Ukrainian higher glass art education: the present, challenges and prospects

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UKRAINIAN HIGHER GLASS ART EDUCATION: THE PRESENT, CHALLENGES AND PROSPECTS

Mykhailo Bokotei

Doctor of Philosophy, Assistant Professor Lviv National Academy of Arts,

Head of the Glass Art Department

Анотація

Михайло Бокотей. Художнє скло в контексті мистецької вищої освіти: сучасний стан та перспективи розвитку.

Стаття торкається деяких питань функціонування єдиної в Україні фахової платформи вищої освіти для підготовки художників склярів - кафедри художнього скла Львівської національної академії мистецтв. Наближено історичні передумови та етапи формування львівської школи художнього склярства, розкрито головні аспекти творчо-організаційної діяльності ключових постатей, які спричинилися до розвитку освітньої бази. Зазначено вагому роль глибоких столітніх традицій українського гутництва, львівського зокрема, у формуванні підвалин для створення саме у Львові єдиної освітньої бази для підготовки кадрів.

Визначено також вплив процесів, які відбувались у склоцеху Львівської експериментальної кераміко-скульптурної фабрики, котра згодом стала базою для проведення міжнародних симпозіумів гутного скла у Львові. Підкреслено вагомість функціонування навчально-виробничої майстерні гутна піч, яка працює упродовж усієї історії роботи кафедри від початків її заснування. Розглянуто певні аспекти поточної діяльності в межах освітньої програми та проаналізовано взаємозв'язок позанавчальних процесів, які відбуваються за участю студентів, випускників і викладачів кафедри на формування науково-методичної складової підготовки слухачів. У рамках дослідження представлено діяльність міжнародних культурно-мистецьких проектів, організованих науково-педагогічними працівниками кафедри на базі навчальних майстерень: міжнародних симпозіумів гутного скла у Львові та міжнародних резиденцій "European Glass Education" за участю численної кількості іноземних фахівців. Зокрема зосереджено увагу на перспективі реалізації останнього заходу та визначенні важелів впливу резиденції на основні напрямки розвитку кафедри. Проаналізовано вплив процесів, які відбуваються в рамках зазначених заходів, на формування ключових напрямків освітньої програми, її еволюційну траєкторію та перспективи. Визначено найважливіші завдання, покликані до модернізації навчальних механізмів, запропоновано шляхи їх вирішення та окреслено прикладні заходи, які сприятимуть практичному втіленню.

Ключові слова: мистецька вища школа, художнє скло, кафедра художнього скла, міжнародний студійний рух, міжнародні симпозіуми гутного скла, художники-склярі

Annotation

approximated educational historical lviv

Mykhailo Bokotei. Ukrainian higger glass art education: the present, challenges and prospects.

The article is focused on some issues of functioning of the only in Ukraine professional platform of higher education for training of glass artists - the Glass Art Department of the Lviv National Academy of Arts. The historical preconditions and formation stages of the Lviv school of glassmaking are approximated. The important role of the deep centuries-old traditions of Ukrainian blown glass, Lviv region in particular, in the formation of the foundations for the creation of the only Ukrainian educational base for training in Lviv is noted. The influence of the processes that took place in the glass shop of the Lviv Experimental Ceramic and Sculpture Factory, which later became the basis for holding the International Blown Glass Symposiums in Lviv, was also determined. The main aspects of creative and organizational activity of key figures who have contributed to development of this educational platform are opened. Influence of the general processes within the international studio glass movement and creative activity of key figures of the Ukrainian glass art who are involved in this cultural phenomenon are emphasized in the article.

The creative work of prominent Ukrainian glass artists as well as glassblowers is also stressed here in the framework of the Glass Art Department history. The importance of the functioning of the training and production blown glass workshop, which has been operating throughout the history of the Department since its creation, is emphasized. Certain aspects of current activities within the educational program are considered and the relationship of extracurricular processes that take place with the participation of students, graduates and teachers of the Department for the formation of scientific and methodological component of student training is analyzed. The research opens the activities of international cultural and artistic projects organized by scientific and pedagogical staff of the Department on the basis of educational workshops: the International Blown Glass Symposiums in Lviv and the International Residences "European Glass Education" with the participation of many foreign experts. Particular attention is focused on the prospects of the last event determining the levels of influence of the Residence on the main directions of development of the Glass Art Department. The influence of the processes that take place within the framework of these events on the formation of key areas of the educational program, its evolutionary trajectory and prospects is analyzed within the research. The most important tasks aimed at the modernization of educational mechanisms are identified, ways of their solution are suggested and applied measures that will promote practical implementation are outlined.

Key words: higher artistic education, glass art, glass art department, international studio glass movement, international glass symposium, glass artists.

Problem statement

Glass is one of the oldest materials that a man learned to produce and process four millennia ago. Glass art is one of the youngest kinds of fine arts, the history of which began in the latter half of the 20th century since the spread of the international studio movement over the world. The world author's glassmaking distinguishes the national schools related with the peculiarities of culture of this or that country. Therewith there are two main trends: the first one is based on the traditions of classical heritage, the second one is connected with the evolution of contemporary visual art and strengthening of glass artists' role in this process.

One of the most significant centre of blown glassmaking of Soviet era, on the basis of which the identity of Lviv blown glassworks was forming during the late 20th - early 21st century, was Lviv Experimental Ceramic and Sculpture Factory. This was here, where traditions of Ukrainian classical glass blowing were grown and developed, the new generations of glass-makers were brought up. At the end of the 80s, several dozen highly qualified glass blowers worked at the Factory, among which are such coryphaei as M. Pavlovskyi, Y. Hulianskyi, O. Hera, I. Matsievskyi, Y. Matsievskyi, R. Zhuk, B. Valko, I. Shumanskyi, V. Bilous and others. Exactly here at least ten young masters were educated each year, and exactly this enterprise till the moment of its decline and discontinuation in 2005 became the basis for holding the international blown glass symposiums. Regular meetings of the artists from all over the world on the bases of Ukrainian glassmaking enterprises began due to the initiative of one of the pioneers of the studio movement, the founder of the Glass Museum in Lviv, the patriarch of Lviv school of artistic glassmaking, head of the Glass Art Department and Lviv National Academy of Arts of many years, professor Andrii Bokotey, whose name is in the list of the most famous artists of the world.

Analysis of recent research and publications

Among the most important studies of Ukrainian glass art of the end of XX - the beginning of the XXI century it is necessary to mention the scientific activity of one of the most prominent specialists of art criticism F. Petryakova. In the "Ukrainian Blown Glass” [2] special attention is paid to the problem of development of blown glass traditions in Ukrainian glassmaking. This monograph, which is of an analytical nature, can be considered as the most thorough art study on the specifics of blown glass. Completive illustrative material was collected by F. Petryakova in the "Modern Ukrainian Glass Art” album [1].

Among the works devoted to the development of Ukrainian glass art of the late XX - early XXI century it should be noted the scientific achievements of the famous Ukrainian art critic Z. Chegusova. The author's works contain thorough studies on the development of Ukrainian glass art and detailed assessment of recent trends, provides information on Ukrainian glass artists and their creative activities. Recent publications include the article ”Panorama of Lviv Blown Glass at the turn of the XX-XXI centuries: experimental search for creative personalities”, which covers the work of leading glass artists of Lviv, most of whom teach at the Glass Art Department of LNAA [5].

O. Fedoruk's monograph "Maestro of Glass Art Andriy Bokotey” is a thorough work of art criticism, where the author considers the evolution of the work of the famous Ukrainian artist on the basis of significant historical-artistic and illustrative material. The stages of the artist's artistic growth from the first products in the manner of traditional blown glass to high achievements in glass art are highlighted [4].

It should also be noted the manual of F. Chernyak "Lviv blown glass of the second half of the twentieth century.” However, the peculiarities of the volume of this publication have significantly limited the scientific component [6].

Aim of the research: to reveal the peculiarities of the only in Ukraine Glass Art Department of the Lviv National Academy of Arts, to determine the most significant processes that affect the prospects of this educational platform, to outline the key tasks facing the participants of the educational process. Presentation of the main material. The history of one of the brightest phenomena in cultural and artistic area of Ukraine, the International Blown Glass Symposiums in Lviv, started in 1989. Traditionally, it takes place every three years. From 1989 to 2019, more than 350 artists, art historians, gallerists and museum workers from 32 countries participated in these events. Each artist, participant of the symposium has an opportunity to work near hot glass furnaces with a team of highly qualified glass blowers. According to the results of the work, an exhibition is held, and the exhibited works remain in the city as a present. Today the unique collection of the compositions includes more than 500 pieces and is stored in the funds of Andrey Sheptytsky National Museum in Lviv and the Glass Museum.

Symposiums had had the role of a significant educational mechanism in the process of training specialists in the field of glassmaking and decorative art in general. Thanks to the changes happened in the context of expansion of the international movement of studio glass in the world, the driving factor of which on the territories of former USSR were the International Blown Glass Symposiums in Lviv, the meaningful innovations in methodological support of all higher education institutions took place in Ukraine, Russia, Lithuania, Latvia, Belorussia, Georgia, Estonia and other countries.

The history of creation of the only in Ukraine Glass Art Department of Lviv National Academy of Arts began from the experiment, when in 1961 a small division of art processing of plastics and glass was opened. In 1963-1964, the foundation of the Department as an independent structural unit was finished. The establishment of a new subdivision was aimed as well to provide the art glass department at Lviv Ceramic and Sculpture Factory, formed in 1963, with specialists. In 1973, at the division of glass art, the only training and experimental glass-melting furnace in Ukraine, which works until today, was built to improve the technological training of the students and to master the practical skills of working with material. In different years, the following glass blowers: V. Ivantsov, M. Zavadovskyi, Y. Matsievskyi, Y. Zyma, Hohol, V. Bilous, D. Klymkiv, V. Sokolskyi, Y. Horyn and others worked here.

In addition to educational tasks, the hot glass furnace of the Glass Art Department operated as a small manufacturing enterprise in the Soviet period. Here the products slightly different from the factory one was made, but in opposition to Lviv Experimental Ceramic and Sculpture Factory, the sample cabinet together with the design documentation is preserved in perfect condition and is a complete source for scientific research.

The first head of the Department was F. Tkachenko, then it was headed by A. Soboliev, M. Tarnavskyi, B. Halytskyi, A. Bokotey, S. Martyniuk, B. Vasyltsiv, F. Cherniak and O. Zvir. Since its foundation and until the present day, the staff has travelled a long way, and the pedagogical concept, as well as the creative work of the teachers, students and graduates, demonstrated the evolution of Lviv glass art of the latter part of the 20th century.

Today the following educational and creative workshops functionate at the Glass Art Department of LNAA: hot glass furnace, cold glass finishing, thermal shaping, stained glass and painting, glass processing and auxiliary materials. The following highly qualified pedagogues as: Professor A. Bokotey, docents M. Losyk and O. Zvir, M. Bokotey, senior lectures B. Yavorskyi, O. Prynada, O. Shevchenko, Petrovskyi, and lectures O. Ivanyshyn, O. Yakymova and H. Sarvash provide the educational process. Quality function of education workshops is provided by their heads such as Y. Uhryn, B. Levkiv, R. Yakubovych, L. Lytvyn, L. Sikach. The workshops of the Department became the basis for performance of creative works by the students within the frames of the Symposiums 1992-2010, and in 2013, 2016 and 2019 the main platform for performance by the foreign participants.

The groups of young artists from Russia, Hungary, Latvia Lithuania, Belarus, Poland, France, Slovakia and Ukraine took part in the student minisymposium. The participants presented their works along with the professional artists at the final exhibition at the National Museum in Lviv. Constant participation of the students of Lviv Academy in the International Blown Glass Symposiums in Lviv along with the colleagues from foreign higher education institutions sufficiently influenced the attitude of the young generation to the formation of an author's idea, determination of artistic goals, and even the quality of carrying out the tasks. Aesthetic values fell under reinterpretation, and, first of all, the ideological and figurative content was preferred. That very factor, which is significant for Ukrainian decorative art of the post-Soviet period, had its ambiguous influence on the development of educational process of higher art school. The longterm process, starting with the Symposium 1992, initiated and introduced the changes into scientific and methodological approach to train the glass artists in LNAA. In the early 90s of the last century, such students as V. Zmiievets, A. Kurylo, S. Korsai, O. Datsiuk, R. Dmytryk, V. Lavnyi and many others, and then the students of further graduations such as O. Voronko, O. Furdiiak, A. Petrovskyi, etc. distinguished by their projects, which were revolutionary at those times. It was actually caused by the appearance in artistic environment of glass artists the notion of a conceptual work, and thus the extraordinary work performance and an individual interpretation of the task.

The information base of that time that would reflect the newest trends in world glassmaking, the dynamic development of which was during the period of the 80-90s, was limited to several copies of German Neues Glas, Czech Glass Review and GAS News, the bulletin of American Glass Art Society. The symposiums, instead, became a living visual material, a new generation of artists has grown on them, for whom today, just in 30 years, the concept “glass art” is not comprehended other than the conceptuality, individuality of composition and descriptive load.

It is also necessary to remark that simultaneously with the change in the character of performing student semester works and final projects, the curriculum-methodological content of educational process has changed towards gradual tendency for figurativeness at specialized Department of LNAA. However, these changes had a negative component as well: during two last decades there was a step- by-step transition to the formulation of conceptual tasks, organizing the apparatus of visual-image of thinking to the ideological interpretation of the conditions made. Further the tasks of applied character were almost completely excluded from the curriculum of training the specialists on all educational levels, and the tasks for product design for glassmaking enterprises were absolutely eliminated. As a result, even such “down-to- earth” task as glass jewellery was often performed during a long period of the 2000-2010s not as a potential applied object, but a conceptual work of art weighing even several kilograms. The changes were so radical, though they happened entirely evolutionary, that a classic “glassware set” or a “flower vase” have dropped from the curriculum at all. As a result, in 2009-2011, Halytske Sklo Company, during its function, could not find among the graduates of LNAA and employ a designer for performing a new collection of blown glass products.

Certainly, this process of changing the character of educational process occurred at the same time with the gradual decay of glassmaking industry in Ukraine, and thus with the lack of the base for having a practice and obtaining production experience by the young specialists. Instead, it is necessary to pay attention on the fact that at the gradual revival of glassmaking field, an extremely burning question of lack of professional designers will be risen. Then the process of forming competitiveness will last for many years or will be much more expensive as it will be the necessity to hire foreign specialists. Because of the lack of industrial production, today there is no base to train glass blowers or experienced specialist-designers. With passing away of professional glass blowers, who were the designers of glass products at their time, the era of the development of Ukrainian glass blowing will be finished. Halytske Sklo Company was the last advanced post of Lviv glass blowing traditions and was aimed at educating the next generation of the specialists - both artists and glass blowers.

The program and methodological content of today's educational program of “glass art” provides a choice between two courses: “author's glass” and “glass art design”, where the latter is formed with the purpose to prepare a professional designer of products of glassmaking enterprises. Surely, the process of improving the discipline program takes some time, because more than one decade of both artistic and technological progress has been lost. In order to develop the framework criteria of the discipline, obtain European experience, reinterpret and adapt to Ukrainian realities, the design has been selected as one of the directions of one more international project, supported by the Ukrainian Cultural Foundation, I International Residence “European Glass Education”.

Creation of constant platform for exchanging the experience between European art education institutions, reforming and implementing the innovations, latest technologies, unification of educational processes with European ones with direct involvement of leading foreign specialists is an urgent task in the midst of higher education reform in Ukraine. Holding the Residence with the participation of experienced and young Ukrainian and distance European glass artists will promote to get the experience of neighbouring countries in adapting the educational process to contemporary conditions, improving the technological processes in training and production workshops, developing the important scientific-methodological materials and, first of all, forming the collection of author's works, which will serve as a significant visual methodological fund for staff training. The project is an interdisciplinary nature, and the practical and scientific-theoretical results of its implementation will have both short-term and a long-term influence on the development of decorative art field and higher art education in Eastern Europe.

Glass blowers work with the material that has exceptional qualities of transparency and light transmission. That is why they need peculiar skills of material transformation by graphical means and developed spatial thinking. The program of basic artistic disciplines of “glass art” educational program is formed taking into account the necessary specificity. It is also worth noticing that it is directed to develop visual or constructive thinking, according to the chosen specialized area. If drawing, painting and sculpture are three “elephants”, on which all artistic disciplines are based, here this triad is completed with computer- assisted design, without which the artist cannot feel comfortable in the modern world. The discipline is taught on modern equipment, with an enhanced course of 3D modelling.

Under normal working conditions, which are usual for us and draw us in the abyss of routine lacking of initiative, certain innovations and new approaches can seem to be too radical or even inappropriate. For example, refusal to perform the projects in traditionally manual way, public defence of semester assignments in form of presentations, expansion of the scope of the discipline of computer-assisted design by reducing the number of hours for academic disciplines or presence of the students at the Department reviews were questioned or even criticized more than once. However, recent circumstances concerning the quarantine that made to transfer the whole educational process into experimental remote mode, became a litmus test to check if innovation implementation is correct. Defencing the projects for bachelor's qualification in summer 2020, where the students engaged on final projects showed their obtained skills of visualization of volumetric and spatial and plane compositions by means of computer design, the ability to demonstrate an idea and sequence of the project implementation were the clear evidences of this.

For decades, the staff of the Department keeps in touch with glass artists all over the world, joins in organizing the international symposiums and exhibitions, meetings with students, lectures, masterclasses with the most famous artists in the world. Accordingly, the graduate must be proficient in a foreign language to fully participate in cultural processes of the world community. The Glass Art Department is the only one at LNAA, where Foreign Language is taught during the full course of study at the bachelor's level, and during last semesters the level of professional vocabulary is enriched. The current challenges of functioning of the national school of artistic glassmaking includes one more important issue concerning the future of blown glass and the absence of the base to train the following generations of glass blowers in Eastern Europe in general. An American artist, virtuoso glass blower and design engineer of hot glass furnaces, M. Ekstrand rose this topic in his report during the conference at the 10th International Blown Glass Symposium in Lviv in 2016. According to the artist, just in Seattle (USA) there are 24 blown glass workshops today. And what is the situation in Eastern Europe? Only on the territory of Poland and the Czech Republic a few blown glass enterprises, where art glass is made and new glass blowers are constantly trained. In addition, M. Ekstrand underlined that in every American educational institution of different levels, where glass blowers are trained, the students are obviously and thoroughly trained in glass blowing skills. This way, every artist is proficient in using a glass blowing pipe. Continuing his report, he put some questions to the participants of the conference: “Does a glass artist have the right to sign his own work, if it was made by a glass blower, but not by the author himself?” Supporting the discussion, J. Robaszewski (Poland) and A. Munkevica (Latvia) expressed that the glass blower is here as a craftsman. The author of the idea and thus of the work is the artist. Taking into account that women students predominate at the Glass Art Department, the question of mastering the skills in glass blowing is not relevant today. At the same time, there is no technical possibility to provide the necessary number of hours for practicing, and bringing up a qualified glass blower requires extremely long intensive training.

Among the questions posed by the Department, there is learning the techniques that remain till now outside the educational process: cold optical glass finishing, pate de verre, indoor sculpture. Paradoxically, but that are those processing techniques, which most European educational institutions pay attention to, when a hot glass furnace is almost an unattainable dream of every practicing student. It was not so long ago, when thermal shaping technique was the alternative to hot glass furnace technique, which was depended on the availability of muffle furnaces, today we are slowly walking step by step towards its complete mastering. In hard times, where there was no possibility to perform semester works at hot glass furnace, thermal shaping was the only way allowing students to take part in work with hot glass. Among the most significant tasks we have today is to work over the educational system according to the principle of training and creative workshops. Selecting the structure and the scheme of studio activities, as well as creating the mechanism of transition from the existing system of group distribution by the year of study only are not determined until the present day. Transition of the educational process into training and creative workshops of correspondent model is in prospect now: author's (professor's, teacher's), technological (according to the outlined technology), by the art directions, etc. will create healthy internal competition that, first of all, will promote the development of scientific-pedagogical potential of the Department.

Not less significant tasks in near prospect include the inclusion of disciplines into the curricula of all educational levels, which are directed to get the knowledge in the scope of contemporary art practices (performance, installation, media art, etc.) using glass art; implementation of tasks on optical glass processing, product decoration with engraving, thermal shaping with pate de verre and so on, as well as adapting the material-technical state of the workshops existing at the Department to introduce the mentioned techniques of processing. Today the art education of Ukraine faces new challenges, connected with the implementation of updated legislation, adaptation to the requirements of Bologna system and integration into international educational structures. Thanks to 30-year activity of the International Blown Glass Symposiums in Lviv, we have managed to establish constant contacts with educational institutions of many countries. It simultaneously allowed forming the methodical content of educational process taking into account the most current trends in glass art. Within the frames of the last symposiums in 2016 and 2019, the international scientific and practical conferences took place, where the reports of professors and heads of the glass art departments of various higher educational institutions were of extremely important character: Alfred University, USA (A. Powers, J. Ronner), the Art Academy of Latvia, Riga (I. Audere, A. Munkevica), Vilnius Academy of Arts, Lithuania (P. Rainys, I. Stulgaite), Anadolu University, Turkey (E. Kula, U. Akbey), the Estonian Academy of Arts, Estonia (M. Saare, P. Rudas), School of Art, Design and Architecture of Aalto University, Finland (K. Nakada), Azerbaijan State Academy of Arts (A. Zekiiev).

At the same time, the implementation of the project of the I International Residence “European Glass Education” participated by the representatives of the glass art departments of Eastern European countries will have significant long-lasting results, which will be tangible during next years. The creative works performed by the participants will be duly processed, and using visual and multimedia material, an exhibition project will be formed taking into account the possibility to exhibit it in various locations in Ukraine and abroad. Visual material (photos, videos, catalogues) will be served as an important source to work up the tasks within the educational process and a promotion of the event itself and the Department in general. Holding regular online meetings during several years (at least 3-4 times a year) will promote the actualization of the Residence work. Newly created, equipped in accordance with the modern requirements gallery space will allow presenting the results of current educational process and other cultural-artistic projects in the field of glass art. The scientific-methodological guidelines and handbook published offline and online will become an updated point to form and edit the textbook on discipline of Design of Art Glass in the nearest prospect.

The introduction of such work at other departments of LNAA will be a long-lasting result of realization of the mechanism of transferring the education process structure according to the principle of creative workshops. Further, this initiative will promote the modernization of general structure of the Academy and transition from the post-Soviet model (according to the material or technique of artistic work performance) to the current schemes by the directions of art (imaging, decoration, design, etc.).

The introduction of new disciplines of Contemporary Art Practices to the curriculum of Glass Art educational program will influence the quantitative indicators of admission process of next years (the results of student admission for newly created educational program of Contemporary Art Practices in 2018-2020 have a positive dynamics and distinguish with their high level of competition). The improvement of learning and practice workshops and the implementation of new techniques of processing will extend the range of opportunities for the participants of future cultural- artistic and educational projects, in particular, the International Blown Glass Symposiums in Lviv. It will influence at the same time the qualitative and quantitative indicators of the results of the artists and students' activity and will add the collection of accumulated author's works with compositions made in other techniques of art glass processing. Conclusions. It is possible to sum up the work of the Glass Art Department of Lviv National Academy of Arts in the multifaceted way: as the centre of forming and training a contemporary glass artist, as an interesting “artistic project” lasting in time and being an integral part of sociocultural space of contemporary art of Ukraine; as the platform to popularize Ukrainian glass art in the world and for acquainting of artistic environment of Ukraine with the achievements of the world glassmaking. Preservation the traditions of Lviv glass blowing and their development in practical plane is an urgent task facing today the specialists of various fields. The artists, on whom the future of contemporary glass art in Ukraine mostly depends, shall have the key role in this process. The support of centuries-old traditions, development of the heritage of the pedagogues of past generations, modernization of material and technical base and, first of all, modernization of the methodological support of the Glass Art Department of LNAA are those factors that will influence the functioning of Ukrainian glass art in the future and integration into international art community.

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