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Wyświetlanie 1-2 z 2
Tytuł:
Humor i sztuka. Uwagi typ(k)ologiczne.
Humor and art. Characters and sketches
Autorzy:
Kostołowski, Andrzej
Powiązania:
https://bibliotekanauki.pl/articles/487746.pdf
Data publikacji:
2015
Wydawca:
Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
Tematy:
irony
humor
Dadaism
Marcel Duchamp
Fluxus
sensibilism
Opis:
In different historic periods, artists used the element of humor in their works of art and the results of their interest can be considered as aesthetic category. Humor was often combined with irony, self-irony, satire etc. Also, it was used as independent form. In popular and not necessarily in artistic work, humor played rather secondary role in the culture. Immanuel Kant and many later authors did not consider, however, humor-art as art-form. The Dadaists and other artists active after the 1960’s did not follow those gloomy ideas of their predecessors. As the result of that change, humor gained a new meaning. Today, the art forms which gained originality and significance because of humoristic content, are considered as important manifestations of art. Among them, special attention should be paid to art-form which gained strength because of their humor. Hence, we might say, as did Marcel Duchamp, paradoxically, that humor contributed to the seriousness of art. Also, we might highlight the role of practical joke.
Źródło:
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2015, 19; 6-24
1733-1528
Pojawia się w:
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Zejście z cokołu. Sztuka jako żart. Od Francisa Picabii do Maurizio Cattelana
Art as a Joke. From Francis Picabia to Maurizio Cattelan
Autorzy:
Dziamski, Grzegorz
Powiązania:
https://bibliotekanauki.pl/articles/487730.pdf
Data publikacji:
2015
Wydawca:
Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
Tematy:
Dada; Fluxus
ready-mades
feminism
Kamp
irony
joke
Opis:
Dada movement stripped art of seriousness, turned art into a joke, a sophisticated fun. Where there were Dadaists, there was laughter, as Hans Richter once said. Dadaists formed an opposition: bour-geois false values, over which hovered the stench of death and money – versus life. They stood on the side of life; on the side of art stripped of bourgeois seriousness. But the Dadaists also found liberated joke – a joke that served no purpose, fought against nothing and attacked nothing. ‘Entracte’ by Francis Picabia and ready-mades by Marcel Duchamp were in fact the jokes, which formed a new concept of art – art liberated from the domination of taste. Readymades had all the attributes of artwork : author, title, year of creation, audience, critics, etc., but did they become works of art? The artists are the ones who choose and force us to follow their choices, who reject good taste and that is the way they take control over art – by separating good art from bad. The joke is changing the way we think about art, pointing to the ambivalence adopted by our assumptions about the world. In an interview, Duchamp said that the public treated very seriously contemporary art. Did he want to say that it was too serious? Fluxus developed dada-like ambiguity. Where the audience expected to see art, often they received something that could be perceived as joke. The ambiguity was attributed not only to Fluxus, but virtually to the entire art of the 1960’s, as evidenced by the Kamp aesthetics. Kamp is ‘the seriousness that fails’. Kamp means a change with respect to bad art and it shows that we can play with it. In the 1960’s and the 1970’s, in the second wave of feminism, laughter returns as a weapon, as a tool to combat patriarchal culture.
Źródło:
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2015, 19; 64-88
1733-1528
Pojawia się w:
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-2 z 2

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