ПЛЕНЕРНИЙ РУХ В УКРАЇНІ НА СУЧАСНОМУ ЕТАПІ

The article deals with the work of numerous Ukrainan art pleners. An attempt of their classification is  made.Characterising work of the main, leading pleners which began the work in the middle of the 90th years of the XX century, the article reveals their main creative orientation, features and value for development of modern plein-air landscape painting in Ukraine. The work of less-known, local pleners which also are of great importance for development of art culture of various regions of the country is considered also.In the nineties of the XX century owing to the democratization of the public relations and the release from ideological oppressions, the landscape genre gradually revives and gains new qualities. Especially it was promoted by origin of the plein-air movement at the beginning of the 2000th years. In the new conditions the landscape art ischaracterised by coexistense of the most different directions and tendencies.Today in Ukraine more than 60 various art pleners work with various organizational and crative problems already.Their activity and value for development of the contemporary Ukrainian landscape painting demands serious studying. The necessity of the detection the special nature of plein-air movement and the tendencies of its development appeared.The contemporary plein-air painting approves ideas of the direct communication with the nature. The interest tofartists in the plein-air landscape becomes a peculiar form of a protest against the negative phenemena of the modern life such as thte sharp falling of the spirituality, a global urbanization, irresponsible experiments with the nature.In the modern art critician literature there are no essential researches which would study problems of the pleinairmovement, its formation and development.More than other publishing editions in Ukraine the magazine of NUAU "Fine Arts" devotes its articles to a subject of activity of pleners. In 2003–2013 it publishes a number of articles devoted to tthe work of Crimea, Zakarpatye,other regions, but they have only the general infomation character.These are A. Fedoruk, V. Petrashik, O. Zagaetska, O. Denisenko, V. Nemtsova, I. Gresik, A. Nosenko and otherauthors’ articles.The modern art plener movement is in a phase of active and stable development. It represents one of tthe mostimportant sides of the development of the landscape art of our days.Many known Ukrainian artists – participants of pleners in their creative work keep and carry on the realistic traditions of the Ukrainian plein-air landscape which comes from S. Vasilcovsky, P. Levchenko, I. Trush,                          I. Burachek, O. Novakovsky. N. Glushenko, S. Shishko, F. Zakharov, A. Kashay and other masters.By its value the modern Ukrainian pleners can be divided to the main (leading) and local. The main pleners differ by the powerful economic base, permanent work of the known painters in them, work of groups not less than 1 month, holding the exhibitions and master classes, the edition of booklets and catalogs. These are Nemirov, Sevastopol,Mukachevo pleners, the International Repin plain-air (Chuguev), the International plener "Hortitsa through centiries" (Zaporozhye) and some other.The leading pleners set as the purpose the developing and the continuation of the realistic traditions which areseen also in a certain coexistence with other art directions.Also with the main pleners the large number of other local less known pleners works. They not always are in accordance to requirements of the main ones. But, it should be noted, that the name of these pleners – local (minor) is conditional as these numerous pleners, among which there are also noticeable, bring the contribution in the development of the modern plener movement, the art culture, regions especially remote from the centers.Among such pleners there are "Gurzufsky seasons" (Crimea), pleners in Trostyanets, Nikopol, Lebedin, Koblevo, Lutsk, Korop (The Chernigov region) and many others.Except tthe called pleners of the realistic direction there are pleners of the "abstract" direction as, for example, tthe plener "The Princely mountain" (Kiev). There are pleners which combine work of artists with a tourist travel ("Arttourism", Odessa region, "The Jewish Atlantis" and others.The Ukrainian plein-airists take the active part also in the activity of the foreign pleners in Poland, Croatia, Slovakia, France, China, Romania, Bulgaria and other countries.Pleners, both leading and less known, constantly improve the organizational and creative work, give rise to its forms promoting creation of conditions for emergence of the real works of the modern landscape art. Their activity creates the favourable conditions for an exchange of creative experience, has a great impact on formation of young landscape painters.В статье рассматривается работа многочисленных творческих пленэров Украины. Предпринята попытка их классификации по типам. Характеризуя работу основных, ведущих пленэров, которые начали свою работу с середины 90-х годов XX ст., автор выявляет их основную творческую направленность, особенности и значение для развития современной пленэрной пейзажной живописи Украины. Рассматривается и работа менее известных местных пленэров, которые также имеют немаловажное значение для развития художественной культуры различных регионов страны.У статті розглядається робота численних сучасних мистецьких пленерів України. Зроблено спробу їх класифікації за типами. Характеризуючи роботу провідних пленерів, які почали свою діяльність з середини 90-х років XX ст., автор виявляє їх головну творчу спрямованість, особливості і значення для розвитку сучасного пленерного пейзажного живопису України. Розглядається і робота менш відомих місцевих пленерів, які теж мають досить важливе значення для розвитку художньої культури різних регіонів країни

The digital evolution of art: current trends in the context of the formation and development of metamodernism

The involvement of gadgets and digital technologies is becoming an increasingly integral part of everyone's personal life and work life. Art has also adapted to the rapid digital evolution and computerization in all creative fields. This trajectory of development provokes a new form and philosophy of artistic development, which is called metamodern. This article examines the theoretical foundations of metamodernism and defines the main provisions of this cultural phenomenon through the prism of the development of digital technologies and the latest means of artistic direction. The main purpose of this research work is the study and in-depth analysis of the formation and development of metamodernist intentions in the modern cultural environment and the definition of the conceptual content of metamodern art. Also, the author of the article determined the purpose of distinguishing metamodernism because of the differences in its essential characteristics from the characteristics of modernism and postmodernism. The methodological approach of the research is the search and theoretical analysis of Ukrainian and foreign sources aimed at studying the phenomenon of metamodernism in view of the digital evolution of art. The author of this article used the method of analysis, cultural-historical, descriptive, comparative and theoretical-literary methods of research. As a result of scientific research, the formation and development of digital art and metamodern art were analyzed. The author also tried to identify the nearest trends in the development of the philosophy of metamodernism in the Ukrainian artistic field

Development of the art market in Ukraine: towards the competitiveness of Ukrainian artists under the conditions of informatization of society

The aim of the article is to analyze the key features of the modern art market in the context of the digitalization of art, as well as to study the potential for further development and dissemination of online trade in art. The study concluded that the Internet and cyberspace provide new opportunities for artists to make the global art trade more universal and efficient, and for artists themselves to be more competitive in the art market. The scientific novelty lies in the fact that the authors highlight the issue of digitalization of the contemporary art market and the impact of this phenomenon on the formation of the competitiveness of Ukrainian artists in these conditions. The practical significance of the study is that the authors analyzed and highlighted the most significant changes in the art market in Ukraine under the influence of digital technologies that affect the competitiveness of domestic artists. The authors emphasize that the modern world market of art objects is actively developing and is reformed through the introduction of modern digital technologies, remains reliable for investment. The authors note that the market of works of art, as a significant part of world culture, in which such a social and cultural phenomenon as the art market, is a system of relations between creators, distributors (dealers, art consultants), and consumers of artistic products. are realized through commodity-money relations, and the biggest obstacle to the further growth of the art industry is the lack of trust between the parties to the agreements and their transparency in the art market