THE CONCEPT OF LINE IN SPATIAL ARTS OF MODERNISM AND POST-MODERNISM
DOI:
https://doi.org/10.32782/2415-8151.2025.37.38Keywords:
visual art, modernist art, postmodernist art, line, sculpture, design, drawing, interactivity, time-spaceAbstract
This article is devoted to the study of the concept of line as a material object of spatiality in modernist and postmodernist art. Purpose. The purpose of the article is to investigate the transformation of the role and methods of using the line as a material element of space in modernist and postmodernist art, to trace its transition from an instrument for outlining form to a dynamic medium that combines object, space and viewer. Methodology. The research is based on the principles of interdisciplinary and comprehensive approaches that combine the analysis of artistic phenomena and contemporary scientific concepts. Historical-chronological, biographical, historical-comparative methods and art analysis were used, as well as the interpretation of artistic practices in the context of theories of space and time. Results. Based on the analysis of works by Julio Gonzalez, Lijia Clark, Dan Flavin, David Smith, Eva Hesse, Gordon Matt Clark, Mona Hatoum, Jesus Rafael Soto, Tamara Kvesitadze and Joma Plensa, the key directions for rethinking the line in art in the mid-20th century and the first quarter of the 21st century are outlined. A comprehensive interpretation of the transformations of the line as a leading means of expression in the visual art of late modernism and postmodernism is proposed. A complex of aspects of the functioning of the material spatial line has been revealed, which, in addition to its visual form, acquires audio-tactile, kinetic prolongation and involvement as means of forming an interactive environment in contemporary artistic practices. Scientific novelty. The features of the artistic rethinking of the line as a spatial element capable of structuring the environment, interacting with the viewer and integrating different types of spatiality – physical, psychological and social – have been revealed. It has been proven that in the art of the second half of the 20th and early 21st centuries, the line has become an instrument for modelling the interaction of object, space and time. It has been established that the line goes beyond the traditional contour of form and becomes an active element that structures space, influences its perception and creates an interactive dialogue with the viewer. Practical relevance. The results of the study will contribute to a deeper understanding of the theoretical and practical aspects of postmodern art and can be used in educational programmes on art theory and history, in art history and interdisciplinary studies, as well as in the creative practice of artists and designers.
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