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The purpose of the research is to reveal the specifics of the visual language of the artist and designer Vasyl Yermylov, in particular, through the study of his diptych «On the Beach» in interconnection with the artistic and theoretical achievements of Bauhaus artists-innovators. Research methodology. The method of deconstruction, structural, formal-stylistic and comparative analysis is applied in the article. Scientific novelty of the research. The results of the study revealed tendencies for Yermylov to create avant-garde compositions based on a subtle creative dialogue with the theoretical approaches of the Bauhaus representatives, which testifies not only to programmatic and ideological unity, but also to the identity of visual thinking. The method of deconstruction and structural analysis allowed to identify the elements of form as certain structures, deliberately introduced into the work by the master in order to rethink it, create another combination and, thus, the assertion of new content. This is the first time such analysis of Yermylov’s works has been conducted. Conclusions. The results of the analysis of Yermylov’s diptych «On the Beach» testify to the universality of the new visual language, Kwhich has developed in Ukraine despite the attempts to adapt it to the service of the totalitarian regime. Today it is important to testify that Ukrainian artists developed in harmony with their Western counterparts. Ermylov’s work, built on rethinking of different, sometimes opposite approaches to the development of form, which existed at different stages in the Bauhaus, is an example of exceptional design skill of the Kharkiv artist in composing virtuoso compositions from elements of art form. At the same time, the diptych with its laconic expression of the theoretical avant-garde heritage under the «mask» of Dadaism is a tribute to the New Art in the conditions of its prohibition and destruction.

The functional and aesthetic composition of the technical concepts requires the use of specific methods of representation of geometric shapes through perspective images and axonometric representations. Applying these methods, the paper presents several exercises for representing some stairs within architectural constructions, as support in the acquisition of the geometric reasoning based on the symmetries of rotation and translation of the shapes that make up these volumes. The geometric and constructive examples analyzed in the paper help to form and develop the ability to see in space, this study being of particular theoretical and practical importance for design practitioners.

The functional and aesthetic composition of the technical concepts requires the use of specific methods of representation of geometric shapes through perspective images and axonometric representations. Applying these methods, the paper presents several exercises for representing some stairs within architectural constructions, as support in the acquisition of the geometric reasoning based on the symmetries of rotation and translation of the shapes that make up these volumes. The geometric and constructive examples analyzed in the paper help to form and develop the ability to see in space, this study being of particular theoretical and practical importance for design practitioners. [ABSTRACT FROM AUTHOR]

This essay reframes a much remarked shift in Clark Coolidge’s poetry, from the atomistic early poems to the longer forms that emerged in the mid-seventies, by focusing this development through the lens of Coolidge’s collaboration with Philip Guston. In bringing attention to a relatively neglected body of work - the collaborative portfolio of image-text drawings called ‘poem-pictures’, and their remediation in the book Baffling Means - this essay shows how the change in Coolidge’s poetics circa 1975 corresponds to a prior shift in Guston’s painting, circa 1970, from his abstract expressionist to neo-figurative period. I draw on art historian Robert Slifkin’s re-reading of Guston’s ‘return to figuration’ through Erich Auerbach and Paul de Man’s epistemological and historiographic theories of the figural in order to show how Coolidge, in his collaboration with Guston, unfolds a ‘figural’ poetics from his earlier literalist and materialist approach to language. The essay redresses the shortfall of analysis of Guston’s collaborations with poets in art-historical narratives, while it shows how existing critical discourse misapprehends the change in Coolidge’s poetics as a move toward a ‘lyrical’ mode. [ABSTRACT FROM AUTHOR]