Informacja

Drogi użytkowniku, aplikacja do prawidłowego działania wymaga obsługi JavaScript. Proszę włącz obsługę JavaScript w Twojej przeglądarce.

English (EN)·Polski (PL)·Yкраїнський (UK)
Przejdź do strony domowej biblioteki Centralna Biblioteka Wojskowa Link otwiera się w nowym oknie Logo biblioteki Prolib Integro - strona głównaCentralna Biblioteka Wojskowa

Wyszukujesz frazę "Józef Robakowski" wg kryterium: Temat

  Lista filtrów
Wyrównaj
    Wyświetlanie 1-3 z 3
    Tytuł:
    Konceptualizm i sztuka interaktywna. Analiza polskich przykładow
    Conceptualism And Interactive Art. The Analysis Of Polish Examples
    Autorzy:
    Kluszczyński, Ryszard W.
    Powiązania:
    https://bibliotekanauki.pl/articles/424339.pdf
    Data publikacji:
    2012
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    CONTEMPORARY ART
    CONCEPTUAL ART
    CONCEPTUALISM
    WOJCIECH BRUSZEWSKI
    JÓZEF ROBAKOWSKI
    DIGITAL ART
    INTERACTIVE ART
    Opis:
    Contemporary interactive art, which is created through digital computer technologies, has its roots in the artistic trends of a new avant-garde that developed at the end of the 1950s. Conceptual art played a significant and specific role in this process along with kinetic art, action art, installation and electronic media art. It formed not only a deep logic and framework for neo avant-garde tendencies in art, but also a favourable context to develop participatory tendencies and to prepare the conceptual ground for interactive art. In this complex field of artistic genres of that time, many artworks created had features which allow us to consider them in relation to interactive art. Amongst them, we can find works of such artists as Wojciech Bruszewski and Jozef Robakowski. Their numerous installations and objects from the seventies link conceptual and analytical attitudes with interactive characteristics.
    Źródło:
    Sztuka i Dokumentacja; 2012, 6; 73-78
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Dokumentacja a horyzontalny sposób pojmowania twórczości artystycznej
    Documentation And The Horizontal Way Of Understanding Art
    Autorzy:
    Sztabiński, Grzegorz
    Powiązania:
    https://bibliotekanauki.pl/articles/424324.pdf
    Data publikacji:
    2011
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    CONCEPTUAL ART
    CONTEMPORARY ART
    DOCUMENTARY TURN
    DOCUMENTATION
    ETHNOGRAPHIC TURN
    JOZEF ROBAKOWSKI
    LAND ART
    MOCK-DOCUMENTARY
    POP ART
    YVES KLEIN
    ZBIGNIEW LIBERA
    Opis:
    The 'horisontalism' of artistic activity and reflection on art is connected with current life and surrounding reality. Their elements flow into works of art. Artworks are not examined historically (according to the history of a medium, style or individual creative evolution) but as a reaction to the network of object arrangements and functioning discourses that surround artists. Such comprehension of art has made Sztabinski introduce the concept of a 'documental turn'. Moreover, it has been depicted by him that the idea of 'documentation' is getting extended. Therefore, 'transdocumentation' appears. The term allows us to notice the specifics of such contemporary phenomena in which documentation does not only perform an informative function but also gives feedback upon what is documented. It is possible to distinguish many artistic approaches and practices within transdocumentation. One of them is a 'mock-documentary' - an ironic documentation that refers to documentary stereotypes and the audience's trust in the reliability of documents. 'Transdocumentation' as a practice and theoretical scheme, possible when understanding art 'horizontally', reveals a great potential for artistic activities and the critical practice.
    Źródło:
    Sztuka i Dokumentacja; 2011, 5; 6-15
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Dokumentowanie sztuki jako nowa praktyka artystyczna
    Documenting Art As New Artistic Practice
    Autorzy:
    Dziamski, Grzegorz
    Powiązania:
    https://bibliotekanauki.pl/articles/424336.pdf
    Data publikacji:
    2012
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    CONTEMPORARY ART
    CONCEPTUAL ART
    CONCEPTUALISM
    ART DOCUMENTATION
    DOCUMENTING
    ALLOGRAPHIC ART
    ZBIGNIEW DLUBAK
    JAN SWIDZINSKI
    JAROSLAW KOZLOWSKI
    ANDRZEJ LACHOWICZ
    JOZEF ROBAKOWSKI
    RYSZARD WASKO
    DEPICTURALISATION
    Opis:
    The most tangible feature of Polish conceptual art at the beginning of the seventies was the rejection of the old language of art (painting, sculpture) in order to reach out for a new medium of the visualisation of ideas. Andrzej Lachowicz saw in this process a transition from manual art to mental art. It was a departure from autographic art, in which artists produced their own individual sign, to allographic art, in which they perform operations on signs. Mechanical registration media (photography, film) made this transition easier and lead to ‘depicturalisation’, or in other words, overthrowing painting as the main medium of visual art and, at the same time, introduced a new art language — the language of semiology. Photography made it possible to talk about art through the language of signs, not through the former language of emotions, experiences and aesthetic values. That new language, that was used more or less aptly by artists of the 70s as: Zbigniew Dlubak, Jan Swidzinski, Jaroslaw Kozlowski, Andrzej Lachowicz, Jozef Robakowski and Ryszard Wasko, turned out to be a significant feature highlighting Polish conceptual art. Photography and sign mutually supported each other in the battle with the old ideas of art. A negative point of reference for the new art language became phenomenology. Phenomenologists take signs as reality, wrote Jan Swidzinski. This mistake was avoided by structuralism, which operates through a neutral and arbitral (systematic) concept of a sign. A sign has an operational character, it is used to explore reality, it also allows for the reformulation of questions posed for art. Instead of wondering about the ways in which art reflects reality, we may ask a different question: how reality is understood by art, what actions are needed to be executed for the process of understanding to take place and, finally, what limits the process? Conceptual art did not devise such a new art formula and one may doubt whether it was its aim. It changed, however, the language which we use to talk about art. It drew artists' attention to the processes of sign-posting, to how art functions in the world of signs. The artists may freely use all available signs, they may transform old signs into new ones (secondary signs), they may give them new meanings through manipulation of the context and discover more or less overt mechanisms of encoding signs that are the discourses hidden behind them. Those discoveries became a permanent contribution of conceptual art to contemporary art practice: thanks to them contemporary art appears to be different than art from before a conceptual turn. Its most important consequence, however, is replacing artworks with art documentation.
    Źródło:
    Sztuka i Dokumentacja; 2012, 6; 21-27
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-3 z 3

      Ta witryna wykorzystuje pliki cookies do przechowywania informacji na Twoim komputerze. Pliki cookies stosujemy w celu świadczenia usług na najwyższym poziomie, w tym w sposób dostosowany do indywidualnych potrzeb. Korzystanie z witryny bez zmiany ustawień dotyczących cookies oznacza, że będą one zamieszczane w Twoim komputerze. W każdym momencie możesz dokonać zmiany ustawień dotyczących cookies