ARTISTIC BLACKSMITH AS AN «EXTENDED FIELD» OF SCULPTURE
DOI:
https://doi.org/10.32782/uad.2022.6.7Keywords:
global public art, contemporary art, postmodernism, artistic blacksmithing, sculptureAbstract
The article examines the practice of artistic blacksmithing, which has evolved from the status of a traditional folk craft to that of a modern self-sufficient visual art practice, being actively included in the socio-cultural landscape of modern cities both in Ukraine and abroad. Artistic blacksmithing is now actively used in the creation of a unique ethnonational atmosphere in areas of urban and recreational use, attractive for tourists and guests, and also participates in design solutions of objects/spaces of aesthetic and utilitarian purpose that are comfortable for the residents of the region. The formation in the collective consciousness of the consumer society of the postmodern paradigm of the “expanded field” of sculpture, as formulated by R. Krauss, has contributed to the genesis of the figurative and functional transformation of blacksmithing. Attention is also paid to the negative impact of benchmarking business strategies on the quality of the artistic product of blacksmithing, which turns it, together with the sculpture, into a “total design” of a unified global art product, which is criticized by many contemporary researchers. Emphasis is placed on the kinship of culture-creating processes that are widespread in Western European spaces, and those that are taking place in Ukraine, as reflected in the trajectory of the development of artistic blacksmithing. In particular, this concerns the reflection in blacksmithing of the characteristic features that separate contemporary sculptural plastic solutions of the modern phase of post-postmodernism from what was created in previous periods.
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