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    Wyświetlanie 1-3 z 3
    Tytuł:
    ACCIDENT, ARTISTIC INTENT AND ERROR: A STUDY OF (UN) INTENTIONALITY IN POST-WORLD WAR II CROATIAN ART
    Autorzy:
    Derado, Dora
    Powiązania:
    https://bibliotekanauki.pl/articles/1011633.pdf
    Data publikacji:
    2020
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    croatian art
    unintentionality
    error in art
    neoavantgarde
    conceptual art
    art informel
    Opis:
    In modern art, the boundaries between artist and spectator are often blurred as the spectator is engaged in the interpretation process and thus in the creation of an artwork, a process referred to by Marcel Duchamp as the "transubstantiation" of objects into art. However, this communication of artistic intent provides room for error, misinterpretation, and reinterpretation (accidental or intentional) of the artwork's intended meaning. Duchamp refers to this as the "art coefficient," which is mathematically explained as the difference between the artist's intended, unexpressed idea and what they unintentionally expressed. The idea of artistic intent, or lack thereof, was toyed with by Duchamp and the artists who followed in his footsteps, including some protagonists of the post-WWII Croatian art scene (Ivo Gattin, Goran Trbuljak, Braco Dimitrijević, and Tomislav Gotovac) who were involved in emerging art movements such as Art Informel, Conceptual art, and the neo-avantgarde, respectively. This paper puts forward works by Croatian artists who experimented with (un)intentionality and haphazardness by employing new artistic techniques, leaving room for (intentional) error and chance, or challenging the artist's and spectator's role, often by exploiting the latter to do their work for them.
    Źródło:
    Sztuka i Dokumentacja; 2020, 22; 17-26
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Informel i sztuka mediów. Na przykładach twórczości Józefa Robakowskiego
    Informel art and media art based on Joseph Robakowski’s work
    Autorzy:
    Guzek, Łukasz
    Powiązania:
    https://bibliotekanauki.pl/articles/487726.pdf
    Data publikacji:
    2014
    Wydawca:
    Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
    Opis:
    In the second half of the 1950’s, abstract expressionist Informel became the leading trend in Polish art and it kept that position throughout the decade of the 1960’s. Informel lost its dominant position only the only under the influence of conceptualism, rising from the beginning of the seventies, but even in the 1970’s, it was still the mainstream in official art. Photo-film media played the key role in the emergence of conceptual art as a separate mainstream media. One of the most important artists who greatly contributed to the development of conceptual art in Poland in early seventies, was Józef Robakowski. However, his artistic path begins at the end of the 1950’s and it coincides with the chronology of the reception of Informel and later conceptual art. Initially, Robakowski concentrated on photography. He produced luxographies and chemigraphies, however, he also developed his own technical procedures. He was interested in self-production of images (automatic creative process) – the process that was beyond the control of an artist. He used photographic methods, although visual forms produced that way were connected with Informel. His photographic experiments from the beginning of the 1970’s were connected with structural trend in photography and film. Structuralism was considered as the study of the internal structure of artwork and extracting its formal and technical components as independent artistic issues. The most important structural issues was to expose the creative process, i.e. revealing the performative character of artwork. Visual expression and the expression of gesture, action, also belong to basic Informel issues. Films by Robakowski are also based on direct action. The camera operates in isolation from eyes and images are formed beyond conscious control of the artist. Just like in the photography, the essence of creativity moves from the image onto the process. The artist is an important element of art. His physical and psychological condition becomes the basis of cinematographic images. Interpretation of images is connected with a person. Robakowski concentrates on light effects. It is a structural problem (because it still is the basis of the creative process in film and photography), but also it is a sign of expression or image energy, as Robakowski often said. He considers ‘Eenergy’ as the key-word in photography, film, performance and his paintings. Image as a sign of the expression is the key to understanding and interpreting of Informel painting. For Robakowski – a media artist, Informel became a kind of ready made art. Informel painting was not important to him; it only indicated the problems of media art in his work.
    Źródło:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2014, 18; 148-163
    1733-1528
    Pojawia się w:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Architekt Luigi Moretti. Od racjonalizmu do "lart informel" - sztuki informelu
    The Architect Luigi Moretti. From Rationalism to Informalism
    Autorzy:
    Viati Navone, A.
    Powiązania:
    https://bibliotekanauki.pl/articles/1366633.pdf
    Data publikacji:
    2012
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Luigi Moretti
    architektura XX w.
    informel
    20th century architecture
    Informal Art
    Opis:
    Twórczość wybitnego architekta włoskiego modernizmu Luigi Morettiego (1907-1973) stanowi odbicie jego rozległych zainteresowań. Szczególnie pasjonował go nurt w sztuce nowoczesnej l'art informel - informel - nowy gatunek nazwany tak pod koniec lat czterdziestych przez francuskiego kolekcjonera i krytyka sztuki Michela Tapiè. Art informel - sztuka nieformalna uprawiana przez wielu młodych artystów, m. in. Alberto Burri, Lucio Fontanę, Jacksona Pollocka czy Georgesa Mathieus, wykreowała wówczas różne techniki i gatunki. Jednym z ważnych zagadnień, wokół których ogniskowały się zainteresowania twórcze Morettiego była historia, a szczególnie dzieła Michała Anioła. Inne to: fascynacja przestrzenią wewnętrzną, którą potrafił ująć i opisać jak nikt inny przed nim we Włoszech, oraz zaciekawienie naukami ścisłymi, które kazało mu poszukiwać ich związku z architekturą i sztuką. Morettiego zajmował również odbiór dzieła sztuki w przestrzeni. Poszukiwał właściwych kątów patrzenia, które dawałyby ogólny i szczegółowy obraz struktury architektonicznej.
    The work of the eminent Italian modernist architect Luigi Moretti (1907-1973) reflects his wide interests. He was especially interested in the new art form, which was called Informal Art or Art Autre (Other Art), by the French art critic Michel Tapiè at the end of the forties. Informal Art was created by many young artists such as Alberto Burri, Lucio Fontana, the Jackson Pollock and Georges Mathieu. One of the important issues arround which Moretti's creative interests the history, especially the great works of Michelangelo. The others being his attention to the inner space, resulting in the new way to consider it and to describe its qualities as nobody in Italy had before, and his curiosity for science, which led him to explore its possible connection with architecture and art. Moretti was also interested in the conditions of vision, in how the observer perceives a work of art in its general form and in details; therefore, he looked for the correct angles giving a global and a particular vision of a work of architecture.
    Źródło:
    Kwartalnik Architektury i Urbanistyki; 2012, 57, 2; 3-41
    0023-5865
    Pojawia się w:
    Kwartalnik Architektury i Urbanistyki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-3 z 3

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