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    Wyświetlanie 1-7 z 7
    Tytuł:
    Discovering antiquity in the second half of the 18th c. – from tradition to reception
    Autorzy:
    Gralińska-Toborek, Agnieszka
    Powiązania:
    https://bibliotekanauki.pl/articles/2138832.pdf
    Data publikacji:
    2022-09-27
    Wydawca:
    Uniwersytet Wrocławski. Instytut Historii Sztuki
    Tematy:
    neo-classicism
    Pompei
    Society of Dilettanti
    reception of antiquity
    Opis:
    Classicism, beginning in the second half of the 18th c., is by no means an obvious revival of antiquity. Still up to the 18th c., its legacy was regarded as an undeniable tradition that did not actually need to be explained in detail. However, with an increasingly conscious reflection on antiquity, there was also a growing conviction that it was a model – but an unsurpassed one. This shifted this tradition into the past. At the same time, from the mid-18th c. onwards, the desire for direct contact with ancient monuments, no longer only in Rome, but also in Greece and in the newly discovered Pompeii, caused the vision of antiquity to become more complicated. Connoisseurs, collectors, artists have become the very ones who introduce anxiety and challenge the existing image of Greco-Roman antiquity. Instead of the certainty of immersion in a tradition that is still relevant, a process of reception of antiquity as distant, pagan, baffling has begun.
    Źródło:
    Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego; 2022, 64, 2; 22-31
    1896-4133
    Pojawia się w:
    Quart. Kwartalnik Instytutu Historii Sztuki Uniwersytetu Wrocławskiego
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Ecology and Art – in the network of discourses
    Ekologia i sztuka – w sieci dyskursów
    Autorzy:
    Gralińska-Toborek, Agnieszka
    Powiązania:
    https://bibliotekanauki.pl/articles/2041830.pdf
    Data publikacji:
    2021-11-25
    Wydawca:
    Łódzkie Towarzystwo Naukowe
    Tematy:
    art discourses
    ecological discourse
    eco-art
    land art
    dyskurs sztuki
    dyskurs ekologiczny
    eko-sztuka
    sztuka ziemi
    Opis:
    Art, just like our public life, is entangled in the network of discourses. In this article, using the example of ecology-related art, I present how this network develops and what could constitute an impulse to create new connections. I also indicate how the discursivization of art begins with nomenclature itself. I consider reflecting on the network of discourses and entering the level of metadiscourse as a way of freeing oneself from the limiting community of interpretation. Similarly, I see the type of art that creates spaces for joint activities as a way out of the dangerous rivalry of discourses.
    Sztuka, podobnie jak całe nasze życie publiczne, uwikłane jest w sieć dyskursów. W artykule przedstawiam na przykładzie sztuki związanej z ekologią, jak rozwija się sieć dyskursów i co może być impulsem do tworzenia nowych połączeń. Wskazuję jak dyskursywizacja sztuki rozpoczyna się już od samego nazewnictwa. Prowadzenie refleksji nad siecią dyskursów, wejście na poziom metadyskursu uważam za sposób uwolnienia się z ograniczającej wspólnoty interpretacji, podobnie jak sztukę tworzącą miejsca dla wspólnych działań za sposób wyjścia z niebezpiecznej rywalizacji dyskursów
    Źródło:
    Art Inquiry. Recherches sur les arts; 2021, 23; 125-141
    1641-9278
    Pojawia się w:
    Art Inquiry. Recherches sur les arts
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Dual Place of Street Art – the City vs the Internet
    Autorzy:
    Gralińska-Toborek, Agnieszka
    Powiązania:
    https://bibliotekanauki.pl/articles/665830.pdf
    Data publikacji:
    2017
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Street art.
    graffiti
    urban art.
    art in public space
    art in Internet
    Opis:
    Street art (or more broadly urban art), as the name suggests, has its own specific place, which is the street. However one would be mistaken to think that this type of art can only be seen there. Most street art lovers know the works of their favourite artists primarily through the Internet, not only because this kind of art is ephemeral or not easily accessible (for example, due to its dangerous or exotic locations), but because it is perhaps the best documented art that has been created in the world. For artists and lovers of street art, the Internet has become a common space to share photos. More often than not, the Internet also becomes the only place where artistic ideas exist. Paradoxically, such art, which was supposed to be the nearest to the viewer in the physical sense, has become the nearest in the virtual sense. One can, however, hope that neither consumers of art. nor artists will have to give up their direct experience of art that builds our polysensory sensitivity.
    Źródło:
    Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica; 2017, 30; 99-109
    0208-6107
    2353-9631
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Preface
    Autorzy:
    Kazimierska-Jerzyk, Wioletta
    Gralińska-Toborek, Agnieszka
    Powiązania:
    https://bibliotekanauki.pl/articles/665826.pdf
    Data publikacji:
    2017
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Opis:
    -
    Źródło:
    Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica; 2017, 30; 7-8
    0208-6107
    2353-9631
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Idea a obraz. Ikonoklastyczny aspekt konceptualizmu
    An Idea And An Image. The Iconoclastic Aspect Of Conceptualism
    Autorzy:
    Gralińska–Toborek, Agnieszka
    Powiązania:
    https://bibliotekanauki.pl/articles/424426.pdf
    Data publikacji:
    2012
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    CONTEMPORARY ART
    MODERN ART
    CONCEPTUAL ART
    CONCEPTUALISM
    ICONOCLASM
    IDOLATRY
    JOSEPH KOSUTH
    Opis:
    Conceptualism, as the art of an idea, placed itself beyond aesthetic and sensual experience. As a rule, it did not produce art objects which could be pleasing or that would represent reality. This rejection of an image places conceptualism in a broadly understood iconoclastic movement. When we examine various historical iconoclastic movements (religious and political) we may reconstruct the most important features of iconoclastic awareness and compare them with the essential postulates of conceptualism. The result of this comparison is a striking similarity of both phenomena. To mention just a few linking features of conceptualism and iconoclasm, we may enumerate: a doubt in the adequacy of the relationship between an idea and image, a fear of an idolatrous belief in a material art object, a drive to demystify art and artists, a concentration on a word instead of an image. Iconoclastic mentality can also be characterised by analytic thinking, progressive attitude and irony. However, the question arises if iconoclasm can exist without idolatry; or if conceptualism could have developed without a material object? Even if it rejected it, then the art world (museum, critics, audiences) that shows a progressively stronger tendency to contextualise, flung conceptualism out of “art’s orbit into the ‘infinite space’ of the human condition” (to use the words of J. Kosuth).
    Źródło:
    Sztuka i Dokumentacja; 2012, 6; 41-64
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Nadawanie nowych znaczeń modernizmowi
    Assigning New Meanings to Modernism
    Autorzy:
    Gralińska-Toborek, Agnieszka
    Powiązania:
    https://bibliotekanauki.pl/articles/941650.pdf
    Data publikacji:
    2006
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Opis:
    The contemporary vision of modernism, which is constructed from a point outside of that period, differs from the vision created by the participants and originators of modernism. One of the major problems encountered today is the one of the meaning of modernist works art. The extreme concept of "silent" and "pure" art followed by Clement Greenberg and other modernists has now found itself under criticism. The interpretations of many modern currents in art reveal attempts at identifying new content in works of art, which sometimes seems to be an act of assigning new meaning to art. Such interpretations can be observed in studies of impressionism, cubism, abstract expressionism and minimalism. The problem of meaning is the subject of study of such theorists as Timothy J. Clark, Patricia Leighten, Serge Guilbaut, Rosalind Krauss and W. J. T. Mitchell. Their research concentrates not as much on works of art as on modernists' vision of art. Mitchell shows how theory replaced the content of modernism art and proves that "silent" art is impossible since meanings arise independently of the artist's intention in the process reception. The new vision of modernism does not attempt to create a universal and objective model of that period but instead aims at a multiplication of meanings and at a destruction of the previous model (the holistic model). The vision of modernism comes to resemble a mosaic of unconnected elements.
    Źródło:
    Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica; 2006, 18
    0208-6107
    2353-9631
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Plastyka w Kościele w latach 1981–1989. Trwałe przymierze czy epizod?
    Art in the Church in the years 1981–1989. A permanent alliance or just an episode?
    Autorzy:
    Gralińska-Toborek, Agnieszka
    Powiązania:
    https://bibliotekanauki.pl/articles/477094.pdf
    Data publikacji:
    2005
    Wydawca:
    Instytut Pamięci Narodowej, Komisja Ścigania Zbrodni przeciwko Narodowi Polskiemu
    Opis:
    The article describes art under the patronage of parish churches in the years 1982–1989 as an important element of independent culture and as a unique phenomenon not only in Polish art but also in Church history. Some of the reasons for this movement are on the one hand the dying out of the avante guarde movement, with its strong criticism and the search for new avenues of expression and, on the other hand, the socio-political changes in the country and the Church’s opening up to culture. The beginning of this phenomenon was the activity of the Polish Artists’ Union in the years 1980–1981 and its taking the side of the Independent Self-governing Trade Union “Solidarity”. And later, on the introduction of martial law, their boycott of officially sponsored cultural life. It consolidated a large proportion of the community and made the independent circulation of art easier. The Catholic Church played an important part in this through rendering available its institutions – diocesan museums, Church premises and other accommodation in which galleries and exhibitions were organised. At the same time priests would “spread the word” in the artistic community and create chaplaincies to serve that community. community and create chaplaincies to serve that community. The Church-sponsored art movement created its own iconography (political-patriotic and religious), its own forms and styles of display (among others in the premises of the Churches), it had its own theorists and critics as well as its audience. It also had its opponents who sought to undermine its independence and artistic value. The reason this movement died out at the end of the eighties was the weariness of both parties: the artists and Church representatives, the arrival of a new generation of artists, the end of the boycott of official galleries and museums, finally the changes in Poland in 1989. The Church-sponsored artistic movement is hence, an important, but closed chapter in Polish post-war art. The Church, thanks to its involvement in independent culture renewed its contact with artists, but did not acquire modern religious art, which could permanently take root in places of worship.
    Źródło:
    Pamięć i Sprawiedliwość; 2005, 1(7); 181-201
    1427-7476
    Pojawia się w:
    Pamięć i Sprawiedliwość
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-7 z 7

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