Socio-Philosophical Critique of the Global Public Art’s Visual Order: The Context of National Self-identity

Maryna Protas

doi:doi:10.11648/j.ajad.20220701.15

| Peer-Reviewed

Socio-Philosophical Critique of the Global Public Art’s Visual Order: The Context of National Self-identity

Maryna Protas

Published in American Journal of Art and Design (Volume 7, Issue 1)

Received: 23 February 2022 Accepted: 25 March 2022 Published: 31 March 2022

Views: Downloads:

Download PDF

Share This Article

Twitter
Linked In
Facebook

Abstract

Today a necessity has arisen in a critical socio-philosophical analysis and the development of such a theoretical framework for contemporary globalization that will consider this latter as a visual and ideological impact of cognitive biocapitalism on the collective consciousness of nations, which manifests itself as repressive pressure in the form of Aesthetics of Globalization. This distorts the art system, distorting the fundamental freedom of creative expression of artists, critics and academics, as abstract mass hybridization of professional thought in the context of global public art’s visual order is implanted by the cultural-industrial logic of the transnational art market ruled and managed by globalized capital, which has transformed the art, the artist, and the analyst into merely trivial commodities. Since the millennium, commodified art production in the world is perceived exclusively as a business integrated into politics and economics, but the capitalization of the arts ignores the national interests of unbiased processes of culture-creation, unifying artistic expression, depriving it of spiritual need for self-identification. This latter needs to be further researched, in particular in the context of the development of Ukrainian image-formation practices, which devalues its potential in the new socio-political conditions. Therefore, the article emphasizes the need to return to the Ukrainian socio-cultural dimension of the evaluation criteria of transcendental aesthetics, especially since cordocentrism and Christian kalokagatia have historically formed the basis of Ukrainian culture and mindset.

Published in	American Journal of Art and Design (Volume 7, Issue 1)
DOI	10.11648/j.ajad.20220701.15
Page(s)	29-38
Creative Commons	This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.
Copyright	Copyright © The Author(s), 2022. Published by Science Publishing Group

Keywords

Global Public Art, Contemporary Art, Ideology of the Culture Industry, Massification of Commodity Art, National Self-identity, Transcendental Aesthetics, Aesthetics of Globalization

References

[1]	Belting, Hans. “Contemporary art as global art. A critical estimate”. The global art world: audiences, markets, and museums, edited by Hans Belting and Andrea Buddensieg, pp. 38–73. Ostfildern: Hatje Cantz, 2009.
[2]	Bishop, Claire. Artificial hells: participatory art and the politics of spectatorship. London, Brooklyn: Verso, 2012.
[3]	Bosenko, A. V. Poslednee vremya: II. Svobodnoe vremya kak svershenie vseh vremen [Last time: I. Free time as an accomplishment of all times]. Kyiv: Fenіks, 2021, p. 121–27.
[4]	Bosenko, Aleksey. Sluchaynaya svoboda iskusstva [Accidental freedom of art]. Kyiv: Himdzhest, 2009, pp. 352–54.
[5]	Bourdieu, Pierre, Wacquant, Loïc. “La nouvelle vulgate planétaire”. Le Monde diplomatique. Mai (2000), pp. 6–7. https://www.monde-diplomatique.fr/2000/05/BOURDIEU/2269 [Translated by Andriy Repa http://www.ji.lviv.ua/n35texts/bourdieu.htm].
[6]	Bürger, Peter. Theory of the Avant-Garde. Translated by Michael Shaw. Minneapolis: University of Minnesota Press, 1984, p. 19.
[7]	Chyzhevskyi, Dmytro. Narysy z istorii filosofii na Ukraini [Essays on the history of philosophy in Ukraine]. New York: Ukrainian Congress Committee of America, 1991, p, 9.
[8]	Diamond, Jared Mason. Upheaval: how nations cope with crisis and change. Penguin Books, 2019, pp. 465–69.
[9]	Durante, Tommaso. Global consciousness and new visual order: The populist aesthetic challenge. The University of Melbourne, 2021, p. 4–6. https://doi.org/10.20935/AL2439.
[10]	Farion, Iryna. “Chy ye mova tovarom?” [Is language a commodity?]. Nezalezhnyj kulturologichnyj chasopys “YI”. 35 (2004), pp. 48–57. https://shron3.chtyvo.org.ua/Chasopys_Ji/N35_Mova_nimoi_krainy.pdf?PHPSESSID=v1q1uftmnouobe7n7lef78icc3.
[11]	Fraser, Jill Andresky. White-collar sweatshop: The deterioration of work and its rewards. New York: W. W. Norton & Company, 2001.
[12]	Foster, H., Crauas, R., Bois, Y.-A., Buchloh, B. H. D. Art since 1900: modernism, antimodernism, postmodernism. London: Thames & Hudson, 2004, p. 531.
[13]	Foster, Hal. Design and crime (and other diatribes). London, New York: Verso, 2002, p. 25, 26.
[14]	Foster, Hal. What comes after farce: Art and criticism at a time of debacle. New York: Verso, 2020.
[15]	Graw, Isabelle. High price: Art between the market and celebrity culture. Translated by Nicholas Grindell. Berlin: Sternberg Press, 2009, pp. 74, 75.
[16]	Gunew, Sneja. “Postcolonialism and multiculturalism: between race and ethnicity”. The Yearbook of English Studies. Vol. 27, The politics of postcolonial criticism (1997), pp. 22–39. https://doi.org/10.2307/3509130.
[17]	Harman, Chris. Zombie capitalism: Global resistance and the relevance of Marx. London: Bookmarks Publications, 2009, pp. 7, 10.
[18]	Kaiser, Franz Wilhelm. “Highbrow / Lowbrow: Zur Legitimität einer kulturellen Wertsphäre im Zeitalter der Globalisierung” [Highbrow / Lowbrow: On the legitimacy of a cultural sphere of values in the age of globalization]. Academia.edu 2019. https://www.academia.edu/39886018/Highbrow_Lowbrow_Zur_Legitimit%C3%A4t_einer_kulturellen_Wertsph%C3%A4re_im_Zeitalter_der_Globalisierung
[19]	Kester, Grant. “Editorial \| Spring 2015”. Field, 1 (2015). http://field-journal.com/issue-1/kester
[20]	Kiossev, Alexander. “The self-colonizing metaphor”. Atlas of Transformation, (2008). http://monumenttotransformation.org/atlas-of-transformation/html/s/self-colonization/the-self-colonizing-metaphor-alexander-kiossev.html
[21]	Kushnir, Mychajlo. Velych mystecztva j vidrodzhennya kultury [The greatness of art and the revival of culture]. Toronto: Gomin Ukrayiny, 1968, p. 27–34.
[22]	Léger, M. J. “Doing the unexpected, creating the present”. Culture and contestation in the new century, еd. M. J. Léger, pp. 7–20. Bristol: Intellect, 2011.
[23]	Léger, Marc James. The neoliberal undead: Essays on contemporary art and politics. Winchester, Washington: Zero Books, 2013, pp. 20, 149, 150, 206. https://www.academia.edu/37538147/.
[24]	Lorenc, Iwona. “Towards a new philosophical functionalization of the concept of art”. Art Inquiry. Why do we need the “Art” concept? 21 (2019), pp. 9–18.
[25]	Mbembe, Achille. On the postcolony. Berkeley: University of California Press, 2001, pp. 102–39.
[26]	Modood, Tariq. Multiculturalism: a civic idea. Cambridge: Polity, 2007, p. 14.
[27]	Protas, Maryna. Mystecztvo postkultury: tendenciyi, ryzyky, perspektyvy [The art of postculture: trends, risks, prospects]. Kyiv: Instytut problem suchasnogo mystecztva Nacionalnoyi akademiyi mystecztv Ukrayiny, 2020.
[28]	Rasmussen, Mikkel Bolt. “Art and politics after September 11: Exodus, intervention or hospitality”. Third Text, 16, 4 (2002), pp. 345–55.
[29]	Saunders, Frances Stonor. “Modern art was CIA “weapon””. The Independent. Friday 14 June 2013. https://www.independent.co.uk/news/world/modern-art-was-cia-weapon-1578808.html
[30]	Schweitzer, Albert. “Ya rodilsya v period duhovnogo upadka chelovechestva” [I was born during the period of spiritual decline of mankind]. Krizis soznaniya: sbornik rabot po “filosofii krizisa”, pp. 5–11. Moscow: Algoritm, 2009.
[31]	Sholette, Gregory. “Art after gentrification”. In Delirium and resistance: Activist art and the crisis of capitalism, ed. Kim Charnley, pp. 127–148. London: Pluto Press, 2017, pp. 127–48.
[32]	Stallabrass, Julian. “Brand identity” [review of Isabelle Graw, High price: art between the market and celebrity culture. Berlin: Sternberg Press, 2009], Artforum, Summer 48, 10 (2010), pp. 79–80. https://www.artforum.com/print/201006/isabelle-graw-s-high-price-art-between-the-market-and-celebrity-culture-25723
[33]	Sztompka, Piotr. “The trauma of social change. A case of postcommunist societies”. Jeffrey C. Alexander, Ron Eyerman, Bernhard Giesen, Neil J. Smelser, Piotr Sztompka, Cultural trauma and collective identity, pp. 155–95. Berkeley, Los Angeles, London: University of California Press, 2004.
[34]	“21 zhovtnya u centri Kyyeva vidbudetsya performans-vidkryttya skulpturnoyi kompozyciyi “Neperedbachuvani obstavyny” [On October 21, a performance-opening of the sculptural composition “Contingencies” will take place in the center of Kyiv]”. Official portal of Kyiv. Kyiv City Council. Kyiv City State Administration. October 19, 2021. https://kyivcity.gov.ua/news/News_21_zhovtnya_u_tsentri_kiyeva_vidbudetsya_performans-vidkrittya_skulpturno_kompozitsi_neperedbachuvani_obstavini/
[35]	Vishmidt, Marina. “Line describing a curb asymptotes about Valie Export, the new urbanism and contemporary art”. Art and social change: a critical reader, edited by Will Bradley, Charles Esche, pp. 447–460. London: Tate, Afterall, 2007, pp. 453–54, 460.
[36]	Witkiewicz, Ct. Ign. Nowe formy w malarstwie i wynikajace stad nieporozumienia [New forms in painting and the resulting misunderstandings]. Kraków, Warszawa: Gebethner i Wolff, 1919, pp. 177–78.
[37]	Yanev, Volodymyr. Ukrayinske mystecztvo na kulturno-istorychnomu tli Ukrayiny u zv'yazku z yiyi geopolitychnym roztashuvannyam [Ukrainian art on the cultural and historical background of Ukraine in connection with its geopolitical location]. Translated by Lidiya Kachurovska-Kryukov. Munich: Ukrayinskij Vilnyj universytet, 1987, pp. 5–6, 9–10.
[38]	Zizek, Slavoj. “Multiculturalism or the cultural logic of multinational capitalism”. New Left review 225 (1997), pp. 28–51.

Cite This Article

Plain Text BibTeX RIS

APA Style

Maryna Protas. (2022). Socio-Philosophical Critique of the Global Public Art’s Visual Order: The Context of National Self-identity. American Journal of Art and Design, 7(1), 29-38. https://doi.org/10.11648/j.ajad.20220701.15

Copy | Download

ACS Style

Maryna Protas. Socio-Philosophical Critique of the Global Public Art’s Visual Order: The Context of National Self-identity. Am. J. Art Des. 2022, 7(1), 29-38. doi: 10.11648/j.ajad.20220701.15

Copy | Download

AMA Style

Maryna Protas. Socio-Philosophical Critique of the Global Public Art’s Visual Order: The Context of National Self-identity. Am J Art Des. 2022;7(1):29-38. doi: 10.11648/j.ajad.20220701.15

Copy | Download

@article{10.11648/j.ajad.20220701.15,
  author = {Maryna Protas},
  title = {Socio-Philosophical Critique of the Global Public Art’s Visual Order: The Context of National Self-identity},
  journal = {American Journal of Art and Design},
  volume = {7},
  number = {1},
  pages = {29-38},
  doi = {10.11648/j.ajad.20220701.15},
  url = {https://doi.org/10.11648/j.ajad.20220701.15},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ajad.20220701.15},
  abstract = {Today a necessity has arisen in a critical socio-philosophical analysis and the development of such a theoretical framework for contemporary globalization that will consider this latter as a visual and ideological impact of cognitive biocapitalism on the collective consciousness of nations, which manifests itself as repressive pressure in the form of Aesthetics of Globalization. This distorts the art system, distorting the fundamental freedom of creative expression of artists, critics and academics, as abstract mass hybridization of professional thought in the context of global public art’s visual order is implanted by the cultural-industrial logic of the transnational art market ruled and managed by globalized capital, which has transformed the art, the artist, and the analyst into merely trivial commodities. Since the millennium, commodified art production in the world is perceived exclusively as a business integrated into politics and economics, but the capitalization of the arts ignores the national interests of unbiased processes of culture-creation, unifying artistic expression, depriving it of spiritual need for self-identification. This latter needs to be further researched, in particular in the context of the development of Ukrainian image-formation practices, which devalues its potential in the new socio-political conditions. Therefore, the article emphasizes the need to return to the Ukrainian socio-cultural dimension of the evaluation criteria of transcendental aesthetics, especially since cordocentrism and Christian kalokagatia have historically formed the basis of Ukrainian culture and mindset.},
 year = {2022}
}

Copy | Download

TY  - JOUR
T1  - Socio-Philosophical Critique of the Global Public Art’s Visual Order: The Context of National Self-identity
AU  - Maryna Protas
Y1  - 2022/03/31
PY  - 2022
N1  - https://doi.org/10.11648/j.ajad.20220701.15
DO  - 10.11648/j.ajad.20220701.15
T2  - American Journal of Art and Design
JF  - American Journal of Art and Design
JO  - American Journal of Art and Design
SP  - 29
EP  - 38
PB  - Science Publishing Group
SN  - 2578-7802
UR  - https://doi.org/10.11648/j.ajad.20220701.15
AB  - Today a necessity has arisen in a critical socio-philosophical analysis and the development of such a theoretical framework for contemporary globalization that will consider this latter as a visual and ideological impact of cognitive biocapitalism on the collective consciousness of nations, which manifests itself as repressive pressure in the form of Aesthetics of Globalization. This distorts the art system, distorting the fundamental freedom of creative expression of artists, critics and academics, as abstract mass hybridization of professional thought in the context of global public art’s visual order is implanted by the cultural-industrial logic of the transnational art market ruled and managed by globalized capital, which has transformed the art, the artist, and the analyst into merely trivial commodities. Since the millennium, commodified art production in the world is perceived exclusively as a business integrated into politics and economics, but the capitalization of the arts ignores the national interests of unbiased processes of culture-creation, unifying artistic expression, depriving it of spiritual need for self-identification. This latter needs to be further researched, in particular in the context of the development of Ukrainian image-formation practices, which devalues its potential in the new socio-political conditions. Therefore, the article emphasizes the need to return to the Ukrainian socio-cultural dimension of the evaluation criteria of transcendental aesthetics, especially since cordocentrism and Christian kalokagatia have historically formed the basis of Ukrainian culture and mindset.
VL  - 7
IS  - 1
ER  -

Copy | Download

Author Information

Maryna Protas

Department of Curatorial Exhibition Activities and Cultural Exchange, Modern Art Research Institute, National Academy of Arts of Ukraine, Kyiv, Ukraine

Download PDF

Sections

Plain Text BibTeX RIS

APA Style

Maryna Protas. (2022). Socio-Philosophical Critique of the Global Public Art’s Visual Order: The Context of National Self-identity. American Journal of Art and Design, 7(1), 29-38. https://doi.org/10.11648/j.ajad.20220701.15

Copy | Download

ACS Style

Maryna Protas. Socio-Philosophical Critique of the Global Public Art’s Visual Order: The Context of National Self-identity. Am. J. Art Des. 2022, 7(1), 29-38. doi: 10.11648/j.ajad.20220701.15

Copy | Download

AMA Style

Maryna Protas. Socio-Philosophical Critique of the Global Public Art’s Visual Order: The Context of National Self-identity. Am J Art Des. 2022;7(1):29-38. doi: 10.11648/j.ajad.20220701.15

Copy | Download

@article{10.11648/j.ajad.20220701.15,
  author = {Maryna Protas},
  title = {Socio-Philosophical Critique of the Global Public Art’s Visual Order: The Context of National Self-identity},
  journal = {American Journal of Art and Design},
  volume = {7},
  number = {1},
  pages = {29-38},
  doi = {10.11648/j.ajad.20220701.15},
  url = {https://doi.org/10.11648/j.ajad.20220701.15},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ajad.20220701.15},
  abstract = {Today a necessity has arisen in a critical socio-philosophical analysis and the development of such a theoretical framework for contemporary globalization that will consider this latter as a visual and ideological impact of cognitive biocapitalism on the collective consciousness of nations, which manifests itself as repressive pressure in the form of Aesthetics of Globalization. This distorts the art system, distorting the fundamental freedom of creative expression of artists, critics and academics, as abstract mass hybridization of professional thought in the context of global public art’s visual order is implanted by the cultural-industrial logic of the transnational art market ruled and managed by globalized capital, which has transformed the art, the artist, and the analyst into merely trivial commodities. Since the millennium, commodified art production in the world is perceived exclusively as a business integrated into politics and economics, but the capitalization of the arts ignores the national interests of unbiased processes of culture-creation, unifying artistic expression, depriving it of spiritual need for self-identification. This latter needs to be further researched, in particular in the context of the development of Ukrainian image-formation practices, which devalues its potential in the new socio-political conditions. Therefore, the article emphasizes the need to return to the Ukrainian socio-cultural dimension of the evaluation criteria of transcendental aesthetics, especially since cordocentrism and Christian kalokagatia have historically formed the basis of Ukrainian culture and mindset.},
 year = {2022}
}

Copy | Download

TY  - JOUR
T1  - Socio-Philosophical Critique of the Global Public Art’s Visual Order: The Context of National Self-identity
AU  - Maryna Protas
Y1  - 2022/03/31
PY  - 2022
N1  - https://doi.org/10.11648/j.ajad.20220701.15
DO  - 10.11648/j.ajad.20220701.15
T2  - American Journal of Art and Design
JF  - American Journal of Art and Design
JO  - American Journal of Art and Design
SP  - 29
EP  - 38
PB  - Science Publishing Group
SN  - 2578-7802
UR  - https://doi.org/10.11648/j.ajad.20220701.15
AB  - Today a necessity has arisen in a critical socio-philosophical analysis and the development of such a theoretical framework for contemporary globalization that will consider this latter as a visual and ideological impact of cognitive biocapitalism on the collective consciousness of nations, which manifests itself as repressive pressure in the form of Aesthetics of Globalization. This distorts the art system, distorting the fundamental freedom of creative expression of artists, critics and academics, as abstract mass hybridization of professional thought in the context of global public art’s visual order is implanted by the cultural-industrial logic of the transnational art market ruled and managed by globalized capital, which has transformed the art, the artist, and the analyst into merely trivial commodities. Since the millennium, commodified art production in the world is perceived exclusively as a business integrated into politics and economics, but the capitalization of the arts ignores the national interests of unbiased processes of culture-creation, unifying artistic expression, depriving it of spiritual need for self-identification. This latter needs to be further researched, in particular in the context of the development of Ukrainian image-formation practices, which devalues its potential in the new socio-political conditions. Therefore, the article emphasizes the need to return to the Ukrainian socio-cultural dimension of the evaluation criteria of transcendental aesthetics, especially since cordocentrism and Christian kalokagatia have historically formed the basis of Ukrainian culture and mindset.
VL  - 7
IS  - 1
ER  -

Copy | Download