Autor: Kobylińska-Bunsch, Weronika - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: Od konkretu rzeczywistości do pogranicza realności – refleksja wokół wczesnych prac Stefana Wojneckiego
Autorzy:: Kobylińska-Bunsch, Weronika
Powiązania:: https://bibliotekanauki.pl/articles/1186992.pdf
Data publikacji:: 2017
Wydawca:: Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
Tematy:: neo-avant-garde photography
New Objectivity
New Vision
photogram
photography and metaphor
Polish fine-art photography
Stefan Wojnecki
post-war photography
Opis:: The main aim of this study is to analyse selected photographs created by Stefan Wojnecki in the 1950s. Chosen materials diversify and enrich the widely accepted image of the artist, who is known primarily for his later conceptual realizations. The essay attempts to characterize those photographs, in which the crucial subject is human individual and his existential situation. The basis of the work is primarily the material collected during the interview with the artist himself.
Źródło:: Załącznik Kulturoznawczy; 2017, 4; 315-331
2392-2338
Pojawia się w:: Załącznik Kulturoznawczy
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 2.

Tytuł:: Materialność świetlnego zapisu – o rzeczach w dorobku Jerzego Lewczyńskiego
Autorzy:: Kobylińska-Bunsch, Weronika
Powiązania:: https://bibliotekanauki.pl/articles/909487.pdf
Data publikacji:: 2019-05-07
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:: archeology of photography
materiality of photography
Polish photography
Jerzy Lewczyński
archive
social art history
Opis:: The popularity of Jerzy Lewczyński (1924-2014) coincided with the academic interest in the problem of archive, corresponding to Lewczyński’s program of the “archeology of photography,” developed in the 1970s. Lewczyński’s idea consisted in restoring Kantor’s “reality of the lowest rank,” i.e. the rejected microhistories hidden in the anonymous and the forgotten or taken out of an ashtray at the Warsaw Central train station. Today, however, one tends to forget that Lewczyński’s gesture of artistic legitimization did not aim at giving new meanings, but above all at blurring the boundary between everyday items and those which emerged from some kind of “aesthetic situation” (Maria Gołaszewska). This aspect of his art can be seen, e. g, in his visual journal, where the artist included objects of particular importance – next to Xerox copies of his own works or works of other artists, he placed also shopping receipts. Lewczyński equaled the value of cheap receipt paper with the noble velvety quality of bromine. He did not reduce his collected items to their aesthetic function, having rejected the institutionalized idea of the artifact as a work of art to enjoy by the audience. Anticipating the postulates of Bruno Latour, instead of showing objects appropriated by the power of the gaze, he presented actors: things that asked questions on their own.
Źródło:: Artium Quaestiones; 2018, 29; 161-185
0239-202X
Pojawia się w:: Artium Quaestiones
Dostawca treści:: Biblioteka Nauki

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