The artists

The artists 1. Мистецький рух, течія

An art movement (1) is a style in art
with a specific common philosophy or
goal, followed by a group of artists
during a period of time. Art in the
modern era has come to be defined by its
styles, schools, and movements. The
major and minor collected here provide
an introduction to the developments in
western art together with all the
participated artists.

Abstract art (2) is a style of art where 2. Абстракціонізм

there is no definite image of what the 3. Ілюзія сприйманої реальності
artist is depicting but rather gives an
illusion of the perceived reality (3). It is
often drawn simply or can be exaggerated
depending on what the artist want to
show. What makes abstract art great is
the fact that it is independent by nature. It
does not follow any style or that of the
usual techniques like other artists do.
This is the reason why a lot of people
love it.

Since the early 20th century artist include 4. Електронні медіа (носії, ресурси,
the new possibilities offered by elec- засоби) для створення мистецтва
tronic media to create art (4). Elec- 5. Існувати в аналоговому
tronic media is media that requires elec-
цифровому форматі
tronics to be accessed by the end user in
printed form, such as video recordings, 6. ЕКГ (електрокардіограма)
audio recordings, multimedia presenta-
tions, etc. Electronic media can exist in
analog or digital format (5). Artists use
different kinds of electric light, laser,
sound systems, video systems, cameras,
computers, software, telephones, mobile
phones, electric components (diodes,
wire,), motors, solar panels, scanner,
printer, beamer or other projectors, tran-
sistors, display systems, internet, sensors,
ECG (electrocardiogram) (6), etc.
Experiments in Art and Technology 7. Організація «E.A.T» ю –
(E.A.T.) (7), founded in New York in Експерименти в мистецтві та
1967 by artists Robert Whitman and техніці
Robert Rauschenberg and engineers Billy 8. Провідна науково-мистецька
Kluver and Fred Waldhauer, was the організація
premier art-and-science organization
9. Призові інсталяції; інсталяції,
(8) of its time.
удостоєні премії/першого місця
Experiments in Art and Technology is a
non-profit organization established to
promote collaborations between artists
and engineers within in industrial
environment. In 1967, Experiments in Art
and Technology (E.A.T.) was officially
launched by Billy Klüver and Robert
Rauschenberg after having collaborated
for many previous projects, notably the
festival «9 Evenings: Theater and
Engineeering.» 1968 was the first time
they could stage a major exhibition,
«Some More Beginnings,» which
presented a large number of innovative
technical, electronic and other media
projects. The Museum of Modern Art
included prize-winning installations (9)
in their parallel show «The Machine as
Seen at the End of the Mechanical Age,»
which was curated by Pontus Hultén. In
1970, the pavilion at the Expo in Osaka
was another milestone of E.A.T.
activities.
The initial effort of E.A.T. in 1967 and 10. Для створення реклами та
1968 was to generate publicity and налагодження контактів
contacts (10) in order to recruit engineers 11. Щотижня проводити день
to work with artists and to raise money відкритих дверей
for the operation of E.A.T. We arranged 12. Художник, який
for artists to visit technical laboratories потребував/скористався
like Bell Laboratories in Murray Hill, технічним супроводом
N.J., IBM Laboratories in Armonk, N.Y.,
and RCA Sarnoff Laboratories in
Princeton, N.J. We held a weekly open
house (11) at the E.A.T. loft, where
artists and engineers could meet and talk
informally. In March 1967 we took a
booth at the annual meeting of the
Institute of Electrical and Electronics
Engineers (IEEE) where artists made the
case for engineers getting involved. In
this photograph artists Tom Gormley and
Hans Haacke, far right, are talking to an
engineer. Our recruiting efforts were
successful. Within three years, in addition
to 2000 artist members, we had more than
2000 engineer members all over the
country. This made it possible to carry
out our goal of responding to every artist
who required technical help (12) and
matching the artists with engineers who
could collaborate with them on ideas the
artists couldn't execute by themselves.
https://www.the-artists.org/movements/

Hands and the art world

Volodymyr Kostyrko was born in 1967,

lives and works in Lviv. 1987 - graduated
from Lviv College of Decorative and
Applied Arts. 1995 - graduated from The
Catholic University of Lublin. Works in the
"New Old Masters" style. He is a member of
numerous solo and group exhibitions. The
editor of the journal "Community
Initiatives". According to Viktor Neborak,
"slaughter mix monarchism, anarchism and
catholicism".
I was offered to write a text to Kostyrko's
exhibition, but I all I could do is a comment.
This comment is based on the perception of
history as a philosophy that teaches with the
help of examples–it is roughly what
Bolinbroke would say. I was inspired by the
work entitled Mathis GothardtNithardt.
Ruky, takzvanoho, MatthiasaGrunewalda
[Mathis GothardtNithardt. Hands of the So
Called Matthias Grunewald]. Kostyrko's
picture is devoted to the painter whose
works carry a made-up name. How come the
author whose works are more powerful and
expressive than Durer's opuses was
forgotten?
The reason for a historical misunderstanding
was a wrong ascription of the works of this
unknown painter by German art critic
Joachim von Sandrart. He was the first to
talk about Mathis GothardtNithardt's oeuvre
and by mistake called him by the name of
the painter that never existed, that is
Matthias Grunewald.
Nithardt-Grunewald fell into oblivion as an
artist while he was still alive. He quit art and
left the princes residence to boil soap and
sell paints. The failure of the largest peasant
revolt in the German history made him do it.
At the time, the artist held a high position in
society at the court of one of the most
powerful figures in Europe–prince Albert
from Brandenburg. This feudal lord was a
progressive oligarch, the founder of the
Frankfurt University and a fan of Durer's
talent. After the revolt was suppressed,
Nithardt-Grunewald witnessed burnt
villages, murder and torture.
He knew that the Catholics united with the
Reformers against the rebels–the people of
his class... Nithardt-Grunewald decidedly
recognized moral qualities over the artist's
career and reformed himself. While Durer
continued searching for the hidden signs of
beauty and playing a reformer's role by
heading the hierarchy of the feudal world of
art. Dependence on feudal lords meant the
loss of freedom to Nithardt-Grunewald—he
did not want to remain their property.
Having chosen independence, Matthias left
the world of art. Albrecht Durer and
Nithardt-Grunewald died the same year...
Stanislav Perfecjkyj

Dialogue between Perfecjkyj and Kostyrko

about Hands and the World of Art
exhibition.
Perfecjkyj: There are more than ten works
before me with the word hand in the title. Is
it the sequel of the Master's Hand cycle?

Kostyrko: Yes. I continued illustrating

stories on the subject of moral relativity in
the so called world of art... Creating the
atlas of anomie. Or the album of deviations,
crimes, suicides among the players on the
field of art… It is a classification of
suicides. The initial idea was to illustrate it
with examples of artists' suicides...

Perfecjkyj: It's hard to interpret. Probably

because, according to Bakhtin, a person
disappears from life when they are in art...?
Kostyrko: Something like that... Plus there's
another reason. It was supposed to be
iconographic material, so I had to create
images...
Lviv . YaGallery

http://yagallery.com/en/exhibitions/volodymyr-kostyrko-
ruky-i-svit-mystestva