Art exhibitions: a place of interaction between the audience and art. Voloshin Maximilian Alexandrovich

20.07.2022

Art surrounds us everywhere: in the house, on the street, in the museum. However, there is a special kind of acquaintance with artistic creativity: the opportunity to go to an exhibition. An exhibition is a demonstration of works of art to the general public, organized for a certain period of time. There are large and small exhibitions. They are exhibited both in specially built or adapted premises, and in halls occupied temporarily, for example, in the halls of museums, Palaces of Culture, theater foyers, etc. Such exhibitions show the work of masters of the past and present, sometimes together painters, sculptors, graphic artists, architects, artists of arts and crafts. But most often exhibitions of masters of one specialization are arranged. Exhibitions can be dedicated to the work of an individual master, a certain group, school, direction. In general, the principles underlying the organization of an exhibition are quite flexible, the selection of works is carried out according to themes, types, genres, plots, etc. There are international, national, regional (territorial, republican, regional, city), stationary exhibitions and mobile.

Visiting an exhibition is to a certain extent comparable to visiting a theater, but the difference will still be very noticeable. And not only because there is a performance, but here works of fine art. At the exhibition, you see a lot of people, either intently examining the exposition as a whole or a separate painting, a statue, or talking, discussing individual works. Here the moment of communication of people not only with art, but also with each other is felt more strongly.

Public displays of works of art are already known in ancient Greece, but exhibition activity in its modern sense began in France in the 18th century, when the so-called salons were opened, which received this name because artists showed works in the salons of the Louvre. This innovation aroused great public interest and testified to the well-known democratization of art. Before that, as a rule, art was the privilege of connoisseurs, patrons, patrons and collectors. Now works of art were openly presented to the public. Exhibitions began to be discussed in the press - this is how art criticism was born. By the opening of the exhibitions, a catalog containing brief information about the exhibited works and their authors was printed, later reproductions of the exhibited works began to be placed in them. All these undertakings improved over time, changed in form and content, and subsequently formed the basis of a certain tradition of exhibition activity. By the beginning of the XIX century. in the Parisian salon, which gained worldwide fame, up to 2 thousand works were exhibited. The World Exhibitions, held in Paris and London, where, along with others, art departments were organized as wide reviews of contemporary art.

Since the organization of salons was under the strict supervision of official circles, conflicts inevitably broke out. A specially created jury, called upon to select works, often did not allow works of democratic, realistic art to be exhibited. The artists, dissatisfied with the actions of the jury, repeatedly advocated the free display of works, demanded that the jury be dissolved or made elective. They also held some kind of unofficial "anti-exhibitions" in their workshops and other premises. So, G. Courbet during the World Exhibition in Paris in 1855 builds a separate pavilion for his works, defiantly called by him "Realism". In France, a conflict between artists and juries led in 1863 to the creation of the "Salon of the Rejected", which showed paintings that were not accepted for an official exhibition. In subsequent years, artists began to organize separate group independent exhibitions (for example, exhibitions of impressionist artists). By the end of the last century, the number of free art associations with their exhibition activity increased markedly. The example of France has become inspiring for many European countries. At the turn of the century, attempts were made to separately show not only painting or painting together with sculpture and graphics, but sculpture and graphics separately.

Sometimes exhibition activity is controversial: it promotes the popularization of art, but at the same time serves as a conductor of the official ideology. In addition, the organization of exhibitions is connected with the elements of the art market. Whom to be "fashionable", "popular" at exhibitions, is sometimes decided by art dealers.

At the turn of the XIX-XX centuries. exhibitions dedicated to old masters are arranged. At present, exhibitions of this kind, especially large, representative ones, including little-known works or, on the contrary, the creations of the greatest masters of the past, attract public attention, become an indicator of the intensity of artistic life in one country or another.

In Russia, exhibitions were originally organized at the St. Petersburg Academy of Arts. At the beginning of the XIX century. at these exhibitions, paintings by famous painters were shown: O. A. Kiprensky, S. F. Shchedrin, K. P. Bryullov, A. A. Ivanov. However, the spirit of state-owned academism, which eventually began to dominate the Academy, could not but arouse the protest of democratically minded artists. Several artists decided to leave the Academy and create their own association (see Wanderers (Association of Traveling Art Exhibitions). The association contributed to the spread of the art of critical realism in Russia, the education of the artistic taste of wide social strata. During its existence, the TPHV staged over 40 exhibitions. At the turn of the century, In Russia, other group associations arose that organized exhibitions (“World of Art”, “Blue Rose”, etc.).

In the USSR and other socialist countries, art exhibitions played a great educational and educational role. Already in the 1920s. the leading mass associations of artists: the Association of Artists of Revolutionary Russia (AHRR) and the Society of Easel Artists (OST) held numerous exhibitions, including such representative ones as Life and Life of the Red Army (1922), Revolution, Life, Labor ( 1924–1925), Life and Life of the Peoples of the USSR (1926), exhibitions dedicated to the 10th, 15th and 20th anniversaries of the Red Army (1928, 1933, 1938), Art to the Masses (1929), Industry of Socialism (1939). The inclusion in the exposition of our country at the World Exhibitions in Paris (1937) and New York (1939), at the All-Union Agricultural Exhibition in Moscow (1939) of works by Soviet artists demonstrated the ideological purposefulness of Soviet art, its life-affirming power, contributed to the development of socialist realism. Significant events in the cultural life of the country were the exhibitions "The Great Patriotic War" (1942), the Exhibition of Fine Arts of the Socialist Countries (1959), "Art for Life" (1960), "Guarding Peace" (1965), the All-Union Anniversary Art Exhibition “50 years of Soviet power” (1967), All-Union art exhibition dedicated to the centenary of the birth of V. I. Lenin (1970), All-Union art exhibitions dedicated to the 60th anniversary of the formation of the USSR: “The USSR is our Motherland” (1982), “ Artists - to the people "(1982), etc.

Every year in our country, creative unions, the Academy of Arts, and cultural bodies organize many stationary and traveling art exhibitions, which are visited by millions of people.

One of the most important aspects of exhibition activity is exhibitions, which are organized as a cultural exchange with foreign countries. They contribute to the strengthening of friendly ties between peoples, provide an opportunity to get acquainted with the masterpieces of world art. In 1960, the exhibition "Art of Mexico from ancient times to the present day" was held in the Hermitage and in the Pushkin Museum of Fine Arts. In 1973, the exhibition "Treasures of the Tomb of Tutankhamun" from the collection of the Egyptian Museum in Cairo was shown in Moscow, Leningrad, Kyiv. Exhibitions of Russian and Soviet art have been repeatedly organized abroad (in the USA, France, Germany, Japan and other countries). The largest exhibitions from the collections of the Louvre and Prado were shown in our country in 1981-1982. An important contribution to the development of cultural ties between the Soviet and French peoples was the exhibition "Moscow - Paris" (1980-1981) at the National Center for Art and Culture. J. Pompidou in Paris and in the Pushkin Museum of Fine Arts in Moscow.

The visitor of the exhibition at the entrance is met by emptiness

HOSTAGES OF ARTISTIC VOID

The State Tretyakov Gallery (TG) on Krymsky Val.

Address: Russia, Moscow, Krymsky Val st., 10, halls No. 39-42

Text, photo: Vladimir Chernomashentsev, HalloArt.ru

On September 23, 2011, the exhibition “Hostages of the Void. Aesthetics of empty space and "empty canon" in Russian art of the 19th-21st centuries. Given the profile of the Tretyakov Gallery as a museum of classical and contemporary (in the broad sense of the word) Russian fine art, it should be recognized that such a conservative name was chosen well. A regular viewer of the Tretyakov Gallery will see a classical meaning in it, not suspecting that the main part of the exposition is made up of that direction of modern fine art, which in the West is usually called the term Contemporary Art. In the 80-90s of the 20th century, Contemporary Art was translated into Russian as "contemporary art", now it is called "contemporary art" or, with some disdain, "sovrisk". Adherents of this trend use this term to artificially reduce the richness of all modern fine art to one “sovrisk”.

In 2011, the Tretyakov Gallery, in pursuit of modernity, organized several contemporary exhibitions. The young curators Kirill Svetlyakov and Kirill Alekseev created two projects that did not receive recognition from the audience. Many art market experts wrote down a couple of failures on the account of the Tretyakov Gallery, which sometimes tries to do something that is obviously not its own business. For example, Anna Tolstova, an art reviewer for the KOMMERSANT newspaper, described the work of the curators as follows: “... Kirill Svetlyakov and Kirill Alekseev, who have already flashed several unintelligible projects in the Tretyakov walls ...” (source: Kommersant newspaper, No. 133 (4674) dated 07/22/2011).

I agree with the opinion of the newspaper. However, I will try to use as much as possible in my review the words of the curators of the exhibition, expressed by them at a press conference. The curators spoke so correctly that they did not leave the slightest argument for external criticism, like that non-commissioned officer's widow described by the classic of Russian literature .... I remember three key points. Well, let the fourth be the very name of the project.

FROM THE WORLD BY A STRING…

And now, as part of the 4th Moscow Biennale of Contemporary Art, the Tretyakov Gallery hastily assembled an exposition under a solid and promising name. Collected so quickly and unprofessionally that the audience could not find in the exposition about five works declared in the exhibition catalog. With a rare exception in the form of one thing by Rene Magritte, the paintings that did not make it to the exhibition can hardly be classified as great masterpieces that are difficult and expensive to bring. Truly, the exhibition lives up to its empty name! No wonder I did not find a better title for the article, how to repeat this phrase almost verbatim. In my place, any reviewer will only rejoice at such a successful expression, which the organizers of the exhibition voluntarily put into the hands of their critics like a powerful linguistic weapon. The curators of the exhibition and many of the artists represented at it are the real hostages of the artistic emptiness of contemporary art.

I would risk once again discovering America, starting the story about the exhibition with the standard accusations of a primitive approach to the term "emptiness". It is not necessary to have seven spans in the forehead in order to understand the complete irrelevance of such an idea that any wide space depicted by the artist on canvas is called the Void. Following such a straightforward approach, any Russian still life depicting the vast expanses of our country, according to the curators, can be drawn by the ears to the theme of the exhibition. But can “Clouds” by Fyodor Vasiliev”, an excellent painting by K. Rozhdestvensky “Family in the Field”, or “Collective Farm Night” by S. Luchishkin be called empty?! The canvases depict a lot of things: nature, human figures, actions and emotions. In the picture of S. Luchishkin, if you look closely, you can find eighteen collective farmers sleeping peacefully in a huge haystack. Tomorrow they will have a new working day. And it is unlikely that they will ask themselves the problem of emptiness in their souls, busy with hard peasant work.

Is it possible that in the huge collection of the Tretyakov Gallery, the curators could not find enough paintings that are really in that emotional state that would be associated with the emptiness of the human soul or the fear of abandoned spaces? Surprisingly... Offhand, I can offer a lot of works that meet this requirement. For example, some works by my favorite artist Boris Kocheyshvili, whose works are in the collection of the Tretyakov Gallery, will do.

The curators of the exhibition have said a lot

THIS IS THE CURATOR SAID... AGAINST #1

The curators have successfully completed only one work - they took away almost all possible arguments "against" from the critics. At a press conference dedicated to the opening of the exhibition, both Kirill Svetlyakov and Kirill Alekseev allowed themselves to express strange slogans at first. I had no choice but to write down these phrases and use them in my review. As they say, do not subtract, do not add ...

For example, one of them admitted that it would be uninteresting to show exclusively contemporary art of the late 20th century - early 21st century. Who would have doubted... The technique, when a good classical painting draws out the artistic emptiness of the main exhibition, is far from new. With their universally recognized fame, masterpieces will raise the image of the gray mass located in the neighborhood. One or two masterpieces in the exhibition can make the audience not regret visiting the museum.

But, on the other hand, the tightly stitched works of artists of the second echelon (19th century - first half of the 20th century) only emphasize the artistic emptiness of the actual classics of our time. Suppose, attracted by such paintings, the viewer comes to the exhibition. But will the same viewer be able to appreciate the empty sheets, unwritten canvases and unrealized projects that young curators once again stuff us with? Or do they not see the multiple repetitions borrowed from the founders of conceptualism?

ARGUMENT "AGAINST" №2

As it turned out, the curators see everything... Further, in the course of the speeches, I got the impression that the second curator was reading my thoughts. He spoke about the vacuum observed in contemporary art, which forces to rewrite, twist the history of art over and over again. Who wouldn't agree with such a critique of the current trend in contemporary art?!

The viewer with experience is already tired of watching how, 50-100 years after Malevich and his contemporaries, young apologists for "sovrisk" for the millionth time "reinvent the wheel" in the form of black, white or colored squares. This exhibition could not do without them either: one can count dozens, if not hundreds, of squares, small squares and huge squares. Blank sheets of gray paper by Ilya Kabakov were also invented a long time ago. And any of us can count an incalculable number of unrealized projects in our life. But we do not drag our ideological rubbish into the walls of the Tretyakov Gallery, as Monastyrsky, a member of the Collective Actions group, did.

It is clearly seen that stagnation with original ideas is observed precisely among those contemporary artists who constantly take credit for the priority of a bare idea over the process of its execution on canvas, marble or other material. But it is in the business of inventing new ideas that there is a complete void. With a little digging in old art albums, you can easily find the very first discoverer and, in addition, the hosts of his followers, who have long since become famous and died for the glory of contemporary art. Under the obsessive media hype, the viewer is trying to slip art that is far from modern. Many samples of actual contemporary art smell bad, the paint has not yet had time to dry, as they are not even the second, but the fifth or tenth freshness product.

As you can see, my opinion for the second time completely coincides with the opinion of the organizers of the exhibition.

Exhibition curator Kirill Alekseev conducts a tour for journalists

ARGUMENT "AGAINST" №3

And for the third time, curator Kirill Alekseev struck me with his sound judgment when he began to argue that real fine art does not require explanations and guides. According to him, a good exposition should be built in such a way that the viewer himself understands everything that the artist or organizer of the exhibition wants to say. However, immediately after the press conference, the curators of the Tretyakov Gallery organized a detailed tour of the exhibition with each other. The journalists were guided from the beginning to the end of the museum halls. Pointing their fingers at one or another exhibit, the curators carefully chewed on the meaning of emptiness, which, in their opinion, this or that contemporary artist wanted to demonstrate. Gradually, Kirill Alekseev completely seized the initiative, in fact refuting his own words. The tour guide turned out to be quite good, I think.

After the first flow of sightseers-journalists, it was possible to observe the second flow of spectators, this time consisting of guests of the vernissage. Basically, people followed the curator in a tight group, listening attentively to what they should have understood without words. Or do they not understand the language of art? I assume that this is the way things are. Contemporary art has long turned into a convenient and prestigious occasion for another high-society get-together. Along with famous people in the field of fine arts: the exhibition was visited, as always, by the elegant director of MAMM / MDF Olga Sviblova and commissioner of the Moscow Biennale Iosif Bakshtein - the main part of the invited guests will hardly be able to understand the difference between Malevich's black square and the modern artist's black square, whose name is unlikely to remain in the annals of art history.

According to the viewers, the "installation" of an empty staircase with a stepladder is no worse than a good half of the exhibits

CREATING NEW ART

As is usually the case at such events, having seen enough of contemporary art, many viewers began to look suspiciously at the caretaker's chairs, fire cabinets and other technical elements of the building. Far from being the first to notice that the empty white staircase leading to the next floor turned out to be more popular with the audience than some pieces of contemporary art. The minimalist design, simple but not without architectural elegance, was accidentally embellished with a large stepladder that the workers had left on the landing. The lone aluminum structure, in which there was not a single gram of superfluous, superficial, fit perfectly into the concept of the Void. In front of my eyes, several people approached the stairs, looked at the view for a minute or two and began to take pictures. It remains to bring the situation to its logical end: strictly following the spirit and letter of contemporary art, add a new exhibit, which took several seconds. It is no secret that today any object can be turned into an object of art if you hang a sign next to it indicating the author, the title of the work and place it in the exhibition space. And now you can already see how a new viewer begins to photograph not only the installation, but also the tablet attached to it, handwritten by an unknown curator.

Creating an object of contemporary art is a simple matter

I wonder how long an unnamed installation made by an unknown author will stay at the exhibition? It will be a pity if not for long. After all, it is no worse than a good half of the set of items proposed by the curators. Unfortunately, the attempt to save another project of the Tretyakov Gallery, making a nod to the classical fine arts, failed. Too small percentage of worthy works were more than covered by mediocre and deeply secondary paintings, installations, objects. Everything is relative. Thanks to the new exhibition, for the sake of which the permanent exhibition of the department of the latest trends was temporarily dismantled, I began to appreciate more what was previously in these halls. Another "Danish" project, mediocrely executed by the hostages of artistic emptiness for the Moscow Biennale, showed that real emptiness has no finite depth. Human mediocrity is endless.

Sergei Mironenko. I have nothing to say in the language of art. Diptych, 1990. Canvas, photographic fabric, acrylic, black and white print, State Tretyakov Gallery

Painting by Sergei Mironenko "I have nothing to say in the language of art" is at the very end of the exhibition. However, it is a kind of leitmotif of the entire exhibition. Time will tell how much the new project of the Tretyakov Gallery will interest the audience. But already now I am ready to argue that the exhibition will not be able to attract a significant number of visitors. Follow the statistics on the site HalloArt.ru.

Art surrounds us everywhere: in the house, on the street, in the museum. However, there is a special kind of acquaintance with artistic creativity: the opportunity to go to an exhibition. An exhibition is a demonstration of works of art to the general public, organized for a certain period of time. There are large and small exhibitions. They are exhibited both in specially built or adapted premises, and in halls occupied temporarily, for example, in the halls of museums, Palaces of Culture, theater foyers, etc. Such exhibitions show the work of masters of the past and present, sometimes together painters, sculptors, graphic artists, architects, artists of arts and crafts. But most often exhibitions of masters of one specialization are arranged. Exhibitions can be dedicated to the work of an individual master, a certain group, school, direction. In general, the principles underlying the organization of an exhibition are quite flexible, the selection of works is carried out according to themes, types, genres, plots, etc. There are international, national, regional exhibitions (in the USSR - all-Union, republican, regional, city ), stationary and mobile.

In bourgeois society, exhibition activity has a contradictory character: it contributes to the popularization of art, but at the same time serves as a conductor of the official ideology. In addition, the organization of exhibitions is connected with the elements of the art market. Whom to be "fashionable", "popular" at exhibitions, is sometimes decided by art dealers.

In the USSR and other socialist countries, art exhibitions are addressed to the broad masses of the people and play a great educational and educational role. Already in the 1920s. the leading mass associations of artists: the Association of Artists of Revolutionary Russia (AHRR) and the Society of Easel Artists (OST) held numerous exhibitions, including such representative ones as Life and Life of the Red Army (1922), Revolution, Life, Labor ( 1924-1925), Life and Life of the Peoples of the USSR (1926), exhibitions dedicated to the 10th, 15th and 20th anniversaries of the Red Army (1928, 1933, 1938), Art to the Masses (1929), Industry of Socialism (1939). The inclusion in the exposition of our country at the World Exhibitions in Paris (1937) and New York (1939), at the All-Union Agricultural Exhibition in Moscow (1939) of works by Soviet artists demonstrated the ideological purposefulness of Soviet art, its life-affirming power, contributed to the development of socialist realism. Significant events in the cultural life of the country were the exhibitions "The Great Patriotic War" (1942), the Exhibition of Fine Arts of the Socialist Countries (1959), "Art for Life" (1960), "Guarding Peace" (1965), the All-Union Anniversary Art Exhibition "50 years of Soviet power" (1967), All-Union art exhibition dedicated to the centenary of the birth of V. I. Lenin (1970), All-Union art exhibitions dedicated to the 60th anniversary of the formation of the USSR: "The USSR is our Motherland" (1982), " Artists - to the people "(1982), etc.

Every year in our country, creative unions, the Academy of Arts of the USSR, and cultural bodies organize over 5,000 stationary and traveling art exhibitions, which are visited by tens of millions of people. There is a certain system of holding zonal, republican and all-Union art reviews, which, as a rule, are timed to coincide with significant events in the life of the country. Thus, the cycle of art exhibitions “We are building communism” (1980-1981), dedicated to the 26th Congress of the CPSU, was very representative. The great community of art and labor that arose in the first years of the five-year plan is now reborn. Artists, representatives of all Union republics, actively participate in the working life of the people, embody the ideas of communism and peace in their works.

One of the most important aspects of exhibition activities in our country is exhibitions, which are organized as a cultural exchange with foreign countries. They contribute to the strengthening of friendly ties between peoples, provide an opportunity to get acquainted with the masterpieces of world art. In 1960, the exhibition "Art of Mexico from ancient times to the present day" was held in the Hermitage and in the Pushkin Museum of Fine Arts. In 1973, the exhibition "Treasures of the Tomb of Tutankhamun" from the collection of the Egyptian Museum in Cairo was shown in Moscow, Leningrad, Kyiv. Exhibitions of Russian and Soviet art have been repeatedly organized abroad (in the USA, France, Germany, Japan and other countries). The largest exhibitions from the collections of the Louvre and Prado were shown in our country in 1981-1982. An important contribution to the development of cultural ties between the Soviet and French peoples was the exhibition "Moscow - Paris" (1980-1981) at the National Center for Art and Culture. J. Pompidou in Paris and in the Pushkin Museum of Fine Arts in Moscow.

PRACTICE AND THEORY OF DECORATION OF EXHIBITION SPACE

Exercise. Exhibition project development.

Come up with a theme for the exhibition to be developed in the material. Topics can be anything, you can rely on your abstract. The point is to set a goal - cultural and educational work with the population. For example, the culture and traditions of the Voronezh region. Tasks - to acquaint with the culture of life, utensils, everyday life. 2 subjects DPI, 3. rituals.4. Voronezh suit.

What is included in your project:

1. Description in the form of a presentation (theme, goals, objectives, target audience, the way to move around the exhibition - read a lecture to everyone about this below !!), with a photo, the names of the main works (according to your topic, you can use photos of the works of artists, sculptors, etc.)

part 2 practical- in the form of sketches (either freehand using the washer technique, or using computer graphics is welcome). A3 format for each angle or FA2 for two at once. – Types: 1. exterior, 2. top view - that is, a plan of the exhibition space, 3. main halls, hanging plan - or make the entire 2nd part in the form of a three-dimensional project using paper-plastic (no larger than A3 format).

Develop a sketch of a poster for your exhibition F A4 (any materials), booklets or flyers.

Examples: student projects – http://freelance-nsk.ru/user/inspirace/18141/

http://archvuz.ru/2011_4/17 , http://www.archiconcurs.ru/concurs/item-561/

Exhibition space video project for BEELINE

http://video.yandex.ru/users/fluxe85/view/3/

LECTURE PLAN.

1. Organization and design of exhibitions

2. History of exhibitions

3. Exposition as a principle of organizing an art exhibition

Exposition placement: color selection, composition sketching, hanging, labeling, poster

Participation of children in the preparation of the museum exhibition.

7. Commercial exhibition projects: design, attracting attention, composition

8. References

9. Photos of contemporary art galleries in the world

Organization and design of exhibitions

In the conditions of modern culture, there is an unrelenting public interest in an art exhibition as a form of international cultural exchange, familiarization with enduring humanitarian values, a meeting with recognized masterpieces of world art or creative experiments of novice masters. An art exhibition is one of the most important elements of the humanitarian direction, which is becoming more and more relevant in the life of modern society. "civilization of leisure". Exhibitions are an effective resource for organizing and conducting socio-cultural and marketing research. they provide interested organizations with extensive application information.

There are several mutually complementary definitions expressed by various sources:

1. Exhibition is a public demonstration of achievements in the field of economy, science, technology, culture, art and other areas of public life. The concept can denote both the event itself and the venue of this event.

2. Exhibition- this is a specific form of marketing communication (advertising and PR, sales promotion), in which, in a relatively small equipped area, samples of new products are demonstrated for sale or services are offered for the purpose of their subsequent sale.

Organizationally, the exhibition is a specific scheduled event with a limited time, held in a pre-announced and prepared place, with a certain frequency of holding. There are several stakeholders involved in the event:

Exhibitors - manufacturers (suppliers) presenting their product at various types of stands;

Visitors - potential consumers (buyers) of the presented type of product;

Exhibition organizers (legal entity, authority or public organization, as a rule, supervising this type of industry activity);

Exhibition operator (organizer - a legal entity providing services for the preparation and holding of this exhibition, for which this type of activity is a commercial activity).

Exhibitions are classified:

By coverage of participants:

local,

national,

international,

World (universal, covering all branches of human activity, and specialized, dedicated to only one area of human activity).

By coverage of areas of human activity:

General;

Industry.

By industry:

Artistic;

Public educational;

Industrial;

Agricultural.

By duration:

Periodic (temporary);

Permanent;

One-time (related to a specific event).

Art exhibitions - public exhibitions of works of fine and graphic arts, in particular sculptures and paintings, drawings, watercolors, engravings on copper, steel and wood, etc. Hud. exhibitions are organized periodically by art academies, drawing schools, artists' societies. The so-called "permanent exhibitions" serve mainly the purposes of the art industry. All art exhibitions are meant to mediate between the artist and the public, representing the markets in which the relationship between demand and supply in the field of fine arts is determined. Exhibitions organized by the academies and societies of artists also pursue another, higher goal - to clarify the special trends developing in the fine arts and in the tastes of the public, and thereby respond both to the public and to the artists themselves.

An exhibition, like a museum, involves ex-position, detachment, going beyond the usual perception, the everyday essence of things, gaining a new point of view on the subject, its cultural meanings, and place in the picture of the world. The object of museum attention is removed from one context and transferred to another. The exposition in the museum and exhibition space works as a kind of

frame (frame, border) that defines the space of a work of art. Describing the meaning of the frame in the composition of a literary text, Yu.M. Lotman writes: “A frame in a picture, a ramp in a theatre, the beginning or end of a literary or musical

its space - all these are different forms of the general regularity of art: the work is the final model of the infinite world.

Exhibition history

The history of the art exhibition has a long history of existence and development and originates from collections owned by persons endowed with either secular or spiritual power, or possessing significant financial resources. In antiquity and in the Middle Ages of the 10th century, exhibitions in their modern meaning did not exist. For the first time a small group of artists organized an exhibition of their works in Paris in 1648. This exhibition was subjected to all kinds of persecution; artists were forbidden to exhibit paintings for sale, and the works of some of them were even confiscated. In the same year, the government approved the Academy of Painting and Sculpture and forbade "hindering it in any way." The struggle between the academy, which had very meager funds, and the rich workshops of artisans continued, however, until 1653, until Lebrun managed to place the academy under the patronage of Mazarin, and then the king himself, who approved its charter and appointed pensions to the artists. Since that time, X. exhibitions of academicians begin, who are obliged to exhibit their paintings annually under pain of expulsion from the academy.

Modern exhibitions originate from French museums, the founders of which are the French cardinals Mazarin and Colbert. The Society of Arts, founded in 1754 with the aim of encouraging the arts, crafts and trade, played an important role in organizing the exhibition. The task was truly grandiose - to gather under one roof products of industry and art from different countries and peoples. To accomplish such a task, an unprecedented space was required, which itself became one of the main attractions of the exhibition. The British almost instantly - in just six months (and according to some sources - in 17 weeks) - created in the center of London, in Hyde Park, the famous "Crystal Palace", which became famous far beyond England.

The commission for the construction of the exhibition was presented with 245 of the most diverse projects of the future building. But both the artists themselves and the public felt the unsuitability of traditional forms and materials for solving an entirely new task. And then Joseph Paxton came forward, proposing an architecture of one iron and glass. Everyone was stunned, and the architects of Europe were simply indignant that this impudent Paxton - not an architect or an artist, but an ordinary gardener - instead of a majestic palace was going to build “some kind of glass cap”, “greenhouse” ... This should not be allowed to some ignoramus, when there is real art and real masters. The building, built as an exhibition pavilion, was a huge three-nave terraced building, consisting of an openwork iron frame filled with glass. The entire building is 564 meters long and 125 meters wide, with a covered area of 100,000 square meters. It is unlikely that other countries could then afford this. Even in Paris, the entire exhibition would most likely have been housed in some kind of stone building, which means that it would have been very moderate in size, not corresponding to the grandeur of the planned event. In addition, the fundamentally new architecture, the “glass and metal” style, born during the construction of the Crystal Palace, was organically unacceptable for architectural and art schools in other countries.

Indeed, the Crystal Palace was very reminiscent of a greenhouse. Having experience in creating huge greenhouses for overseas palm trees, D. Paxton came up with a simple and original solution and boldly introduced metal and glass into the design of the Crystal Palace, increasing the window frames to unprecedentedly large sizes. Examples of the use of metal structures and coatings with glass filling were already known by that time. But for the entire facade of a huge public building to be glass - this was done for the first time!

Fortunately, the new building was erected exactly as the “ignorant gardener” intended, and the public enthusiastically accepted it. It just embodied the desire of the inhabitants of foggy Albion for the light, because the whole structure, its entire endless interior was permeated with streams of sunlight.

The Crystal Palace was one of the first structures in which the now common unified elements were adopted: the entire building was made up of identical cells assembled from 3,300 cast-iron columns of the same thickness, 300,000 identical sheets of glass, the same type of wooden frames and metal beams. Prefabricated elements of standard dimensions were prefabricated in the required quantity, so that all that was left to do at the construction site was to assemble them.

It was here that in the exhibition architecture there was a shift from picturesqueness and decoration to engineering, which became the main trend in the development of architecture of the 20th century. In the design of the palace, the principle of a metal frame was used - iron pillars and frames with glass filling, a module of bearing pillars of 24 feet (approximately 720 cm), installation of prefabricated blocks.

The palace became an epoch-making building, anticipating new methods of construction. The palace had no internal partitions, and its interior was one huge hall. The architect was very careful about the trees of Hyde Park, which were forbidden to be cut by Parliament: two hundred-year-old elms turned out to be simply covered by the palace building. The famous Russian philosopher, historian and writer A.S. Khomyakov, who visited the exhibition, wrote about this: "What is being built must have respect for what has grown." Contemporaries considered the Crystal Palace a marvel of the architectural art of that time. Later, the great L. Corbusier wrote: "I could not take my eyes off this triumphant harmony."

V.V. Stasov, the great Russian critic, recognized England, which is accustomed to be considered a "classical country of anti-artism", as a pioneer of a new movement, seeing in the Crystal Palace a prototype of the architecture of the future, a new wonder of the world that eclipsed "the sad pyramids of the Egyptian dead and the coliseums of the Romans. The London giant, built in order to convene all the peoples of the world into it, in order to see everything that mankind has created great, brilliant, at all its scattered ends. A great goal gave birth to a great work.

Since the second half of the 19th century, economic conditions, technical level and potential began to change, but the aesthetic background of the era changed slowly, almost imperceptibly. The aesthetic norms of classicism were already completely destroyed. The interior, united by a single style of culture, no longer existed. In the exhibition expositions, as in a mirror, all the diversity of European architecture was reflected, and in everything - unbridled eclecticism.

Starting with the "Crystal Palace", all the exhibition pavilions of further exhibitions were given the appearance of "palaces". They were called just that - "Palace of Agriculture", "Palace of Electricity", etc., palaces of all kinds, of all eras, in any material - from metal and glass to cereals and vegetables.

The first exhibits of industrial exhibitions were a curious sight. Engineers, creating experimental exhibition models of steam locomotives, locomobile boilers, pumps and hay mowers, tried to give them certain architectural forms in the Baroque style, Gothic, designed for other functions and arose in completely different times, they were abundantly covered with ornamentation by casting, embossing, etc. .d.

The art of exposition has been improved from exhibition to exhibition. Gradually, the fundamental requirements for the exhibition pavilion, for the display of products, are being formed.

By the end of the century, the Art Nouveau style had a great influence on exhibitions, crowding out the carelessness of eclecticism with its rationalism. The Art Nouveau influence became evident at the 1900 Paris Exhibition. In the exhibition entertainment industry, “optical palaces” with labyrinths of mirrors (later turned into laugh rooms), mareorama depicting a round-the-world trip (moving panorama), mise-en-scenes with extras in national costumes from different countries, Galeron’s globes (a giant rotating model of the sky with a magical stereoscopic flashlight). At the Chicago show, a huge crowd gazes at celluloid balls miraculously suspended in the air (supported by a jet of air from Westinghouse air brakes), at a grain fountain driven by an electric motor, we see the first examples of a dynamic display of an industrial product. The Crystal Palace of Joseph Paxton in London and the Eiffel Tower of engineer Alexander Gustave Eiffel in Paris, built for the World Exhibition of 1889 (123 meters high) have become symbols of world exhibitions, symbols of technological achievements of the late XIX - early XX century. The exhibition industry received further rapid development during the 20th century, in accordance with the development of industry, science and technology.

Mareorama

The emergence of the institution of the museum in Russia, as a collection of art in the modern sense, in most cases dates back to the end of the 19th and beginning of the 20th centuries. It was during this period that the museums known today as the State Tretyakov Gallery, the State Museum of Fine Arts in Moscow, the State Hermitage and the State Russian Museum in St. Petersburg were organized. The objects of art that make up the collections of these and other museums actualize their aesthetic qualities with the help of the phenomenon of the exhibition, which appears to the viewer in the form of a special artistic space that exists in accordance with its internal organization, subject to the influence of the specific architectural environment of the museum, the exhibited objects, their carriers and conceptual intent. http://dic.academic.ru/dic.nsf/brokgauz_efron/111257/%D0%A5%D1%83%D0%B4%D0%BE%D0%B6%D0%B5%D1%81%D1%82 %D0%B2%D0%B5%D0%BD%D0%BD%D1%8B%D0%B5

Exposition as a principle of organizing an art exhibition

The phenomenon of the exhibition manifests itself in a certain form of organization, due to certain principles, the most significant of which is considered to be "exposition", closely related to visibility, which allows fixing the exhibition as an event. The originality and originality of the appearance of numerous successful exhibitions on various topics are just distinguished by a special visual appearance, a clearly “readable” conceptual basis, and expressive exposition solutions. The natural presence in the space of the exhibition of all its components is determined by the system of "order", understood as a sequence of artistic images actualized in the exposition that is actually perceived in an explicable combination. This sequence provides a "reading" of the conceptual design, according to which the action of "exposition" as an organizing principle is carried out. Some researchers (T.P. Kalugina) interpret the principle of "exposition" in relation to various types of visual and semantic organization of the exhibition as "problem grouping", "academic row", "exhibit in focus".

So "problem group" takes place when creating monographic exhibitions, when the work of a famous master appears again in such a visual arrangement that draws attention to previously unknown aspects of considering his artistic language. "Academic Row" presents a chronologically consistent picture of any long stage in the development of art with a wide range of names that determine the completeness of the represented period. "Exhibit in Focus" as a special manifestation of the exposition principle, is typical for the exclusive display of a single work of art in its artistic uniqueness. From these examples of the implementation of the exposition principle, it can be seen that in each case the location of the exhibited objects is determined both by the solution of specific tasks and by compliance with the visual structure of the exhibition.

Thus, under the concept of "exposition" one can consider the placement of an exhibited object on its carrier (stand, wall, pedestal, in a shop window) in such a spatial localization that would ensure its perception with the optimal manifestation of its artistic and semantic qualities.

"Academic Row" is an exposition complex, consisting of almost all types of fine arts stored in the museum collection, and reflects a holistic picture of the development of art. As an expositional form, the “academic row” dominates over the other two, largely determining the stylistic unity of the museum appearance. The "Academic Row" is updated in the existence of such a museum concept as "permanent exhibition". Improving the stylistic solution of the permanent exhibition is not only an important task of the current period, but also a factor in the long-term museum strategy. "Academic Row" gravitates towards subordination and consistency with the character of the interior. The use of the exhibition infrastructure in this case is minimal and often stands, showcases, pedestals are given stylistic uniformity with the architectural decoration of the interior. Within itself, the "academic series" can be differentiated by belonging to a particular type of art, i.e., within a single museum environment, several permanent exhibitions can exist in parallel. In the State Russian Museum this is an exposition of folk art, in the State Hermitage there are expositions of primitive, antique and decorative and applied art, numismatics and art of the East; in the Pushkin Museum im. A.S. Pushkin (Moscow) you can see the exposition of casts of medieval and renaissance sculpture. In all the above cases, the “species” expositions complement the main historical and chronological one.
"Exhibit in Focus" shows a single work of art (mainly pictorial), presented with the help of a set of exposure techniques, in an accentuated isolated form. “Exhibit in Focus” demonstrates the principle of exposition in its most pronounced manifestation and is often encountered in the exhibition practice of the State Hermitage Museum as an “exhibition of one painting”. It should be noted here the presentation of aromas caused by flowers and fruits depicted in one of the most famous Hermitage exhibits - Caravaggio's Lute Player, Kazimir Malevich's Black Square, Jan van Eyck's Annunciation, Titian's Venus in front of a Mirror.

"Problem Group" is the most dynamic form of presentation of artistic material, occupying a separate space in the museum environment and limited by time frames. Its existence in museum practice is associated with the concept of "temporary exhibition". In building the visual range of the exhibition, the “problem grouping” much more often uses, along with traditional ones, avant-garde display techniques.

The Jack of Diamonds in the Russian Avant-Garde exhibition created an image of new Russian art, inextricably linked with national aesthetic roots, and at the same time rethinking the achievements of European painting of the late 19th century in a new way. Such techniques were: organization in the halls of the museum with the help of shields placed in ledges of a “broken” surface for exhibiting paintings; rejection of overhead lighting and the use of directional; inclusion in the visual range of the exhibition of works of folk art as aesthetic prototypes.

When creating complex exhibitions with a large number of works of various types, designed to reveal a “big” topic, there are cases when even “targeted” selected exhibits do not adequately convey the idea of the exhibition, no matter how high their artistic quality may be. Such exhibitions require semantic multidimensionality, unattainable by the expositional possibilities of the “academic row” or “exhibit in focus”.

Exhibition “St. Petersburg. Portrait of the City and Citizens” solved the extremely difficult task of presenting such a cultural phenomenon as the “soul of St. Petersburg”, associated with its 300th anniversary. The whole complex of the exhibition was divided into two parts: view and event. The exposition material of the exhibition was unusually heterogeneous and with its artistic language had to create a certain plot, revealing such concepts forever associated with the name of the city as “white nights”, “northern Venice”, “Nevsky Prospekt”, “cradle of the revolution”, “blockade”, “ cultural capital" and others. Each such concept was presented in the selection of the most characteristic exhibits related to its subject. These concepts in the form of exposition blocks were placed in all the spatial and thematic areas of the exhibition, not necessarily having a rigid “binding”. At the semantic level, such an exposition visibly embodied the connection of times from the time of Peter the Great to the present day and made it possible to see in a completely new way both the engraving of the early 18th century with the first urban planning plans for St. official socialist realism and informal underground. The “soul of Petersburg” arose as a special grace, flowing from century to century, noticeable in every “Petersburg type”, from a street peddler to a drummer of communist labor, from a royal dignitary to a modern composer. The "soul of St. Petersburg" also spiritualized its landscape, whether it was the majestic panorama of the Neva or the working outskirts.

The inclusion of a video sequence in the visual range of the exhibition was an exposition technique that gave the exhibition a semantic "stereoscopic" quality. In the "iconographic" section, a video was shown showing the city in the form of "Northern Venice", inextricably linked with the water element. Documentary newsreel was shown in the section devoted to the Leningrad blockade. In both cases, the video series complemented and interacted with the visual series. In the first case, the recognizable places of St. Petersburg in a pictorial or graphic interpretation on the walls of the halls began to “swap places” with the virtual “screen” reality of video filming, in the second, the blockade newsreels made the artistic work of these years a document.

Exposition as an organizational principle makes it possible for a full-fledged presentation of works permanently stored in the fund. Such works may be inferior in their artistic quality to the works of the permanent exhibition, which determine the "face" of the museum, however, they are of interest due to their little study and inaccessibility to the audience. Showing works "from the funds" is able to diversify the traditional forms of the museum's work, to slightly open the always closed doors of storages.

The “Open Fund” of the State Russian Museum, as an exposition form, solved these problems and showed one of the sections of the sculpture collection in an amount exceeding that allowed in the traditional construction of the exposition. The sculpture was placed on racks similar to stock ones, which functionally ensure only the maximum capacity and safety of the material and do not imply for it any representativeness and focusing on its artistic merits. The sculpture on the shelves was separated from the audience by a transparent barrier and could not have a circular bypass, which created limitations in its perception, but the transfer of storage functions from office to exhibition premises turned these functions into an object of display and made it possible to see a special museum world hidden from the eyes of strangers.

Exposition techniques that create the image of a specific museum environment, transferred to the halls, were also used at the exhibition of new acquisitions (1998). The exposition, representing a wide display of museum acquisitions of many types of fine art in all its diversity, was decided as a large-scale storage that went into the halls. The exhibits were placed on special, "stock" equipment - lattice boards for painting, through frame supports for sculpture, next to traditional exhibition equipment: pedestals, boards, shop windows. This technique created the image of the museum as a living, renewing entity, linking the past and the present, the specific and the traditional.

The exhibitions held in the State Hermitage are marked by the highest quality of the material presented, scope and scale. Any of them has a convincing expositional interpretation, manifested in expressive presentation techniques. The exhibition "Faberge: Lost and Found" (2004) presented jewelry made by Carl Faberge and other craftsmen for the imperial family.

The exposition task consisted in a worthy presentation of the legendary jewels, which again returned to their ancestral home. The problem of such exhibitions is the small scale of the exhibits, which were placed in transparent showcases-cubes, which set the proportionality of the spatial environment. Each showcase-cube had a directional illumination and provided optimal conditions for the perception of exhibits in a darkened room. The lighting design of the exhibition created the image of a mysterious grotto with treasures shimmering in the twilight. The effect was enhanced by shields covered with dark material, which formed a continuous wall along the perimeter of the hall, completely lined with fake plants with hanging stems. The billboards also featured enlarged images of the works on display in nearby showcases.
Conclusions. The value of an art exhibition in the conditions of modern culture is great, and the right technology for their design is the key to success. On the example of the analysis of the main spatial concepts proposed by foreign and domestic philosophers, one can see that the exhibition is a special, artistic, type of space.
At the current level of development of exhibitions, it becomes possible to group many cases of the existence of exhibition space in specific buildings of the city into certain types, revealing their fundamental features. The most important factor in the organization of the exhibition environment is the exposition principle, which determines its visual and semantic perception. Exposition also allows solving the problems of forming a cultural landscape by adapting "non-core" urban buildings to function as an exhibition environment. Currently, the exhibition is becoming one of the stages in the formation of the art market, providing conditions for its full-fledged functioning as a modern cultural institution. The exhibition allows the means of curatorial activities to carry out socially significant art projects.

Organization of the exhibition

includes several items known as the "Rule 4 R":

1. Planning an exhibition.

2. Attract visitors.

3. Staff.

4. Obtaining and analyzing the results.

Exhibition Planning

In order to properly organize an exhibition and ultimately get the maximum result, you first need to decide: for what purposes are we organizing it?

1. The first step to organize an exhibition is to define it topic. Maybe this is an exposition of one artist or trends in contemporary art. Start with an idea.

2. Select a date to organize an exhibition. Make sure that there are no similar events on these days.

3. Organizers. Will you deal with this alone, will you involve the city or district authorities, or will you find partners? Immediately stipulate who will do what, as well as financial issues, and if these are not your relatives, then conclude a written contract. To organize the exhibition, try to find additional funding - it can be companies and private investors. Large exhibitions usually cost a lot of money, but they offer a huge opportunity to increase the prestige of the organization that sponsors the event.

4. Advertising. When it comes to organizing an exhibition, you definitely need to create promotional materials - brochures and catalogs. Plan the contents of the catalog and try to find art experts who will write texts for it. Approve the design of all materials related to your exhibition - catalogue, banners, postcards, calendars, etc. Now brochures, leaflets and booklets will be printed for you by any printing house. Make sure that there is all the necessary information for those who want to find you after the exhibition. A small bright sheet of basic information is all you need! In addition, you will have to spend money on advertising, which will attract visitors to the exhibition. In about a month, bright ads should appear in city newspapers and on local television. Posters will also need to be hung on the streets. You also need to distribute leaflets in crowded places and advertise on the Internet. Articles and messages on thematic pages, again thematic sites, forums and social networks, as well as mailing lists and contextual advertising work best on the network.

5. Create an exhibition space. Classification of the main types of exhibition spaces:

1) "profile”, i.e. specially designed and built for exposition purposes or for a long time functioning in this capacity, adapted for such purposes, but not originally intended for them;
2) "random", including outdoor exhibition spaces.

All of the listed types of exhibition spaces have a system of "places" - accent points, correlated with projections of rhythmic divisions of space. Such a system of accent points will be determined in each type of exhibition space by the presence of architectural elements, functional units or (open exhibition spaces) by the exhibits themselves and their carriers.

You may need professional help to set up art installations or position extra large paintings. Organize the space so that it is convenient for visitors to move around it, and so that all the exhibits are available for viewing. The movement of information from the exhibitor to the visitor consists of three stages: At the first stage, it is selected - the scenario formation of the exhibition. At the second stage, the selected information is clothed in the form in which it will be transferred to the visitor (in the subject-bench form of the exposition, in the form of ceremonial, business, qualifying, consultative, educational, advertising and entertainment events; in electronic forms of the exposition). At the third stage, information is transmitted, received, perceived, and comprehended, aimed at the “post-exhibition effect”, which is the main goal of holding exhibitions. The use of a variety of exhibition themes and scenarios is reflected in the different scale of the exposition, its constituent exhibits and equipment, including:

a) Object-bench elements of the exposition - volumetric-spatial components (exhibits and stands) of the organization of the exhibition space.

b) Electronic elements of the exposition - multimedia means of presenting visual-graphic, textual, audio and video information, including interactive components.

6. Create information boards to all jobs. The full explanatory text includes not only the title, but also answers general questions that viewers have. So visitors to the exhibition will be able to better understand the presented.

7. Schedule exhibition program and write a press release about the event. Send it to the art press and travel magazines. It is possible that exhibition not only residents of your city will want to visit.

8. Think about what it will be opening of the exhibition. Often an event is organized on the opening night: a short film (for example, an interview with the author), a performance by a musical group, or just an introductory word from authors, curators, and everyone interested. Hold an event to celebrate the opening of the exhibition and watch as more and more people get into ideas of art, thanks to you and the exhibition organized by you. An interesting option to interest visitors - conducting master classes. Allocate a place for a craftsman who will create some things in front of the eyes of visitors, and at the same time teach everyone who wants some simple tricks.

room. Finding a place. They depend on the size of the planned exhibition, its direction and even the time of year, because in the summer you can do a lot just in the open air. Now most museums organize various temporary exhibitions, so if you are into needlework or folk crafts, you can negotiate with them. Quite a decent exposition can be organized in the lobby of the hotel, in the house of culture or in the new shopping center, where not all areas have been leased yet. In general, now in any city there are enough free premises that are rented, sometimes for shoe sales, sometimes for fur fairs.

Specialty HAC RF17.00.04
Number of pages 198

Thesis Add to Basket 500p

1.1. The history of the formation of exposition principles.

1.2. Analysis of the specifics and functions of exposure as a system.

1.3. Classification of contemporary art exhibitions.

Chapter 2. Exhibition of works of arts and crafts as an object of artistic perception.

2.1. Levels of artistic perception of the exhibition.

2.2. Perception of exposure as a visual-spatial structure.

2.3 Exhibition of works of arts and crafts as an object of art history analysis.

Chapter 3. Exposition properties of objects of arts and crafts.

3.1. Works of arts and crafts as exhibition objects.

3.2. Specific properties and expressive features of materials of arts and crafts.

3.3. Factors of visual perception of objects of arts and crafts.

Chapter 4. Specificity of exhibitions of works of arts and crafts.

4.1 Systematization of specific exposure conditions f. works of decorative and applied art.

4.2.Methodology for organizing the exposition of works of arts and crafts.

Recommended list of dissertations

Exhibition of contemporary art as a system: space - exhibit - man 2013, candidate of art criticism Porchaikina, Natalya Viktorovna
Artistic and compositional foundations and trends in the formation of equipment for expositions of museums of fine and applied arts: the experience of substantiating the concept 1987, candidate of art history Maystrovskaya, Maria Terentyevna
Compositional and Artistic Trends in the Formation of the Museum Exposition: In the Context of Art, Architecture, and Design 2002, Doctor of Arts Maystrovskaya, Maria Terentievna
The main trends in the modern exhibition activity of the art museum: on the material of the museums of St. Petersburg at the turn of the 20th - 21st centuries. 2012, candidate of art criticism Panchenko, Anna Sergeevna
Aesthetic education of schoolchildren by means of museum exposition 1999, candidate of pedagogical sciences Zonina, Svetlana Nikolaevna

Similar theses in the specialty "Fine and decorative arts and architecture", 17.00.04 VAK code

The immersion method as an actual method of building a museum exhibition 2011, candidate of cultural studies Chuklina, Tatyana Izosimovna
Art exhibition in the conditions of modern culture 2007, candidate of art criticism Bogorodsky, Sergey Vitalievich
Theatricalization of museum space as a form of interaction with visitors 2006, candidate of cultural studies Shchepetkova, Irina Anatolyevna
Biennials and festivals as a form of actualization of contemporary art: on the example of projects of the Contemporary Graphics Foundation 2009, candidate of art criticism Fedina, Evgenia Vladimirovna
The specifics of designing a stand for industrial expositions 2010, candidate of technical sciences Seryakov, Vadim Aleksandrovich

Dissertation conclusion on the topic "Fine and decorative arts and architecture", Toropova, Elena Olegovna

1. The interaction of space and form, the characteristics of the form according to the degree of its activity and the expositional contact of materials with each other should be considered as specific conditions for the exhibition of works of decorative and applied art.

2. The qualities of the material itself are determined by tectonics, texture and texture; the qualities necessary for exposure^ are determined by visual characteristics, that is, density in the light flux, a sense of weight and figurative associativity.

3. The principles of classifying the exposure properties of materials can be their density in the light flux, visual weight and figurative associativity. The density in the luminous flux depends on the texture of the material, the feeling of weight - on the texture, the figurative associativity of reading a thing is determined by tectonics.

4. Almost all materials are comparable under certain conditions regarding the concept of exposure.

5. In the space of the exhibition hall, zones of active and passive perception are distinguished. In accordance with the concept of the exhibition, the degree of activity of the exposition will increase if active subject forms are located in the active zones. If passive object forms are located in active zones, and active forms are in passive zones, then the exposure becomes an average medium at all points.

6. The factors influencing the activity of an exhibit are the associative characteristic of its form; the amount of decor, its mass and specific gravity in the perception of the object; the impact of a nearby exhibit (the ratio of the material, the associativity of the form and size).

7. The process of organizing an exhibition includes several stages: development of the concept of the exhibition, selection of exhibits, drawing up a thematic and exposition plan, including the organization of a formal composition, the artistic organization of space and objects in accordance with the concept (division of space into zones, definition of dominants and organization of ensembles, light and information equipment).

8. The proportions of the works and the space of the hall, the rhythm of the placement of works and pauses between them, the level of the horizon and the angle of observation, the movement of the viewer are elements of reading the exposition. The task of the exhibitor is to organize them in such a way that an idea of the integrity of the exhibition is formed, which would be possible to inspect with the least mental costs.

9. When visually dividing space, it is important to highlight zones of active perception and pauses between them to rest the eyes in accordance with the patterns of perception of proportions. The exposure volume must be proportioned based on anthropometric values.

10. The rhythm in the placement of works in the exposition is of great importance for the perception of a separate work, for the perception of the entire space of the hall, for determining the route, speed, time and activity of the entire viewing. Rhythm sets the dynamics of sensations, the task of the exhibitor is to program it in accordance with the concept of the exhibition. The given rhythm is a means of harmonization in the composition of the hall.

1. When exhibiting, one must proceed from the characteristics of both the exhibit and the ensemble as a whole. Compositional relationships in the grouping of exposition objects are formed based on the patterns of perception of the elementary form and background. The closedness of the contours, structural similarity and spatial proximity affect the magnitude of the binding forces.

2. The visual system saves its work on analyzing information, saves mental energy and strives for psychological comfort. Discomfort in the exposition is caused by the lack of calming clarity of compositional construction, frequent restructuring of the visual apparatus, unbalanced, unbalanced composition of individual exposition zones. Therefore, one should take into account the existence of a number of regularities in the perception of composition in the work on the exposition of the exhibition.

CONCLUSION

The exhibition of works of arts and crafts is a specific means of communication, it directly presents the viewer with a man-made work of art. The materialized energy of the artist's creative spirit, embedded in the works of decorative and applied art, is revealed in the exposition of the exhibition. In the era of the emergence of virtual reality that fills the information space of human communications, such an exhibition remains a living source and environment for direct communication and aesthetic experience. The changed ratio of real and virtual spaces of perception makes the functioning of exhibitions of works of arts and crafts relevant, and hence the scientific understanding of all the problems associated with this.

As a result of this study, the following conclusions were drawn:

1. The exposition is a single system that includes an exhibit or exhibits, a specially structured space and elements of the environment that ensure the conceptual and figurative integrity of the exhibition. It is characterized by its design, aesthetic, informational, artistic qualities, being both a means of displaying works of art and an independent work of art. The exposition performs its functions as a means of communication, information and relaxation.

2. This paper proposes a classification of expositions according to the organizational principle from the standpoint of visual communication and identifies the following types: plot-figurative, documentary-informational, creative-activity.

3. It is necessary to build the process of observing the exhibition by the viewer, taking into account the nature of the interaction between the form of exhibits and space, the presence of active and passive spatial zones in the exhibition room, knowing the patterns of perception of space, time and form. On this basis, the paper puts forward an assumption about the change in the degree of exposure activity from the location of active subject forms in active or passive spatial zones of the exposition.

4. Considering the question of the associative characteristic of the form, we can distinguish types that denote calmness, excitement, anxiety, aggression. In the tables “Visual effect of interaction of one-dimensional forms” and “Visual effect of interaction of two forms of different sizes”, the possibilities of creating ensembles from objects with different associativity of forms are determined.

5. The systematized properties, possibilities and qualities of materials for works of arts and crafts are summarized in the table "Properties of materials for arts and crafts".

6. The qualities of the material of works of arts and crafts are determined by tectonics, texture and texture, and its expositional qualities are determined by the following visual characteristics:

Density in the light flux,

Feeling the weight

figurative associativity.

List of references for dissertation research candidate of art history Toropova, Elena Olegovna, 2003

1. VI quadrinal of decorative art of the socialist countries in Erfurt.//Decorative art of the USSR. 1987. No. 3.-S. 10-15.

2. Abushkin B.M. Psychological features of visual activity of schoolchildren as a factor in the productivity of cognitive processes. Abstract of the dissertation for the degree of candidate of psychological sciences. M., 2002. - 24 p.

3. Agoston J. Color theory and its application in art and design. / Per. from English. Penova V.I.-M.: Mir, 1982.- 181 p.

4. Agranovskaya M. Tapestry and sculpture. Concept, exposition, directing. // Decorative art of the USSR. 1986. No. 8. - S. 1 - 4.

5. Agranovskaya M. Decorative genres on the XVII Youth. // Decorative art of the USSR. 1987. No. 5. - S. 5 - 8.

6. Anikin M.A. Exposition in the museum. Scientific and methodological manual for students of 3-4 courses of the specialty "Museum business and protection of monuments". - St. Petersburg: SPbGAK, 1997. - 24 p.

7. Apollo. Fine and decorative arts. Architecture. Terminological dictionary. / Under the total. ed. Cantor A.M. Moscow: Ellis Luck, 1997-736 p.

8. Arnheim R. Art and visual perception. M.: Progress, 1974. -392 p.

9. Arnheim R. New essays on the psychology of art. M.: Prometheus, 1994. -352 p.

10. Aronov V.R. The artist and subject creativity. Problems of interaction between material and artistic culture of the XX century. - M.: Soviet artist, 1987, 232 p.

11. Audsten F. Exposition as a theater. // Museum. 1995. No. 3. - S. 14-20.

12. Bazazyants S. Bulgarian exhibition, common problems. // Decorative art of the USSR. 1988. No. 1.-S. 10-13.

13. Baldina O. Objective world of traditional folk culture in modern conditions (culturological aspect). // XX century: Epoch. Human. Thing. Digest of articles. / Comp. Sosnina O.A. - M.: New index, 2001, -S. 111-121.

14. Baryshnikov A.P., Lyamin I.V. Fundamentals of composition. M.: Trudrezervizdat, 1951. - 190 p.

15. Begenau 3. Function, form, quality. / Per. with him. Dizhura A., Subbotina M.M. M.: Mir, 1969. - 168 p.

16. Belyaeva-Ekzemplyarskaya S.N. Modeling clothes according to the laws of visual perception. / Reprint ed. M.: Fashion Academy, 1996. -117 p.

17. Bernstein D.K. On the metaphysics of exhibition design (Notes of a museum artist). // Exhibition aspect of the artistic life of Russian regions: new conditions, participants, problems of interaction. M.: Lilia LTD, 1998. - S. 18-30.

18. Beskinskaya S. Factory of Kremlin stars. History of sulfide glass. // Decorative art of the USSR. 1981. No. 2. - S. 36 - 38.

19. Bokotey A., Ostrovsky G. Internal space of glass. // Decorative art of the USSR. 1981. No. 5. - S. 16 - 17.

20. Big illustrated encyclopedia of antiquities. Prague: Artia, 1982. -496 p.

21. Breslav G.E. Color psychology and color therapy for everyone. - St. Petersburg: B. & K., 2000.-212 p.

22. Bubnova E.A. Konakovo faience. M.: Fine Arts, 1978.-232 p.

23. Burganov I.A. Small Art Museum in the context of the culture of the second half of the 20th century. Abstract of the dissertation for the degree of candidate of art criticism. - M., 2001. - 27 p.

24. Vasilevskaya N. Who will do it? // Decorative art of the USSR. -1986. No. 9.-S. 36-38.

25. Vatagin. V.A. Memories. Notes of an animalist. Articles. - M.: Soviet artist, 1980.-S. 130-143.

26. Westerlund S. Traveling exhibitions. Twenty years of experience. // Museum. 1986. No. 152. - S. 14-20.

27. Volkov V.V., Luizov A.V., Ovchinnikov B.V., Travnikova N.P. Ergonomics of human visual activity. - L .: Mashinostroenie, 1989.-112 p.

28. Volkov N.N. Perception of the object and the picture. Dissertation of Doctor of Pedagogical Sciences. M., 1949. - 740 p.

29. Volkov N.N. Research in the field of perception of the depicted space. Dissertation of the candidate of pedagogical sciences. M., 1946. - 113 p.

30. Volkov N.N. Color in painting. M.: Art, 1985. - 320 p.

31. Volkovich A.Yu. Museum exposition as a semiotic system. Abstract of the dissertation for the degree of candidate of cultural studies. SPb., 1999. - 22 p.

32. Volpina V. Material in the structure of a work of art. // Decorative art of the USSR. 1984. No. 8. - S. 20 -22.

33. Voronov N. Form evolution. // Decorative art of the USSR. 1981. No. 5.-S. 8-15.

34. Perception. Mechanisms and models. / Sat. articles ed. Alekseenko N.Yu. M.: Mir, 1974. - 367 p.

35. Exhibition aspect of the artistic life of Russian regions: new conditions, participants, problems of interaction. M.: Lilia LTD, 1998.-176 p.

36. Gabriel G. In memory of Leonid Lyak. // Decorative art of the USSR. -1987. No. 3.- S. 38 -39.

37. Gabriel G. What's new with the Leningrad artists of the exposition // Decorative art of the USSR. 1985. No. 9. - S. 13-16.

38. Ganzen V.A., Kudin P.A., Lomov B.F. On harmony in composition. // Technical aesthetics. 1969. No. 4. - P.1 - 3.

39. Gardner S. Large-scale exhibitions. // Museum. 1986. No. 152. - S. 4-8.

40. Goethe I.V. To the doctrine of color (chromatics).// Psychology of color. / Collection. Tot. ed. Udovik S.L. M .: Refl-book, K .: Wakler, 1996. - S. 281 -349.

41. Gibson D. Ecological approach to visual perception. / Translated from English / General ed. and entry.Art. Logvinenko A.D. M.: Progress, 1988. - 464 p.

42. Hildebrand A. The problem of form in fine arts. -M.: MPI, 1991.- 137 p.

43. Glezer V.D. Vision and thinking. St. Petersburg: Nauka, 1993. -283 p.

44. Glezer V.D., Zukkerman I.I. Information and vision. M., L.: Publishing House of the Academy of Sciences of the USSR, 1961. - 183 p.

45. Gnedovsky M. Museum exhibition. // Soviet Museum. 1986. No. 3. - S. 30-31.

46. Tapestry at the exhibition and in the interior. // Decorative art of the USSR. - 1986. No. 8.-S. 4-11.

47. Golubeva O.L. On the question of the patterns of harmony of artistic form in plastic art. Abstract of the dissertation for the degree of candidate of art criticism. M., 2000. - 22 p.

48. Granovskaya R.M., Bereznaya I.Ya., Grigorieva A.N. Perception and signs of form. M.: Nauka, 1981. - 25 p.

49. Grachev N.N. Psychology of engineering work. M.: Higher school, 1998. -333 p.

50. Gregory R. Intelligent eye. M.: Mir, 1972. - 209 p.

51. Gregory R.L. Eye and brain. Psychology of visual perception. M.: Progress, 1970.-271 p.

52. Gropius V. The boundaries of architecture. Moscow: Art, 1971. - 286 p.

53. Dakalo S.V. Scenographic space and its construction by O. Sheinis. Abstract of the dissertation for the degree of candidate of art criticism. M., 2000. - 31 p.

54. Daniel S.M. The art of seeing: On the creative abilities of perception, on the language of lines and colors, and on the perception of the viewer. J1.: Art, 1990. - 223 p.

55. Demidov V. How we see what we see. M.: Knowledge, 1987. - 237 p.

56. Dokuchaeva E.E. The problem of interconnection and technology in applied art. (Some aspects from the history of artistic metal). Abstract of the dissertation for the degree of candidate of art criticism. M., 2000. - 29 p.

57. Domogatsky V.N. Theoretical works, researches, articles, letters. / Comp. Domogatskaya S.P. M .: Soviet artist, 1984. - S. 97 - 223.

58. Dondurey D.B. Who are the exhibitions for? // Decorative art of the USSR.1984. No. 11.-S. 27-33.

59. Dondurey D.B. Life after the exhibition. // Decorative art of the USSR. 1985. No. 10. - P. 44 - 47.

60. Dondurey D.B. Art exhibition: realized project. // Social design in the sphere of culture. From idea to implementation. / Collection of scientific papers. M.: Research Institute of Culture, 1988. - S. 25-42.

61. Dragunsky V.V. Color Personality Test: A Practical Guide. -Minsk: Harvest, 1999. 448 p.

62. Dube F. Exposition as a tool of knowledge and a tool of display. // Museum. 1995. No. 3. - S. 4 - 5.

63. Eremenko E.D. Audiovisual communication in the museum sphere. Abstract of the dissertation for the degree of candidate of cultural studies. SPb., 2000. - 20 p.

64. Zaslavsky M.A. Landscape expositions of world museums. L.: Nauka, 1979. - 212 p.

65. Zemper G. Practical aesthetics. / Translated from German. M.: Art, 1970. -320 p.

66. Zinovieva Yu.V. The interaction of the museum and society as a socio-cultural problem. Abstract of the dissertation for the degree of candidate of cultural studies. SPb., 2000. - 19 p.

67. Zinchenko V.P., Retanova E. To the problem of visual thinking. // Technical aesthetics. 1969. No. 7. - P.2 - 5.

68. Ivens P.M. Introduction to color theory. M.: Mir, 1964. - 442 p.

69. Izotova M. Thing in space. // Decorative art of the USSR.1985. No. 2.-S. 30-31.

70. Izotova M. The results of "One composition". // Decorative art of the USSR. 1986. No. 12.-S. 29-34.

71. Ikonnikov A.V. Art, environment, time. Aesthetic organization of the urban environment. M.: Soviet artist, 1985. - 336 p.

72. Ilmuratova I. L. Principles of shaping the interior of an Orthodox church. Abstract of the dissertation for the degree of candidate of architecture. Novosibirsk, 2000. - 24 p.

73. The art of the ensemble. Artistic subject - interior - architecture environment. / Compilation and scientific. ed. Nekrasova M.A. - M.: Visual arts, 1988. - 464 p.

74. Art history and psychology of artistic creativity. / Collection of articles, ed. Zisya A.Ya. and Yaroshevsky M.G. M.: Nauka, 1988. - 151 p.

75. Kagan M.S. About applied art. Some questions of theory. J1.: Artist of the RSFSR, 1961. - 160 p.

76. Kazakova JI. Supply and demand evaluation criterion. // Decorative art of the USSR. - 1986. No. 2. - S. 17 - 19.

77. Kazakova JI. Tsvetosvetoplastika. // Decorative art of the USSR. - 1981. No. 5.-S. 18-21.

78. Kalniete S. Triennial of Young Baltic Artists. // Decorative art of the USSR. 1985. No. 2. - S. 16 - 18.

79. Kalugina T.P. Historical and typological study of the exposition of the art museum. Dissertation of the candidate of historical sciences. - M., 1991. - 157 p.

80. Kandinsky V.V. Point and line on a plane. / Collection of works. Comp. and intro. Art. Daniel S.M. St. Petersburg: Azbuka, 2001. - 560 p.

81. Kantor A.M. Exhibition in the museum. // Exhibition aspect of the artistic life of Russian regions: new conditions, participants, problems of interaction. M.: Lilia LTD, 1998. -3 - 11 p.

82. Kantor A.M. Museum exhibition as art. // Museum business and art education. Materials of the third, fourth, fifth Bogolyubov readings 1996, 1997, 1998. Saratov: Slovo, 2000. - P. 151 -154.

83. Kantor K. On the work of Maita Sumtavet. Unity of functional method and style. // Decorative art of the USSR. 1987. No. 6. - S. 10-13.

84. Koehler V., Luckhard V. Light in architecture. Light and color as means of architectural expressiveness. // Per. with him. Kalisha V.G. - M.: Gosstroyizdat, 1961. 182 p.

85. Clique R. VDNKh: serve the cause of acceleration more effectively. // Decorative art of the USSR. 1986. No. 8. - S. 28 - 29.

86. Knabe G. The language of everyday things. //Decorative art of the USSR. - 1985. No. 1.-S. 39-43.

87. Kozlov V.N. Fundamentals of artistic design of textile products: / Textbook for universities. M.: Light and food industry, 1981.-264 p.

88. Kozyrev V.A. Texture as a means of artistic expression in educational composition. // Composition in industrial and arts and crafts. Digest of articles. L .: LVHPU named after V. Mukhina, 1973. -S. 88-93.

89. Komarov I. The first world exhibitions. // Decorative art of the USSR. 1970. No. 9. - S. 22 - 26.

90. Composition in industrial and arts and crafts. / Digest of articles. L.: LVHPU named after V. Mukhina, 1973. - 96 p.

91. Konik M.A. Exhibition as art. // Decorative art of the USSR. -1986. No. 9.-S. 36-38.

92. Koroev Yu.I., Fedorov M.V. Architecture and features of visual perception. M.: State. from-in on builds and arch., 1954. - 136 p.

93. Kossov B.B. Problems of psychology of perception. - M.: Higher school, 1971.-320 p.

94. Koskov M.A. To the theory of applied art. St. Petersburg: Publishing House of St. Petersburg State University, 2002. - 52 p.

95. Kramarenko L. The second exhibition "Moscow ceramics". Reflection on experience. // Decorative art of the USSR. 1984. No. 9. - S. 32 - 37.

96. Kramarenko L. Glass palette of the artist. // Decorative art of the USSR. - 1981. No. 2.-S. 39-42.

97. Kryukova I.A. On the nature of decorative art. //Soviet decorative art 73/74. / Digest of articles. M.: Soviet artist, 1975.-S. 19-25.

98. Kudin P.A. Harmony of compositional means in the visual arts. Dissertation of Doctor of Arts. SPb., 1994. - 429 p.

99. Kudin P.A. Rhythm and attention in artistic design. Experimental study. Dissertation of the candidate of art history. L., 1969. - 148 p.

100. Kudin P.A., Lomov B.F., Mitkin A.A. On the perception of elementary rhythmic compositions on the plane. // Technical aesthetics. - 1969. No. 8.-S. 10-12.

101. Kudin P.A., Lomov B.F., Mitkin A.A. Psychology of perception and poster art. M.: Plakat, 1987. - 208 p.

102. Kuzin B.C. Psychology. Textbook. M.: AGAR, 1997. - 304 p.

103. Kuznetsov E. Scene Cube. // Decorative art of the USSR. 1985. No. 2. -S. 38-40.

104. Lassalle E. Biennale and large-scale international exhibitions. // Museum. 1986. No. 152.-S. 9-12.

105. Le Corbusier. Decorative arts today. 1925. // Le Corbusier. Architecture of the XX century. M.: Progress, 1977. - S.53 - 57.

106. Le Corbusier. Moduler.// Le Corbusier. Architecture of the XX century. M.: Progress, 1977. - S.233 - 255.

107. Litvinov V.V. The practice of modern exposure. M.: Plakat, 1989. - 191 p.

108. Logvinenko A.D., Stolin V.V. The creation of an objective image. // Technical aesthetics. 1974. No. 8. - S. 15 - 18.

109. Luizov A.V. Color and light. L.: Energoatomizdat, 1989. - 256 p.

110. Maystrovskaya M. T. Methodology of exhibiting decorative and applied arts (shaping trends). // XX century: Epoch.

111. Man. Thing. /Digest of articles. Comp. Sosnina O.A. - M.: New index, 2001.-S. 221-229.

112. Maystrovskaya M.T. Aspects of exhibition design in art expositions // Exhibition aspect of the artistic life of Russian regions: new conditions, participants, problems of interaction. M.: Lilia LTD, 1998. - S. 30 - 38.

113. Maystrovskaya M.T. Image and space in art expositions.//Museum business and art education. Materials of the third, fourth, fifth Bogolyubov readings 1996, 1997, 1998. - Saratov: Slovo, 2000. S. 136 - 150.

114. Maystrovskaya M.T. Artistic compositional foundations and trends in the formation of equipment for expositions of museums of fine and applied arts: the experience of substantiating the concept. Dissertation of the candidate of art history. - M., 1987. - 202 p.

115. Makarov K. Morris and the fate of decorative art. // Decorative art of the USSR. 1984. No. 8. - S. 27 - 34.

116. Maksimov V.V. Color transformation when lighting changes. M.: Nauka, 1984.-161 p.

117. Malakhov N.Ya. Domestic art at exhibitions abroad. - M.: Fine Arts, 1980. 240 p.

118. Mezenin V.K. Parade of world exhibitions. M.: Knowledge, 1991. - 160 p.

119. Merzlikina Yu.N. Optical glass in arts and crafts. Abstract of the dissertation for the degree of candidate of art criticism. M., 1999. - 23 p.

120. Mitkin A.A., Pertseva T. Experimental study of the perception of non-sense compositions. // Technical aesthetics. 1970. No. 8.-S. 4-6.

121. Mol A. Sociodynamics of culture. M.: Progress, 1973. - 406 p.

122. Mol A. Information theory and aesthetic perception. M.: Mir, 1966.-351 p.

123. Monakhova L. Plastic space and artistic consciousness. // Decorative art of the USSR. 1981. No. 5. - S. 22 - 25.

124. Monpetit R. Understand the meaning of space. // Museum. 1995. No. 3. - S. 41-45.

125. Moran A. History of arts and crafts./ Per. from French -M.: Art, 1982. - 573 p.

126. Mochalov Yu. Composition of the stage space. - M.: Enlightenment, 1981. 239 p.

127. Moshkov V.M., Kuznetsov O.I. The plastic basis of composition (problems of art synthesis). St. Petersburg: St. Petersburg University Publishing House, 1994. - 80 p.

128. Museum exposition. Theory and practice. The art of exposition. New scenarios and concepts. / Ed. Maistrovskoy M.T., Nikishina N.A.,

129. Polyakova T.P. / A series of electronic publications MUSEUM PRO. Release 4.0. -M.: Museum Design Laboratory, Russian Institute of Cultural Studies. 1997.

130. Myslivtseva G.Yu. Two approaches to exhibition design. Space or time? // Exhibition aspect of the artistic life of Russian regions: new conditions, participants, problems of interaction. M.: Lilia LTD, 1998. - S. 131 - 137.

131. Navrotsky A. Blacksmithing secrets. // Soviet Museum. 1986. No. 3. -S. 35-38.

132. Navrotsky A. Metal material. About blacksmithing. // Decorative art of the USSR. - 1986. No. 6. - S. 24 - 27.

133. Nekrasova-Karateeva O.L. Philosophical and psychological aspects of children's drawing. // Educational activities of the art museum. Proceedings of the Russian Center for Museum Pedagogy and Children's Creativity. Issue VII. St. Petersburg: State Russian Museum, 2002. - S. 34 - 50.

134. Nikitin Yu.A. Exhibition boom in St. Petersburg. Where and how the expositions were organized in the pre-revolutionary period. // Leningrad panorama. 1983. No. 2. - S. 32 - 35.

135. Volumetric spatial composition: Textbook for universities. /Stepanov A.V., Malgin V.I., Ivanova G.I. etc. - M.: Stroyizdat, 1993. - 256 p.

136. Odnoralov N.V. Sculpture and sculptural materials. M.: Soviet artist, 1965. 184 p.

137. Fundamentals of artistic craft. / Ed. V.A.Borodulina.- M.: Enlightenment, 1979. 320 p.

138. Pavlinskaya A. Ways of our ceramics. Continuation of the conversation. // Decorative art of the USSR. 1984. No. 5. - S. 24 - 25.

139. Pavlov K.A. International fairs and exhibitions. M.: Vneshtorgizdat, 1962.- 139 p.

140. Pelipenko A.V. Hand-painted glass products. Basic information and techniques. Leningrad: LVHPU im. V.I. Mukhina, LISI, 1987. - 77 p.

141. Perfilieva I.Yu. Russian jewelry art of the second half of the XX century. The main artistic tendencies and directions. Abstract of the dissertation for the degree of candidate of art criticism. - M., 2000.-28 p.

142. Petyushenko V.M. Art exhibitions. // TSB, 3rd edition, 5th volume. -M., 1971.-S. 550-551.

143. Pierce S. Structuring the Past: Archaeological Expositions. // Museum.- 1995. No. 3 (185).-S. 9-13.

144. Pogadaeva S. Stage space of O. Schlemmer. // Decorative art of the USSR. 1990. No. 4. - P.14 - 16.

145. Polyakova N.N. Sculpture and space. The problem of the ratio of volume and spatial environment. M.: Soviet artist, 1982. - 199 p.

146. Psychology of sensations and perception. / Collection edited by Gippenreiter Yu.B., Lyubimov V.V. and Mikhalevskaya M.B. M.: CheRo, 1999.- 610 p. (Series: Reader in Psychology)

147. Psychology of the processes of artistic creation. / Collection of articles, ed. B.S. Meilaha, N.A. Fucking. L.: Nauka, 1980. - 285 p.

148. Psychology of color. / Collection. Per from English. Under the editorship of Udovik S.L. M.: Refl-book, K.: Vakler, 1996. -352 p. (Series: Actual Psychology).

149. Psychology. / Dictionary under the general. ed. Petrovsky A.V., Yaroshevsky M.G. Moscow: Politizdat, 1990-494 p.

150. Pyatnitsyna I.A. Problems of exposition decisions of temporary exhibitions. // Museum business and art education. Materials of the third, fourth, fifth Bogolyubov readings 1996, 1997, 1998. - Saratov: Slovo, 2000. S. 171-177.

151. Razlogov K. Exhibition and artistic process. // Decorative art of the USSR. 1986. No. 6. - S. 30 - 32.

152. Rappoport S.Kh. Non-pictorial forms in the decorative arts. -M.: Soviet artist, 1968. 272 p.

153. Raushenbakh B.V. The geometry of the picture and visual perception. St. Petersburg: ABC - classics, 2001. - 3 20 p.

154. Raushenbakh B.V. Spatial constructions in painting. M.: Nauka, 1980.-288 p.

155. Rhythm, space and time in literature and art. / Collection of articles, ed. Egorova B.F. L.: Nauka, 1974. - 299 p.

156. Rozhdestvensky K.I. Ensemble and exposition. L.: Artist of the RSFSR, 1970.-232 p.

157. Rosenblum E. Uvarova N. Artist Rudolf Clique. // Decorative art of the USSR. 1981. No. 1. - S. 6 - 8.

158. Rosenblum E.A. Time and space in the museum exhibition. // Museum exposition. A series of electronic publications MUSEUM PRO. Issue 4.0.-M., 1997.

159. Rosenblum E.A. Miscalculations of our exposures. // Decorative art of the USSR. 1987. No. 3. - S. 35 - 36.

160. Rosenblum E.A. Design artist. Experience of the Central Educational and Experimental Studio of Artistic Design on Senezh. Moscow: Art, 1974. - 175 p.

161. Rosenthal R., Ratzka X. History of applied art of modern times. - M.: Art, 1971. 233 p.

162. Rosenthal R., Racka X. History of applied art of modern times. -M.: Art, 1971.- 223 p.

163. Rock I. Introduction to visual perception. M .: Pedagogy, 1980. - 1 book. -311 e., 2 books -279 p. v

164. Rudin N.G. Color guide. M.: State Scientific and Technical Publishing House of the USSR Ministry of Light Industry, 1956.-46 p.

165. Ruthersward O. Impossible figures. / Per. from the Swedish Samuelson E. - M.: Stroyizdat, 1990. 127 p.

166. Ruuber G.E. On the patterns of artistic visual perception. Tallinn: Valgus, 1985. - 344 p.

167. Ruuber G.E. On visual perception of elementary forms. Dissertation of the candidate of art history. M., 1971.-381 p.

168. Ryazantsev I.V. Exhibition art. // Soviet decorative art 1917-1945. M.: Soviet artist, 1984. - S. 58-75.

169. Ryazantsev I.V. Art of the Soviet Exhibition Ensemble. 1917 -1970. M.: Soviet artist, 1976, - 373 p.

170. Savitskaya V.I. Tapestry transformations. M.: GALART., 1995. - 86 p.

171. Savitsky V. Joseph Mikhailovich Shoshensky. // Decorative art of the USSR. 1984. No. 7. -FROM. 44.

172. Sapego I.G. subject and form. The role of the artist's perception of the material environment in the creation of a plastic form. - M.: Soviet artist, 1984.-304 p.

173. Saraf M. About "functional" and "aesthetic". // Technical aesthetics. 1969. No. 3. - S. 17 - 18.

174. Serov D.M., Revyakin V.I. Exhibitions. // TSB, 3rd edition. M., 1971. v. 5. -S. 547-548.

175. Serov D.M., Clique P.P. World exhibitions. // TSB, 3rd edition. M., 1971. v. 5.-S. 548-549.

176. Serov N.V. Light color therapy. The meaning and meaning of color: information - color - intelligence. St. Petersburg: Speech, 2001. - 256 p.

177. Serov N.V. Chromatism of the myth. L .: Vasilevsky Island, 1990. - 352 p.

178. Serov N.V. Aesthetics of color. Methodological aspects of chromatism. - St. Petersburg: FPB-TOO "BIONT", 1997. 64 p.

179. Simonov P.V. Information theory of emotions and psychology of art. // Art history and psychology of artistic creativity. M.: Nauka, 1988.-S. 50-65.

180. Sokolovsky S. Childhood of a thing: thingness in everyday consciousness. // XX century: Epoch. Human. Thing. / Digest of articles. Comp. Sosnina O.A. - M.: New index, 2001. S. 25 - 36.

181. Somov G., Cherenkov A. A possible way in the study of composition. // Technical aesthetics. 1969. No. 10. - S. 9-11.

182. Somov G.Yu. Harmonization of shaping lines. // Technical aesthetics. 1972. No. 12.-S. 14-17.

183. Somov G.Yu. Organization of figures in the subject. // Technical aesthetics. - 1974. No. 7.-S. 13-17.

184. Somov G.Yu. The subject and its configuration. // Technical aesthetics. -1974. No. 3.-S. 21-24.

185. Somov Yu.S. Composition in technology. M.: Mashinostroenie, 1987. - 288 p.

186. Stepanov A.V., Ivanova G.I., Nechaev N.N. Architecture and psychology. - M.: Stroyizdat, 1993.-295 p.

187. Stepanov G.P. The interaction of the arts. JI.: Artist of the RSFSR, 1973. - 180 p.

188. Stepanyan N.S. New trends in the field of shaping. // Soviet decorative art 1973/74. M.: Soviet artist, 1975. pp. 191 - 198.

189. Stepanyan N.S. Ways of promoting the avant-garde plastic form in the Soviet art of the 1960s. // XX century: Epoch. Human. Thing. / Digest of articles. Comp. Sosnina O.A. M.: New index, 2001. - S. 148 -155.

190. Stepanyan N.S. Masterpieces and crafts within the "artistic process". // Decorative art of the USSR. 1986. No. 6. - S. 32 - 33.

191. Stickler D. Total immersion: new technology as a source of new experiences. // Museum. 1995. No. 3. - S. 36 - 40.

192. Stoker M. The use of sound in the exposition. // Museum. 1995. No. 3. - S. 25-28.

193. Stolyarov B.A. Culture and museum on the threshold of the 21st century. //Educational activities of the art museum. Proceedings of the Russian Center for Museum Pedagogy and Children's Creativity. Issue VII. St. Petersburg: State Russian Museum, 2002. - S. 6 - 15.

194. Stolyarova E.G. Design of structural-geometric fields. Abstract of the dissertation for the degree of candidate of art criticism. -M., 2001.-23 p.

195. T.Z. Pictures from the past season. // Decorative art of the USSR. - 1988. No. 5.-S. 26-30.

196. Tarkhanov A. In the lens of the designer. // Decorative art of the USSR. 1985. No. 1.-S. 14-15.

197. Tarkhanov A. Images of the past season. // Decorative art of the USSR. 1986. No. 1. - S. 27 - 34.

198. Tarkhanov A. Profession - museum artist. // Soviet Museum. 1986. No. 3.-S. 39-42.

199. Creative process and artistic perception. / Collection of articles, ed. Egorova B.F. JI.: Nauka, 1978. - 278 p.

200. Tokarev N. Space instead of an object. // XX century: Epoch. Human. Thing. / Digest of articles. Comp. Sosnina O.A. M.: New index, 2001. - S. 62-64.

201. Tolansky S. Optical illusions. // Per. from English. Lyubarsky K.A. M.: Mir, 1967.- 127 p.

202. Turchin V. A thing among things. Traces of spirituality: sacralization through the "strategy of behavior". Objects and ritual in the culture of the XX century. // XX century: Epoch. Human. Thing. / Digest of articles. Comp. Sosnina O.A. M.: New index, 2001.-p. 9-24.

204. Favorsky V.A. Literary theoretical heritage. - M.: Soviet artist, 1988. - 588 p.

205. Fedorov-Davydov A.A. Principles of construction of art museums. 1929. // Fedorov-Davydov A.A. Russian and Soviet art. Articles and essays. M.: Art, 1975.-S. 103 - 126.

206. Fedotov G.Ya. Wood. -M.: EKSMO-Press, 2001.- 192 p.

207. Fedotov G.Ya. Metal. M.: EKSMO-Press, 2002. - 176 p.

208. Fedotov G.Ya. Obedient clay: the basics of artistic craft. M.: AST-PRESS, 1997.- 141 p.

209. Fernandez G., Benlloch M. Interactive exhibitions: the reaction of visitors. // Museum. 2001. No. 2. - S. 53 - 59.

210. Filatova A.L. Museum as a phenomenon of the socio-cultural space of the Russian province. Abstract of the dissertation for the degree of candidate of cultural studies. Saransk, 2000. - 18 p.

211. Florensky P.A. Analysis of spatiality and time in artistic and visual works. M.: Progress, 1993. - 321 p.

212. Florensky P.A. Selected Works on Art. M.: Visual Arts, 1996. - 333 p.

213. Freeling G., Auer K. Man color - space. Applied color psychology. - M.: Stroyizdat, 1973. - 117 p.

214. Hudson K. Influential Museums. / Translated from English. Novosibirsk: Siberian Chronograph, 2001. - 196 p.

215. Artistic perception. / Collection of articles, ed. Meilakha B.S. - L.: Nauka, 1971.-387 p.

216. Art Museum in the educational process. / Collection of articles, ed. Stolyarova B.A. St. Petersburg: Special Literature, 1998. - 320 p.

217. Artists about the exhibition exposition. // Decorative art of the USSR. 1975. No. 11. - S. 20 - 26.

218. XX century: Epoch. Human. Thing. /Digest of articles. Comp. Sosnina O.A. -M.: New index, 2001. 266 p.

219. Zeigner G. Teaching about color. Popular essay. M.: Stroiizdat, 1971. - 159 p.

220. Chekalov A.K. Fundamentals of understanding arts and crafts. - M.: From the Academy of Arts of the USSR, 1962. 67 p.

221. Chekalov K. On new forms of exhibition work in Western European countries. // Art. 1987. No. 5. - S. 42 - 44.

222. Chernyshev O.V. formal composition. Creative workshop on the basics of design. Minsk: Harvest, 1999. - 312 p.

223. Chukreeva N.A. The specificity of the screen image and the evolution of its perception. Abstract of the dissertation for the degree of candidate of art criticism. M., 2002. - 33 p.

224. Shafranovsky I.I. Symmetry in nature. L.: Nedra, 1985. - 168 p.

225. Shved I.V. Analysis of the perception of artistic perspective. - St. Petersburg: Scythia, 2001.-80 p.

226. Shvets A.V. The problem of visual perception in the new educational paradigm. // Educational activities of the art museum. Proceedings of the Russian Center for Museum Pedagogy and Children's Creativity. Issue VII. St. Petersburg: State Russian Museum, 2002. - S. 28 - 33.

227. Shevelev I.Sh., Marutaev M.A., Shmelev I.P. Golden section: Three views on the nature of harmony. M.: Stroyizdat, 1990. - 343 p.

228. Shlyakhtina L.M., Fokin S.V. Fundamentals of Museum Affairs: Textbook for students of pedagogical and humanitarian universities. St. Petersburg: SpecLit, 2000.-160 p.

229. Eisenstein S.M. Psychological questions of art. / Ed. Basina E.Ya. M.: Meaning, 2002. - 335 p.

230. Entelis F.S. Forming and hot decoration of glass. - St. Petersburg: St. Petersburg Civil Engineering Institute, 1992. - 141 p.

231. Epstein M. Realology is the science of things. // Decorative art of the USSR. - 1985. No. 6.-S. 21-22, 44.

232. Aesthetic values of the object-spatial environment. / Under the total. Ed. Ikonnikova A.V., VNII tech. Aesthetics. M.: Stroyizdat, 1990. - 335 p.

233. Yumatov V. Exhibition in the context of art. // Decorative art. - 1985. No. 12.-p.31-33.

234. Yakimovich A. About the seventeenth exhibition of young artists of Moscow. // Art. 1987. No. 4. - S. 13 - 20.

235. Yakobson P.M. Psychology of artistic perception. M.: Art, 1964.-86 p.

236. Yakobson P.M. Psychology of artistic creativity. M.: Knowledge, 1971, -48 p.

237. Yanshin P.V. Introduction to the psychosemantics of color. Tutorial. - Samara: SamGPU, 2000. 200 p.

238. Yasinskaya I.M. Soviet fabrics of the 1920s-1930s. JI.: Artist of the RSFSR, 1977.-277 p.

239. Yashmanov N.A. Artistic enamel. Origins and technology. // Collection of articles of teachers and graduate students. Methodological aids. Department of Theory and History of Architecture and Arts, St. Petersburg State Art Academy. Issue 1. / Comp. Speranskaya B.C. St. Petersburg: Poisk, 1998.-p. 67-71.

240. Classification of expositions according to the essential diamantic characteristics from the standpoint of visual communication1. passive contemplative

241. Visual information. Tin jspozntsn.1. Plot BUT" figurative

242. Documentary and informational1. Tse. ill and content

243. Achieving an emotional state, theme, plot.

244. Achieving the greatest informational contact, thing and self.1. The co-creation of the viewer. his inclusion in the process of art. Artifact.1. Actively contemplative 1. Interactive1. Forms of organization

245. Equilibrium, equivalence of element and space.

246. Active, self-sufficient elements, passive space.

247. Creating an environment for the viewer and his creative act.

248. Space for active interaction. Exposition as a work of art.1. Examples1. Creative? lisitl

249. ZONES OF ACTIVE PERCEPTION IN THE SPACE OF THE EXHIBITION HALL

250. Associative series of subject forms

Please note that the scientific texts presented above are posted for review and obtained through recognition of the original texts of dissertations (OCR). In this connection, they may contain errors related to the imperfection of recognition algorithms. There are no such errors in the PDF files of dissertations and abstracts that we deliver.

Art exhibitions: a place of interaction between the audience and art. Voloshin Maximilian Alexandrovich

Recommended list of dissertations

Exhibition of contemporary art as a system: space - exhibit - man 2013, candidate of art criticism Porchaikina, Natalya Viktorovna

Artistic and compositional foundations and trends in the formation of equipment for expositions of museums of fine and applied arts: the experience of substantiating the concept 1987, candidate of art history Maystrovskaya, Maria Terentyevna

Compositional and Artistic Trends in the Formation of the Museum Exposition: In the Context of Art, Architecture, and Design 2002, Doctor of Arts Maystrovskaya, Maria Terentievna

The main trends in the modern exhibition activity of the art museum: on the material of the museums of St. Petersburg at the turn of the 20th - 21st centuries. 2012, candidate of art criticism Panchenko, Anna Sergeevna

Aesthetic education of schoolchildren by means of museum exposition 1999, candidate of pedagogical sciences Zonina, Svetlana Nikolaevna

Similar theses in the specialty "Fine and decorative arts and architecture", 17.00.04 VAK code

The immersion method as an actual method of building a museum exhibition 2011, candidate of cultural studies Chuklina, Tatyana Izosimovna

Art exhibition in the conditions of modern culture 2007, candidate of art criticism Bogorodsky, Sergey Vitalievich

Theatricalization of museum space as a form of interaction with visitors 2006, candidate of cultural studies Shchepetkova, Irina Anatolyevna

Biennials and festivals as a form of actualization of contemporary art: on the example of projects of the Contemporary Graphics Foundation 2009, candidate of art criticism Fedina, Evgenia Vladimirovna

The specifics of designing a stand for industrial expositions 2010, candidate of technical sciences Seryakov, Vadim Aleksandrovich

Dissertation conclusion on the topic "Fine and decorative arts and architecture", Toropova, Elena Olegovna

List of references for dissertation research candidate of art history Toropova, Elena Olegovna, 2003