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    Wyświetlanie 1-8 z 8
    Tytuł:
    Notes to Continue Thinking about Feminist Artivism in Mexico
    Autorzy:
    Noriega Vega, Cecila Itzel
    Pardo Ibarra, Una
    Powiązania:
    https://bibliotekanauki.pl/articles/50673160.pdf
    Data publikacji:
    2024-08-02
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    feminist artivism
    Mexico
    feminist aesthetic-political practice
    historiography of art
    Opis:
    Despite the large number of feminist artistic practices in Mexico that clearly ascribe to women’s rights and the fight against gender violence, there is a historiographical problem regarding the use of a term capable of accounting for the social impact of these practices. Therefore, one may suggest analysing the plurality of terms to understand the increasingly present use in Mexico in recent years of the term feminist artivism. We identify how the use of the term evokes a diversity of cultural agents that may or may not be linked to the world of art, which requires its own discussion so that we might understand the scope and limitations of these artistic practices and how we study them. One of the main problems is the development of feminist artivism in the context of neoliberalism and globalisation, where some artistic practices can be ascribed to this term but can end up contributing to mercantilist logic. Likewise, there are many subversive actions with aesthetic potential that this term omits, which force us to rethink artistic frameworks. Thereby, as a way of offering a term that seeks to account for the characteristics of current art, we propose incorporating the concept of feminist aesthetic-political practices. It is not our intention to offer an unequivocal and unstable category but rather to show the complexity that goes through the artistic and cultural practices that are positioned by feminism today. Finally, as far as methodology is concerned, we suggest writing based on situated knowledge and acknowledging the potential of oral history. Also, we try to give voice to a plurality of stories and experiences, from different disciplinary fields and to establish intergenerational dialogues, as an exercise in collaborative reflection, or accompanied thought, that allows us to raise the problem in its complexity.
    Źródło:
    Ikonotheka; 2023, 33; 163-182
    0860-5769
    Pojawia się w:
    Ikonotheka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    On Belatedness. The Shaping of Portuguese Art History in Modern Times
    Autorzy:
    Pinto dos Santos, Mariana
    Powiązania:
    https://bibliotekanauki.pl/articles/909494.pdf
    Data publikacji:
    2019-12-15
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    belatedness
    historiography
    modernism
    civilisation
    eurocentrism
    periphery
    Opis:
    Portuguese art history experienced remarkable development after World War II, especially with the work of José-Augusto França, who was responsible for establishing a historiographic canon for nineteenth- and twentieth-century Portuguese art that still endures. José-Augusto França developed a narrative that held Paris up as an artistic and cultural role model in relation to which he diagnosed a permanent delay in Portuguese art. This essay analyses França’s idea of belatedness in the context of Portuguese art historiography and political history and how it is part of a genealogy of intellectual thought produced in an imperial context, revisiting previous art historians and important authors, such as Antero de Quental and António Sérgio. Moreover, it aims to address how the concept of belatedness was associated with the idea of “civilisation” and the idea of “art as civilisation.” Belatedness also has implications in the constraints and specificities of writing a master narrative in a peripheral country – a need particularly felt in the second half of the twentieth century, to mark a political standpoint against the dictatorship that ruled from 1926 to 1974. Part of the reaction to fascism expressed the desire to follow other nations’ democratic example, but the self-deprecating judgements on Portuguese art were frequently associated with the identification of essentialist motifs – the “nature” of the Portuguese people, their way of thinking, of living, their lack of capacities or skills – and of a self-image of being “primitive” in comparison with other European countries that has antecedents going back to the eighteenth century. I will address the nostalgia for the empire and the prevailing notion of belatedness throughout the twentieth century regarding unsolved issues with that nostalgia.
    Źródło:
    Artium Quaestiones; 2019, 30; 37-64
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Towards the Theory of the Naïve Art – Grgo Gamulin and the Understanding of Modernism
    Autorzy:
    Mance, Ivana
    Powiązania:
    https://bibliotekanauki.pl/articles/909528.pdf
    Data publikacji:
    2019-12-20
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Grgo Gamulin
    Croatia
    naïve art
    modernism
    art theory
    art historiography
    Opis:
    The article presents the theory of naïve art of the Croatian art historian Grgo Gamulin (1910–1997), which he developed in a number of texts written from early 1960s. In his theory, Gamulin tried to explain the phenomenon of naïve art on the basis of the modernist paradigm by applying the type of argumentation that is characteristic for the discourse of high-modernity. Gamulin’s postulates on the naïve can be summarised with a few basic lines of speculation. First of all, Gamulin claims that the phenomenon of the naïve was epistemologically possible only in the context of modernism, and that it should therefore be considered an equally valuable movement of contemporary art. However, in order to defend its authenticity, he began adhering to the ab ovo theory, the notion that naïve art does not arise as a cumulative result of the historical development of art, but that it ontologically precedes that development. The naïve artist, according to Gamulin, always starts from the beginning, independent of events in the art world, and immune to influences. A naïve artist is therefore necessarily authentic, or rather original: not having any role models, he develops an individual style, independently building his own visual arts language. Gamulin further posits that the visual arts language of the naïve is not based on a naive imitation of reality, or mimesis, but on an instinctive, spontaneous symbolisation of subjective experience, and as such is completely autonomous in relation to the laws of reality, i.e. it is ontologically grounded in the artist’s imagination. Finally, in an effort to explain the social significance of naïve art, Gamulin interprets the emergence of the naïve in the context of the culture of modernism as compensation – a supposedly naïve attitude to aesthetic norms, as well as an imaginarium that evokes “lost spaces of childhood,” necessarily functions as a therapeutic substitute for the alienation of art and the modern life in general. As such, Gamulin’s theory vividly testifies to the character of naïve art as a phenomenon that is constitutive of the culture of modernism, but that also reflects a number of contemporary polemics and split opinions, not only on the topic of the naïve but of modernism as a whole. The split of opinions on naïve art, especially with regard to its genesis, partly reflects the positions of the so-called conflict on the left, discussions that were taking place between the interwar period and early 1950s with the aim of defining the relationship of leftist ideology to modernism, or rather the relationship between the values of socially-critical engagement and aesthetic autonomy. The discussion on the naïve, however, experienced a certain changing of sides– Grgo Gamulin, a one-time advocate for socialist realism, began supporting naïve art and thus rose to the defence of basically liberal understanding of modernism, while former opponents of socialist realism denounced the phenomenon of the naïve as ideologically inconsistent and aesthetically doctored. In conclusion, Gamulin’s theory, as well as the entire polemic around naïve art that was taking place during the 1960s and which the theory necessarily ties in with, demonstrates the complex contextual reality of a seemingly integral modernist paradigm, illustrating the confrontation of positions that is by no means peculiar to Yugoslav society.
    Źródło:
    Artium Quaestiones; 2019, 30; 191-209
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Temptation, Resistance, and Art Objects: On the Lack of Material Theory within Art History before the Material Turn
    Autorzy:
    Krispinsson, Charolotta
    Powiązania:
    https://bibliotekanauki.pl/articles/909475.pdf
    Data publikacji:
    2019-05-07
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Niccolò di Pietro Gerini
    the material turn
    art historiography
    connoisseurship
    visual culture studies
    new art history
    fetishism
    Opis:
    Niccolò di Pietro Gerini's painting “The Temptation of Saint Anthony” (1390-1400) serves as a point of departure for this essay. It depicts Saint Anthony during a lapse of self-control as he attempts to resist an alluring mound of gold. Since the mound is in fact made of genuine gold leaves applied to the painting's surface, it works both as a representation of temptation as well as an object of desire affecting the beholder. The aim of this essay is to explore different approaches to materiality before the material turn within the art history discipline by examining two opposing directions within the writing and practice of art history:  the tradition of connoisseurship; and the critique of the fetish within the theoretical apparatus of new art history and visual culture studies of the 1980s and 90s. As an expression of positivism within art history, it is argued that connoisseurship be considered within the context of its empirical practices dealing with objects. What is commonly described as the connoisseur's “taste” or “love for art” would then be just another way to describe the intimate relationship formed between art historians and the very objects under their scrutiny. More than other humanist disciplines, art history is, with the possible exception of archaeology, an object-based discipline. It is empirically anchored in the unruly, deep sea of objects commonly known as the history of art. Still, there has been a lack of in-depth theoretical reflection on the materiality of artworks in the writings of art historians before the material turn. The question however, is not ifthis is so, but rather, why?In this essay, it is suggested that the art history discipline has been marked by a complicated love-hate relationship with the materiality of which the very objects of study, more often than not, are made of; like Saint Anthony who is both attracted to and repelled by the shapeless mass of gold that Lucifer tempts him with. While connoisseurship represents attraction, resistance to the allure of objects can be traced to the habitual critique of fetishism of the first generations of visual culture studies and new art history. It reflects a negative stance towards objects and the material aspect of artworks, which enhanced a conceived dichotomy between thinking critically and analytically in contrast to managing documents and objects in archives and museum depositories. However, juxtaposing the act of thinking with the practice of manual labour has a long tradition in Western intellectual history. Furthermore, it is argued that art history cannot easily be compared to the history of other disciplines because of the simple fact that artworks are typically quite expensive and unique commodities, and as such, they provoke not just aesthetic but also fetishist responses. Thus, this desire to separate art history as a scientific discipline from the fetishism of the art market has had the paradoxical effect of causing art historians to shy away from developing methodologies and theory about materiality as an act of resistance. 
    Źródło:
    Artium Quaestiones; 2018, 29; 5-23
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    “1945” as a Turning Point in German Art History? Challenging the Paradigm of Rupture and Discontinuity
    Autorzy:
    Fuhrmeister, Christian
    Powiązania:
    https://bibliotekanauki.pl/articles/909534.pdf
    Data publikacji:
    2019-12-20
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Coming to terms with the Nazi past
    historiography
    history of art history (in Germa-ny)
    issues of post-totalitarian academia
    art and politics
    Opis:
    The historiographical article looks at “1945” as a turning point, inquiring whether the end of both the Second World War and National Socialism also implied a radical break for art history in Germany. In evaluating both contemporary perspectives (like Herbert von Einem’s opening lecture of the First German Art Historians Meeting in 1948) and recent historiographical studies, the paper questions the concept of “Stunde Null” or “hour zero,” and intends to challenge the established paradigm of rupture and discontinuity. Arguing for a more nuanced and holistic understanding of the transformation processes in the postwar situation, three major reasons are identified why simplistic categorizations often prevail: (1) a very narrow definition of the art historian in the history of art history, (2) the disjunction between the humanities and the larger political context, which allow the individual to imagine himself/herself untainted and uncompromised by ideology, and (3) the high degree of continuity, in particular if compared to the radical changes that took place in 1933. The article thus resumes that the idea of “turning points” deserves further differentiation, and calls for the integration of the political dimension into historiography. Essentially, the challenge remains to distinguish between factual processes, false or fraudulent labelling, and symbolic gestures.
    Źródło:
    Artium Quaestiones; 2019, 30; 123-135
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Toward a New Concept of Progressive Art: Art History in the Service of Modernisation in the Late Socialist Period. An Estonian Case
    Autorzy:
    Kodres, Krista
    Powiązania:
    https://bibliotekanauki.pl/articles/909522.pdf
    Data publikacji:
    2019-12-20
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Socialist art history and historiography
    Soviet studies
    Thaw era and modernisation
    centre (Moscow) and periphery (Estonian SSR) relations
    art and ideology
    progressiveness in art
    Opis:
    The paper deals with renewal of socialist art history in the Post-Stalinist period in Soviet Union. The modernisation of art history is discussed based on the example of the Estonian Soviet Socialist Republic (Estonian SSR), where art historians were forced to accept the Soviets’ centrally constructed Marxist-Leninist aesthetic and approach to art and art history. In the art context, the idea of progressiveness began to be reconsidered. In previous discourse, progress was linked with the “realist” artistic method that sprang from a progressive social order. Now, however, art historians found new arguments for accepting different cultures of form, both historical and contemporary, and often these arguments were “discovered” in Marxism itself. As a result, from the middle of 1950’s Soviet art historians fell into two camps in interpreting Realism: the dogmatic and revisionist, and the latter was embraced in Estonia. In 1967, a work was published by the accomplished artist Ott Kangilaski and his nephew, the art historian Jaak Kangilaski: the Kunsti kukeaabits – Basic Art Primer – subtitled “Fundamental Knowledge of Art and Art History.” In its 200 pages, Jaak Kangilaski’s Primer laid out the art history of the world. Kangilaski also chimed in, publishing an article in 1965 entitled “Disputes in Marxist Aesthetics” in the leading Estonian SSR literary journal Looming (Creation). In this paper the Art Primer is under scrutiny and the deviations and shifts in Kangilaski’s approach from the existing socialist art history canon are introduced. For Kangilaski the defining element of art was not the economic base but the “Zeitgeist,” the spirit of the era, which, as he wrote, “does not mean anything mysterious or supernatural but is simply the sum of the social views that objectively existed and exist in each phase of the development of humankind.” Thus, he openly united the “hostile classes” of the social formations and laid a foundation for the rise of common art characteristics, denoted by the term “style.” As is evidenced by various passages in the text, art transforms pursuant to the “will-to-art” (Kunstwollen) characteristic of the entire human society. Thus, under conditions of a fragile discursive pluralism in Soviet Union, quite symbolic concepts and values from formalist Western art history were “smuggled in”: concepts and values that the professional reader certainly recognised, although no names of “bourgeois” authors were mentioned. Kangilaski relied on assistance in interpretation from two grand masters of the Vienna school of art history: Alois Riegl’s term Kunstwollen and the Zeitgeist concept from Max Dvořák (Zeitgeist, Geistesgeschichte). In particular, the declaration of art’s linear, teleological “self-development” can be considered to be inspiration from the two. But Kangilaski’s reading list obviously also included Principles of Art History by Heinrich Wölfflin, who was declared an exemplary formalist art historian in earlier official Soviet historiography. Thaw-era discursive cocktail in art historiography sometimes led Kangilaski to logical contradictions. In spite of it, the Primer was an attempt to modernise the Stalinist approach to art history. In the Primer, the litmus test of the engagement with change was the new narrative of 20th century art history and the illustrative material that depicted “formalist bourgeois” artworks; 150 of the 279 plates are reproductions of Modernist avant-garde works from the early 20th century on. Put into the wider context, one can claim that art history writing in the Estonian SSR was deeply engaged with the ambivalent aims of Late Socialist Soviet politics, politics that was feared and despised but that, beginning in the late 1950s, nevertheless had shown the desire to move on and change.
    Źródło:
    Artium Quaestiones; 2019, 30; 211-223
    0239-202X
    Pojawia się w:
    Artium Quaestiones
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Wherefore Art Thou? On the History, State and Prospects of Czech Epigraphy
    Autorzy:
    Roháček, Jiří
    Powiązania:
    https://bibliotekanauki.pl/articles/603519.pdf
    Data publikacji:
    2016
    Wydawca:
    Polska Akademia Nauk. Instytut Historii im. Tadeusza Manteuffla PAN w Warszawie
    Tematy:
    epigrafika
    historiografia
    zabytkowe nagrobki
    metodologia
    Republika Czeska
    epigraphy
    historiography
    sepulchral monuments
    methodology
    Czech Republic
    Opis:
    Zarys treści: Autor omawia pokrótce stan badań nad czeską epigrafiką i wskazuje ich perspektywy na dalszą przyszłość.Abstract: The author shortly describes the state of research on the Czech epigraphics; he shows the perspectives of these research for the future.
    Republika Czeska nie stoi na czele europejskich badań na polu średniowiecznej i nowożytnej epigrafiki. Mimo to jest w stanie zaprezentować interesujące i wartościowe rezultaty, zwłaszcza jeśli wziąć pod uwagę ograniczone zasoby czeskiej epigrafii. Udostępnianie czeskich inskrypcji ma długą tradycję, poczynając od licznych średniowiecznych działań, poprzez okres wczesnonowożytny i nowożytny. Jakie możliwości na przyszłość rysują się dla rozwoju czeskiej epigrafiki? Możemy rozważyć rozwiązanie uniwersyteckie jako w zasadzie wystarczające, ale wciąż pozostaje problem dostępnej kadry i osadzenia instytucjonalnego. Zwłaszcza katalogowanie i szersze syntezowanie stanowią naglący problem. Wiąże się to z życiowo ważnym społecznym „żądaniem”, do którego epigrafika musi podejść czynnie. Zwłaszcza współpraca z historykami sztuki i powiązanie badań epigraficznych z badaniami nad pomnikami nagrobnymi mogą okazać się tu szczególnie produktywne.
    Źródło:
    Studia Źródłoznawcze. Commentationes; 2016, 54
    0081-7147
    Pojawia się w:
    Studia Źródłoznawcze. Commentationes
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    “Slavic” or “Germanic Spirit”? Examples of the Ideologisation of Arcades in Research on Architecture in the 19th and 20th centuries
    Autorzy:
    Gliński, Radosław
    Powiązania:
    https://bibliotekanauki.pl/articles/50670415.pdf
    Data publikacji:
    2022-09-22
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    medievalism
    arcade architecture
    arcades
    art historiography
    Polska
    West Prussia
    Silesia
    Lesser Poland
    Lublin Province
    Opis:
    Travelling across present-day Poland, it is only exceptionally possible to come across a specific type of historic urban and rural houses with a ground-level section open on three sides and supported on columns or posts. Yet still in the first half of the 20th century, in some areas of Europe this type of a house was commonly found, and already a century earlier it had intrigued researchers investigating among other things, its origins of development. Within the current borders of Poland, arcaded houses are found in greater concentration in territories that in the past belonged to different political organisms and thus their research was conducted with the adoption of different optics. It is noteworthy that arcades were easily subjected to various more or less conscious manipulations in order to justify their native character, sometimes understood as belonging to particular peoples, regions, nations or even races. The paper provides hypothesis that arcades are a construction element extremely liable to ideologisation. In order to illustrate this problem, the paper presents methods of interpreting the origin of arcades in former East and West Prussia, Silesia, Lesser Poland and Lublin Province in the period from almost the beginning of the 19th century, when researchers started to be interested in this element, until 1939 when Erich Kulke’s book was published, which was the clearest result of arcades’ ideologisation. These interpretations were divided into a few main groups, which made it possible to compare the narratives and to show how the same arguments could lead to different conclusions. Unique issues, characteristic only of particular regions, were also identified. Ultimately, an attempt was made to answer the question of what influenced the liablity of arcades to ideologisation. Since the authors of the research, often architects, promoted the preservation and use of arcades referring to old patterns in new developments, the question was also asked whether such developments actually occurred.
    Źródło:
    Ikonotheka; 2021, 31; 9-23
    0860-5769
    Pojawia się w:
    Ikonotheka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-8 z 8

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