Ukraine Under Fire: The Visual Arts in Ukraine and Abroad Since 2014

A special issue of Arts (ISSN 2076-0752).

Deadline for manuscript submissions: closed (15 December 2023) | Viewed by 4504

Special Issue Editor


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Guest Editor
Department of Art History, Savannah College of Art and Design, Savannah, GA 31402, USA
Interests: modern Russia, especially the late-imperial period; art and war, including the Great Patriotic War of 1812 and World War I; modern France
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Special Issue Information

Dear Colleagues,

To say that Ukraine has a complicated relationship with Russia is an understatement: the region was under direct rule in the imperial period, experienced a period of freedom after 1917, followed by repressive rule through large periods of the Soviet era, and then regained independence in 1991. Now, Ukraine faces Russian hostility and the violation of its territorial integrity, which began in February 2014 with the occupations of the Crimea and Donbas region.

I solicit abstracts from scholars, critics, gallerists, and artists whose work reflects upon the role of the visual arts during the current conflict in this region. Their topics should explore how artists have dealt with the Russian invasion and other forms of hostilities in recent years. I wish to explore how Ukrainian artists represent these conflicts, how artists feel their role may have changed during wartime, what cultural shifts have resulted in the face of the Russian invasion, and how arts professionals have responded to threats to cultural patrimony.

Accepted proposals will result in the publication of articles in a Special Issue of Arts, an international peer-reviewed open access journal published quarterly online by MDPI.

To propose an article for this special issue of Arts, please send a CV, article title, and short abstract to the editor, Andrew M. Nedd, at . Please note that there is a two-stage submission procedure: proposals of no more than 500 words must be submitted by 15 April 2023, and by 25 September selected abstracts will be chosen to be submitted as full articles (max. 15,000 words) for peer review.

Proposals and final articles must employ correct English, and submitters must consider that the primary audience for this project will be academics and scholars.

Prof. Dr. Andrew M. Nedd
Guest Editor

Manuscript Submission Information

Manuscripts should be submitted online at www.mdpi.com by registering and logging in to this website. Once you are registered, click here to go to the submission form. Manuscripts can be submitted until the deadline. All submissions that pass pre-check are peer-reviewed. Accepted papers will be published continuously in the journal (as soon as accepted) and will be listed together on the special issue website. Research articles, review articles as well as short communications are invited. For planned papers, a title and short abstract (about 100 words) can be sent to the Editorial Office for announcement on this website.

Submitted manuscripts should not have been published previously, nor be under consideration for publication elsewhere (except conference proceedings papers). All manuscripts are thoroughly refereed through a double-blind peer-review process. A guide for authors and other relevant information for submission of manuscripts is available on the Instructions for Authors page. Arts is an international peer-reviewed open access semimonthly journal published by MDPI.

Please visit the Instructions for Authors page before submitting a manuscript. The Article Processing Charge (APC) for publication in this open access journal is 1400 CHF (Swiss Francs). Submitted papers should be well formatted and use good English. Authors may use MDPI's English editing service prior to publication or during author revisions.

Keywords

  • Ukraine
  • war
  • Russia
  • artists
  • cultural patrimony

Published Papers (3 papers)

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Research

24 pages, 10678 KiB  
Article
The Protection of Monuments and Immoveable Works of Art from War Damage: A Comparison of Italy in World War II and Ukraine during the Russian Invasion
by Cathleen Hoeniger
Arts 2024, 13(2), 65; https://doi.org/10.3390/arts13020065 - 31 Mar 2024
Viewed by 756
Abstract
This article compares the safeguarding of monuments and immoveable works of art in Italy in the first years of World War II to the on-site protection undertaken in Ukraine during the Russian invasion and explores whether traditional or more innovative methods are being [...] Read more.
This article compares the safeguarding of monuments and immoveable works of art in Italy in the first years of World War II to the on-site protection undertaken in Ukraine during the Russian invasion and explores whether traditional or more innovative methods are being employed in Ukraine. Both the planning in advance of war and the implementation of protective measures amidst substantial obstacles are considered. The focus is placed on fixed works of art in churches and public statues. Special attention is given to the vulnerability of churches and their ornamentation during war. Full article
(This article belongs to the Special Issue Ukraine Under Fire: The Visual Arts in Ukraine and Abroad Since 2014)
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53 pages, 39209 KiB  
Article
The Discursive Power of Digital Popular Art during the Russo-Ukrainian War: Re/Shaping Visual Narratives
by Svitlana Kot, Alina Mozolevska, Olha Polishchuk and Yuliya Stodolinska
Arts 2024, 13(1), 38; https://doi.org/10.3390/arts13010038 - 18 Feb 2024
Viewed by 1405
Abstract
Twenty-first century digital technologies and popular visual art have transformed the ways military conflicts are experienced, narrated, and shared. It demonstrates that digital platforms have become arenas for constructing visual narratives that influence public perception and engagement with the conflict. Through a multimodal [...] Read more.
Twenty-first century digital technologies and popular visual art have transformed the ways military conflicts are experienced, narrated, and shared. It demonstrates that digital platforms have become arenas for constructing visual narratives that influence public perception and engagement with the conflict. Through a multimodal and visual analysis of over 950 digital artworks shared on Instagram during the first three months of the Russian full-scale invasion of Ukraine, this study investigates how these artworks form specific visual narratives which contribute to portraying the new wartime reality while also constructing images of the self and the other through heroization, victimization, dehumanization, and other strategies. All these visual narratives jointly represent the complexity of the war reality and form an epistemic understanding of the conflict. This study highlights the important function that popular visual art on digital platforms such as Instagram plays in shaping perceptions of the Russo-Ukrainian War, particularly in expressing emotions, conveying traumas, and influencing public opinions. Full article
(This article belongs to the Special Issue Ukraine Under Fire: The Visual Arts in Ukraine and Abroad Since 2014)
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43 pages, 93094 KiB  
Article
State Murals, Protest Murals, Conflict Murals: Evolving Politics of Public Art in Ukraine
by Emma Louise Leahy
Arts 2024, 13(1), 1; https://doi.org/10.3390/arts13010001 - 19 Dec 2023
Cited by 1 | Viewed by 1623
Abstract
Russian interference and invasion in Ukraine have transformed that nation’s historical practice of mural painting. A traditional art form with deep religious and political resonance in Ukraine, murals have become an instrument for patriotic mass mobilisation against the Russian military threat. From the [...] Read more.
Russian interference and invasion in Ukraine have transformed that nation’s historical practice of mural painting. A traditional art form with deep religious and political resonance in Ukraine, murals have become an instrument for patriotic mass mobilisation against the Russian military threat. From the mid-2000s, spraypaint graffiti underwent a gradual process of professionalisation and reconciliation with mainstream culture as Ukrainian municipalities pursued urban beautification initiatives and city-branding strategies to mitigate the socioeconomic challenges of postsocialism. It was this legacy of apolitical, privately funded street art that provided the foundations for patriotic muralism following the Maidan “Revolution of Dignity” and the Russian annexation of Crimea. Amidst the post-Maidan search for a postcolonial understanding of Ukrainian culture disentangled from Soviet and Russian influences, professionally produced murals in central urban districts proposed new visions of national identity. The war’s intensification since 2022 has resulted in a decentralisation of mural production. No longer reliant on international festivals in urban centres, conflict murals are now made by Ukrainian artists in large cities and small towns across the country. The newest murals represent a blending of the physical and digital—with a subject matter often inspired by viral conflict memes; artworks are, in turn, shared with worldwide audiences via social media. Full article
(This article belongs to the Special Issue Ukraine Under Fire: The Visual Arts in Ukraine and Abroad Since 2014)
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