Academic literature on the topic 'Artist’s writing'
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Journal articles on the topic "Artist’s writing":
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Mocherniuk, Nataliia. "To apprehend and to retain a considerable length of time: the memoirs of Sviatoslav Hordynsky." LITERARY PROCESS: methodology, names, trends, no. 16 (2020): 90–96. http://dx.doi.org/10.28925/2412-2475.2020.16.13.
Abstract:
The paper covers the subject and genre varieties of memoirs by Sviatoslav Hordynsky. Such genres are highlighted as the memoirs itself, travel writing, diary notes, portrayals of famous artists, letters, obituaries, oral stories, interviews with the author. The main art subject-matter in the memoirs has been accentuated. The travel writing was practiced in his early works, the memories of the Western Ukrainian art processes of the interwar period pertain to the creative period in emigration. The narrative features of the artist’s memories have been traced. Hordynsky’s memoir texts are perceived as an independent proof supported by art history facts. These are not pieces of writing for “own cheek”, albeit works for the future with an intention to record important events and outstanding names for the Ukrainian culture. It has been observed that these memories are not characterized by a fragmentary composition and large forms, but on the contrary, the author structures logical texts, elaborates on compositional links, usually analyzes in small non-fiction forms. The writer practices an autobiographical attitude of testimony rather than confession, so the subjectivism of narration is not expressive. There is a great intermedial potential of texts. Sviatoslav Hordynsky’s memoirs can serve as a documentary material for art history and reveal the secrets of the artist and writer’s work. These texts clarify the intentions of the artist’s appeal to literature and represent a holistic vision of the artist’s personality.
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MUZYCHENKO, Anna S. "Thomas Wolfe as a writer and citizen in “Hungry Gulliver” by P.H. Johnson." CULTURE AND SAFETY 1 (2024): 14–24. http://dx.doi.org/10.25257/kb.2024.1.14-24.
Abstract:
The given article examines the features of artistic journalism as a literary genre, its subject and object, and the reasons for the interest of fiction writers in journalism. An analysis of the journalistic book by P.H. Johnson “Hungry Gulliver”, is dedicated to the outstanding American writer Thomas Wolfe. The writer focuses on the internal contradiction between Thomas Wolfe’s gift for writing and his understanding of civic position, between the artistry and sociality of his novels. The attitude of P.H. Johnson herself to the mission of the writer, the power of the artist’s influence on others through his works, and, as a consequence, the responsibility to society that talent imposes are is explored.
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Stewart-Kroeker, Sarah. "‘What Do We Do with the Art of Monstrous Men?’ Betrayal and the Feminist Ethics of Aesthetic Involvement." De Ethica 6, no. 1 (June 30, 2020): 51–74. http://dx.doi.org/10.3384/de-ethica.2001-8819.19062502.
Abstract:
The #MeToo movement has put a spotlight on sexual harassment and abuse in a number of industries, notably the arts. It has raised a set of questions about how to receive the artistic works of the accused, particularly when such work has been beloved or formative for an individual, and collectively when it has cultural significance and influence. Claire Dederer, writing in The Paris Review, posed the question bluntly in her piece, “What Do We Do with the Art of Monstrous Men?” This question, and the range of (often perplexed) responses to it, reveal the lack of adequate resources to evaluate responses to an artist’s actions that may bear on our aesthetic valuations of the artist’s work and that may be experienced as quite intimately personal. What do we do with the sense of betrayal that may follow on the discovery of an artist’s bad behavior? What are the implications of consuming of such art? What concepts and norms might help to guide reflection? These questions bear on the ethical significance of love and appreciation for artworks and artists, and, more broadly, the ethical consumption of artworks. This paper responds to these questions in two ways: first, it develops an account of “aesthetic involvement” to elaborate the sense of betrayal that may follow accusations or revelations of sexual harassment and abuse. Second, it proposes a feminist ethics of aesthetic involvement in response to such betrayals and to dilemmas about the individual and collective ethical consumption of artworks.
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Nozanin, Yusupova. "Comments On The Art Of Utkir Hashimov’s “Inscriptions In The Notebook Frame”." American Journal of Social Science and Education Innovations 03, no. 04 (April 30, 2021): 375–79. http://dx.doi.org/10.37547/tajssei/volume03issue04-57.
Abstract:
This article examines Utkir Hoshimov’s “Inscriptions in the Frame of the Notebook” in terms of form and content, the balance of man, society, time and space, the interdependence, and the philosophical issues raised by the author. The main idea of the work, the author’s wording skills, the artist’s emotions, and the role of writing in society were analyzed. There are also comments on the author’s individual artistic skills, his unique methods of artistic interpretation of social realities and the assignment of philosophical meaning to them.
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Cardoso, Catarina Figueiredo. "Past’s Present: Artist’s Books by José Oliveira." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 2, no. 1 (November 8, 2014): 135–56. http://dx.doi.org/10.14195/2182-8830_2-1_7.
Abstract:
José Oliveira is a book artist who takes inspiration from the history and evolution of the Western book and of Western writing. His artist’s books take the form of codices, scrolls and leporellos and embody the beliefs, grief and hopes of their author. They ask us about our conceptions of the book and the nature of reading. They are evidences of their author’s resolute rejection of contemporary techniques applied to books. DOI: http://dx.doi.org/10.14195/2182-8830_2-1_7
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Silva, Manuel Gutiérrez. "José Juan Tablada’s Creative Art Writing." Mexican Studies/Estudios Mexicanos 34, no. 3 (2018): 305–46. http://dx.doi.org/10.1525/msem.2018.34.3.305.
Abstract:
Amidst the violence of the Mexican Revolution, the poet José Juan Tablada published Mexico’s first modern artist’s book and art book: Hiroshigué: El pintor de la nieve, de la lluvia, de la luna y de la noche (1914). In design and content, Tablada’s art book was a cultural artifact unlike any other. By drawing on concepts from cultural and literary theory, and art history, I demonstrate how this art book addressed the nation’s cultural crisis and proposed a program for interpreting and reinventing it. En medio de la violencia de la Revolución mexicana, el poeta José Juan Tablada publicó el primer libro de arte y libro de artista moderno en México: Hiroshigué: El pintor de la nieve, de la lluvia, de la luna y de la noche (1914). Tanto en materia de diseño como de contenido, el libro de arte de Tablada fue un artefacto cultural sin parangón. Mediante el recurso a conceptos de la teoría del arte y la teoría literaria, además de la historia del arte, me propongo mostrar cómo abordó este libro la crisis cultural de la nación y cómo planteó un programa para interpretarla y reinventarla.
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Dorsey, Charlie Hope. "In the Dark." Art/Research International: A Transdisciplinary Journal 3, no. 1 (March 1, 2018): 247–57. http://dx.doi.org/10.18432/ari29335.
Abstract:
The artist’s duty is to “reflect the times,” said Nina Simone. Poets too, have this political duty. As a queer Black woman, I share my lived experience(s) as a political form of engagement and resistance, both in writing and onstage. Inspired by Audre Lorde’s (1984) text Sister Outsider, this piece of personal performance poetry explores Della Pollock’s notion that performative writing is citational. Blending references to white poets such Emily Dickinson with allusions to writers, artists, and theorists of color, this piece makes space for black culture in the academy and recounts my return home after a period of self-imposed exile. It surveys the liminal space between the dark of writing and the light of performance and also critiques the hierarchal academic structures that subjugate knowledge, people, and spoken word poetry. It was originally written and performed in a show entitled Greyscale: Performing Across Difference, in the Marion Kleinau Theatre, in March 2017.
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Suminto, RA Sekartaji, and Donna Carollina. "Graffiti Artist’s Historiographical Writing Model “Bansky” The Man Behind The Wall” in The Perspective of Johan Joachim Wincklemann." IJVCDC (Indonesian Journal of Visual Culture, Design, and Cinema) 2, no. 1 (April 30, 2023): 134–37. http://dx.doi.org/10.21512/ijvcdc.v2i1.9933.
Abstract:
History writing can be understood as a way of writing, exposing, or reporting the results of historical research that has been carried out as a matter of embodiment of research reports or historical writing itself. Furthermore, historical writing became known as historiography. Before writing the historiography of graffiti artists in Indonesia, it is necessary to understand the writing model that has been done by previous historians, one of which is Johan Joachim Wincklemann. Thisarticle will use a book entitled "Bansky: The Man Behind The Wall", to then review his historical writing style with Winckelmann's historiographical writing methodology. Although Jones in his book writes about Bansky's life, when viewed from the perspective of Winckelmann's historical methodology, there are still shortcomings in the process of writing Jones in this book. Thus from this review, it can be found that to create a good historiography for the writing of the history of graffiti artists requires closeness and accuracy in observing the work and graffiti artists observed.
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Kosiński, Dariusz. "Literatura jako wehikuł tajemnicy. O pisarstwie Jerzego Grotowskiego." Przestrzenie Teorii, no. 38 (July 11, 2023): 59–74. http://dx.doi.org/10.14746/pt.2022.38.4.
Abstract:
Jerzy Grotowski (1933–1999), considered to be one of the greatest theatre artists of the 20th century, frequently expressed his ambivalent relation to words, repeating that any true knowledge has to be obtained by practice. However, all his life he had been creating and publishing text. The volume collecting them all in print has 1131 pages. Researchers interpreting his art (e.g. Krzysztof Rutkowski, Zbigniew Osiński) and his close collaborators like Ludwik Flaszen many times underlined the importance of Grotowski’s writings, stressing a special function the literature played in the artist’s research. Following their recognitions, partly polemizing with them, one can formulate some basic assumptions concerning the character and functions of Grotowski’s writing and its relation to the main aspects of contemporary literature. This was the man of theatre appears to be also an aware creator of a literature paradoxically close related and working for a mystery beyond the words.
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Bădulescu, Dana. "Autobiography as Fiction in “A Portrait of the Artist as a Young Man”." Linguaculture 2, no. 1 (June 30, 2011): 29–36. http://dx.doi.org/10.47743/lincu-2011-2-1-253.
Abstract:
This paper looks into the artful way in which James Joyce fictionalizes his autobiography in his Künstlerroman A Portrait of the Artist as a Young Man. Joyce projects his essentially artistic self onto the fictional character Stephen Dedalus, the namesake of the classical ‘cunning’ ‘artificer.’ In his turn, Stephen dreams of becoming Joyce and writing Ulysses. Thus, Joyce’s personal history and Dublin’s geography lose their recognizable ‘reality’ in a blueprint of the artist’s mind that charts a Dublin and a self-reshaped by his imagination.
Dissertations / Theses on the topic "Artist’s writing":
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Gasper, Kahlil Almustafa. "Writing Ourselves Into Existence: A Spoken Word Artist’s Autoethnography of a Liberatory Hip-Hop Pedagogy." Digital Commons at Loyola Marymount University and Loyola Law School, 2018. https://digitalcommons.lmu.edu/etd/529.
Abstract:
While there is growing research about the positive impact of teaching artists (TAs), these professional arts educators are an underused resource. As a TA, I have more than a decade of experience implementing spoken word and hip-hop as a pedagogical approach in urban public school classrooms. By conducting this autoethnographic study, I sought to explore insights from these 10 years of lived experience for understanding and documenting the critical principles of my practice as a TA. This autoethnography of my life as a TA tells stories from urban public school classrooms during my formative years as an educator. The research explored the impact my artistic practices have had on developing my pedagogical approach, including the emotional and financial challenges inherent to working on the margins. By interpreting and analyzing ethnographic material from five residencies, this research resulted in complex narrative accounts, which provide insights for the field of arts education, with a specific focus on TAs. Moreover, this study offers a visionary context for a liberatory educational praxis of spoken word and hip-hop in classrooms and communities.
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Picarel, Gilles. "Photographie & extériorité : une épreuve de l'autre." Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080003.
Abstract:
Cette thèse mixte de recherche-création interroge le rapport de la photographie à l’extériorité comme une épreuve de l’autre, à partir de ma pratique artistique et de travaux d’artistes contemporains (comme par exemple Antoine d’Agata, J. H. Engström, Marc Pataut et Philippe Bazin). Le sujet invite à traiter un rapport complexe dans la mesure où la photographie se tient dans le sillage de l’extériorité et qu’elle est embarquée dans la poursuite de l’impossible. Mes travaux se confrontent à cette difficulté, car l’extériorité se niche dans la part manquante de l’objet désiré ; dans le retrait qui excède la visée photographique ; et dans la profondeur ou l’épaisseur qui échappe à la surface. La photographie se heurte à une absence qui dans son surplus confronte le médium à un nécessaire mouvement de hors de. C’est la raison pour laquelle l’interrogation du couple photographie/extériorité se fonde sur une épreuve. Elle ne part pas à la recherche d’un donné, mais se focalise sur l’expérimentation, la tentative et les essais. C’est également ce qui fonde le problème directeur de cette thèse, la possibilité d’une extériorité à l’œuvre dans la photographie, c’est-à-dire l’éventualité d’un mouvement du même vers l’autre – une sortie de l’être vers un autre dont la signification est celle d’une altérité absolue. Afin de répondre méthodologiquement à cette problématique, notre recherche-création met en œuvre une esthétique fondée sur une poïétique généralisée. Elle privilégie le prisme de l’œuvre en train de se faire et du rapport que l’artiste entretient avec sa création au cours de son élaboration, plutôt que de s’attacher au résultatThis mixed research-creation thesis questions the relationship of photography and exteriority as a trial of the other, from my own artistical practice and the work of contemporary artists. This subject invites us to deal with a complex relationship insofar as photography is in the wake of exteriority and is embarked in the pursuit of the impossible. Therefore, the questioning of the photography/externality couple is based on a trial. It does not go in search of a given, but focuses on experimentation, attempt, and testing. This is also the guiding problem of this thesis, the possibility of an exteriority at work in photography, that is, the possibility of a movement of the same towards the other. This reflection makes it possible to consider the gap between photography and its object not only as a necessary condition for the object’s phenomenality, but as a possibility of the emergence of the other. Since the exteriority is aporetic, in its consubstantiality to the photographic medium, any attempt to define it is illusory. However, to respond methodologically to this problem, this work implements an aesthetic based on a generalized poietic. The photographic works interviewed as well as my personal practice focus on the prism of the work being done and the relationship that the artist maintains with his creation during its development, rather than focusing on the result. Moreover, the problem of exteriority has led research and creation to work from the philosophical concepts of articulatory, dialogue and gap, which in my artistic practice are translated into a collaborative and redoing design
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Junod, Karen. "Writing the lives of artists : biography and the construction of artistic identity in Britain (ca. 1760-1810)." Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419032.
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Warr, Tracey Karen. "Creative acts : curating and writing with artists." Thesis, University of Plymouth, 2006. http://hdl.handle.net/10026.1/1150.
Abstract:
The published texts and curatorial practice collected together in this PhD interrogate the nature of the creative act in contemporary visual art practices. They focus on the complex of co-creation in relation to: - creative acts of dialogue between the practices of artists, curators and writers - creative acts of experiencing the world - creative acts of making art about experiencing. They form a coherent programme of research addressing: - site-based and contextually engaged curated projects since the 1950s - relationships between, and definitions of, the roles of curator, writer and artist in contemporary practices - the nature of authorship and collaboration - histories, theories and practices around Body Art and Land Art - current philosophical and scientific debates around consciousness - the situated, immersive and creative nature of embodied consciousness - writing practices that address consciousness and experience. The material draws, in particular, on the ideas and work of James Joyce and Marcel Duchamp, as well as a range of other thinkers including Georges Bataille, Rosalind Krauss, Mary Douglas, Francisco Varela and Elaine Scarry. Section 1 Includes materials and discussion of independent site-based curatorial projects In the UK including New British Sculpture, Edge 90, Edge 92, TSWA, Tyne International, Artscape Nordland and Artangel. Artists discussed include Helen Chadwick, Cornelia Parker, Guillermo Gomez Pena & Coco Fusco, Maria Thereza Alves, Alan Michelson & Jimmie Durham. This section also includes articles on Marina Abramovic, Dorothy Cross and Carolee Schneemann. Section 2 includes materials and discussion of curatorial and writing projects concerned with the nature of experience and embodied consciousness. This includes the projects EarthWire with artists Kathleen Rogers, Rena Tangens, Jozefa Rogocki and Bruce Gilchrist, James Turrell's Northumberland Skyspace and Twilight It also includes writings on the artist's body, embodied consciousness, documentation and performance, James Turrell, Heather Ackroyd and Dan Harvey, Chris Burden, Joan Jonas and Cyril Lepetit. Section 3 considers embodied consciousness immersed in its environment and the work of artists addressing this theme. It includes the curatorial projects Here, Contemporary Romantic and the sound art festival OX' with artists including Ray Lee and Alexel Shulgin, the exhibition projects KnoWhere, Generator and Dialogue and writings on art and weather, women's art, KnoWhere, Marcus Coates, London Fieidworks and Optik.
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Godoi, Vagner. "Funcionamento da obra de pesquisa." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-20032019-111504/.
Abstract:
Entre os anos 2000 e 2010, são intensificadas e renovadas mundialmente as discussões sobre produções artísticas que se relacionam com o conhecimento, a universidade, a pesquisa, a teoria, a reflexão, a educação e os outros campos do conhecimento. Um dos ângulos desse fenômeno multifacetado, e que é motivo de interesse crescente dos artistas e demais profissionais da Arte, pode ser resumido com a expressão pesquisa artística. Uma das contribuições desta tese é relacionar o pioneirismo da criação dos programas de pós-graduação em Artes Visuais no Brasil, com trajetória consistente de estabelecimento e definição desde a década de 1970, a esse fenômeno recente, que aconteceu sobretudo na Europa, disparado pela transformação das academias de arte em universidades por lá, seguida de um debate intenso sobre os significados da pesquisa do artista. Além disso, este estudo percorre as produções artísticas, discursivas, pedagógicas e teóricas dos artistas brasileiros Jorge Menna Barreto e Ricardo Basbaum em busca da linha poética da pesquisa, contextualizando-os tanto como herdeiros da pesquisa em arte no Brasil quanto associados a essa movimentação internacional sobre a pesquisa artística. Parte-se da incerteza sobre a multiplicidade dos significados e das nomenclaturas que a pesquisa do artista provoca, não como uma indagação ontológica, mas com o propósito de entendimento sobre o seu lugar, uma questão institucional da arte inserida no ambiente universitário e, sobretudo, um problema que se encontra na própria obra de arte, agora considerada de pesquisa.From the years 2000 to 2010, discussions on artistic productions that are related to knowledge, university, research, theory, reflection, education and other fields of knowledge are intensified and renovated. One of the angles of this multifaceted phenomenon, and a reason for the rising interest in it by artists and other art professionals, can be summarized by the expression artistic research. One of the contributions of this thesis is correlating the pioneering creation of postgraduate programs in Visual Arts in Brazil, consistently established and defined since the 1970s, to this recent phenomenon, that took place specially in Europe, initiated by the transformation of art academies into universities, followed by an intense debate on the meanings of artist research. Moreover, this study examines artistic, discursive, pedagogical and theoretical productions by Brazilian artists Jorge Menna Barreto and Ricardo Basbaum in order to find the poetic line of research, contextualizing both as heirs of research in art in Brazil and affiliates of these international shifts on artistic research. The starting point is the uncertainty regarding the multiplicity of meanings and nomenclatures that artist research provokes, not as an ontological enquiry, but with the purpose of understanding their place, an institutional matter of art inserted in the university environment, and, particularly, a problem found in the work of art itself, now considered research.
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Junqueira, Lilian Maus. "Escritos de artistas nos arquivos em transformação." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/28622.
Abstract:
Esta pesquisa analisa os modos de existência dos escritos de artistas no processo de documentação e circulação da obra de arte efêmera, bem como as práticas de arquivamento realizada pelos próprios artistas. Afinal, ao documentarem suas experiências efêmeras através da escrita e da fotografia, estariam eles contribuindo de que modo para a historiografia da arte? Durante o desenvolvimento dessa questão, serão realizados estudos de caso sobre as obras "Parangolés" e "Con glomerado", de Hélio Oiticica, e a Série "Documento Areal", realizada pelos artistas André Severo, Maria Helena Bernardes, Elaine Tedesco, Hélio Fervenza, Karin Lambrecht e Marcelo Coutinho.This research explores the modes of existence of artists' writings in the documentation and dissemination process of the ephemeral artwork, as well as the practice of filing done by the artists. After all, in documenting their ephemeral experiences through writing and photography, they would be contributing in that way to the historiography of art? During the development of this issue, case studies will be conducted on the artworks "Parangoles" and "Conglomerado" by Helio Oiticica, and "Documento Areal" Series, performed by artists Andre Severo, Maria Helena Bernardes, Elaine Tedesco, Helio Fervenza, Lambrecht and Marcelo Coutinho.
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Albertoni, Fernanda Bernardes. "Narrativas verbais : construto ficcional nas artes visuais e em sua documentação." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2007. http://hdl.handle.net/10183/10744.
Abstract:
A presente pesquisa analisa o emprego de narrativas verbais como construtos ficcionais utilizados por artistas do campo visual através de seus trabalhos e documentações. Particularmente enfocam-se três aspectos desses escritos: quando se apresentam em forma autobiográfica; quando esta biografia é associada ao mundo histórico; e quando o artista torna-se autor de uma historiografia particular. Nesta investigação elegemos escritos considerados representativos dessas ocorrências enfocadas – entre eles os dos artistas Sophie Calle, Lucas Samaras, Ad Reinhardt, Joseph Beuys, Robert Morris e Jannis Kounellis. Através dessa análise, visa-se explanar algumas particularidades do gênero, tais como o que determina com que um escrito ficcional seja um trabalho do campo dito visual e não do literário; o porquê da escolha por parte dos artistas desse suporte como meio para suas significações; e por quais traços o meio verbal contagia um campo já usual à arte, o ficcional.This research analyses the use of verbal narratives as fictional constructs by artists from the visual field, through the work of these artists and their documentation, particularly focusing in three aspects of these artist’s writings: as autobiographical, as biographical in relation to the historical world, and when the artist becomes the author of a particular art history. For investigating the subject it was selected a group of artists and artworks that could be considered representatives of these occurrences – as seen in writings from Sophie Calle, Lucas Samaras, Ad Reinhardt, Joseph Beuys, Robert Morris and Jannis Kounellis. The analysis explore questions as what would classifies a work of fiction within from the visual arts field instead of literary; why these artists chose this form of expression as medium for their significations; and how the verbal field influences the fictional in visual art.
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Lam, Yung, and 林勇. "Writing in the shadow, or writing the present in the past and writing the past for the present." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31950620.
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Lam, Yung. "Writing in the shadow, or writing the present in the past and writing the past for the present." [Hong Kong : University of Hong Kong], 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13762084.
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Jacobson, Malcolm. "Getting paid writing graffiti : How graffiti artists produce value within marketing." Thesis, Stockholms universitet, Sociologiska institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-114878.
Abstract:
In settings such as hotels, bars and boutiques, things like cars, sodas, clothes, and cities, are fueled with the symbolic capital of graffiti. The purpose of this ethnographic study is to understand how graffiti writers, through marketing, increase the value of their work, as well as that of other products, and how this commercialization affects the meaning of graffiti. Utilizing a perspective of social constructionism, the analysis shows how actors and social fields that are constructed as incongruous (e.g., art galleries and graffiti culture), are at the same time being mixed together to create something new, and thus create value. This study shows how practices that are considered marginal, or deviant, at the same time generate value within the general economy. Deploying an abductive approach, and building on ample empirical material, this study shows that the narrative of graffiti as something illegal is one of the main traits that enables graffiti writers to exchange subcultural capital for economic. The results show that previous research, investigating graffiti from a dichotomous perspective of either art or vandalism, do not give a satisfactory understanding of this diverse subculture. The empirical material consists of 30 participant observations in public events, in Sweden during the autumn of 2014, where graffiti is turned into a commodity embodied with subcultural capital. Moreover, four in-depth interviews were executed with graffiti writers who have sold their competence and art for purposes of marketing, and one group interview with three of their customers. Further, several documents were collected and analyzed.
Books on the topic "Artist’s writing":
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Davids, Betsy. Artists writing. Los Angeles: Alliance for Contemporary Book Arts, 1994.
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David, Levithan, ed. Best Young Writers And Artists In America. New York: Scholastic, 2002.
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Fusco, Maria. What am I? London: Book Works, 2010.
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Seed, John. Artist's statements of the old masters. [Place of publication not identified]: PoetsArtists., 2015.
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Mirea, Maria. Cenaclul literar-artistic "Pasăre de nea". Târgoviște: Editura Bibliotheca, 2017.
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Liese, Jennifer. Social medium: Artists writing, 2000-2015. Brooklyn, New York: Paper Monument, 2016.
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Grande, John K. Art allsorts: Writing on art & artists. [Montréal]: Random Tree Editions - Go If Press, 2008.
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Rothko, Mark. Writings on art. New Haven: Yale University Press, 2006.
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Corazón, Alberto. Damasco Suite, somos imágenes. Boadilla del Monte (Madrid): A. Machado Libros, 2011.
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Ellmann, Maud. The hunger artists: Starving, writing, and imprisonment. Cambridge, Mass: Harvard University Press, 1993.
Book chapters on the topic "Artist’s writing":
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Renk, Kathleen. "“The Female Artist’s Erotic Gaze in Neo-Victorian Fiction”." In Women Writing the Neo-Victorian Novel, 23–51. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-48287-9_2.
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Sheridan, Bridget. "Following Footprints: Photography, Writing, and the Artist’s Book in Art Walking." In Walking and the Aesthetics of Modernity, 99–114. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-60364-7_7.
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Sarti, Lisa. "Annie Vivanti’s Multicultural Identity and the Shaping of the Artist’s Body." In The Palgrave Handbook of Transnational Women’s Writing in the Long Nineteenth Century, 503–20. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-40494-8_27.
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Ferreira-Meyers, Karen, and Bontle Tau. "Visual Autofiction: A Strategy for Cultural Inclusion." In Palgrave Studies in Life Writing, 161–83. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-78440-9_9.
Abstract:
AbstractVisual autofiction can be seen as a storytelling method used by contemporary visual artists to initiate cultural inclusion within a field that has historically favored Western narratives and excluded many others. This chapter, which builds on theoretical reflections on autofiction, contends that contemporary artists endeavor to be culturally included in broad, decolonized visual narratives, through the use of innovative visual autofictional methods to represent their experiences. In the case of South African visual artist Bontle Tau, autofiction is used as a strategy to construct a multiform and multifaceted photographic narrative that foregrounds the diversity of selves and stories, further supporting the overall aim of cultural inclusion within representations in the field.
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Funch, Bjarne Sode. "Solitude is writing." In The Psychology of Artistic Creativity, 13–27. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003248576-3.
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Pannewick, Friederike. "The Year 1979 as a Turning Point in Syrian Theatre: From Politicization to Critical Humanism." In Re-Configurations, 277–87. Wiesbaden: Springer Fachmedien Wiesbaden, 2020. http://dx.doi.org/10.1007/978-3-658-31160-5_18.
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Abstract This chapter investigates a crucial turning point in the writing of Syrian dramatist Saadallah Wannous (1941–1997) in the late 1970s. This internationally acclaimed author belonged to a generation of Arab intellectuals and artists whose political and artistic identities were strongly shaped by the question of Palestine. After the Camp David Accords of 1978 and the resulting Egypt-Israel peace treaty, signed in 1979, Wannous attempted suicide and stopped writing plays for more than ten years. This chapter shows how the plays he published after this self-imposed silence moved away from a didactic, political theater and towards psychological studies focusing on individuals as well as minority and gender issues. This chapter asks whether the significant aesthetic and conceptual turn in Wannous’s work from the early 1990s onwards might go beyond the concerns of a specific individual artist. To what extent does it mark a generational shift in regard to the meaning and connotations of political art?
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Knights, Ben. "The Portrait of the Artist as a Man." In Writing Masculinities, 49–72. London: Palgrave Macmillan UK, 1999. http://dx.doi.org/10.1057/9780230389250_3.
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Smith, Andy W. "Writing Catastrophe: Howard Barker’s Theatre." In Researching and Writing on Contemporary Art and Artists, 151–72. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39233-8_7.
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Jones, Suzanne W. "Introduction." In Writing the Woman Artist, edited by Suzanne W. Jones, 1–20. Philadelphia: University of Pennsylvania Press, 1991. http://dx.doi.org/10.9783/9781512809596-002.
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Laurent, Anna. "Artist’s Statement." In Life Writing in the Anthropocene, 267–68. Routledge, 2021. http://dx.doi.org/10.4324/9781003146315-17.
Conference papers on the topic "Artist’s writing":
1
Nascimento, Suely. "Marlene's house." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.106.
Abstract:
As an artist-researcher, I have been developing the research “Marlene's house” in the Doctorate in Arts, Graduate Program in Arts, Institute of Art Sciences, Federal University of Pará, since 2018. An extension of the research I produced in the Master's Degree in Arts, at the same institution of higher education, from 2016 to 2018. It is a poetics built from family and affective memory, in which photography, video, sound, writing, smell, taste, touch and feeling merge. And it is part of research line 1, on poetics and acting processes, dedicated to research in the arts, with a focus on poetics, on modes of acting, on the construction and presentation of an artistic work, accompanied by a reflective text. Thus, the research is being built with a memorial that houses the reflective text and a work, consisting of an installation with photography-video-sound-writing, records of my mother's house. Along the way, I talk to researcher Priscila Arantes, from São Paulo, who writes: “expanded field photography incorporates [...] the idea of dialogue, contamination and intersections of the field of photography with other fields of language and know." I also talk to the American Rosalind Krauss, who studies three-dimensional work and its expanded field. As a personal methodology, I mentally create a garden mixed with my memories of the garden of the house where I lived, where I develop the installation and the memorial. A meditation in which there is the action of artistic making. And it is in this garden that I experiment, read, research, edit photography-video-sound-written, reflect on my life path and what touches me throughout it, and write the research texts. During classes, in practical-reflective studies, I have been building my poetics, experimenting with installations in the classroom. One of them related to the kitchen of the house where I lived. I tried, in two subjects, the coffee experience with classmates. A performance I talk to Renato Cohen about, when he says that this creative act touches the tenuous boundaries that separate life and art. Each layer of the installation is perceived in the creative process of the artwork. And, based on what I perceive in my poetics, I develop conversations with the history of art, and I have conceived texts, which I named the artist's writings. With the letters, words, sentences and reflections, I write down what I thought/think about geometry, dimensions, space, the room in the house and sharing around a dining table. The poetic layers built in the creative path are countless and, in the installation, I present traces that are in me, in the garden, in the bedroom, in the kitchen and in the backyard where I lived a life in my mother's house.
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Дини (Куприева), Ирина Анатольевна, and Расул Халимович Батчаев. "EXPERIMENTAL LANGUAGE OF ANDREI BELY: KOSNOYAZYCHIE AND WORD-FORMATION." In Проблемы управления качеством образования: сборник статей XLVI Международной научной конференции (Вологда, Май 2023). Crossref, 2023. http://dx.doi.org/10.37539/230529.2023.82.81.003.
Abstract:
В статье рассматриваются особенности языка А. Белого - «юродствующего» языка, сознательно творимого им как приём достижения художественной выразительности и самовыражения. Особой заслугой Белого как художника является создание особого стиля письма - ритмической прозы, художественно организованной и структурированной, несмотря на кажущуюся хаотичность и окказиональность речи. The article examines the peculiarities of A. Bely's language - a “foolish” language, consciously created by him as a method of achieving artistic expressiveness and self-expression. A special merit of Bely as an artist is the creation of a special style of writing - rhythmic prose, artistically organized and structured, despite the seeming chaos and occasional nature of his speech.
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Gorbunova, Natalia. "Time out for Scriabin (the composer’s image in the soviet music journal of the stalinist era)." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.10.
Abstract:
During the Stalin era, interest in the composer Scriabin noticeably weakened compared to the 1910s and 1920s. Nevertheless, the discussion of his works and personality continued. Particularly, in the 1930s and 1940s, his role in the Soviet vision of world art was formed. In the specialized music journal „Soviet Music” during those years, the Soviet myth of Scriabin was constructed. For this purpose, the epistolary heritage and early writings were studied, his work and the influence of Russian culture on him were discussed — as a result, the image of a deluded genius was created.
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Htaw, Mi Chan, Daria Pipa, Namkang Sriwattanarothai, Chailerd Pichitpornchai, Reto Gubelmann, Sabine Seufert, Christina Niklaus, and Siegfried Handschuh. "Argumentative Writing Software: Perceptions of Undergraduate Students toward Artist Prototype." In 2024 IEEE 7th Eurasian Conference on Educational Innovation (ECEI). IEEE, 2024. http://dx.doi.org/10.1109/ecei60433.2024.10510808.
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Mercean-Țârc, Mirela. "The genre of symphony in the transylvanian school of composition – the last seven decades." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.04.
Abstract:
The term „school of composition” has been used mainly to define a group of composers whose directions in music creation meet two conditions: claiming from a founding- master and respecting the continuity of the traditions established by him, often going beyond the original model. In this sense, we should emphasize the contribution made by Professor Sigismund Todita to the establishment of the composition school within the “Gh. Dima” Academy of Music in Cluj-Napoca, one of the most active musical higher education institutions from Transylvania in the second half of the 20th century. A dominant figure by the authority conferred by erudition and his encyclopedic spirit, S. Toduţă formed entire generations of composers whose creative path also marked original orientations in contemporary Romanian music. Maestro Cornel Ţăranu took over the management of this composition school after the retirement of S. Toduţă, in the last two decades of the 20th century and the first decade of the new millennium. Currently, the composer Adrian Pop is the main coordinator of the destinies of the future music creators, Adrian Borza, Şerban Marcu and Cristian Bence Muk taking over the responsibility of consolidating a bright future for music composition in this prestigious Transylvanian school, The „Gh. Dima” Academy of Music from Cluj-Napoca The paper aims to highlight the role and the place of symphony in the creation of these composers, as the fruit of creative maturity, of the craft in the art of orchestral writing. At the same time, it will try to draw a global picture of the evolution of this genre in terms of stylistic stages, of the language of each composer and the adaptation to the orientations and the directions of contemporary music in the last seven decades.
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Ringendahl, Elisa. "Lied versus Oper – Pole musikalischer Gattungen bei Oscar Bie." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.70.
Abstract:
A comparison of Oscar Bie’s monographies Die Oper and Das deutsche Lied shows that opera and ‘Lied’ are two extremes in Bie’s understanding of musical genres. While opera according to Bie is an “impossible work of art” which arises from countless contradictions, the low-conflict ‘Lied’ forms an opposite pole. Bie’s perception influences the way he deals with the two genres in writing: while opera is suitable for an adequate feuilleton, ‘Lied’ is not. Bie’s comparison gives him the possibility to break with established patterns of genres. It becomes apparent that for him opera takes on a special role in that it represents the culmination of the basic features of music. As a critic, Bie demands utmost congruence between object and written representation. Writing about music means to be an artist who deals with the same work of art but in another medium.
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Bandalo, Višnja. "ICONOGRAPHIC DEPICTION AND LITERARY PORTRAYING IN BERNARD BERENSON'S DIARY AND EPISTOLARY WRITING." In NORDSCI Conference Proceedings. Saima Consult Ltd, 2021. http://dx.doi.org/10.32008/nordsci2021/b1/v4/18.
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The paper focuses on the interlacement of literary and iconographic elements by displaying an innovatory philological and stylistic approach, from a comparative perspective, in thematizing multilingual translational and adaptive aspects, ranging across Bernard Berenson's diaristic and epistolary corpus, in conjunction with his works on Italian visual culture. This interweaving gives occasion to the elaboration of multilinguistic textual influences and their verbo-visual artistic representations deduced from his innovative interpretative readings in the domain of world literature in modern times. Such analysis of the discourse of theoretical and literary nature, and of the pictoricity, refers to Bernard Berenson's multilingual considerations about canonical authors in English, Italian, French, German language, belonging to the Neoclassical and Romantic period, as well as to the contemporary era, as conceptualized in his autobiographical works, in correlation with his writings on Italian figurative art. The scope of this presentation is to discern and articulate Berenson's aesthetic ideas evoking literary and artistic modernity, that are infused with crucial notions of translational theory and conveyed through the methodology of close reading and comprising at the same time, in an omnicomprehensive manner, a plurality of tendencies intrinsic to social paradigms of cultural studies. Unexplored premises reflecting Berenson's vision of Italian culture, most notably of a visual stamp, will be analyzed through author's understandings of such adaptive translations or volumes to be subsequently translated in Italian, and through their intertwined intertextual applications, significantly contributing to further critical and hermeneutic reception thereof. Particular attention is drawn to its instancing in the field of Romantic literary production (Emerson, Byron), originally underscoring the specificities of each literary genre and expressive mode, of the narrative, lyric or theatrical nature, as well as concomitantly involving parallel notions as adapted variants within visual arts, and in such a way expressing theoretical views pertainable to Italian artworks too. Other analogous elements relevant to literary expression in the most varied cultural sectors such as philosophy, music, civilisational history (Goethe, Hegel, Kant, Wagner, Chateaubriand, Rousseau, Mme de Staël, Taine) are furnished, as well as the examples of the resonances of non-western cultures, with the objective of exploring the effect among readership bringing also to the renewal of Italian tradition.
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Yandim Aydin, Sercan. "„RENAISSANCE“ BEFORE THE RENAISSANCE: HUMANLY ASPECTS OF LATE BYZANTINE PAINTING. CASE: “THE ANASTASIS: AN IMAGE OF LIBERATION AND RESURRECTION”, STUDENICA MONASTERY." In Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.629ya.
Abstract:
Present paper aims to readdress the idealized Renaissance con- ception of painting starting with the writings of Giorgio Vasari, which paved the way to a widely stereotyped and prejudiced evaluation of the Byzantine art within the general art historical framework. Consequently, placing the latter one inferior to the Renaissance. Further the paper attempts to revise the conventional assumptions about Byzantine painting. Visual interpre- tation of a dodecaorton subject, Anastasis Christi, is taken to provide evi- dence in understanding the humanly aspects in terms of iconography and reception of the scene. Material evidence is obtained from the monumental panting of the Studenica monastery, (ca. 1313-ca. 1320). General outline of its iconography, communal versus individual resurrec- tion, and specific depiction of one of the basic elements of iconography, Hades, reveal the fact that there is difference in the mind sets of Eastern and Western Christianity. Libri Carolini in the eighth century signifies the different visual understanding and reception. Also, the text-image relation is greatly influenced by the involvement of either theologians of a col- lective monasticism or individual aristocratic prayer. Thanks to the recent scholarly studies on cultural history and art history, a wider perspective is possible in order to comprehend the content of their cultural memories that comes into play in interpreting and reflecting religious subjects/imageries. As a result, artists and patrons of medieval Serbia were able to not just to inherit but also improve the inherited Byzantine artistic language in a com- plex positive way. Altogether referring to a renaissance in their rethinking and execution of the Byzantine models and beyond.
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Rufova, Elena. "ARTISTIC IDENTITY OF RUSSIAN-WRITING ETHNIC WRITERS WRITERS (IN A CASE OF P. CHERNYKH-YAKUTSKY�S WORKS)." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/62/s27.052.
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Cosciug, Svetlana, and Victoria Melnic. "Excentric dances by Vitaly Verhola: a young composer in search of his own style." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.06.
Abstract:
The Eccentric Dances No.1 and No.2 by Vitaly Verhola present a piano cycle for four hands. Original in their own way, contrasting in tempo, character, and artistic content, both miniatures show the influence of Igor Stravinsky's music (the ballets The Rite of Spring and Petrushka, intonations of the Concerto for piano and wind instruments). At the same time, thanks to the use of techniques such as ostinato, dissonant multiphonic chords, rhythm overlays, timbre harmonies, combination of heterogeneous stylistic elements, etc., the music of the two dances is infused with a personal spirit and eloquently illustrates the self-expression searches of a young composer at the beginning of his career. The piano writing for four hands gives both Eccentric Dances an orchestral sound.
Reports on the topic "Artist’s writing":
1
Gratzke, Michael. ‘Confessions of a MILF (I chose being an artist over being a wife)’. Love and relationships in Viv Albertine’s memoirs. University of Dundee, February 2022. http://dx.doi.org/10.20933/100001240.
Abstract:
The memoirs of (post-) punk musician Viv Albertine address the issue of choice or lack thereof in romantic and family relationships. They depict a world in which choice of romantic partners appears normal if often unsuccessful, whereas choice within family relationships is restricted. It is self-evident that one cannot choose one’s blood relatives. However, amplified by Albertine’s scepticism towards any social relationships, her two memoirs represent ‘negative choice’ (Eva Illouz) in heterosexual romantic relationships and the complex ways in which negative choice can change family dynamics. In her memoirs, Albertine presents loneliness as the opposite of love which aligns with her model of choice, as it is preferable to live a lonely life over being bound up in love relationships, romantic or familial, which are harmful to one’s wellbeing. This article demonstrates how the ethos of early punk is translated into an uncompromising process of life writing which presents itself as faithfulness towards the individual’s core need for self-realisation and self-expression against the backdrop of failing romantic and familial relationships, severe physical and mental health problems, a self-diagnosis of autism and a patriarchal society.
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Cox, Jeremy. The unheard voice and the unseen shadow. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.621671.
Abstract:
The French composer Francis Poulenc had a profound admiration and empathy for the writings of the Spanish poet Federico García Lorca. That empathy was rooted in shared aspects of the artistic temperament of the two figures but was also undoubtedly reinforced by Poulenc’s fellow-feeling on a human level. As someone who wrestled with his own homosexuality and who kept his orientation and his relationships apart from his public persona, Poulenc would have felt an instinctive affinity for a figure who endured similar internal conflicts but who, especially in his later life and poetry, was more open about his sexuality. Lorca paid a heavy price for this refusal to dissimulate; his arrest in August 1936 and his assassination the following day, probably by Nationalist militia, was accompanied by taunts from his killers about his sexuality. Everything about the Spanish poet’s life, his artistic affinities, his personal predilections and even the relationship between these and his death made him someone to whom Poulenc would be naturally drawn and whose untimely demise he would feel keenly and might wish to commemorate musically. Starting with the death of both his parents while he was still in his teens, reinforced by the sudden loss in 1930 of an especially close friend, confidante and kindred spirit, and continuing throughout the remainder of his life with the periodic loss of close friends, companions and fellow-artists, Poulenc’s life was marked by a succession of bereavements. Significantly, many of the dedications that head up his compositions are ‘to the memory of’ the individual named. As Poulenc grew older, and the list of those whom he had outlived lengthened inexorably, his natural tendency towards the nostalgic and the elegiac fused with a growing sense of what might be termed a ‘survivor’s anguish’, part of which he sublimated into his musical works. It should therefore come as no surprise that, during the 1940s, and in fulfilment of a desire that he had felt since the poet’s death, he should turn to Lorca for inspiration and, in the process, attempt his own act of homage in two separate works: the Violin Sonata and the ‘Trois Chansons de Federico García Lorca’. This exposition attempts to unfold aspects of the two men’s aesthetic pre-occupations and to show how the parallels uncovered cast reciprocal light upon their respective approaches to the creative process. It also examines the network of enfolded associations, musical and autobiographical, which link Poulenc’s two compositions commemorating Lorca, not only to one another but also to a wider circle of the composer’s works, especially his cycle setting poems of Guillaume Apollinaire: ‘Calligrammes’. Composed a year after the ‘Trois Chansons de Federico García Lorca’, this intricately wrought collection of seven mélodies, which Poulenc saw as the culmination of an intensive phase in his activity in this genre, revisits some of ‘unheard voices’ and ‘unseen shadows’ enfolded in its predecessor. It may be viewed, in part, as an attempt to bring to fuller resolution the veiled but keenly-felt anguish invoked by these paradoxical properties.
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Babenko, Oksana. Ідеї екуменізму в публіцистиці митрополита Андрея Шептицького: сучасне прочитання. Ivan Franko National University of Lviv, March 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11717.
Abstract:
Subject of the article’s study – ecumenism of Metropolitan Andrei Sheptytskyi and reflection of this phenomenon in the works of scientists and modern Ukrainian media. Main objective of the study: analyze what Ukrainian scientists, journalists and different media are writing about Sheptytkyi’s ecumenism. Methodology: We used a bibliographic method to accumulate factual material, a qualitative content analysis to isolate the ideas of ecumenism from the journalism of Metropolitan Andrey Sheptytskyi, a cultural-historical method that made it possible to consider the ideas of ecumenism in the context of the era, the connection with the historical context, as well as methods of synthesis and generalization, induction and deduction. The study process description: In our scientific article, we analyzed the doctoral dissertation of His Beatitude Lubomyr Huzar entitled «Andrei Sheptytskyi, Metropolitan of Halytskyi (1901-1944). Herald of ecumenism». His Beatitude Lubomyr defended this fundamental work at the Pontifical Urbaniana University in Rome back in 1972. Therefore, we observed how this work reflects the historical prerequisites, features and development of Sheptytskyi’s ecumenism, who, according to His Beatitude Lubomir, was a kind of innovator in this field, a person who was ahead of his time. We also analyzed the reflections on the ecumenism of Sheptytskyi´s father, doctor Ivan Datsk, which are reflected in his book «In Search of Faithfulness and Truth». In addition, we turned to the scientific text «Ecumenism of Sheptytskyi» by professors Mykola Vegesh and Mykola Palinchak. Subsequently, it was analyzed how the scientific work became a useful basis for the coverage of Sheptytskyi’s ecumenism in the press. In particular, in the columns of the cultural and social site «Zbruch» in Diana Motruk’s article «In Search of Church Unity». We also turned to the «Spiritual Greatness of Lviv» website, where in 2020 an interview with Mykhailo Perun, who shot the film «Sheptytskyi: Relevant information», was published, illustrating the ecumenical initiatives of this figure. In addition, we analyzed the publication on Radio Svoboda for 2022, dedicated to the anniversary of Sheptytsky’s stepping into eternity. It is also mentioned there about of Sheptytskyi’s ecumenism as his landmark activity. Subsequently, we found an article on the website «Christian and the World», where in a conversation with the scientist Dr. Andrii Sorokovskyi entitled «Andrei Sheptytskyi believed that the union is a synthesis, communion and dialogue between the East and the West, – Andrii Sorokovskyi» also analyzed the phenomenon of Sheptytskyi’s ecumenism. Results: we discovered that Sheptytskyi’s ecumenism was studied not only by numerous scientists, but this meaningful legacy of his is a valuable phenomenon for media coverage. Therefore, Sheptytskyi’s ecumenism becomes the subject of interest of journalists not only of publications that write mainly on church topics, but also socio-political and artistic ones. We are sure that Sheptytskyi’s ecumenism will continue to be studied by professional scientists and representatives of the wider media community. Significance: journalism of a religious orientation, high-quality and substantiated coverage of religious processes and phenomena in the press is still something quite new for modern Ukraine. In Soviet times, journalists were afraid to write about religion in order not to incur the wrath of the authorities, so such materials could not be included in the press. That is why it is very important to study how today’s journalists cover important issues of religion, which, in addition, have a strong scientific basis. In addition, the development of ecumenism and religious unity are extremely important for building national unity, which is necessary for our state to effectively confront the enemy in full-scale war. Key words: ecumenism; Metropolitan Andrey Sheptytskyi; media; interreleigion cooperation; dialogue.