THE FORMAT OF THE ARTIST’S ACTIVITY: AT THE INTERSECTION OF SKILL, CREATIVITY AND MENTORING

Abstract

The article presents the author’s concept of a comprehensive analysis of the professional activity of artists. Its orientation concerns the analysis of a specific form of their implementation in life, through the prism of synthesis (adjacency and mutual accompaniment) of visual and performing skills, the ability to creatively develop and implement one’s ideas, ideas, the opportunity to promote one’s experience, knowledge and skills within the framework of pedagogical work, creative mentoring and curatorship of the younger generation of artists. The purpose of the article – is to reveal and analyse the specifics of the artist’s professional activity, in the synthesis of skill, creativity, mentoring; justify aspects of its effectiveness. Materials and methods. The basic approaches to the disclosure of the raised problem are a comprehensive understanding of it, the study of the nature and effective narratives of the compatibility of the investigated aspects, a systematic analysis and justification of the predicted and obtained results. The main methods of work are search-bibliographic, analytical, comparative, art history, psychological-pedagogical, diachronic-synchronous, integration, abstraction, systematization. Scientific novelty. For the first time, the importance of three important aspects of an artist’s presentational message has been objectively substantiated, which in the context of their natural and at the same time purposeful fusion provide the breadth and depth of his professional realization, actually as an artist, creator of various visual narratives, and as a teachermentor, curator of artistic development and education younger generations, in one guise. Conclusions. It is stated that an artist cannot be either only a good, skillful performer, or only a creator of ideas, a source of production of relevant plots, interesting topics, projects, etc. Realizing himself, even fully and qualitatively, in only one of these spheres, the artist will not be able to be a sought-after example for young artists, a successful art teacher, because in order to fully work with his pupils, he desperately needs both artistic and theoretical knowledge, and proper qualitative artistic executive practice, and considerable creative potential. It is in the fusion of all these three positions that we should see the universal format of the most complete professional realization of the artist, actually as a professional artist and teacher-mentor. As a result, the author objectively proves that it is in this integrated format that the artist realizes himself to the fullest.