Social realism as a way of perceiving reality and work in an embellished form appeared in the USSR in the 1930s and was intended to replace the “bourgeois” art, which then included everything that does not glorify the “man of action”. Being ridiculed by Mikhail Bulgakov in “the Master and Margarita”, this approach prescribed the artist to treat his art “on workdays”: how many benefits he received, so much text must pass. Just as in the Union of writers (fictional Bulgakov Massolit), “if a ticket for a week, then the writer must pass a story, for two weeks – a story, and only for three weeks in the “Swallow’s nest” in the Crimea – and the whole novel can be”. Continue reading
Street art is not images, it is a variety of statements in various forms. Simply because it is in this capacity that modern Western civilization uses images in public space (especially on street walls and other similar objects).
And so, when talking about street art, it is necessary to talk about the rhetoric of images, including in the interpretation: the author and his gesture, the audience and its cultural background, the context and means, as well as the goals and effects of the message. It is also worth remembering that due to the reflexivity of thinking, people are able (sometimes purely intuitively) to understand these points, and therefore anyone who makes street art, simultaneously practices some form of thinking. Continue reading