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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8. Ibident.