ББК - 87.8
УДК -7.067.2
Lucy K. Bondarenko Candidate
of Art Science,
е-mail: sichaykin@mail.ru Ph: 8 918 38
58 632
Helen V. Ponomareva
e-mail: podzemelje@yandex.ru Ph:
8 926 289 04 29
BASIC
TENDENCIES OF THE MODERN ART. THE POSITIVE AND NEGATIVE ART.
The postmodernism has introduced into a
traditional space of the fine arts some sensation of degeneration of its
creative activity. Modern artists'
balanсing on boundary mental conditions, a prevalence in projects of
brutal provocation, manipulation with sociocultural stereotypes causing in the spectator a confusion and frustration,
have strengthened a communicative problem of the modern art. [1,2] So the
Russian postmodernism has got especially information character which has
given expansive characteristics to the
modern art. Therefore the problems of variety of artist's creative
techniques that would be capable to
overcome constantly arising communicative barriers between the modern art and
spectator audience became important.
A methodical
variety inherent in the modern art is caused, on the one hand, by information
character of modern Russian art, with another, defined by integration
tendencies. In general a methodical variety of the modern art has influenced
upon a sociocultural range of all art environment, strengthening tolerant lines in it. It was expressed in
parallel coexistence of various systems, in this case in the
"negative" and the "positive" art.
The working term
«negative art», applied in the present research, has arisen by analogy to other
similar phenomena in spheres of the right, economy and so forth. This
definition has a conditional character [3] and means the art aimed at negation
of value of traditional fine arts. Possessing specific toolkit, this art is
directed on a destruction of basic sociocultural stereotypes in a modern
society. Periodic occurrence of tendencies of negative art during different
cultural-historical periods, as a rule, means that expressive means of this or
that positive mainstreams are exhausted. So negative art essentially is based
on the idea of the total critical relation to a traditional order existing in
art realities. At the present stage it is expressed in the fact that the negative art is compelled
to use information technology and myths of mass consciousness which are
necessary in a process of sociocultural formation of new "protesting"
currents. So, negative art finds internal dynamism which is necessary in a
situation of frequent information crises.
In general, the
negative art plays an ambivalent role. Each time acting as a critical quality,
it serves formation of new precritical and epicritic tendencies. The creative
consciousness is staying constantly either in a precritical, or in a crisis
condition as it finds its source for reflections during the postmodernist
period in such state. So the negative personal concept of creativity which
became the main subject of researches in the Russian art culture of a boundary
of centuries was generated.
The negative art by
the origin goes through permanent frequent local crises. These crises happen
now much more often, than during classical times, and on a boundary of
centuries, according to a chronicle of events, - almost after each biennial or
three-year exhibition cycle. So, it is possible to see the following situation.
Crises in the modern art are a consequence of tolerance of the values, that
created a problem of hierarchy of values. And at the same time, crises underline
absence of a valuable dominant in the advanced art. Prevailing in creativity of
modern artists, a methodical variety moves apart an information range of
negative art which resists to communicative barriers.
The negative art is
resisted by the concept of the «positive art» which has a number of
differences. The term «positive art» includes a complex of the traditional
concepts making artly significant context of creativity of the big group of
artists-traditsionalists. In the positive direction artists, unlike negative,
don't destroy cultural or moral values, they create something new by the means
of art expressiveness.
Semantic kernel of
the «positive art» is the basic interrelation between a category of
"cognizance" of images and a category of "recognition" of
value of art advantages of a product of creative activity. This concept
includes based on values of visual arts the whole system of art directions
which nominally keep the picturesque form and picturesque expressive means.
That directions are with a prefix «neo»: figurative (subject) art, an
expressionism, art de salon, a historical landscape, historical still-life,
transvanguard currents, hyperrealism, neoacademic realism, realistic directions
of critical and noncritical plan, kitsch, fantasy and so forth.
In positive art,
actually, there is no acute problem of methodical variety as the methodical
structure of a positive direction is based on an objective basis – known
receptions, the traditions having the steady art importance. It is well visible
on an example of creativity of the artists who have chosen traditional ways of
development which exist in the modern art environment with the brand «neo».
Following the art tradition, they keep graphic dominants of an art style to
predetermine the qualitative party of their creative activity and their final
visual product. So, the creative method in positive art has impersonal
character as it is a cultural-art value which demands a long careful and
consecutive comprehension. Thus, a development of any outstanding expressive
language is a main creative objective for the majority of
artists-traditsionalists. In this case a methodical variety isn't necessary, as
the basic creative purpose of artists-traditsionalists is the continuity on the
basis of preservation of traditional techniques. So, at a change of executors'
generation, key parameters of an art area remain despite various historical and
cultural conditions.
Basic difference
between the positive and negative arts consists in the following. The positive
concept is based on preservation of esthetic system of the values causing in
the spectator positive emotions, as a pleasure of cognizance, admiration,
familiarizing with ideal artistic images. The negative concept shows a
methodical variety of the personal art concepts constructed on destructive
feelings of tearing away and a feeling of the protest. It is natural that in
the negative art an exclusive value is in a creative energy of both personal
and individual characteristics of the creative person. And in the positive art
a level of performing culture is important. So, in the negative art a
methodical variety is caused by a variety of creative projects that are equal
to creative individualities, beginning from declarative actions of the abstract
maintenance and, finishing interactive actions of the suicide plan. (The action
"Guilty" by Mavromatti, November, 2010)
Especially dramatic
was a picture of development of the modern (negative) art in the Russian art
during the periods of the greatest «actionismus» display . Its essence was overcoming of social
stress of the period of a boundary of centuries by means of emotions burst in
extremely provocative forms at ethical limit. (A.Brenera and O.Kulika's
creativity of 90-s, A.Vinogradov’s and V.Dubosarsky’s «A crop holiday» (1996),
A.Savko’s «the Christ in the form of the Mickey-mouse», Ter-Oganjan’s –
"Having dug" – (1998), A.Erofeeva's project «Forbidden art» which
included A.Kabakova's works «Fuck you», A.Kosolapova's "The Icon- a
caviar", «Chechen Merilin» - by Dark blue noses, (2006), etc.) [5,6,7]
In these projects
the organic concept of the negative art («origin – growth – blossoming –
attenuation - death») has concentrated on the diversified variants of
"end", "degeneration", "transformation",
beginning with a destruction of the graphic form, refusal from traditional
graphic means and finishing with the concept of «negative evolutionism», - «the
art as not art» or «the art of the end of art».
The cultural
society observed all this picture of formation of the Russian postmodernism
throughout last 15 years, sometimes sympathetically accepting the negative
concept of art as the true art phenomenon, sometimes rejecting it in
neoreligious spirit – «from crafty», and at special radical cases solving art
affairs in court. (Ter-Oganjan, action "the young atheist" (1998 –
1999); projects "Caution-a religion!", (2003); Russia-2, (2005 –
2006); "An era of mercies" by Dark blue noses (2005); Forbidden
art, of A.Erofeev (2007), Social-art.
Political art in Russia, (2007). [8, p. 25]
Thus, we consider
the modern Russian art's basic
tendencies (a methodical variety, information character of the art purposes)
from the point of view of the binary concept of the "negative" and
"positive" arts. It was found out that these concepts have different
cultural missions and the different art purposes.
In this case the
"positive" art is understood as nominally adherence of some
artists to traditional values, and the
"negative" art is an
adherence of modern artists to an information system of values. However,
despite distinctions, both concepts belong to a uniform postnonclassical system
of art culture, creating its sociocultural range. And as being the basic
tendencies of the modern Russian art, these arts have their cultural and market
niches. It allows them to establish themselves as independent art directions in
the modern art environment.
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Университета, 2009.- № 5.- С. 81-89
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