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    Wyświetlanie 1-7 z 7
    Tytuł:
    Ancient and contemporary benin bronze – differences and similarities: the content, context and the journey so far
    Autorzy:
    Egwali, Franklyn
    Powiązania:
    https://bibliotekanauki.pl/articles/423181.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet w Białymstoku. Wydawnictwo Uniwersytetu w Białymstoku
    Tematy:
    art
    sculptures
    forms
    artistic level
    Opis:
    In recent times several features have emerged as regards the contemporary sculptures of Benin. These features have either overtly or covertly created the differences between the ancient and contemporary bronze sculptures of Benin. These unfortunate features includes (1) careless finishing, (2) contemporary bronze are heavier, (3) themes are repeated, (4) lack deep storylines, (5) most times, bronze antiques are forged, and (6) most lack sensitive commanding forms. Indeed, these are the traits which made ancient Benin bronze sculptures resonate, reverberate and resound both in ancient and contemporary time. What therefore should be done to move the contemporary Benin bronze sculptures to a higher artistic level is what this paper seeks to appraise and critically establish.
    Źródło:
    IDEA. Studia nad strukturą i rozwojem pojęć filozoficznych; 2016, 28/1; 319-332
    0860-4487
    Pojawia się w:
    IDEA. Studia nad strukturą i rozwojem pojęć filozoficznych
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    The Feature in Radio – the Elusiveness of the Genre’s Determinants. Notes on the Prix Europa Festival in the Years 2012 and 2013 in the Context of Literary Genetics
    Autorzy:
    Bachura-Wojtasik, Joanna
    Klimczak, Kinga
    Powiązania:
    https://bibliotekanauki.pl/articles/649677.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    feature
    artistic radio
    Prix Europa Festival
    Opis:
    The goal of the article is to answer the question: what do radio broadcasters in the West understand to be a ‘feature’? A lack of clarity in terminology in this respect was especially visible during the Prix Europa 2012 and 2013 festivals. The article begins with an outline of the term ‘feature’, followed by discussion of relevant festival categories, and ending with a presentation of several selected audio examples that indicate both the characteristics of the genre and cases where, in spite of divergences from these qualities, the term ‘feature’ continues to function.
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Polonica; 2016, 35, 5
    1505-9057
    2353-1908
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Polonica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Sekcja 2. Performowanie relacji. Transdyscyplinarność współczesnych działań artystycznych. Wstęp
    Section 2. Performing relationships. The transdisciplinarity in contemporary artistic practices. Introduction
    Autorzy:
    Zaluski, Tomasz
    Powiązania:
    https://bibliotekanauki.pl/articles/424373.pdf
    Data publikacji:
    2016
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    performowanie relacji; transdyscyplinarność;
    performing relations; transdisciplinarity; contemporary artistic practices
    Opis:
    In recent years transdisciplinary tendencies have been growing increasingly stronger in Polish culture. They can no longer be reduced to intermedial or transmedial practices within the field of visual arts. Rather, they consist of transgressing and extending the borders of different fields of cultural production and their respective institutional circuits. Visual artists have been trying to enter the field of movie production and use the professional work conditions it offers together with their specific sensibilities, ways of thinking and habits. Another important factor is distribution within the movie industry field – an opportunity to reach a different and potentially larger audience than the one that visits art galleries and museums. This trend which was described – in a somewhat exaggerated manner – as “the cinematographic turn” in Polish contemporary art is really one part of a more general phenomenon. A few years ago “the performative turn” was announced. A bit later it was followed by “the audio turn”. Today it is probably the right moment to start a discussion about an analogical “theatrical” or “choreographical” turn. The point is, however, to recognise that all these “turns” in visual arts are elements of a more comprehensible configuration and they develop according to similar lines. The transdisciplinary movement has also occurred in other fields of cultural production. It can be observed in the field of literature, theatre, music or dance, all of which not only appropriate selected elements from the field of visual arts – e.g. materiality, iconicity, performance, multimedia installations, conceptual and documental dimensions, cognitive and generative protocols, artistic and social actions etc. – but also penetrate further and further into its institutional spaces and circuits. The development of such transdisciplinary tendencies is conditioned – on various levels – by a series of factors: starting form the logic characteristic of visual arts – the one of expansion, self-redefinition and appropriation of the outside – through transdisciplinary studios at art schools, the changing of identities and the tasks of cultural institutions or the criteria of grant programmes, to the general transformations in the forms of labour and modes of production under capitalism. Obviously, there has already been a history – manifold histories – of such exchanges and they are not absolutely new or without precedence. What seems to be new, at least in Poland, is the co-appearance and growing intensity of transdisciplinary and “transinstitutional” practices in various fields of cultural production. Transdisciplinarity can be the main purpose of singular projects or a basis for taking up other issues – a basis for performing relationships between a whole set of elements: body, movement, time, space, habit, affect, sight, hearing, mind, object, sign, discourse, history, culture, production and politics. The common ground of texts gathered in this section is the motif of creating or “performing” relations. They do not exhaust the subject identified here nor even present its full complexity. They rather provide a number of case studies which indicate some more general outlines of the transdisciplinary and transinstitutional logic that governs the field of contemporary cultural production. We hope that the section will contribute to wider discussion on the subject. Ula Zarek defines dance as an “art of relationships” and shows how contemporary choreographic work goes beyond “pure dance” and approaches the field of visual arts and performance art. Using phenomenological and aesthetic concepts of bodily intentionality and the thinking, sentient soma as well as a theoretical reflection on dance, which is becoming increasingly present in Poland, the author analyzes a series of projects based on improvisation – the main method of experimental and cognitive acts in contemporary dance. She also indicates that transdisciplinary practices draw on both the field of “performative arts”, which is often described in Polish with the word “performans”, and the tradition of “performance art”, which is in turn referred to with the original English term. Similar issues are taken up by Katarzyna Słoboda, who presents from the perspective of a curator and dance researcher, the objectives and course of the project Frames of reference. Choreography in the museum. The case study becomes an occasion for general considerations of dance as a way of exploring affective relations, which are an important aspect of contemporary capitalism and its production culture. The analysis touches upon such subjects as choreographic scores, improvisation as an act of coming into relationship with a context, and the presence of the viewer-participant at the site of the creative process: in the space of choreographic work and production. In this space the border between workday movement and dance becomes highly uncertain. Piotr Olkusz presents the project Avant-Garde and social realism, developed as a result of institutional co-operation between The Kazimierz Dejmek New Theatre and The Museum of Art in Lodz. It was intended to explore the relation between certain aspects of social realism and the ideas and practices of the Avant-Garde. It included transdisciplinary practices that led to the interpenetration of theatre and visual arts and, at times, to the creation of a “total performance beyond all genre”. However the project was not centred on the historical past. It was rather meant to examine the inheritance of the Avant-Garde and social realism and check if within it there remained anything alive, worth taking up and updating. It was above all to raise a question about the contemporary place, role and mutual relationship of experimental and socially engaged art. The presence of visual arts themes and practices in the field of theatre is the frame of Katarzyna Urbaniak’s text. The author uses contemporary theories of things and objects to examine the status of Jerzy Grzegorzewski's scenographic objects. She analyses, on the one hand, past agency and performativity of “ready made” objects that co-acted on the stage with human actors, and on the other hand, the place of the objects in the theatre which turn into a collection and an archive. Two difference projects during recent years aimed at presenting the archive – in the form of a book and a hipertext website – change the status of the items it includes: they displace them out of the contexts of the spectacle and actors play and puts them into a space in which they become closer to artistic objects or biographical and cultural traces. In both cases the scenographic objects turn into memory afterimages of Grzegorzewski’s theatre. “The turn to things” also sets a theoretical frame for Joanna Glinkowska’s text. Her analysis concerns the exhibition Things, organised as an artistic project at the Museum of Archaeology and Ethnography in Lodz. In accordance with the concept designed by artist-as-curator Agnieszka Chojnacka, the project participants presented or created their artistic objects in relation to the exhibition space and narration of the museum’s permanent display. Glinkowska tries to show how those artistic objects acted and performed in relation to one another. She also wonders if Things are a sign of a wider tendency on the part of Polish contemporary art to penetrate into the field of ethnography.
    Źródło:
    Sztuka i Dokumentacja; 2016, 14; 114-116
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Mity. Kilka tropów
    Autorzy:
    Andrzej, Kostołowski,
    Powiązania:
    https://bibliotekanauki.pl/articles/487786.pdf
    Data publikacji:
    2019-08-04
    Wydawca:
    Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
    Tematy:
    OEDIPUS
    ANDROGYNE
    PYGMALION
    A LIVING MYTH
    ARTISTIC DUOS
    EDYP
    PIGMALION
    ŻYWY MIT
    DUETY ARTYSTYCZNE
    Opis:
    The text is mainly about some references to myth in the 20-21st century art. A rift in treatment of myth during this period is interesting. On the one hand, in popular literature and media a generic term “myth” is often used. But it is often understood as something substantially irrational and used with a certain disdain, as well as on the boundary of being pejora- tive. Whereas in serious anthropological and philosophical texts and in art, “myth” may be on the one hand specified (in the case of “classical” mythical stories there are references by names to mythical characters in sequences of events), and on the other fully rational elements are excavated from it within its context, which significantly explain natural phenomena and cause and effect aspects of the surrounding world. Taking more rational way of describing myth into consideration, I chose examples of myths: Oedipus, Androgyne and Pygmalion’s. Oedipus is burdened with inter- pretations and omnipresent in the surrealist art (for example especially strongly in Max Ernst’s works). Also, as an “out-take” of the myth, part about Sphinx, carries interesting proto-feminist threads (in Leonor Fini’s paintings). A hermaphroditic Androgyne seems to draw out a new actual- ity and is interpreted in twofold unity, or completely entangled. In twofold unity (as in Marc Chagall’s works or Magdalena Abankowicz’s) they are associated but separated presence of personas. In the sense of negative rifting we may analyze genres of womanly act, which hides objectification of broken Androgyne. However, entanglement is on the one hand a connec- tion (as in lovers’ embrace) and on the other over-individualistic duos or bigger groups of artists, especially those who have been also performance artists since the 60s of the 20th century. Pygmalion myth profusely used in art hides within, among others, a metaphor of illusion.
    Źródło:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2019, 27; 50-66
    1733-1528
    Pojawia się w:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Music education for social change in the United States: towards artistic citizenship through Little Kids Rock
    Autorzy:
    Dylan, Smith, Gareth
    Warren, Gramm,
    Kenrick, Wagner,
    Powiązania:
    https://bibliotekanauki.pl/articles/890331.pdf
    Data publikacji:
    2019-01-15
    Wydawca:
    Akademia Pedagogiki Specjalnej im. Marii Grzegorzewskiej. Wydawnictwo APS
    Tematy:
    Music education
    social change
    Little Kids Rock
    modern band
    music as a second language
    artistic citizenship
    Opis:
    Public education in the United States is often woefully under-funded, especially in the arts, despite a federal mandate to provide music education for all. Where music programs exist in US schools, they tend to focus on teacher-directed large ensembles that afford students little agency or creative opportunity, playing music that alienates a majority of young people. Faced with the volume of evidence pointing to the benefits of including music in a well-rounded education, philanthropy-funded nonprofit companies such as Little Kids Rock step in to fill the vacuum in state provision. This paper is a descriptive, intrinsic case study that describes how Little Kids Rock provides culturally relevant music making experiences for young people in schools, through a learning approach called music as a second language and alternative music classes termed modern band. Little Kids Rock builds a nationwide community of innovative music pedagogues by training teachers, donating musical instruments and sharing original curricular resources. This paper includes examples of two modern band teachers – one working in a rock band context, and the other a hip hop facilitator. The work of these and other teachers is ever more urgent in an era in which the U.S. perpetuates an intense neoliberal capitalism that oppresses and marginalizes vast numbers of its own people. Little Kids Rock aims to foster artistic citizenship wherein music makers recognize social and emancipatory responsibilities with the aim of transforming lives for the better.
    Źródło:
    International Journal of Pedagogy, Innovation and New Technologies; 2018, 5(2); 11-21
    2392-0092
    Pojawia się w:
    International Journal of Pedagogy, Innovation and New Technologies
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    JĘZYK SZTUKI – ANALIZA PORÓWNAWCZA TWÓRCZOŚCI PLASTYCZNEJ ARTYSTÓW (NIE)PEŁNOSPRAWNYCH
    LANGUAGE OF THE ART – COMPARATIVE ANALYSIS OF ARTISTIC WORKS OF THE DISABLED AND FULLY FIT ARTISTS
    Autorzy:
    Steliga, Anna
    Powiązania:
    https://bibliotekanauki.pl/articles/550180.pdf
    Data publikacji:
    2016
    Wydawca:
    Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
    Tematy:
    język sztuki
    twórczość plastyczna
    artysta niepełnosprawny
    artysta pełnosprawny
    language of the art
    artistic works
    the disabled and fully fit artists
    Opis:
    Sztuka stanowi formę przekazu informacji za pomocą fizycznego medium. Analiza dzieła sztuki to zwrócenie uwagi na dwie płaszczyzny: formę i treść. Forma to elementy wizualne użyte w trakcie procesu twórczego, treść zaś stanowi przekaz emocjonalny lub intelektualny. Działalność artystyczna służy do zaspokajania wielu potrzeb osobistych i społecznych. Ważnym motywem do jej podjęcia może być pragnienie uzewnętrznienia swojej osobowości bądź potrzeba obiektywnego zapisu. Artykuł zawiera analizę porównawczą twórczości plastycznej niepełnosprawnych i pełnosprawnych artystów.
    Art is a source of information by way of a physical medium. An analysis of a work of art draws attention to two layers: the form and the content. By the form we mean visual elements used in the course of the artistic process, whereas by the content we mean emotional or intellectual message. Artistic work is used to satisfy numerous personal and social needs. An important motive for getting involved in artistic work may be one’s urge to manifest one’s personality, or the need for objective recording. This paper shows a comparative analysis of artistic works of the disabled and fully fit artists.
    Źródło:
    Forum Pedagogiczne; 2016, 1; 195-211
    2083-6325
    Pojawia się w:
    Forum Pedagogiczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    European Glass Context 2012 – sztuka szkła w Europie
    European Glass Context 2012 – art Glass in Europe
    Autorzy:
    Kwiatkowska, Ewelina
    Powiązania:
    https://bibliotekanauki.pl/articles/459834.pdf
    Data publikacji:
    2013
    Wydawca:
    Fundacja Pro Scientia Publica
    Tematy:
    szkło artystyczne
    polskie szkło współczesne
    European Glass Context
    2012
    Barbara Idzikowska
    Monika Rubaniuk
    Marzena Krzemińska
    Patrycja Dubiel
    Royal
    Danish Academy School of Design Akademia Sztuk Pięknych we Wrocławiu
    Wydział Szkła
    i Ceramiki
    artistic glass
    polish contemporary glass art
    European Glass Context 2012
    Barbara
    Idzikowska
    Royal Danish Academy
    School of Design
    Academz of Art and Design in Wrocław
    Facultz of Ceramics and Glas
    Opis:
    Już po raz drugi na wyspie Bornholm w Danii odbył się European Glass Contex 2012 będący częścią sympozjum poświęconemu współczesnej sztuce szkła i ceramiki. Co dwa lata odbywają się wymiennie European Glass Context oraz European Ceramic Context, które są jednymi z bardziej liczących się przeglądów tych sztuk. Tegoroczne wydarzenie skupiło się przede wszystkim na dwóch wystawach głównych – Europejskie Szkło Artystyczne i Nowy Talent – w których wzięło udział 96 artystów z 28 krajów Europy. Z Polski do udziału zostały zaproszone cztery artystki: Barbara Idzikowska, Monika Rubaniuk (kategoria: Artyści Szkła) oraz Patrycja Dubiel i Marzena Krzemińska (kategoria: Nowy Talent). Program European Glass Context był bardzo rozbudowany (warsztaty, seminarium, konferencja naukowa) którego tematem przewodnim było 50 lecie ruchu Studio Glass powstałego w Stanach Zjednoczonych. Organizatorzy pragnęli poddać rozważaniom aktualną kondycję sztuki szklanej materii, w jaki sposób zmieniała się na przestrzeni lat i co ważniejsze, czy szkło znalazło swoich odbiorców? European Glass Context jest wydarzeniem, które pomaga w odpowiedzi na postawione powyżej pytania. Daje możliwość skonfrontowania różnych postaw artystycznych w jednym czasie, w jednym miejscu.
    European Glass Context 2012 is a part of a biennial symposium of European contemporary glass and ceramics on the island of Bornholm in Denmark. Together with European Ceramic Context it is one of the most important reviews of these arts. This year’s event was focused mainly on two main exhibitions: European Glass Art and New Talent – during which works of 96 artists from 28 European countries were presented. Four Polish artists were invited: Barbara Idzikowska and Monika Rubaniuk (Glass Art category), as well as Patrycja Dubiel and Marzena Krzemińska (New Talent category). The program of European Glass Context 2012 was unusually varied, and consisted of workshops, educational seminars as well as a conference. The theme of the EGC 2012 was the 50th anniversary of Studio Glass movement, which originated in the United States. The organizers wished to refl ect on the condition of contemporary glass art matt er, how it has changed during the years, and what is more important, has it found its audience? European Glass Context is an event which helps to answer the questions stated above. It provides an opportunity to confront various artistic creations at the same time, in the same place. Key words: artistic glass, polish contemporary glass art, European Glass Context 2012, Barbara Idzikowska, Monika Rubaniuk, Marzena Krzemińska, Patrycja Dubiel, Royal Danish Academy School of Design, Academz of Art and Design in Wrocław, Facultz of Ceramics and Glass.
    Źródło:
    Ogrody Nauk i Sztuk; 2013, 3
    2084-1426
    Pojawia się w:
    Ogrody Nauk i Sztuk
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-7 z 7

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