Creative environment of the artist's Studio as a cultural phenomenon

Features of interaction of the creator with space of a creative workshop as a necessary condition of creation of the work of art in many respects the development of art creativity caused by all history are shown in article. The comparative analysis of those phenomena in modern Russian art practice which indicate continuity in the organization of creative workshops since opening of Academy of Arts in St.-Petersburg is carried out. The role of the Union of artists and Art fund of the USSR in the organizations of professional activity of the artist, positive and negative sides of the period of the state providing artists is considered. This perspective is studied in the context of a problem of change of the status of the modern artist during the Post-Soviet period and activization of his personal creative strategy. These questions are opened on the example of the organization of a workplace of the artist according to new social conditions, the embodiment of art traditions in modern models of the creative environment is analyzed. The precedent of creation of the universal environment by the Russian artistceramist Yury Novikov in Sochi which includes a creative workshop, showroom and the inhabited environment is considered. The ceramic workshop is created by the artist for itself in hard time of devaluation of values and destruction of culture, in the 90th years. Then the system of art plants and funds with various production workshops of arts and crafts and monumental art has been actually destroyed in our country. The creative unions have been deprived of the state support. Profound production and technological knowledge has helped to create a ceramic workshop with a full cycle of production of art ceramics. As a result of a research of this subject, the most characteristic signs of the organization of the universal creative environment of a workshop have been revealed as the special sacral space identifying the modern Russian artist bases of design of the universal environment on the example of his everyday life are opened. It has allowed to comprehend an art studio not as the place of creative asceticism, and as special cultural space, as the place of formation of cultural meanings, to show change of a role of art in the Russian cultural life and the status of the artist in Post-Soviet Russia who is connected with his personal initiatives and strategy now. Practically all art of modern Russia where among duties of the artist, responsibility for itself and for the activity which can't be shifted neither to the government, nor to the creative union is main is based on similar Post-Soviet mentality. Nevertheless, there is an urgent need of revival of Art funds in our country that is connected first of all with a problem of maintaining traditions arts and crafts and monumentally arts as to create a personal workshop with all technological processes, not all artists can do.

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