of the main distinctive features and patterns of Ukrainian postmodern painting development. The practical significance. Presented results aid to trace postmodernism as a factor of influence on the peculiarities of the formation of new directions in Ukrainian painting practices, which can be used as a theoretical basis for further art criticism analysis of contemporary painting.

PARTICULARITY OF ARTWORKS BY VASYL KORCHOVYI VASYL

This article explores Vasyl Korchovyi’s artistic heritage, his unparalleled style, and notable manner of working. Vasyl Korchovyi is a Ukrainian sculptor, graduate from National Academy of Fine Arts and Architecture, representative of the Academic school of sculpture creation. This sculptor has not been neglected today and is an often and widely recognizable guest and/or participant of/in numerous exhibitions, art competitions, and sculpture symposiums including the latest one, the Xth Kaniv International Sculptural Symposium (September–October, 2021). Despite that, his artworks have been discussed in a quite occasional and random way in artistic articles and other kind of publications. This is the reason of why this study focuses on the major subjects and gentres used by Korchovyi for his artworks, as well as on his manner and techniques for working with stone. The studу is one of the first-ever attempts to use the art criticism approach to evaluate three sculpture works by Korchovyi: with two of them being complete and one piece still unfinished: the work from the Kaniv sculptural symposium above. First, Altar of Dionysus, an indoor sculpture, carved of sandstone, is discussed. It depicts a bacchante, a woman who holds a bowl and a grapevine, with her hair ingrown in the branches and the two goat heads that flank the composition on both sides; the attributes associated with fer­tility, sweet delight and also with wild Dionysian origin, while calm or even being asleep at the moment. Second sculptural work is the tombstone of Vasyl Korchovyi’s father, Ivan Sobko. For this reason, its design is marked with Korchovyi’s personal feelings and sentiments. The composition of the sandstone-made sculptural part of the tombstone represents an angel with outstretched wings, inscribed in the area of a trefoil cross. The openwork pattern of weaves of winding shoots with remains of leaves in some places adds depth to the background framed with smoothly polished parts of the surface, where the figure of angel is located, and carefully surround the upper part of the medallion with a photo of the deceased one; the composition that brings the feeling of a deep anguish and imminence, the painful emotions to be eventually accepted.

EMPLOYING THE MATERIALS OF MUSEUMS OF THE WORLD FOR MASTERING VOCATIONAL VOCABULARY BY STUDENTS OF THE FACULTY OF THEORY AND HISTORY OF ART

Involving exhibits of the world-famous museums in studying professional vocabulary at the lessons of foreign language for art critics. This article researches the process of modernizing traditional teaching methods and teaching methodology in the current situation of changes in education system of Ukraine and new laws and reforms, issued recently. Due to the fact, that Ukraine have been integrating into European society, alterations involve evaluation and main principles of teaching in the universities of Ukraine. One of them is targeting at studying vocational vocabulary rather than general English. This generates the need for researching and finding the new ways for teaching the students of a certain faculty and certain specialization. In order to make lessons of foreign language contemporary and increase their effectiveness and studying results, the general ways of teaching should be adapted for the students of different professions. The particularities of the profession must be taken into consideration and the chain of new exercises must be developed. This will lead to the increase of motivation and will make studying process more various and topical. The article contributes in the developing of teaching methods for the students of art critic faculty. It is based on the practical work and practical study. The ideas, given in the article, have been put into practice, developed and improved during the practical lessons. One of the fundamental differences between professional direction and teaching general English is involving real professional situations in studying process. The novelty of the article is in the fact that as the profession of art criticism is quite rare, so far very little information could have been be found and very little research has been made. Practical exercises, considered in the article, involve the work with exhibits of the most prominent world museums and galleries. These ideas are based on the fact that a museum should be an expected place of work for the future art critic. Painting analysis is the most important skill, which should be acquired while studying. Direct work with the texts, attached to museum exhibits has been suggested, analysis of the rare exhibits from private collections has been offered in the article. Exercises, involving various types of memorizing material and developing such language skills as speaking, listening, information proceeding have been researched.