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Tytuł:
“Tutti hanno bisogni spirituali”? Fede, religione e arte emergente in Polonia
‘Does everyone have spiritual needs?’. Faith, religion and new art in Poland
Autorzy:
Gawkowski, Jakub
Walaszkowski, Patryk
Powiązania:
https://bibliotekanauki.pl/articles/28409294.pdf
Data publikacji:
2018
Wydawca:
Associazione Italiana Polonisti (AIP)
Tematy:
Engaged art
Critical art
Religious art
Opis:
The article concerns artistic practices of the young generation of Polish artists, who in their works deal with the subjects of faith, religion and the relation with the institution of the Catholic Church. On the examples of Ada Karczmarczyk, Kle Mens and Daniel Rycharski, we analyse the new tendencies in approaching religiosity by interdisciplinary artists, who declare social sensitivity and openness for dialogue, and try to reach a wide audience beyond the field of contemporary art. The practices of these artists are contextualised in the frame of Polish culture, wars and art critics’ discussions. Finally, their approach to religion is juxtaposed and compared with that of artists from the generation of Polish Critical Art, active since the early 1990s.
Źródło:
pl.it / rassegna italiana di argomenti polacchi; 2018, 9; 173-186
2384-9266
Pojawia się w:
pl.it / rassegna italiana di argomenti polacchi
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Estetyka wzniosłości w obliczu sztuki fekalnej
Autorzy:
Iżykowska-Uszczyk, Agata
Powiązania:
https://bibliotekanauki.pl/articles/2095892.pdf
Data publikacji:
2020
Wydawca:
Poznańskie Towarzystwo Przyjaciół Nauk
Tematy:
aesthetics
perversion art
modern art
excremental art
Opis:
The main purpose of the article is to discuss the changes that have occurred in the way we understand sublimity in contacts with contemporary art, in particular with excremental art. The author poses a question about the change in the perception of faeces over the last few decades. She indicates that, due to a change in sublimity, at present excremental art has ceased to shock and started to relate to the artist’s personal and emotional experiences. The reason for this is a shift in focus in terms of perversion characteristics taking place in contemporary art.
Źródło:
Our Europe. Ethnography – Ethnology – Anthropology of Culture; 2020, 9; 61-68
2299-4645
Pojawia się w:
Our Europe. Ethnography – Ethnology – Anthropology of Culture
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Natalia LL jako artystka neoawangardowa
Natalia LL - the Neo Avant-garde Artist
Autorzy:
Świeściak, Alina
Powiązania:
https://bibliotekanauki.pl/articles/579049.pdf
Data publikacji:
2018
Wydawca:
Łódzkie Towarzystwo Naukowe
Tematy:
neo avant-garde
conceptual art
body-art
feminist art
“consumer art”
Opis:
The paper shows Natalia Lach-Lachowicz (Natalia LL) as a neo avant-garde artist whose works in a specific maximalistic way are very close to the main currents of avant-garde trends: newmediality (photograph), minimalism, conceptualism, performance, bodyart, pop-art and feminist art. The paper concentrates mainly on the mutual influencing features of conceptualism, consumptionism and feminism in Natalia LL’s works and pays attention to the emancipational potential of her works of the 70s and 80s.
Źródło:
Zagadnienia Rodzajów Literackich; 2018, 61, 2(126); 91-102
0084-4446
Pojawia się w:
Zagadnienia Rodzajów Literackich
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Happenings-Events-Performances in Poland: Intermingling Histories of Art and Politics
Autorzy:
Guzek, Łukasz
Powiązania:
https://bibliotekanauki.pl/articles/1011598.pdf
Data publikacji:
2020
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
performance art
art and politics
contemporary art in poland
art alternative
dissident art
Opis:
The article interprets selected works of action art in Poland, but in the context of their relationship - more or less direct - to the political situation in Poland under the rule of the totalitarian regime in 1945-1989. Paying attention to the political aspect of the works of performance art allows them to be compared with the works of Korean artists who create works of action also in totalitarian regime conditions, although of a different nature. Action art turns out to be an effective way of practicing free creative expression, because it is difficult for totalitarian authorities to apply preventive censorship against ephemeral art. Although the authorities use various repressions against artists on the spot during the action and ex post. Despite the geographical distance between Korea and Poland, despite the cultural and social differences, as well as the lack of direct personal contacts between the artists - the forms of action art and their context of creation and its critical goals are similar and are similarly effective in the conditions existing in both countries.
Artykuł interpretuje wybrane dzieła sztuki akcji w Polsce, jednak w kontekście ich relacji - mniej lub bardziej bezpośredniej - do sytuacji politycznej w Polsce pod rządami regime totalitarnego w latach 1945-1989. Zwrócenie uwagi na polityczny aspekt dzieł sztuki performance pozwala na ich porównanie z dziełami artystów Koreańskich, tworzących dzieła akcji również w warunkach regime totalitarnego, chociaż o odmiennej naturze. Sztuka akcji okazuje się skutecznym sposobem praktykowania wolnej ekspresji twórczej, gdyż trudno jest władzy totalitarnej stosować cenzurę prewencyjną wobec sztuki efemerycznej. Choć władza stosuje rozmaite represje wobec artystów na miejscu w trakcie akcji i ex post. Mimo dystansu geograficznego pomiędzy Koreą a Polską, mimo różnic kulturowych i społecznych, a także pomimo braku bezpośrednich kontaktów personalnych pomiędzy artystami - formy sztuki akcji i ich kontekst tworzenia oraz jej cele krytyczne są podobne i podobnie są skuteczne w warunkach istniejących w obu krajów.
Źródło:
Sztuka i Dokumentacja; 2020, 22; 89-101
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Czy polska sztuka konceptualna ma płeć?
What Is The Gender Of Polish Conceptual Art?
Autorzy:
Hussakowska, Maria
Powiązania:
https://bibliotekanauki.pl/articles/424259.pdf
Data publikacji:
2012
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
CONTEMPORARY ART
CONCEPTUAL ART
CONCEPTUALISM
GENDER
NATALIA LL
EWA PARTUM
FEMINIST ART
FEMALE ART
MODERN ART
FEMINISM AND ART
Opis:
The essay was inspired by Pawel Dybel’s book The secret of the "other gender". Disputes around the sexual differences in psychoanalysis and feminism, in which he asked a question about the gender of logos. My – less ambitious – attempt was to try to describe the potential of gender in Polish conceptual art. The question is ahistorical, but there are a number of reasons to ask it. Many female artists that were very active during the time of conceptual incitation are invisible. Polish conceptualism which was formed be some artistic couples, historically has lost female faces. Some of these contributors – like Natalia LL or Ewa Partum – we can find out about in the discourse among first Polish feminist artists, but the question of women’s input into conceptualism is still open and does not attract enough interest of scholars. Maybe this is because of the fragile and delicate matter of an artistic partnership in contrast with the heroic notion of artistic individuality that is still attractive for conceptual artists. Maybe this is because of dangerous stereotypes about masculinity and femininity and male and female roles in artistic couples. There are very few scholars who are interested in examining the notion of collaboration in its very complex form. Much of the contemporary discourse on Polish conceptual art has been conveyed through exhibitions. This tactic may be seen as paying respect to the form of an exhibition – a specific, ideal medium to consider works of art not individually, but as they interact with each other. The specifics of conceptual works that were generally visually unattractive in the early seventies has changed, partly because of the most recent generation. The new face of Polish conceptualism is very conservative with regard to the lack of input by women. Unfortunately the belief popular among scholars and curators that women do not do ‘serious’ work still persist, but fortunately for those women artists who are active and visible – they found a useful label in the discourse. Placing them within the feminist movement, one should not forget their conceptual roots, and should delete the question as to whether their works were serious.
Źródło:
Sztuka i Dokumentacja; 2012, 6; 29-40
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Still Ekphrasis? Visual and Non-Visual Art in Contemporary Anglophone Fiction
Autorzy:
Hetman, Jarosław
Powiązania:
https://bibliotekanauki.pl/articles/1366474.pdf
Data publikacji:
2020
Wydawca:
Uniwersytet Marii Curie-Skłodowskiej. Wydawnictwo Uniwersytetu Marii Curie-Skłodowskiej
Tematy:
ekphrasis
allographic art
autographic art
notional ekphrasis
visual art/non-visual art
Opis:
The article explores the ancient notion of ekphrasis in an attempt to redefine it and to adjust it to the requirements of the contemporary literary and artistic landscape. An overview of the transformations in the world of art in the 20th century allows us to adjust our understanding of what art is today and to examine its existence within the literary context. In light of the above, I postulate a broadening of the definition of ekphrasis so as to include not only painting and sculpture on the one side, and poetry on the other, but also to open it up to less conventional forms of artistic expression, and allow for its use in reference to prose. In order to illustrate its relevance to the novel, I have conducted a study of three contemporary novels – John Banville’s Athena, Kurt Vonnegut’s Bluebeard and Don DeLillo’s Mao II – in order to uncover the innovative ways in which novelists nowadays use ekphrasis to reinvigorate long prose.
Źródło:
Lublin Studies in Modern Languages and Literature; 2020, 44, 2; 15-25
0137-4699
Pojawia się w:
Lublin Studies in Modern Languages and Literature
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:
Make no mistake! Reflections on the benefits of erring in postconceptual art practice. Introduction
Autorzy:
Kaźmierczak, Małgorzata
Siatka, Krzysztof
Powiązania:
https://bibliotekanauki.pl/articles/2127566.pdf
Data publikacji:
2020
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
performance art
improvisation
contingency
coincidence in art
happening
croatian art
wincenty dunikowski-duniko
post-digitality
digital art
computer art
error in art
software art
Źródło:
Sztuka i Dokumentacja; 2020, 22; 7
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
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:
Perfoactivism: from Three Weeks in May to The Museum of Arte Útil
Autorzy:
Kaźmierczak, Małgorzata
Powiązania:
https://bibliotekanauki.pl/articles/485512.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie
Tematy:
performance art
art activism
Opis:
From the very beginning, performance art has been anti-institutional and counter-cultural. Because of that performance artists tended to look for other channels to achieve visibility, often intentionally avoiding it. Since the late 1960s performance art has been exhibited in independent art spaces, at festivals organised by other artists, as well as in public space as guerrilla actions. This paper discusses a subjective selection of the most interesting socially or politically-engaged performances, which at present have taken the form of perfoactivism, functioning outside the art market and popularly understood art institutions. This article is also a review of criticism around artivism, focused on writers such as Gregory Sholette, Boris Groys, Grant Kester, and Claire Bishop.
Źródło:
Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione; 2018, 13; 77-86
2081-3325
2300-5912
Pojawia się w:
Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Changes in the global art market
Autorzy:
Bialynicka-Birula, Joanna
Powiązania:
https://bibliotekanauki.pl/articles/19081050.pdf
Data publikacji:
2018
Wydawca:
Instytut Badań Gospodarczych
Tematy:
art market
art economics
art
market analysis
cultural economics
Opis:
Research background: The dynamics of the art market are usually presented in terms of price fluctuations, price indexes and financial returns. This paper proposes the value and volume approach, which has not been considered in an aggregative way for a long time in the economic literature. Purpose of the article: The aim of the paper is to present changes in the global art market in the period 2002-2015. The results of dynamic analysis of the art market are presented, including two approaches: value of transactions and volume of transactions. The impact of the global crisis on the art market is considered. Methods: In order to present the changes on the global art market, statistical indexes of dynamics (single base and chain indexes) are used. Moreover, trend analyses have been conducted for the value and volume of transactions on the art market. The sources of data on the global art market are from Artprice, ArtTactic, and TEFAF (The European Fine Art Foundation). Findings & Value added: In the analysed period of 2002-2015, sales on the global art market generally increased. The value and volume of sales peaked in 2007 and 2014. The art market was considerably affected by the economic recession in 2009, but in the next year it recovered. The trend analyses allow the changes on the market to be described by means of mathematical functions, and the countries with the largest share in the global art market can be identified. Particular attention has been paid to the existence of a triad on the art market consisting of Europe, the USA and China. It is noteworthy that Europe and the USA have rapidly lost market share to China.
Źródło:
Oeconomia Copernicana; 2018, 9, 4; 695-714
2083-1277
Pojawia się w:
Oeconomia Copernicana
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Twórczość Wanga Guangyi i jej wpływ na rozwój pop-artu w Chinach
Wang Guangyi’s work and its influence on the development of pop art in China
Autorzy:
Dzehtsiarova, Dar’ya
Powiązania:
https://bibliotekanauki.pl/articles/51457971.pdf
Data publikacji:
2024-06-30
Wydawca:
Wydawnictwo Adam Marszałek
Tematy:
Wang Guangyi
Chinese art
political pop art
contemporary art
Opis:
Since the late 1970s, profound changes have been underway across all spheres of Chinese society, encompassing the arts, thereby giving rise to new artistic trends and transformative shifts within the entire artistic tradition. Chinese artists have increasingly asserted themselves on the international stage. Concurrently, as the West became intrigued by Chinese art, two prominent trends – political pop art and cynical realism – were notably burgeoning. Notably, political pop art emerged as a foremost artistic movement in China during the early 1990s. Central to this trend is a predilection for symbolism, serving as a conduit for artists to articulate their sentiments and societal perspectives. Wang Guangyi is widely acknowledged as the seminal figure behind this movement in China. This article delves into Wang Guangyi’s creative evolution and the genesis of political pop art, exploring the antecedents of this novel artistic trajectory, its conceptual underpinnings, and stylistic hallmarks.
Źródło:
Krakowskie Studia Małopolskie; 2024, 2(42); 79-89
1643-6911
Pojawia się w:
Krakowskie Studia Małopolskie
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Rozwój polskiej teorii wychowania estetycznego – prekursorzy i twórcy
Autorzy:
Krystyna, Pankowska,
Powiązania:
https://bibliotekanauki.pl/articles/892641.pdf
Data publikacji:
2018-02-06
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
Education
art
education towards art
education through art
Opis:
The article presents the achievements and thought of chosen pedagogues taking part in the creation of the Polish model of education through art. Janina Mortkowiczowa, the author of the book On aesthetic education (1903), emphasised the issue of the social significance of aesthetic culture and noted its linkage with moral culture. Stefan Szuman set out his main theses in the book On art and aesthetic education (1962), where he pointed out various dimensions of creative activity, including children’s art and its important role in the process of development of the young human being. Bogdan Suchodolski looked at art from the perspective of culture and general education. Irena Wojnar provided the final shape to the theory of aesthetic education (Theory of aesthetic education, 1976), by distinguishing two aspects within it: education towards art and education through art.
Źródło:
Kwartalnik Pedagogiczny; 2017, 62(4 (246)); 41-55
0023-5938
Pojawia się w:
Kwartalnik Pedagogiczny
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Od sztuki site-specific po sztukę partycypacyjną. Sztuka zaangażowana – wybrane współczesne teorie i praktyki artystyczne
From site-specific to participatory art. Socially engaged art – an overview of contemporary theories and artistic practices
Autorzy:
Urwanowicz-Rojecka, Eliza
Powiązania:
https://bibliotekanauki.pl/articles/952057.pdf
Data publikacji:
2015
Wydawca:
Uniwersytet w Białymstoku. Wydawnictwo Uniwersytetu w Białymstoku
Tematy:
participatory art
site-specific art
socially engaged art
Opis:
Site-specific art has been changing through the years. Firstly, it was connected with its location and directly corresponding with a given site, then critically reconfiguring it. Later it became art that served aesthetic processes in the site, and finally, art that defined the site in a very abstract way (which marked the beginnings of public and community art). Among different paradigms of artistic practices, the latter may take the form of participatory art. Miwon Kwon, Grant Kester and Claire Bishop are considered to be its key theorists. Changes within site-specific practices and their aspiration for a meaningful social context have helped to (re)define the categories of public space, community, and participation. The last of the three has become globally common for artistic practices, without regard for cultural differences, varied political contexts, or issues of funding of this genre of art. Why participatory art is so popular? What kind of impact does it have on the socio-cultural reality? The paper provides an overview of the changes that have taken place within site-specific artistic practices, showing that even a provisionary answer to the above questions cannot be found without an interdisciplinary approach.
Źródło:
Pogranicze. Studia Społeczne; 2015, 26; 31-47
1230-2392
Pojawia się w:
Pogranicze. Studia Społeczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Sztuka jako wyraz świadomości artysty
Art As An Expression Of The Artist’s Awareness
Autorzy:
Zagrodzki, Janusz
Powiązania:
https://bibliotekanauki.pl/articles/424492.pdf
Data publikacji:
2012
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
CONTEMPORARY ART
CONCEPTUAL ART
CONCEPTUALISM
Opis:
Considerations upon the awareness that previously had been identified as the power of God's creation, a universal mind that binds all terrestrial matters together, are the source of an ancient thought. The term conceptualism — conceptus, defining a thought, a concept, an imagination—was inherited from the Latin, but as an idea it emerged in philosophical discussions long before Socrates. The idea of conceptual perception may be found in Plato's philosophy; the definition of creative awareness was not, however, precisely defined by him. It was only Aristotle who assumed that a condition for art to exist is “a permanent disposition capable of producing something with reason”. This direction of research was undertaken by Friedrich Wilhelm Joseph Schelling, one of the first philosophers examining consciousness, the author of the treatise entitled “Philosophy of Art”. The power of Schelling's thought was an emphasis on using symbols in art. Confronting hidden meanings with the literality of concepts based on tangible aspects of knowledge mean that his opinions are still of interest for researchers. The concept of a self-awareness we owe to the establishments of René Descartes. His principle “I think therefore I am” did not remove and in fact even highlighted the doubts that arise during creative activity. What is contemporary art?— a discipline which attempts to understand the power of the human mind, which enables artists to use the knowledge they possess in action. It is an inborn predisposition, or perhaps it is a disposition to produce something material with a thought and therefore it is conceptual in nature. The values in art result from the essence of a message, and the methods of transmitting and receiving are, in a natural way, linked to the intellectual process and it does not matter, which form of the ‘conceptualisation’ of the world the artist chose. Art understood as a concept is often identified as utopian. Utopia, on the other hand, is most often understood as an intentional attitude that exists in one’s consciousness, an idea which cannot be realised. The question arises: what is an artwork completed as an artistic fact. This apparent antinomy between the notions of reality, utopia and concept in art results from an assumption that something is possible and other things are not and that all arguments depend on the assumed point of reference. It is often claimed in colloquial sentences that a project turned out to be utopian. But what does it mean? Can art be utopian? Has any art program ever been fully completed? Can ideas stemming from one’s artistic statement, in their full complexity, demanding a lot of harmonious circumstances, ever be realised? So called utopian or conceptual thought is the basis of all meaningful art achievements, contrary to intentions thought to be realistic, which by their very down-to-earth nature, lack fantasy and therefore have little in common with art. The emergence of an art concept is parallel to the possibilities of its realisation. Not sooner does art exist for real, then as a result a conflict between creative ideas and changing reality appears. Sometimes artistic objectives do not develop further beyond the project stage, sometimes they turn into concrete objects, events or processes. The fact that their incarnations exist, does not determine the meanings. The essence of artistic work is to sustain the idea created. If it takes the form of a registered project then it automatically turns into a tangible object, an item, a phenomenon which can be a base for further actions. So, when the artist questions the rules of the surrounding reality, it is not a conceptual utopia that emerges, but new realities.
Źródło:
Sztuka i Dokumentacja; 2012, 6; 119-122
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
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:
Gry w podmiot. Szkic o (wczesnej) twórczości Mladena Stilinovicia
Autorzy:
Bogusławska, Magdalena
Powiązania:
https://bibliotekanauki.pl/articles/677838.pdf
Data publikacji:
2016
Wydawca:
Polska Akademia Nauk. Instytut Slawistyki PAN
Tematy:
Mladen Stilinović
Yugoslav art
subjectivity
critical art
anarchism
Croatian art
Opis:
Games of a subject: A sketch of the (early) works of Mladen StilinovićThe article concerns the conceptualization of the subject in the works of the contemporary Croatian visual artist Mladen Stilinović. The object of analysis are most of all works (collages, texts) from the 1970s and early 1980s, when the artist formulated the basis for his creative philosophy and at the same time determined the directions of their research. His system of reference were the socialist state order and the traditionalist, academic system of artistic practice, which he criticized from the perspectives of Diogenes, philosophical Cynicism and constructive anarchism. Until this day, the attitude of resistance is the main creative principle for Stilinović’s art. He sets strong, conscious and autonomous creator’s “I” against symbolic violence of different systems (political, ideological, educational, etc.). This “I” is not so much the material and object of expression as a space of play based on concpetualism and self-irony. Gry w podmiot. Szkic o (wczesnej) twórczości Mladena StilinoviciaArtykuł dotyczy konceptualizacji podmiotu w twórczości współczesnego chorwackiego artysty wizualnego – Mladena Stilinovicia. Przedmiotem analizy są przede wszystkim prace (kolaże, teksty) z lat 70. i początku 80. XX wieku, kiedy to artysta formułował podstawy filozofii twórczej i określał kierunki swych poszukiwań. Układem odniesienia były dla niego wówczas socjalistyczny porządek państwa i tradycjonalistyczny, akademicki system praktyki artystycznej, które poddawał konsekwentnej krytyce z pozycji rozumnego, diogenesowskiego cynizmu i konstruktywnego anarchizmu. Do dziś postawa oporu jest dla Stilinovicia podstawową zasadą twórczą. Przemocy symbolicznej wszelkich systemów (politycznych, ideologicznych, edukacyjnych itp.) przeciwstawia mocne, świadome i niezależne „ja” twórcy. Jest tu ono nie tyle tworzywem i przedmiotem ekspresji, ile polem gry opartej na koncepcie i autoironii.
Źródło:
Slavia Meridionalis; 2016, 16
1233-6173
2392-2400
Pojawia się w:
Slavia Meridionalis
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Konceptualizm i sztuka interaktywna. Analiza polskich przykładow
Conceptualism And Interactive Art. The Analysis Of Polish Examples
Autorzy:
Kluszczyński, Ryszard W.
Powiązania:
https://bibliotekanauki.pl/articles/424339.pdf
Data publikacji:
2012
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
CONTEMPORARY ART
CONCEPTUAL ART
CONCEPTUALISM
WOJCIECH BRUSZEWSKI
JÓZEF ROBAKOWSKI
DIGITAL ART
INTERACTIVE ART
Opis:
Contemporary interactive art, which is created through digital computer technologies, has its roots in the artistic trends of a new avant-garde that developed at the end of the 1950s. Conceptual art played a significant and specific role in this process along with kinetic art, action art, installation and electronic media art. It formed not only a deep logic and framework for neo avant-garde tendencies in art, but also a favourable context to develop participatory tendencies and to prepare the conceptual ground for interactive art. In this complex field of artistic genres of that time, many artworks created had features which allow us to consider them in relation to interactive art. Amongst them, we can find works of such artists as Wojciech Bruszewski and Jozef Robakowski. Their numerous installations and objects from the seventies link conceptual and analytical attitudes with interactive characteristics.
Źródło:
Sztuka i Dokumentacja; 2012, 6; 73-78
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Model logiki logika modelu. Kilka uwag krytycznych na marginesie teorii "sztuki jako sztuki kontekstualnej"
The Model Of Logic And The Logic Of A Model. Some Critical Notes On The Theory Of 'Art As Contextual Art'
Autorzy:
Łukasiewicz, Bartosz
Powiązania:
https://bibliotekanauki.pl/articles/424295.pdf
Data publikacji:
2010
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
CONTEMPORARY ART
CONTEXTUAL ART
CONTEXTUALISM
JAN SWIDZINSKI
PERFORMANCE ART
Opis:
The aim of this article is to critically analyse the theory of 'art as contextual art' by Jan Swidzinski. The theory of 'art as contextual art' has not been reconstructed sufficiently in terms of its logical constitution, or its formal assumptions. The area that should be analysed, through the means of logic, becomes analysed per analogiam: that is through searching until we find the simplest and the most obvious comparisons with other contemporary, or past art theories. Swidzinski claims that the logic of the game described by him, is a useful depiction of processes that take place in the reality that surrounds us, whereas the theory of 'art as contextual art' itself contains a set of events referred to as 'the logic of a game'. This text attempts to answer the following question: What do we need to verify the above assertion? (as well as others posted by Swidzinski.) Swidzinski attempts to employ the models outlined in the essay to reveal the conflicts brought on by the misunderstandings of concepts used to describe the worlds we live in. As such, models are inscribed in the long tradition going back to Hegel. They are also present in the writings of Marquard, Habermas, Welsch and Foucault; this is irrespective of the fact that the scopes of their conceptualisation differ within the writings of these writers. The models are the one of many ways in which reality may be encompassed. Their usability is determined by some particular aims. Finally, the models serve for Swidzinski to rationalise the crisis in art. It seems rather obvious that the ability to verify them is periodical – the facts, inasmuch, may both support and refute them. The essay tries to find an answer to a question: what if the categories used by the theory of 'art as contextual art' have the ability to describe reality, but only in relation to the past which is being negated and refuted by them? Doing so, they do not directly determine what the current state is, but what it is not, in relation to what has become to be accepted as such. This is a deductive method and what is more, a negative one (it is defined by negation). In this approach the theory of 'art as contextual art' turns out to be yet another archive, another collection of truths and norms. The worst that we could have done is to treat it as true. It will never be true, it will never be fully refuted, just like in the case of truths, aspiring to the status of righteousness, which will never be verified. Perhaps, what matters here is simply to remember to never accept anything as true by belief or habit. And perhaps persistently refute, verify and redefine those truths.
Źródło:
Sztuka i Dokumentacja; 2010, 2; 5-25
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Hommage a Jan Świdziński. Próba wprowadzenia do sztuki jako sztuki kontekstualnej
Hommage A Jan Świdziński. An Essay On Art As Contextual Art
Autorzy:
Piotrowski, Kazimierz
Powiązania:
https://bibliotekanauki.pl/articles/424521.pdf
Data publikacji:
2009
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
CONTEMPORARY ART
CONTEXTUAL ART
CONTEXTUALISM
JAN SWIDZINSKI
PERFORMANCE ART
Opis:
Jan Swidzinski (b. 1923) has been the one of the main representatives of the post-conceptual movement since mid-seventies. His artistic doctrine Art as Contextual Art (published in February 1976), considered in confrontation with Joseph Kosuth's tautological model of art, makes it possible to appreciate Swidzinski's contribution to overcome the hegemony of conceptualism and New York. Swidzinski was right to indicate that conceptualism of the Art and Language group and Kosuth, although it did try to bring back the profound meaning of art (art is a meaning, not decoration) by introducing non-artistic considerations (self-consciousness), but in fact replaced the traditional formalism of art with the formalism of the neo-positivistic philosophy which was hard to maintain. Kosuth's thesis that the works of art are analytical and tautological sentences - was a mistake because Wittgenstein's theory of meaning as a method of expression, implied an entropy of meaning in art and revealed a need for some sort of verification of the theory of the meaning itself. The tautological model as a relativistic one, while assuming a self-reflection in the autonomous context of art, did not answer the question: why is the term 'art' used this way and not in a different way? So, in 1975 Swidzinski compared the artifacts not to analytical sentences but to sentences comprising intensional functors (their veracity depends upon the contents replacing the variables). The intensionality of artistic statements, that is to say, the presence of functors in them (I know, I believe, I suppose, I must etc.) studied by the epistemological or deontological logic, indicates that they are restricted by the pragmatic moment of experience. Swidzinski declared that Art as Contextual Art is an opposition to the multiplication of meaning, and thus to relativism, and at the same time he recognized the dissimilarity and changeability of contexts, stating that what is real in one context is not real in another, and therefore he tried to sanction relativism. This is the perspective shown in his book Art, Society and Self-consciousness (1979) in which he attempted to define the structure of intensionality as the antagonistic one. In the global context there coexist various logics that regulate our image of the world: the logic of norms, the logic of freedom, the epistemological logic and the logic of a game. The awareness of the intensional structure of the context requires from us today to work out a model of culture, different from the absolutistic and relativistic one, a model in which the repressive opposition of absolutism and relativism have lost significance. It is a question: what society should be? The book is an introduction to Swidzinski's Freedom and Limitation - The Anatomy of Postmodernism (1987). Today, in my opinion, Swidzinski does not resemble the old contextualist who would foster the intentions of a traveller-researcher. He is more of a neo-pragmatic contextualist-tourist. But his doctrine is very important for our understanding of the present art and culture, though the debate between Kosuth's conceptualism and Swidzinski's contextualism appears only to be a case of the history of conceptism and, last but not least, wit (ingenium comparans).
Źródło:
Sztuka i Dokumentacja; 2009, 1; 5-20
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Problem sztuki naskalnej w Polsce
The problem of rock art in Poland
Autorzy:
Pankiewicz, Marek
Powiązania:
https://bibliotekanauki.pl/articles/27312682.pdf
Data publikacji:
2022
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Palaeolithic
Palaeolithic art
cave-site
cave art
rock art
Opis:
It is assumed that occurrence of Palaeolithic cave art in Central and Eastern Europe is not typical for this part of the continent, as it is difficult to consider its few examples as a result of solely poor preservation. Looking into this issue from the perspective of region of modern Poland, several questions arise: Why is it registered on so few sites, and is it truly an atypical phenomenon for the region? In problem discussion, there are three key elements: research interest, state of preservation, and competences needed for making a discovery. These elements, covered in following paper, explicitly suggest that in terms of Polish cave sites, we do not possess enough information to conclude which type of occurrence we are dealing with.
Źródło:
Folia Praehistorica Posnaniensia; 2022, 27; 163-174
0239-8524
2450-5846
Pojawia się w:
Folia Praehistorica Posnaniensia
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Art After Democracy, Art Before Democracy
Autorzy:
Mizerkiewicz, Tomasz
Anessi, Thomas
Powiązania:
https://bibliotekanauki.pl/articles/951464.pdf
Data publikacji:
2019
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
democracy
art
book-art
postmodernism
Opis:
The paper describes today’s new situation of art facing antidemocratic processes. The powerful metaphor of Parthenon of books is used, which once was the name of an installation by Marta Minujín presented just after the fall of Argentinian brutal regime in the early eighties and reinstalled again few years ago. The author points that popular “posts” of humanities (postmodernism, postsecularism etc.) need to be replaced by the philosophy of art being after some definite change. The new temporal and public condition of art being after is the result of its dramatic contemporary and future challenges.
Źródło:
Poznańskie Studia Slawistyczne; 2019, 17; 15-21
2084-3011
Pojawia się w:
Poznańskie Studia Slawistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Logos & Techne - About New Possibilities of Creating Art with Artificial Intelligence
Autorzy:
Marcinkowski, Arkadiusz Mieczysław
Powiązania:
https://bibliotekanauki.pl/articles/23952446.pdf
Data publikacji:
2022
Wydawca:
Politechnika Gdańska
Tematy:
artificial intelligence
art authentication
art restoration
Opis:
The integration of artificial intelligence (AI) in the art world has been transforming various industries, including the creation of new artwork, interpretation of existing pieces of art, curation of exhibitions, authentication of artworks, creation of interactive art, and restoration of damaged artwork. AI algorithms can analyze and generate new pieces of art based on collected data, classify elements in a painting, curate exhibitions and collections tailored to specific audiences, authenticate artworks, create interactive art, and restore damaged artwork. This article explores the various possibilities and applications of AI in the art world, highlighting its potential to innovate and revolutionize the industry even further as the technology continues to evolve.
Źródło:
TASK Quarterly. Scientific Bulletin of Academic Computer Centre in Gdansk; 2022, 26, 4
1428-6394
Pojawia się w:
TASK Quarterly. Scientific Bulletin of Academic Computer Centre in Gdansk
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Czy archeologia potrzebuje sztuki? Jak teoretyczne spojrzenie otwiera nowe możliwości współpracy. Sztuka jako użytkowanie
Does archaeology need art? How theoretical look opens new possibilities of cooperation – art as using
Autorzy:
Ryczek, Justyna
Powiązania:
https://bibliotekanauki.pl/articles/1023753.pdf
Data publikacji:
2019-12-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
theory
archaeology
art
art as using
Opis:
In the following paper, a question was asked if archaeology needs art, precisely – in what way is this art needed? The author determines the value of the artistic act since we want to participate in this experiencing and even co-create this experience. Another issue is what we have from the contact with the art. The art is treated as continuously changing which imposes the transformations in the definition. The answer points out the proper understanding of the art functions, which is as using. It is significant when indicating various connections and transfers between art and other academic disciplines. It helps to notice mutual connections and relations, also with archaeology.
Źródło:
Folia Praehistorica Posnaniensia; 2019, 24; 235-247
0239-8524
2450-5846
Pojawia się w:
Folia Praehistorica Posnaniensia
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
A Critique of Functionalist Definitions of Art
Autorzy:
Fokt, Simon
Powiązania:
https://bibliotekanauki.pl/articles/644723.pdf
Data publikacji:
2015
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
art
artwork
functionalism
critique
contemporary art
Opis:
This paper deals with the issue of definition of art and artwork in the sense of functionalist approach. It critically argues with the existing terms and meanings of artwork in that sense and presents them as insufficient and inadequate when speaking of modern art. Furthermore functionalism assumes that a great deal of artworks has a specific function, what we cannot say about a large number of contemporary artistic endeavors. Therefore it is being argued here that this approach, how popular it might have been in the past, must be replaced with a new paradigm of comprehension of esthetics.
Źródło:
Kultura-Społeczeństwo-Edukacja; 2015, 8, 2; 27-46
2300-0422
Pojawia się w:
Kultura-Społeczeństwo-Edukacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Symbiosis stylisis trends in culture xix – early xx centuries
Autorzy:
Barna, Natalia V.
Powiązania:
https://bibliotekanauki.pl/articles/451623.pdf
Data publikacji:
2016
Wydawca:
Wyższa Szkoła Gospodarki Euroregionalnej im. Alcide De Gasperi w Józefowie
Tematy:
art
postmodern aesthetics
design
art practice
Opis:
The problems of it is actual another interesting dimension of the art of reality, which is associated with the Gothic Revival. The Gothic Revival – it is not Gothic at all, as other eclectic styles. It is a cultural metaphor of imitation of Gothic tradition. The verticality by itself, like an arrow slits – all this becomes so, as we say, image, denies represent classical facade. Neorussion or Byzantine style, Neorenaissance were associated with ethnic tradition, with regeneration of ethnic culture. Ethnic culture becomes the subject of professional interests. If classicism can not see national traditions, everywhere simply and clearly put axis, that are formed by spatial syntagms, so the eclecticism fueles the interest to the national roots. We can see a certain nostalgia for our own ‟golden age”. That is, if we return to reflexive interpretations of culture, as it was mentioned above, it could be argued that it polystyle shows permanent deployment of metaphysical searches that already tend to aplently reality, to polycentrism, the center (axis) in the composition as the sole source of unity of the whole has become impossible. Here is felt a certain pluralism and a certain ‟postmodern” if it can be called postmodern, though postmodernism appears as nomination is in the middle of the XXth century
Źródło:
Journal of Modern Science; 2016, 30, 3; 357-368
1734-2031
Pojawia się w:
Journal of Modern Science
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Korean Avant-garde Performance Art from the 1960s to the 1980s in the Trajectory of the South Korean Democratization
Autorzy:
Lee, Ah-Young
Powiązania:
https://bibliotekanauki.pl/articles/1011604.pdf
Data publikacji:
2020
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
performance art
art and politics
democracy
dissident art
art and political history
avant-garde
Opis:
The article describes the political and social conditions in South Korea from the mid-1960s and the period of the military dictatorship. It was also a time of industrialization and civilization development of the country, and along with the modernization trends, new forms of art appeared. They have been adapted to express social tensions related to the country's development. The new art took conceptual, action, happening forms. The history of the struggle and overcoming the military dictatorship and the non-democratic regime is related to the development of modern art. And what should be emphasized is its most progressive, artistically radical forms of expression.
Artykuł opisuje warunki polityczno-społeczne w Korei Południowej, począwszy od połowy lat sześćdziesiątych i okresu dyktatury militarnej. Był to zarazem czas industrializacji i cywilizacyjnego rozwoju kraju, a wraz z trendami modernizacyjnymi pojawiły się nowe formy sztuki. Zostały one zaadoptowane do wyrażania napięć społecznych związanych z rozwojem kraju. Nowa sztuka przyjmowała formy konceptualne i akcyjne, happeningowe. Historia walki i przezwyciężenia dyktatury wojskowej i nie-demokratycznego regime jest związana z rozwojem sztuki współczesnej. I to, co należy podkreślić, jej najbardziej progresywnych, radykalnych artystycznie form ekspresji.
Źródło:
Sztuka i Dokumentacja; 2020, 22; 63-77
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Artur Żmijewski, elogio del corpo imperfetto
Artur Żmijewski: In Praise of the Imperfect Body
Autorzy:
Quercioli Mincer, Laura
Powiązania:
https://bibliotekanauki.pl/articles/28407907.pdf
Data publikacji:
2021-12
Wydawca:
Associazione Italiana Polonisti (AIP)
Tematy:
contemporary art
performance
art and politics
delegated performance
art and disability
Opis:
The artistic work of Artur Żmijewski, one of the best-known contemporary Polish artists, is often bold and provocative, playing with the strongest emotions with brutality and at the same time proposing itself as a political and ethical action. The protagonists of Żmijewski’s video and photographic installations are fragile, imperfect, mutilated bodies (Oko za oko), annihilated by suffering (Karolina), old people singing in hospital beds (Nasz śpiewnik), and people occupied with something impossible and incongruous (Lekcja śpiewu). The artistic scenario presented reflects somehow both the world and Poland, it is archaic and contemporary, and characterised by an almost religious pietas combined with a form of poetic insubordination and a ruthless critique of the forms of politics and biopolitics.
Źródło:
pl.it / rassegna italiana di argomenti polacchi; 2021, 12; 54-74
2384-9266
Pojawia się w:
pl.it / rassegna italiana di argomenti polacchi
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Recognizing a Polish National Idiom in Global Art: Two Exhibitions of Polish Contemporary Art Abroad
Autorzy:
Lubiak, Jarosław
Powiązania:
https://bibliotekanauki.pl/articles/2170562.pdf
Data publikacji:
2022
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
Art and Documentation
Polish National Idiom
Global Art
Polish Contemporary Art
Źródło:
Sztuka i Dokumentacja; 2022, 27; 169-176
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Procesualność a materia sztuki. Różne drogi kreacji i funkcjonowania utworu sztuk wizualnych: od tradycyjnej do antysztuki i działań artystycznych
Processuality and matter of art. Different ways of visual artwork creation and its functioning: from the traditional one to anti-art and action art
Autorzy:
Kowalik, Anna
Powiązania:
https://bibliotekanauki.pl/articles/460123.pdf
Data publikacji:
2017
Wydawca:
Fundacja Pro Scientia Publica
Tematy:
sztuka wizualna, materia sztuki, sztuka w procesie, sztuka współczesna, synteza sztuk
visual art, art matter, process art, contemporary art, art synthesis
Opis:
Purpose of research. The purpose of the study is the analysis of the creation and functioning of art as a continuing process, a quality that is intrinsic to it. Art can be perceived visually as well as with other senses both in the process and through the material outcome. An attempt at its reinterpretation, illustrated with selected works of contemporary Polish and foreign artists, will be presented. Methodology. The dissonance between modern and traditional art lies, among other things, in the variety of, both, the techniques applied and the ways of conveying the message of the work. Art provides the artist with room for freedom which manifests itself in a free choice of artistic means: Teresa Murak celebrates the miracle of living by using natural materials; for Anna Goebel every material she uses tells its own unique story and so the artist considers it to be a medium of creating her own reality, whereas Yves Klein used to say that his paintings were only the ashes of his art, as what is most important is the experience and creation process, including the passage of time. Such a belief comes from the fact that everything art relates to, each creation as well as reception process – all this takes place in a context. Results. Today every sign of artistic activity - from painting, in the traditional sense of the concept, to the "action", experimental imprints of the human body, objects, plants, ephemeral art and spatial forms as environments, installation – can be considered a work of art. Art in process expresses not so much the temporary nature of the artwork formation, , as the necessity - essential for its existence - of being in a state of permanent execution by the author. Conclusions. In contemporary art, it is possible observe a re-evaluation of the stages that influence the creation of the artwork. Examples of art in the text show a different approach to the art in the process and the form and manner of use of the medium. They prove the lack of discrepancies between essence and existence of human and matter that takes on the form of the individual personality.
Cel badań. Celem pracy jest analiza kreacji i funkcjonowania sztuki, która jest w bezustannym procesie, co wynika między innymi z jej natury. Zarówno poprzez proces, jak i materię, może być odbierana wzrokowo, ale także za pomocą innych zmysłów. W artykule dokonano interpretacji na podstawie wybranych dzieł polskich i zagranicznych artystów. Metoda. Dysonans pomiędzy sztuką współczesną a dziełami sztuki dawnej leży między innymi w różnorodności zastosowanych technik i sposobów przekazywania wiadomości. Sztuka to obszar wolności artysty, który manifestuje się dowolnym wyborem środków wyrazu: Teresa Murak celebruje misterium życia, posługując się tworzywami pochodzenia naturalnego, każdy użyty przez Annę Goebel materiał opowiada własną, niepowtarzalną historię i jest traktowany jako medium do stworzenia własnej rzeczywistości, natomiast dla Yvesa Kleina malarstwo jest popiołem sztuki, gdyż najważniejsze są doświadczenie i sam proces tworzenia, wszystko bowiem, do czego sztuka się odnosi, każdy proces twórczy i proces odbioru dokonują się w jakimś kontekście. Wyniki. Dziś dziełem sztuki określa się każdy przejaw działalności artystycznej, począwszy od obrazu w pojęciu tradycyjnym, aż do sztuki „akcji”, eksperymentalnych odcisków ciała ludzkiego, przedmiotów, roślin, sztuki efemerycznej, instalacji i form przestrzennych, takich jak environments. Sztuka w procesie wyraża nie tyle czasowy charakter powstawania dzieła, ile zasadniczą dla jego istnienia konieczność znajdowania się w stanie permanentnego wykonywania przez autora. Wnioski. W sztuce współczesnej następuje przewartościowanie etapów wpływających na tworzenie działa. Przywołane w tekście przykłady ukazują odmienne podejście do sztuki w procesie oraz do formy i sposobu użycia medium. Dowodzą braku rozbieżności pomiędzy istotą i egzystencją człowieka, a materią, która przybiera formę osobowości jednostki.
Źródło:
Ogrody Nauk i Sztuk; 2017, 7; 416-425
2084-1426
Pojawia się w:
Ogrody Nauk i Sztuk
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Avant-garde against avant-garde
Autorzy:
Kluszczyński, Ryszard
Powiązania:
https://bibliotekanauki.pl/articles/593887.pdf
Data publikacji:
2017
Wydawca:
Łódzkie Towarzystwo Naukowe
Tematy:
avant-garde
new media art
art & science
cybernetic art
robotic art
bioart
hybrot art
awangarda
sztuka nowych mediów
sztuka cybernetyczna
sztuka robotyczna
Opis:
In this paper, new media art, which is fundamentally associated with technology and science, will be discussed as a contemporary form of artistic avant-garde. In my argument, I will focus on its connections to earlier manifestations of avant-garde mindsets and attitudes, that is, to historical avant-garde and neo-avant-garde. I will also address the role of the art world and its institutions in establishing their mutual relationships.
Źródło:
Art Inquiry. Recherches sur les arts; 2017, 19; 33-43
1641-9278
Pojawia się w:
Art Inquiry. Recherches sur les arts
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Avant-Garde-ness & Experimentation: Renegades as Outliers
Autorzy:
Yoon, Jin Sup
Powiązania:
https://bibliotekanauki.pl/articles/1011634.pdf
Data publikacji:
2020
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
performance art
rhizome
rhizomatous map
art and democracy
art collectives
avant-garde
Opis:
The article was written from the point of view of a witness, participant in civilization and social changes in South Korea. Rapid modernization has transformed the social structure of Korean society. The territory of contemporary art, contemporary forms, such as happenings and performances, has become a way of expressing a critical approach to the ongoing civilization changes, and at the same time a way of pro-democratic demands addressed to the military regime ruling the country at that time. The connection of the history of avant-garde art and the anticipation of the development of art functioning in the social context of the time, led to the creation of an intellectual project entitled 'Rhizomatous Map of Performance Art' (see the diagram). It was based on the author's personal experiences as an artist, art critic and art historian. The conclusion of the project is to establish in research and personal experience the belief that performance art plays a central role in the development of modern society and its creative culture. Art and its creators, who once seemed renegade, are now seen as pioneers of the modern Korean state.
Artykuł został napisany z punktu widzenia świadka, uczestnika przemian cywilizacyjnych i społecznych w Korei Południowej. Raptowna modernizacja spowodowała przeobrażenia w strukturze społecznej społeczeństwa Koreańskiego. Terytorium sztuki współczesnej, współczesnych form, takich jak happening i performance, stało się sposobem dania wyrazu dla krytycznego podejścia do dokonujących się zmian cywilizacyjnych, a zarazem sposobem żądań pro-demokratycznych adresowanych do militarnego regime rządzącego w tym czasie w państwie. Powiązanie historii sztuki awangard i przewidywania co do rozwoju sztuki funkcjonującej w ówczesnym kontekście społecznym, doprowadziły do powstania projektu intelektualnego zatytułowanego 'Rhizomatous Map of Performance Art' (zobacz diagram). Jego podstawą były personalne doświadczenia autora jako artysty i krytyka sztuki i historyka sztuki. Konkluzją projektu jest ugruntowanie w badaniach i doświadczeniu personalnym przeświadczenia o centralnej roli performance art w rozwoju nowoczesnego społeczeństwa i jego kreatywnej kultury. Sztuka i jej twórcy, którzy wydawali się kiedyś renegatami, są dziś postrzegani jako pionierzy nowoczesnego państwa Koreańskiego.
Źródło:
Sztuka i Dokumentacja; 2020, 22; 79-87
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Photography and sculpture:The multifaceted relation of sculpture to photography and new media in the light of the evolving concept of sculpture
Autorzy:
Dzwonkowska, Paulina
Powiązania:
https://bibliotekanauki.pl/articles/628677.pdf
Data publikacji:
2010
Wydawca:
Fundacja Pro Scientia Publica
Tematy:
Modern Sculpture, Photography, Polish Art, Environment, Installation Art, New media, Modern Art
Opis:
The relationship between photography and sculpture, unlike the dialogue between the latter and painting, was long treated as a peripheral issue. Yet as early as the mid-20th century photography began to show potential that sculpture seemed to be lack. Aware of a large degree of overlap between the two forms of artistic expression, (e.g. with respect to materiality, spatiality, or accentuating frozen gestures) sculptors did not leave sculpture for photography, but attempted to create works that were interdisciplinary in structure. The rise of interest in photography displayed by Polish sculptors was closely connected with the evolution of the concept of sculpture. In the mid-20th century artists creating traditional sculptures (understood as a solid or as a visually rendered spatial form) began to experiment and cross the boundaries of well-established artistic tradition. The changes introduced enabled sculptors to interweave their field with other artistic disciplines, especially photography, even more closely. More and more frequently, sculpture started to establish multi-faceted relations with the new medium. At the beginning the potential of photography as a documentation tool was exploited. Then sculptors began to appreciate photography’s core values, using it to capture and preserve a given moment in time. Finally, they applied it in works that can be classified as close to hyperrealism. The employment of still newer materials and tools made the link between sculpture and photography inextricable, as can be shown through works of Polish artists.
Źródło:
Journal of Education Culture and Society; 2010, 1, 1; 26-36
2081-1640
Pojawia się w:
Journal of Education Culture and Society
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Zbigniew Dłubak. Od sensu ukonstytuowanego do konstytucji sensu
Zbigniew Dłubak. From A Constituted Sense To The Sense Constitution
Autorzy:
Brogowski, Leszek
Powiązania:
https://bibliotekanauki.pl/articles/424605.pdf
Data publikacji:
2012
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
CONTEMPORARY ART
CONCEPTUAL ART
CONCEPTUALISM
ZBIGNIEW DLUBAK
ABSTRACT PAINTING
EMPTY SIGN
SOURCE OF MEANING
ART IDEA
CONCEPTUAL PHOTOGRAPHY
POLISH ART AVANT-GARDE
ART BEYOND MEANING
ART BEYOND INFORMATION
ART BEYOND EXPRESSION
ART BEYOND ESTHETICS
ART BEYOND STYLE
DESYMBOLISATION
PHENOMENOLOGY OF PAINTING
SEMIOTICS OF ART
TAUTOLOGY
DIFFERANCE
Opis:
The article is based upon his translation of a French text published in 1994. The text was part of a catalogue featuring an individual exhibition by Zbigniew Dlubak in Maison des expositions de Genas. There were some minimal changes introduced by the author to the original work entitled “Du sens constitué à la constitution du sens.” The text highlighted the originality of the artist's inspirations: on the one hand — similarly to other conceptualists in 1960-1970 — Dłubak was interested in semiotics and linguistics. However he was more captivated by Jakobson and Mukarowsky than Ayer and Wittgenstein. On the other hand, in a similar way to some 20th century painters, he intuitively discovered the procedures of phenomenology. Dlubak's contribution to conceptual art is based on a 'structural-painterly' approach to art, which is reminiscent of Maurice Merleau-Ponty's philosophy. According to this French philosopher, language signs are 'forms in blanco'. For Dlubak, a work of art is an 'empty sign', which will acquire meaning during a process which Dlubak equaled with the work of art itself. The artist suggested an original—phenomenological—concept of aesthetic experience, which was based on the idea of stepping outside 'the world of meaning' in a search for the source where the sense of art is constituted. The discovery of the process in which the sense of art emerges and understanding its mechanisms, stand in opposition to aesthetic concepts, as these aesthetic concepts find the style as the main goal of art creation and assume that for an artist a specific style represents a specific way of thinking. Breaking away from the stylistic focus and from thinking in the categories of style, is one of the most significant elements of creation according to Dlubak; a style is an ossified and fossilised sense. One of his characteristic strategies, which is aimed at overcoming the category of style, is a parallel and concurrent use of painting and photography. He underlined the overlapping of artistic and cognitive processes and by doing so, Dlubak arrived at an original concept—not very new in the history of aesthetic thought—which sees art as ‘principle to the liveliness of one’s mind’.
Źródło:
Sztuka i Dokumentacja; 2012, 6; 55-62
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
INNOVATIVE POSSIBILITIES OF ACTIVITIES WITH VISUAL ART IN PRE-PRIMARY EDUCATION
Autorzy:
IVANA, ROCHOVSKÁ
Powiązania:
https://bibliotekanauki.pl/articles/460510.pdf
Data publikacji:
2019
Wydawca:
Państwowa Wyższa Szkoła Zawodowa w Chełmie
Tematy:
visual art
fine art
art education
nursery school
pre-primary education
Opis:
The paper deals with the interpretation of visual art and the presentation of the project entitled “Visual artists in nursery school” that was suggested and verified in practice of pre-primary education. The author pointed out the theoretical background of using of visual art in pre-primary education that is illustrated by practical examples – interpretation of artwork by Pablo Picasso Three Musicians. In conclusions of the paper, the author listed the reflection of the project and the recommendation for the practice of pre-primary education.
Źródło:
Scientific Bulletin of Chełm - Section of Pedagogy; 2019, 1; 19-38
2084-6770
Pojawia się w:
Scientific Bulletin of Chełm - Section of Pedagogy
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:
Rola dokumentacji w procesie zachowania i konserwacji sztuki współczesnej
The Function Of Documentation In Contemporary Art
Autorzy:
Jadzińska, Monika
Powiązania:
https://bibliotekanauki.pl/articles/424676.pdf
Data publikacji:
2011
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
CONSERVATION
CONTEMPORARY ART
DOCUMENTATION
INSTALLATION ART
PERFORMANCE ART
PRESERVATION
PRESERVATION STRATEGIES
Opis:
The incredible diversity and complexity of unconventional works of contemporary art has changed the role of documentation in the process of preservation and conservation. It has become absolutely necessary for the future existence of the work, in order to further understanding, acquisition, installation, arranging, displaying, transportation, conservation and many other areas. Besides a description of the traditional history of the object, its materials and techniques used, or the conservation work which it was subjected to, the documentation is also a form of a copyright certificate, an educational base, and sometimes it may even replace the work of art. This research paper defines a new role for the importance of documentation of contemporary works of art. It focuses on what it means to 'preserve through the documentation' and on the importance of profiled interviews with artists. It describes how and when to document the work of art and how to capture its intangible aspects. Based on the example of installation art, specific methods and a current registration system are pointed out.
Źródło:
Sztuka i Dokumentacja; 2011, 4; 71-79
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Poszukiwanie znaczeń sztuki naskalnej na podstawie badań poświęconych współczesnej twórczości dzieci
Autorzy:
Pankiewicz, Marek
Powiązania:
https://bibliotekanauki.pl/articles/1023907.pdf
Data publikacji:
2016-12-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
rock art
children’s art
pilot study
interpretation of rock art
Opis:
Child art has long been a subject of research. Books and papers on the issue inspired me to look at rock art through the prism of studies on the artistic works of the little ones. This paper discusses a pilot study that I have conducted and offers some theoretical considerations on reading art.
Źródło:
Folia Praehistorica Posnaniensia; 2016, 21; 375-388
0239-8524
2450-5846
Pojawia się w:
Folia Praehistorica Posnaniensia
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Romanian Art Historiography in the Interwar Period. Between the Search for Scholarship and Commitment to a Cause
Autorzy:
Ţoca, Vlad
Powiązania:
https://bibliotekanauki.pl/articles/909535.pdf
Data publikacji:
2019-12-20
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Romanian art historiography
interwar period
Romanian art
Transylvanian art
Romanian culture
Opis:
At the end of World War I, Romania emerged as a much stronger nation, with a greatly enlarged territory. During the two world wars, the Romanian state was permanently looking for the best way to preserve the newly created national state and defend its frontiers. This was the only matter all Romanian parties seemed to agree on. The threat of territorial revisionism coming from Hungary, the Soviet Union and, to a lesser extent, Bulgaria united all the political actors in defending the peace system of Versailles and supporting the League of Nations as the guarantor of this peace and stability. The interwar period was a remarkable time for Romania’s cultural history. Between the two world wars, the Romanian cultural scene was dominated by what Keith Hitchins calls the ‘Great Debate’ about national identity and development. The opponents were those advocating synchronism with the West, on the one hand, and those pleading for tradition, on the other, with many others looking for a third way. In Romanian interwar culture, the country’s modernity was emphasized in order to place the country within the larger family of European nations. An opposing, and at the same time, complementary line of thought was that of presenting the long and noble Romanian history, tradition and ancestral roots. These two themes have been present in Romanian culture since the mid-19th century. They were used by various authors, sometimes in a complementary fashion, while at others, in a conflicting manner in literature, historical writing or political discourse. This process did not end with the creation of the Greater Romania after the end of World War I. New threats, which are mentioned above, maintained the need to continue this discourse. In this context, historical arguments became political arguments and were used by the Romanians in order to justify the new territorial gains and the Versailles system. Art history, part of the family of historical disciplines, came to play an important part in this. Romanian art historical writing or political discourse. This process did not end with the creation of the Greater Romania after the end of World War I. New threats, which are mentioned above, maintained the need to continue this discourse. In this context, historical arguments became political arguments and were used by the Romanians in order to justify the new territorial gains and the Versailles system. Art history, part of the family of historical disciplines, came to play an important part in this. Romanian art historical writing did not exist as such until the end of the 19th century. It was only in the first years of the next century that the number of scholarly works produced following western standards steadily increased. As part of a general tendency of aligning Romanian academic practices with those in the West, art historiography established itself as a respectable academic discipline, a process which went hand in hand with the establishment of new institutions such as museums, university departments, research institutions and the Commission for historical monuments. All these institutions were founded and financed by the Romanian state, and most scholars were involved with these institutions in one way or another. Although Romanian art historiography of the period is dominated by the desire to produce academic works to the highest standards, the ideas of the Great Debate are present in the works of that time. At the same time, in several texts, the most prominent art historians of the day strongly affirm the necessity of putting their work in the service of the national cause. In this paper, we will be looking at the general histories of Romanian art written between the two world wars. The choice of these texts is motivated by the fact that these works are the result of larger research projects and have a broader scope and as such better summarise the trends of the interwar period.
Źródło:
Artium Quaestiones; 2019, 30; 93-122
0239-202X
Pojawia się w:
Artium Quaestiones
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Eventy i projekty. Transfery innowacji pomiędzy polem sztuki a życiem codziennym i gospodarką w XX i XXI wieku
Events and Projects. Transfers of Innovation Between the Field of Art, Everyday Life, and Economy in the 20th and 21st Century
Autorzy:
Możdżyński, Paweł
Powiązania:
https://bibliotekanauki.pl/articles/2150772.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet w Białymstoku. Wydawnictwo Uniwersytetu w Białymstoku
Tematy:
circulation of art pieces
post-Fordism
postmodern art
sociology of art
Opis:
The structural aspects of artistic production are the main topic of Możdżyński’s text. The author explores the notions of post-Fordist society, late capitalism, postmodern aestheticisation of everyday life, and the new rules for the production and circulation of art pieces under these conditions. The last section of the article is focused on the transfers of innovation between the economy, management, and field of art.
Źródło:
Pogranicze. Studia Społeczne; 2018, 34; 7-18
1230-2392
Pojawia się w:
Pogranicze. Studia Społeczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
‘Downtown mosaics’ in revitalisation district in Szczecin (Poland). Reflections on the project
Autorzy:
Krawczak, Ada
Powiązania:
https://bibliotekanauki.pl/articles/28407818.pdf
Data publikacji:
2022
Wydawca:
Uniwersytet Komisji Edukacji Narodowej w Krakowie
Tematy:
Mosaic
Szczecin
participatory art
revitalization
street art
Opis:
One of the most degraded areas of Szczecin is the city center with its three housing estates: Centrum, Śródmieście Zachud and Turzyn. The City Hall has been running a revitalisation program for this area since 2017. OSWAJANIE SZTUKI Association, which has been running the ŚRODEK Śródmiejski Punkt Sąsiedzki since 2018, located in the area covered by revitalisation, is implementing the artistic and social project ‘Downtown mosaics.’ The aim of the project is to create art objects in a degenerated semi-public space and to improve the attractiveness of places that the inhabitants of the area consider unattractive and/or dangerous. Mosaics are created in cooperation with local artists, urban activists and city residents in the courtyards of tenement quarters, outside the main walking trails. Designers present proposals for three mosaics, but the final choice is made by the residents of the nearest residential buildings or the direct owner of the facility. So far, five mosaics have been created on various topics – from ‘Cosmos’ behind the former Kosmos cinema to ‘Reading room’ on the garage wall of the owner of an informal antique shop. In addition to actively joining the mosaic, the residents can provide the material for the mosaic – e.g. tiles left over from home renovation. The mosaics became an attraction not only for the closest residents, but also met with a very positive reception from all Szczecin residents who began to visit the dark corners of the city center. The article presents the process of creating neighbourly mosaics in the spirit of participatory art.
Źródło:
Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione; 2022, 17, 375; 105-115
2081-3325
2300-5912
Pojawia się w:
Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
NOWA FORMA MUZEUM SZTUKI – GALERIA SZTUKI W WIELKIEJ BRYTANII W CZASACH WIKTORIAŃSKICH
A NEW FORM OF ART MUSEUM – THE ART GALLERY IN VICTORIAN BRITAIN
Autorzy:
Giles, Waterfield,
Powiązania:
https://bibliotekanauki.pl/articles/433137.pdf
Data publikacji:
2015
Wydawca:
Krajowy Ośrodek Badań i Dokumentacji Zabytków
Tematy:
art museum
art gallery
private collections
exhibition
Opis:
The article is devoted to the idea of the art gallery that flourished in Victorian Britain. The author describes the social and political background of the phenomenon of a new form of a museum, namely the art gallery which used to be private and popular expenditure on the arts. A rage for exhibitions erupted in nineteenth century Britain. The exhibition was central to the new art museums. These included high-minded historical surveys of world history or world art; trade exhibitions; displays of work by contemporary artists; displays of single paintings; assemblies of works from private collections, held both at the Royal Academy of Arts and in many major towns; everything except single-artist exhibitions which were regarded as vulgarly commercial. Many of the new museums were financed by such events, so that, for example, the new buildings at Kelvingrove in Glasgow were originally built to accommodate a huge popular exhibition. One of the prime purposes of the new galleries was to accommodate annual shows of work by artists, a tradition that had existed since the early nineteenth century. These art museums flourished for only a short time, and their principal legacy in material terms is the large number of well-built structures that was created for them. But the idea of creating a museum that could be enjoyed by all, free of charge, was a worthwhile one, one that has become hugely important in contemporary Britain, and that represents I believe a pioneering ideal.
Artykuł jest poświęcony idei galerii sztuki, która rozkwitła w Wielkiej Brytanii w epoce wiktoriańskiej. Autor opisuje tło społeczne i polityczne fenomenu nowej formy muzeum, czyli galerii sztuki, które były prywatnym, bardzo popularnym sposobem prezentowania sztuki. W XIX-wiecznej Wielkiej Brytanii nastała mania organizowania wystaw, które stały się punktem kluczowym i działaniem priorytetowym dla nowych muzeów sztuki. Dotyczyło to zarówno merytorycznych badań historycznych nad historią świata czy sztuki światowej, jak i wystaw handlowych, pokazów prac współczesnych twórców, pokazów pojedynczych obrazów czy zbiorów prac z kolekcji prywatnych. Wystawiano zarówno w Królewskiej Akademii Sztuk Pięknych, jak i w wielu mniejszych miastach. Wiele z nowych muzeów poprzez tego typu wydarzenia pozyskiwało środki na dalsze działania, np. nowy budynek Galerii Kelvingrove w Glasgow wybudowano by zorganizować tam wielką popularną wystawę. Jednym z głównych celów nowych galerii było pomieszczenie w nich dorocznych pokazów dzieł artystów; tradycja ta istniała już w początku XIX wieku. Rozkwit muzeów sztuki w Wielkiej Brytanii przypada na krótki okres, a główną pod względem materialnym spuścizną po nich jest ogromna liczba solidnych budynków wzniesionych na ich siedziby. Jednak idea tworzenia muzeum, które sprawiałoby radość i byłoby bezpłatne była tego warta i niezwykle ważna dla współczesnej Wielkiej Brytanii. Moim zdaniem, stanowi ona pionierski ideał.
Źródło:
Muzealnictwo; 2015, 56; 201-214
0464-1086
Pojawia się w:
Muzealnictwo
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Funkcja dokumentacji w sztuce współczesnej
The Function Of Documentation In Contemporary Art
Autorzy:
Guzek, Łukasz
Powiązania:
https://bibliotekanauki.pl/articles/424428.pdf
Data publikacji:
2010
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
CONCEPTUALISM
CONTEMPORARY ART
DOCUMENTATION
INTERMEDIA
PERFORMANCE ART
Opis:
This text is an attempt to outline the status of documentation in contemporary art and to describe the process of how the role of documentation has changed within the last decade. Simply speaking, documentation has gained the independent status of a work of art. Documentation as an artistic phenomenon can be considered on two levels: formally as a way to create new works of art, and this is what interests me most here; contextually (socially), when issues arising from documentation are discussed institutionally from the point of view of curators, institutions or political decision makers. The most general category which covers the whole phenomenon of documentation as art is a category of the artistic means of expression created by Peter Burger. For him it replaced the traditional category of style in dealing with the 'non-organic' character of artworks created by the dada and surrealistic avant-garde. Its artistic heirs: conceptual art, action art and time-based installations are a starting point for this particular new role of documentation as art. In art history the existing standards outlining the relationship between the original and a repetition, (like Benjamin's aura, a dialectic combination of media such as Higgins's intermedia card), are not entirely applicable here. As in the works based on documentation, the problem of originality does not exist and the intermediality is currently made of several media. Therefore, although they somehow may serve as general patterns of thinking, they are, however, not sufficient to describe and interpret the specific works of art. Ankersmit's theory of history offers a pattern of a narration rooted in facts. Art based on documentation is in opposition to 'literature' created by curators and the contextual studies, into which art history has fallen. This text is illustrated with examples from the main exhibition of the festival 'Art and Documentation 2010' based on open submission and showing the works from last year.
Źródło:
Sztuka i Dokumentacja; 2010, 3; 5-14
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Kłamstwo kiczu”
Autorzy:
Rogucki, Jacek
Powiązania:
https://bibliotekanauki.pl/articles/644727.pdf
Data publikacji:
2015
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
kitsch
art
non-art
Adorno
Kundera
Barthes
Opis:
Many authors agree that kitsch as an esthetic conc ept has its roots in the romanticism. Its negative meaning places kitsch in opposition to high art and other concepts of beauty. This paper deals with this issue and puts a significant question on the alleged and paradox conservative character of this esthetics. Kitsch as a caricature of art itself is here being analyzed critically on the basis of fundamental theories of modern art and esthetics by Theodor Adorno, Roland Barthes or Milan Kundera.
Źródło:
Kultura-Społeczeństwo-Edukacja; 2015, 8, 2; 101-110
2300-0422
Pojawia się w:
Kultura-Społeczeństwo-Edukacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Co to znaczy być artystą/artystką?
What Does It Mean to Be an Artist?
Autorzy:
Krajewski, Marek
Schmidt, Filip
Powiązania:
https://bibliotekanauki.pl/articles/1373186.pdf
Data publikacji:
2017-01-30
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
art
contemporary art
artist
art field
art collection
sztuka
sztuka współczesna
artysta
pole sztuki
odbiór sztuki
Opis:
Who is an artist? Questions over how to define this role divided the makers of the project The Invisible Visual: Visual Art in Poland—Its State, Role, and Significance. The authors’ sources of data were the results of a nationwide survey, a survey of graduates of the Polish Academy of Fine Arts in the years 1975–2011, and in-depth interviews with seventy individuals in the field of visual arts. The authors were able to establish, first, that persons working in the art field give different definitions from those beyond its bounds; second, that artists, decision-makers, curators, and critics try to defend the sense and autonomy of their activities against ways of thinking and acting that are typical of other areas of the social world (while they are themselves engaged in disputes over who has a right to call him- or herself an artist and what is and isn’t good art); and third, being an artist is marked by a difficult-to-cross boundary, as is shown by the common necessity of supplementing artistic work by other sources of income and the high risk of failure in an artistic career.
Źródło:
Kultura i Społeczeństwo; 2017, 61, 1; 71-99
2300-195X
Pojawia się w:
Kultura i Społeczeństwo
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Blindness as Empathy: The Politics of Touch in Works by Dan Sterup-Hansen
Autorzy:
Eriksen, Karen Westphal
Powiązania:
https://bibliotekanauki.pl/articles/1788548.pdf
Data publikacji:
2020-09-13
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
Danish modernism
Danish Art
Graphic art
Cold war art
Humanism
the body in art
politics of touch
left-wing art
Dan Sterup-Hansen
Opis:
This article has as its topic the Danish artist Dan Sterup-Hansen (1918–1995) and his paintings and prints on the subject of blind people with canes as well as works related to these. Sterup-Hansen was active as an artist from a young to an old age, but made a significant artistic contribution in the decades following World War II. During this period, he explored a number of themes related to cold war anxiety and the cultural trauma of the World War II. These themes centre on the human body and a phenomenological perception of the world. They are humanitarian in spirit and are related to Sterup-Hansen’s left-wing political views of solidarity, humanism, and advocacy for change and reconstruction after the World War II.
Źródło:
Ikonotheka; 2019, 29; 205-228
0860-5769
Pojawia się w:
Ikonotheka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Facing the Work of Art. Memories of My Student Years
Autorzy:
Skubiszewski, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/909539.pdf
Data publikacji:
2019-12-20
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
University of Poznań – art history
University of Poitiers – art history
methodology of art history
art history around 1950
Opis:
The present essay includes the author’s memories of his university studies and the intellectual formation that he received as a student of art history at the University of Poznań in 1949-1954. His first professor who opened to him the door to art history and exerted on him a strong intellectual influence, was Szczęsny Dettloff, a disciple of Heinrich Wölfflin in Munich and Max Dvořák in Vienna. Dettloff taught his students that the foundation of studying art in history is the study of the form of an individual artwork He believed that without a proper analysis of form it is impossible to construct appropriate series of the works of art and specify their position in the culture of the times of their origin. Similar sensitivity to form and the understanding of its significance for the art historian’s work were represented by two other professors important for the author, both educated by Dettloff already before World War II: Gwido Chmarzyński and Zdzisław Kępiński. When in 1957-1968 the author was a postgraduate student in the Centre d’Études Supérieures de Civilisation Médiévale at the University of Poitiers (CÉSCM), it turned out that the local methodological tradition was similar to what he had learned in Poznań before. The CÉSCM was founded as a multidisciplinary institute for the study of the Middle Ages, combining history, art history, literary history, and the history of ideas. It was important that one of them could shed light on an object studied by another, but each of them, including art history, kept its material and methodological identity. In the French tradition, art history had an “autonomous” status, focusing on artistic creation as a special sphere of human activity. That idea influenced also quite strongly the study of medieval architecture, originated in the early 19th century by Arcisse de Caumont, and continued until today by many generations of French scholars. What is characteristic of their research is meticulous analysis of form, articulated with a precise, detailed, and comprehensive specialist vocabulary. The lectures of French scholars on medieval architecture, which the author attended in Paris and Poitiers, taught him precision in the analysis of the artwork’s structure and its components, as well as responsibility for every single statement made on art. For a young art historian who did not specialize in architecture but in representational arts, that French experience was a lesson of methodological rigor necessary in the intellectual pursuits of the humanities scholar.
Źródło:
Artium Quaestiones; 2019, 30; 7-20
0239-202X
Pojawia się w:
Artium Quaestiones
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Art brut oder die Überwindung der Biomacht
Autorzy:
Bogaczyk-Vormayr, Małgorzata
Powiązania:
https://bibliotekanauki.pl/articles/781434.pdf
Data publikacji:
2014
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Art brut
outsider art
philosophy of art
biopolitics
art therapy
alterity
inclusion
clinics
illness
trauma
creativity
self-unfolding
Opis:
In this comprehensive paper, I present the thesis that the clinical biopower-which means biopouvoir according to Michel Foucault-can be countered with the help of artistic ability. In this sense, the psychiatric clinic may turn into a space of inclusion, respect, and true self-unfolding. Following Jean Dubuffet, I give a definition of art brut and analyze some works of German and Austrian outsiders of the 20th century, who succeeded in overcoming life-crises, such as childhood poverty, experiences of war, psychical illness, or social ostracism. I match the biopolitical character of psychiatry clinics against the most recent ideas of art therapy. The remainder of the article is organized in four parts: (1) Introduction: Raw Art, (2) Alterity: Beyond of Normality and Pathology, (3) Talent for Sovereignty, (4) Conclusion: The Between.
Źródło:
Ethics in Progress; 2014, 5, 2; 77-102
2084-9257
Pojawia się w:
Ethics in Progress
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Nauka i sztuka
Autorzy:
Smoluk, Antoni
Powiązania:
https://bibliotekanauki.pl/articles/421330.pdf
Data publikacji:
2014
Wydawca:
Wydawnictwo Uniwersytetu Ekonomicznego we Wrocławiu
Tematy:
science
art
Opis:
Praca jest esejem – zestawem luźnych myśli autora tyczących się nauki, sztuki, determinizmu i stochastyki. Liczne nawroty są metodą – Czytelnik jest zniewolony do zauważenia głównej idei szkicu. Podana literatura ma jedynie charakter pomocniczego światła pokazującego, że temat jest aktualny i ważny. Żyjemy w świecie zawładniętym sztuką i nauką.
Źródło:
Didactics of Mathematics; 2014, 11(15); 85-116
1733-7941
Pojawia się w:
Didactics of Mathematics
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Tunel do sześcianu”: art-based research w praktyce edukacji wyższej
Tunnel to the Third Power – art-based research in the practice of higher education
Autorzy:
Kwiatkowska-Tybulewicz, Barbara
Powiązania:
https://bibliotekanauki.pl/articles/2159136.pdf
Data publikacji:
2022-09-30
Wydawca:
Wydawnictwo Adam Marszałek
Tematy:
edukacja artystyczna
sztuka
art-based research
zwrot edukacyjny w sztuce
art-as-pedagogy
badania jakościowe
art education
art
educational turn in art
qualitative research
Opis:
The article presents the artistic-educational-research project Tunnel to the Third Power, implemented by two communities related to artistic and educational spaces: a group of students of Artistic Education at the Faculty of Education, University of Warsaw, who are prepared to work as art educators, and the second group: the students of the Academy of Fine Arts in Warsaw. The methodological basis of the implemented activities was art-based research. The theoretical basis of the project was the art-as-pedagogy of Clair Bishop and the widely commented educational turn in contemporary art. The artistic basis was the project of the artist Piotr Grabowski Tunnel. The importance of mankind for the future. The article discusses the assumptions of the project, its implementation and research conclusions. The student project was also shown as an example of using art-based research in the practice of higher education.
W artykule zaprezentowano projekt artystyczno-edukacyjno-badawczy Tunel do sześcianu, zrealizowany przez dwa środowiska związane z przestrzenią artystyczną i edukacyjną: grupę studentek i studentów Wydziału Pedagogicznego Uniwersytetu Warszawskiego, specjalności edukacja artystyczna i medialna, przygotowujących się do pracy w charakterze edukatorów i edukatorek artystycznych, oraz drugą grupę: osoby studiujące w Akademii Sztuk Pięknych w Warszawie. Podstawą metodologiczną zrealizowanych działań były badania posługujące się sztuką (art-based research). Podstawę teoretyczną projektu stanowiła sztuka-jako-pedagogika Clair Bishop oraz szeroko komentowany zwrot edukacyjny w sztuce współczesnej. Podstawą artystyczną zaś był projekt artysty Piotra Grabowskiego Tunel. Znaczenie ludzkości dla przyszłości. W artykule omówiono założenia projektu, jego realizację oraz wnioski z badań. Pokazano również projekt studencki jako przykład wykorzystania art-based research w praktyce edukacji wyższej.
Źródło:
Kultura i Edukacja; 2022, 3(137); 188-203
1230-266X
Pojawia się w:
Kultura i Edukacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Street Art as a New Phenomenon of Art – a Means of Gentrification of the Urban Environment
Street-art jako nowe zjawisko w sztuce – środek na gentryfikację miejskiego środowiska
Autorzy:
Dyomin, Mykola
Ivashko, Oleksandr
Powiązania:
https://bibliotekanauki.pl/articles/593897.pdf
Data publikacji:
2019
Wydawca:
Łódzkie Towarzystwo Naukowe
Tematy:
nowa sztuka
street-art
wypełnienie treścią
klastery artystyczne
globalizacja
new art
street art
content
art cluster
globalization
Opis:
W artykule są rozpatrywane kwestie pochodzenia street-artu, jego transformacji ze zjawiska spontanicznie pojawiającego się w przestrzeni miejskiej na zjawisko, które zyskało uznanie wśród szerokiej publiczności i fachowców oraz przyciągnęło uwagę zawodowych artystów. Street-art stopniowo przekształcił się w specyficzną odmianę współczesnej sztuki. Można w nim zauważyć różne nurty, mające międzynarodowy bądź regionalny charakter (graffiti, muralizm). Rozpo¬wszechnieniu street-artu jako zjawiska sztuki sprzyjała dostępność technologii informacyjnych oraz aktywność producentów farb w sprayu. W trakcie rozwoju street-artu, dzięki udziałowi zawodowych malarzy, ukształtowały się artystyczne chwyty związane z różnymi kierunkami sztuki. Rozszerzenie sfery stosowania street-artu staje się zauważalnym składnikiem produkcji artystycznej i wymaga współczesnych struktur organizacyjnych i związków, takich jak ośrodki i klastery. Będzie to sprzyjało skuteczności działań i popularyzacji street-artu jako środku wycho¬wania estetycznego. Zachodzi też krystalizacja twórczych procesów i ich przemiana na kierunki i style street-artu.
The article deals with the genesis of street art, its transformation from a spontaneous phenomenon of the urban environment, to a phenomenon that has been recognized by the people and professionals and attracted the attention of expert artists. Successively, street art has transformed and is transforming into a specific type of contemporary art, in which various movements of international or regional character (graffiti, muralism) can be determined. The spread of street art as a phenomenon of art was promoted by the availability of information technologies and the activity of manufacturers of aerosol paints. In the process of development of street art, thanks to the participation of professional artists, the art techniques have emerged, which have an interconnection with the classical styles of art. Expanding the scope of applica¬tion of street art products becomes a significant component of the sphere of spiritual production and requires modern organizational structures and associations, such as art centres and art clusters. It will contribute to the effectiveness of their activities, the popularization of street art as a means of art education of the population, the synthesis of experience. Crystallization of creative processes and thanks to the globalization, their transformation into the directions and styles of street art occur.
Źródło:
Art Inquiry. Recherches sur les arts; 2019, 21; 129-148
1641-9278
Pojawia się w:
Art Inquiry. Recherches sur les arts
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Szaman nigdy nie umiera”. Sztuka naskalna jako wyraz tożsamości w twórczości Jane Ash Poitras
„Shaman never dies”. Rock art as the expression of the identity in the art of Jane Ash Poitras
Autorzy:
Rozwadowski, Andrzej
Powiązania:
https://bibliotekanauki.pl/articles/1023793.pdf
Data publikacji:
2019-12-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
rock art
modern art
Indigenous art
Canada
identity
Jane Ash Poitras
shamanism
Opis:
This article discusses the phenomenon of reusing of ancient rock art iconography in modern art on the example of the artworks of Canadian Cree visual artist Jane Ash Poitras. To understand the role the rock art plays in the collages of J.A. Poitras, the first part of the paper is focused on the Indigenous perspective, which provides the clue to reading complexity of history and contemporary art of the First Nations in Canada. Then the painting Shaman never die V is thoroughly analyzed. It is showed that rock art motifs used in this artwork had been very carefully selected and the meanings they evoke significantly go in pair with wider ideas related to traumatic history of Indigenous Canadians as well as ideas related to persistence of Indigenous spirituality symbolized by the image of shaman.
Źródło:
Folia Praehistorica Posnaniensia; 2019, 24; 207-233
0239-8524
2450-5846
Pojawia się w:
Folia Praehistorica Posnaniensia
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Pętla obrazów. Wideo według Mariny Abramović
The Loop of Images. Video According to Marina Abramowić
Autorzy:
Krawczak, Michał
Powiązania:
https://bibliotekanauki.pl/articles/920272.pdf
Data publikacji:
2009-06-13
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
performance art
video art
iconography
video loop
installation art
photography
Marina Abramović
Opis:
The connection between video art and performance art has been inseparable since 1967, when the first commercial camera Sony Portapak appeared on the American market. The development of video art and performance art has been parallel. On the one hand, autonomous languages which used different discourses were created, on the other hand, the interaction was inextricable, long-lasting and very stimulating. Marina Abramović, recording her activities as a performer on video and then placing them in the space of her installations, gained a high level of energy in the picture, which became transcendent, a sign of body and life, a meditation. Abramović consciously sacralizes her art and highlights its meditational character. In that way the art became a loop of a video sequence, a multifaceted icon.
Źródło:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2009, 7, 13-14; 235-241
1731-450X
Pojawia się w:
Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Tradition and modernity in Władysław Sowicki’s pre-war architecture of exposition pavilions
Tradycja i nowoczesność w przedwojennych projektach architektury pawilonów wystawienniczych Władysława Sowickiego
Autorzy:
Agata, Wereszczyńska
Powiązania:
https://bibliotekanauki.pl/articles/460791.pdf
Data publikacji:
2017-12
Wydawca:
Mazowieckie Biuro Planowania Regionalnego w Warszawie
Tematy:
architecture
functional art
art déco
modernism
streamline
Opis:
W artykule omówione zostały trzy projekty architektury pawilonów wystawienniczych autorstwa Wła-dysława Sowickiego. Każdy obiekt zaprojektowany został w odmiennym stylu, jednakże zgodnie z obowiązującymi tendencjami projektowymi. Pierwszy z nich, pawilon państwa polskiego na Wystawę Światową w Paryżu w 1937 roku, odwołuje się do języka polskiego stylu narodowego. Drugi, pawilon Polski na Wystawę Światową w Nowym Jorku, która miała miejsce w 1939 roku, został zaprojektowa-ny w estetyce półmodernizmu. Kolejny, trzeci obiekt przeznaczony dla Spółdzielni Artystów Ład, rów-nież z 1939 roku, jest przykładem kompromisowego półmodernizmu końca lat trzydziestych. W oma-wianych w niniejszym artykule projektach bardzo wyraźnie widoczne jest wzajemne przenikanie się tradycyjnych, związanych z polską szkołą projektową, polską sztuką narodową, dekoracyjnych warto-ści estetycznych z przynależną do nurtu awangardy i modernizmu nowoczesnością. Sowicki umiejętnie wykorzystuje charakterystyczne dla obu kierunków cechy łącząc je w spójną całość. Na potrzeby artykułu jako główną metodę badawczą przyjęto analizę materiału wizualnego, który znajduje się w archiwum rodziny Władysława Sowickiego, a także kwerendę archiwalną i biblioteczną, przegląd literatury naukowej dotyczącej tematyki związanej z tematyką artykułu oraz analizę ewolucji stylów i tendencji z zakresu architektury w przedziale czasowym tożsamym z okresem powstania omawianych w pracy projektów. Opisywane w artykule prace architektoniczne Sowickiego miały charakter tymczasowy, przeznaczone były do reprezentowania konkretnych podmiotów w ustalonym czasie i miejscu, nie miały wpisywać się trwale w krajobraz architektoniczny, ponieważ długość ich trwania była ściśle określona. Intencją autorki było pokazanie omawianych projektów w zestawieniu z podobnymi, powstającymi w przybliżonym czasie, posiadającymi analogiczny charakter formalny i stylistyczny. Autorka również chciała zaznaczyć, że prace Władysława Sowickiego wpisują się w kontekst i założenia pokrewnych polskich realizacji architektonicznych z drugiej połowy lat trzydziestych dwudziestolecia międzywojennego.
Źródło:
MAZOWSZE Studia Regionalne; 2017, 22; 87-96
1689-4774
Pojawia się w:
MAZOWSZE Studia Regionalne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Victimes de stéréotypes ou chantres de la modernité? L’ambiguïté de l’image de la femme dans l’affiche française de la Belle Époque
Victims of Stereotypes or Eulogists of Modernity? The Ambiguous Image of the Woman on the French Posters of the Belle Époque
Autorzy:
Skibicki, Marcin
Powiązania:
https://bibliotekanauki.pl/articles/559755.pdf
Data publikacji:
2019
Wydawca:
Uniwersytet Wrocławski. Oficyna Wydawnicza ATUT – Wrocławskie Wydawnictwo Oświatowe
Tematy:
poster
graphic art
Art Nouveau
advertising
woman
Opis:
Mystical and meditative women, mothers, dancers, prostitutes - women dominate art of the 19th century. It would not be unreasonable to state that all art of this century was (re)invented for them and because of them. Graphic art does not escape this phenomenon. The poster designers seek to represent women in activities and attitudes that reflect the tastes of their time. Their image becomes a field of paradox: the woman is the one who becomes the figurehead of modernity, she plays sports, she rides a bicycle, she gets behind the wheel of the first motor vehicles. However, the superficiality of this freedom does not erase the pain of the corset of the social conditions for the majority of them. This paper will focus on the image of women in 19th-century French graphic art. The omnipresence of the feminine motif prompts us to highlight some aspects of this overexploitation of their image for advertising purposes: what is the nature of this image and in what measure is it in line with reality, how does this image fit into the perspective of emancipation?
Źródło:
Orbis Linguarum; 2019, 53; 221-230
1426-7241
Pojawia się w:
Orbis Linguarum
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Dokumentacja interaktywnych aspektów dzieł sztuki mediów
Documentation Of An Interactive Aspect Of Media Art Works
Autorzy:
Dobrowolska, Weronika
Powiązania:
https://bibliotekanauki.pl/articles/424432.pdf
Data publikacji:
2011
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
CONTEMPORARY ART
DOCUMENTATION
INTERACTIVE ART
NEW MEDIA
Opis:
Media art requires that the traditional documenting methods both improve and work out new tools, allowing the documentation to catch specific features and phenomena associated with the functioning of artworks that include unstable, electronic media. One of the phenomena, a characteristic for many media works is an openness towards the interaction of the audience, who may manipulate the work using many interfaces creating their own performance, as well as modify the work within the framework defined by the artist. According to many researchers and artists, the actual artwork is the result of the activities of 'inter-actors' who experience it. The traditional methods used by art institutions to document the interactive aspect of the artworks is only to a very limited extent successful. The problem of documenting art created by non-standard media (including electronic media) was undertaken as part of many projects, for example: Documentation et conservation du patrimoine des arts mediatiques (DOCAM), Variable Media Initiative (VM), Capturing Unstable Media (CUM) or the thematic residential programs realised by the Daniel Langlois Foundation. However, not all of the above mentioned projects considered that the problem of interactivity and the experience of the audience had been dealt with thoroughly. In many of them a new theoretical ground taking the concept of both the artwork and the role of inter-actors was created. A few of the proposed solutions were quoted in the article. In the text, various strategies of documenting the interactive aspects of media artworks which result from adopting various perspectives and assumptions were described. These strategies oscillate around two opposing terms: interactivity and interaction, as well as the difference between the will to document an ideal representation of the work (according to the artistic concept) and an attempt to grasp how the work functions in real circumstances together with the more or less successful trials of the inter-actors to experience it. Of particular interest seem to be the attempts to document the experience of the audience and then applying the knowledge achieved to work further with the artwork - to protect it, exhibit it in various ways or allow it to communicate further with the audience.
Źródło:
Sztuka i Dokumentacja; 2011, 5; 33-53
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Biologiczne media i niepokojąca rola dokumentacji
Biological Media And The Unsettling Role Of Documentation
Autorzy:
Bakke, Monika
Powiązania:
https://bibliotekanauki.pl/articles/424624.pdf
Data publikacji:
2011
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
BIO ART
BIOLOGICAL MEDIA
CONTEMPORARY ART
DOCUMENTATION
Opis:
Biological art is one of the most recent manifestations at the intersection of art, science and technology, that has been highly productive for some time. Now, technologically augmented life, such as in vitro fertilisation and genetically engineered life forms, have come under the scrutiny of bio art in particular. By their very nature, biological media, being living systems, provoke a number of difficulties related to the production, exhibition and conservation practices of bio art. It is significant that this emerging genre of artistic expression does not operate on the level of representation, but on the level of presentation involving actual interventions into living systems. However, in some cases organising the presentation of a living art work in a public space is difficult or in fact impossible, which leads to substituting the actual art work by its documentation. Yet, such substitution practices are not accepted by those artists whose goal it is to provide audiences with a unique opportunity to encounter unusual forms of life as art works (wet works, entities still alive or once alive) in a gallery space. This attitude requires the curator not only to arrange suitable conditions for living art works outside the laboratory but also to obtain bio-security permissions. Another option for audiences to gain an opportunity to experience actual lab life is to follow the artists' instructions and join a do-it-yourself biotech movement. In this case, documentation plays the role of both instruction and evidence.
Źródło:
Sztuka i Dokumentacja; 2011, 5; 29-32
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Displaced Objects and Meanings. A Few Remarks on the Fang Mask, Masawa Canoes and Kachina Dolls
Autorzy:
Kisielewski, Andrzej
Powiązania:
https://bibliotekanauki.pl/articles/1985614.pdf
Data publikacji:
2018-06-30
Wydawca:
Wydawnictwo Adam Marszałek
Tematy:
cultural anthropology
art history
anthropology of art
Opis:
Each of the artefacts mentioned in the title is an exemplification of products of the anthropological “Other”. Each of them comes from a distinct geographical region and represents an entirely different culture. However, all of them have been connected together in the Western culture realia as a result of a particular type of displacements. The first displacement involved their physical migration – first to European museums of natural history and ethnological museums. The next one resulted in their emergence on the market of exotic “oddities” whereas yet another displacement located them within the conceptual framework delimited by the artistic discourse. This last displacement shows that it is very difficult to understand or “translate” one culture into another because the conceptual framework of the “translator” is always determined by their own culture.
Źródło:
Kultura i Edukacja; 2018, 2(120); 97-112
1230-266X
Pojawia się w:
Kultura i Edukacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„To nasze przedstawienie będzie dziwne?” Warsztaty Twórczych Lokatorów w kontekście współczesnej pedagogiki teatru
Autorzy:
Barbara, Kwiatkowska-Tybulewicz,
Katarzyna, Aderek,
Powiązania:
https://bibliotekanauki.pl/articles/892575.pdf
Data publikacji:
2018-02-06
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
pedagogy
art
theatre
art education
theatre pedagogy
Opis:
The article is a presentation of the Creative Tenants workshops, which are part of the contemporary activities in the field of theatre pedagogy. Children’s workshops took place for five months at the Służewski House of Culture in Warsaw. They were an attempt to verify contemporary assumptions of theatre pedagogy used in practice. The inspiration for the project was the idea of art education and its rich tradition as well as modern concepts of treating art as a space for designing new ways of social action.
Źródło:
Kwartalnik Pedagogiczny; 2017, 62(4 (246)); 160-178
0023-5938
Pojawia się w:
Kwartalnik Pedagogiczny
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Artistic Education and the Artist’s Work: the Way out of Producing Objects
Autorzy:
Nakonechna, Lada
Powiązania:
https://bibliotekanauki.pl/articles/485498.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie
Tematy:
Contemporary art
art education
objectlessness
creative economy
Opis:
In this article, the changes of the principles of teaching art in the 20th century are discussed. The artist’s path from producing objects to conducting sensory experiences, from producing representations of reality to taking an active part in the construction of reality, was reflected in the process of educational transformation. New art practices grounded in communicative features, interaction, collaboration, do not tend to make a material work as a final product, but they act in the area of the invisible. In the new conditions of the neo-liberal economy, the artist’s abilities, based on language and developed owing to pedagogical innovations in theart academies and university departments, are at risk of becoming a product of a new type, a valuable resource of creative economy, while counteraction determines new challenges for education.
Źródło:
Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione; 2018, 13; 105-114
2081-3325
2300-5912
Pojawia się w:
Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Sztuka epoki paleolitu w świetle hipotezy mózgu społecznego
Art of the paleolithic era in the light of the social brain hypothesis
Autorzy:
Wagner, Patrycja
Powiązania:
https://bibliotekanauki.pl/articles/27313426.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
portable art,
Paleolithic,
rock art
social brain hypothesis
Opis:
The purpose of this article is to try to look at the phenomenon of Paleolithic cave art differently – through the prism of the assumptions of the social brain hypothesis. This paper will present the main assumptions of Robin Dunbar’s social brain concept, which assumes that the increase in the size of the social group influenced the development of the individual (both biologically and socio-culturally). Larger communities provided the impetus for the development of new cognitive qualities, which provided the opportunity for art to emerge.
Źródło:
Folia Praehistorica Posnaniensia; 2023, 28; 315-331
0239-8524
2450-5846
Pojawia się w:
Folia Praehistorica Posnaniensia
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
CONTINGENCY AND IMPROVISATION IN PERFORMANCE ART FROM THE 1970s TO THE PRESENT
Autorzy:
Kaźmierczak, Małgorzata
Powiązania:
https://bibliotekanauki.pl/articles/1011645.pdf
Data publikacji:
2020
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
performance art
improvisation
contingency
coincidence in art
happening
Opis:
The first part of the article focuses on how an accident or unexpected event may influence a performance piece. Examples of accidents with creative potential are described. The second part concerns improvisation; it investigates what it means to improvise in performance art and reveals the political potential of improvisation. Even though artists reluctantly admit they improvise or make errors, examples of such cases suggest this is not uncommon and usually involves unexpected audience interaction or occurs when the piece's structure is open. The article is based on artists' statements, performances described in the literature, and those witnessed by the author. The theoretical part is mainly based on articles by Alessandro Bertinetto.
Źródło:
Sztuka i Dokumentacja; 2020, 22; 9-16
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Powstanie i działalność Państwowego Liceum Plastycznego w Zamościu w latach 1945-1954
Autorzy:
Kuźma, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/2148640.pdf
Data publikacji:
2008
Wydawca:
Instytut Studiów Międzynarodowych i Edukacji Humanum
Tematy:
public art school
art
teachers
pupils
cultural activity
Opis:
The article presents the history of inception and formation of the art school in Zamosc. Author describes all problems that the school had to face at the beginning of its activity and the rampant development in early 50s. of the 20th century. There are also statistic data concerning the social status of pupils and initiatives of teachers.
Źródło:
Humanum. Międzynarodowe Studia Społeczno-Humanistyczne; 2008, 2(2); 187-195
1898-8431
Pojawia się w:
Humanum. Międzynarodowe Studia Społeczno-Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Czy street art jest sztuką społeczną? Kulturotwórczy i obywatelski sens sztuki ulicznej w perspektywie koncepcji społecznych enklaw
Is street art a social art? Cultural and civil aspects of street art from the perspective of the concept of social enclaves
Autorzy:
Niziołek, Katarzyna
Powiązania:
https://bibliotekanauki.pl/articles/952051.pdf
Data publikacji:
2015
Wydawca:
Uniwersytet w Białymstoku. Wydawnictwo Uniwersytetu w Białymstoku
Tematy:
civil society
social art
social enclaves
street art
Opis:
In spite of its apparently growing popularity, street art still remains largely unexplored both in its aesthetic, and social dimension. The article is an attempt to capture the hybrid socio-artistic sense of this global phenomenon with the use of the concept of social enclaves. For that purpose, the authoress looks into its relation to the art world, on one hand, and civil society, on the other. She shortly presents the origins of street art, as well as its artistic repertoire and social reception. She provides an insight into the present-day processes of its institutionalization and commercialization, which, however, do not seem to weaken the street artists’ primary motivation for bringing changes in their aesthetic and social surrounding. Also some other features of street art, such as: anti-elitism, grassroots and dialogical quality, not infrequently – participation, and above all – attachment to civil values, allow her to classify this practice as social art, that is art with a public-good aim.
Źródło:
Pogranicze. Studia Społeczne; 2015, 26; 49-73
1230-2392
Pojawia się w:
Pogranicze. Studia Społeczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Umenie ako produkt interpretácie
Autorzy:
Žgrada, Michal
Powiązania:
https://bibliotekanauki.pl/articles/2141293.pdf
Data publikacji:
2011
Wydawca:
Instytut Studiów Międzynarodowych i Edukacji Humanum
Tematy:
art
interpretation
Opis:
We always asked what an Art is and what not? This question supposes, that it exist criterions, which differ artwork from another objects. But no such criteria exist like that. All objects can be art. An interpretation is a necessary condition for art, because an object causes a change in the normal to the artistic objects. This change is possible if we accept a fact, that the objects have not fixed meaning and they are depending on context in which they are used. The meaning of objects is depending on apercipient an interpretation, for which a percipient decide. Interpretations are produced in a society in which percipient lives. We will introduce a three authority, which have a greatest power to enforce their interpretations. The authority of museum, critics and media.
Źródło:
Humanum. Międzynarodowe Studia Społeczno-Humanistyczne; 2011, 1(6); 69-75
1898-8431
Pojawia się w:
Humanum. Międzynarodowe Studia Społeczno-Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ruch galeryjny w Polsce. Zarys historyczny. Od lat sześćdziesiątych poprzez galerie konceptualne lat siedemdziesiątych po ich konsekwencje w latach osiemdziesiątych i dziewięćdziesiątych
The Art Gallery Movement in Poland. A Historical Outline. From the Sixties, Through the Conceptual Galleries of the Seventies, Until Their Consequences in the Eighties and the Nineties
Autorzy:
Guzek, Lukasz
Powiązania:
https://bibliotekanauki.pl/articles/424263.pdf
Data publikacji:
2012
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
conceptual art
conceptual gallery
conceptual galleries movement
art gallery movemet conceptual art in Poland
art of 70s
Opis:
The gallery movement was in fact an art institution in Poland. The movement created its own art world based on the principles of self-organisation and self-study. People who participated in it were artists, art professionals and art lovers, altogether so called ‘conducive people’. Around each of such institutions its circles emerged – communities that co-operated with each other within the town, the country or internationally. This is how the network of personal ties as well as artistic influences appeared. A formal-artistic feature of the movement was the great number of various action art forms or, more broadly – art based on the present-ness. The history of the movement embraces half a century of contemporary Polish art. It starts just after Stalinist times. In 1956 in Krakow there emerged the Krzysztofory Gallery founded by the Grupa Krakowska [Krakow Group] Association, that directly continued the tradition of the pre-war avant-garde. The development of the movement in the seventies was especially dynamic, forming a conceptual art decade during when the conceptual galleries movement emerged. The expansion of the definition of art by the conceptual art movement allowedfor the making of a gallery to be as significant as making art. That period was ended by the imposition of martial law on December 13th, 1981. In those extremely unfavourable conditions the gallery movement and art communities showed their strength. After the total elimination of art in the public sphere, the world of art revived quickly and relocated into the private sphere – private studios and apartments. The art community in Łódź, where the tradition of selforganisation was especially strong, was able to organise the movement throughout the whole country. It was later called the “Pitch-in Culture”. After 1989 and the fall of communism, first in Poland and then in the whole of Eastern Europe, the new social and political conditions caused changes in the way the art world began to be organised.
Źródło:
Sztuka i Dokumentacja; 2012, 7; 13-30
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Przed dziełem sztuki. Wspomnienia ze studiów
Autorzy:
Skubiszewski, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/909541.pdf
Data publikacji:
2019-12-20
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
University of Poznań – art history
University of Poitiers – art history
methodology of art history
art history around 1950
Opis:
The present essay includes the author’s memories of his university studies and the intellectual formation that he received as a student of art history at the University of Poznań in 1949-1954. His first professor who opened to him the door to art history and exerted on him a strong intellectual influence, was Szczęsny Dettloff, a disciple of Heinrich Wölfflin in Munich and Max Dvořák in Vienna. Dettloff taught his students that the foundation of studying art in history is the study of the form of an individual artwork He believed that without a proper analysis of form it is impossible to construct appropriate series of the works of art and specify their position in the culture of the times of their origin. Similar sensitivity to form and the understanding of its significance for the art historian’s work were represented by two other professors important for the author, both educated by Dettloff already before World War II: Gwido Chmarzyński and Zdzisław Kępiński. When in 1957–1968 the author was a postgraduate student in the Centre d’Études Supérieures de Civilisation Médiévale at the University of Poitiers (CÉSCM), it turned out that the local methodological tradition was similar to what he had learned in Poznań before. The CÉSCM was founded as a multidisciplinary institute for the study of the Middle Ages, combining history, art history, literary history, and the history of ideas. It was important that one of them could shed light on an object studied by another, but each of them, including art history, kept its material and methodological identity. In the French tradition, art history had an “autonomous” status, focusing on artistic creation as a special sphere of human activity. That idea influenced also quite strongly the study of medieval architecture, originated in the early 19th century by Arcisse de Caumont, and continued until today by many generations of French scholars. What is characteristic of their research is meticulous analysis of form, articulated with a precise, detailed, and comprehensive specialist vocabulary. The lectures of French scholars on medieval architecture, which the author attended in Paris and Poitiers, taught him precision in the analysis of the artwork’s structure and its components, as well as responsibility for every single statement made on art. For a young art historian who did not specialize in architecture but in representational arts, that French experience was a lesson of methodological rigor necessary in the intellectual pursuits of the humanities scholar. 
Źródło:
Artium Quaestiones; 2019, 30; 307-321
0239-202X
Pojawia się w:
Artium Quaestiones
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Powiernicy, kolekcjonerzy, (re)konstruktorzy. Współcześni artyści wobec rzeczy znalezionych
Repositories, Collectors, Memory (Re)Constructors: Contemporary Artists and Found Objects
Autorzy:
Izdebska, Karolina
Powiązania:
https://bibliotekanauki.pl/articles/1373194.pdf
Data publikacji:
2017-01-30
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
art
found object
memory
site-specific art
sztuka
rzecz znaleziona
pamięć
sztuka specific-art
Opis:
The term ‘found object’ refers to an existing object or artifact that contemporary artists use in undertaking memory-related themes in their art. Originally, such objects would not have fit in the category of art, although for their finders they might have had value (for instance, for aesthetic or nostalgic reasons, or due to the object’s originality). By means of the found object an artist comments on contemporary culture, constructing an artistic narration that concerns the past and reveals the memories or identities connected with places and people (for instance, site-specific art or community art). Through art collecting, the revelation or discovery of things from the past, artists become custodians of memory and engage in its reconstruction; this may involve either the ‘small’ personal memory or the collective memory, for instance, one based on the history of a location. In the artistic practices analyzed in the article, things also become a means to influence the course of our activities, by evoking memories and the emotions connected with them, awakening the senses and affecting the course of interhuman relations.
Źródło:
Kultura i Społeczeństwo; 2017, 61, 1; 157-174
2300-195X
Pojawia się w:
Kultura i Społeczeństwo
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Inwestycje alternatywne na rynku sztuki
Autorzy:
Grabowska, Anna
Powiązania:
https://bibliotekanauki.pl/articles/449737.pdf
Data publikacji:
2012
Wydawca:
Zachodniopomorska Szkoła Biznesu w Szczecinie
Tematy:
rynek sztuki
inwestycje alternatywne
art produkty
market of the art
alternative investments
art products
Opis:
Rynek sztuki jest obecnie najdynamiczniej zmieniającym się rynkiem kapitałowym na świecie. W artykule dokonano analizy rynku sztuki i wskazano na jego rolę w kompozycji portfela inwestycyjnego. Podkreślona została wyjątkowa dynamika rozwoju sztuki jako kategorii ekonomicznej, będącej w ujemnej korelacji ze spadkami na giełdach papierów wartościowych. Tym samym wskazano, iż produkty inwestycyjne oparte na sztuce mogą być alternatywną i bardzo bezpieczną formą pomnażania kapitału.
The market of the art at present is a capital market most dynamically changing in the world. In the article they made analysis of art market and indicated on its role in the composition of the investment portfolio. Exceptional and unique dynamics of the development of the art as the category economic, being in negative correlation with falls on stock exchanges. Thus the investment products based on art could be an alternative and very safe form of accumulating capital.
Źródło:
Zeszyty Naukowe ZPSB Firma i Rynek; 2012, 1(42); 37-45
2657-3245
Pojawia się w:
Zeszyty Naukowe ZPSB Firma i Rynek
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
All Paths Lead to Rome. Establishing an Italian American Archive of the Visual Arts of the late 1950s and early 1960s
Autorzy:
Blandino, Laura
Powiązania:
https://bibliotekanauki.pl/articles/625903.pdf
Data publikacji:
2017
Wydawca:
Wydawnictwo Uniwersytetu Śląskiego
Tematy:
1950s
Rome
post-war art
Trans-Atlantic art scene
archive Trans-Atlantic experience
Milton Gendel
American Art
Italian Art
Opis:
Laura BlandinoUniversity of TurinItalyAll Paths Lead to Rome. Establishing an Italian American Archive of the Visual Arts of the late 1950s and early 1960sThis paper examines the role Rome played in the 1950s as an important outpost for the development of a distinct art scene, where the American and the Italian experience had the opportunity to blend with the artists gathering and sharing innovative ideas. It is a part of an ongoing research and it presents and sums up the early stage of the project which focuses mostly on archival sources and interviews with the central figures of this period. This paper, in particular, follows some of the members of this tran-Atlantic community, focusing in particular on the art galleries that fostered an international dialogue. Above all, this paper addresses the fundamental questions concerning whether this period could be considered as an “archive” of Italian and American art. It aims at demonstrating that, though not altogether free from contradictions and misconceptions, the period under study was very fertile in terms of the results of cross-cultural experience.
Źródło:
Review of International American Studies; 2017, 10, 2
1991-2773
Pojawia się w:
Review of International American Studies
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Art and the body: The Tatsuno Art Project
Autorzy:
Kasuya, Akiko
Powiązania:
https://bibliotekanauki.pl/articles/437304.pdf
Data publikacji:
2015
Wydawca:
Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie. Instytut Filozofii i Socjologii
Tematy:
body in art; Japanese art and culture; transcultural aesthetics; contemporary art; town as a museum; community based art project
Opis:
The author discusses the relationship between art and the body, as exemplified by the similarities and differences in the works of: two Japanese artists, Matsui Chie (b. 1960) and Higashikage Tomohiro (b. 1978); and the Polish artist, Mirosław Bałka (b. 1958). These examples are referred to in the context of a unique project recently conducted in Japan — the Tatsuno Art Project 2013. Held with the support of the Agency for Cultural Affairs of Japan, the project aims to present contemporary art to people from across Japan and around the globe, and to capitalize on the region’s unique cultural heritage, creating opportunities for people to communicate with local residents and making Tatsuno a more dynamic and popular place to visit. This paper considers various connections between art and the body by focusing on a selection of works included in the Tatsuno Art Project 2013: Arts and Memories. Known in past centuries as the ‘little Kyoto’ of Harima Province, Tatsuno is an atmospheric old castle town. It is mild and relatively warm all year round, with the climate of the nearby Seto Inland Sea region, said to be similar to that of the Mediterranean. Thanks to the support of numerous people, the organizers were able to hold the 2013 event which represented the culmination of their efforts over the past few years, being the largest ever in terms of scale with nine invited artists, eleven other participating artists, and one contemporary musician, for a total of 21 creators contributing works. With new spaces added to create a total of 16 venues, the community‑wide project truly achieved its goal of presenting the ‘historic castle town as a museum’. The project curators were also able to strengthen Tatsuno’s international ties by inviting artists from France and Poland to take part, as well as Japanese artists residing in the UK and Spain.
Źródło:
ARGUMENT: Biannual Philosophical Journal; 2015, 5, 1; 267-274
2083-6635
2084-1043
Pojawia się w:
ARGUMENT: Biannual Philosophical Journal
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Dokumentacja a horyzontalny sposób pojmowania twórczości artystycznej
Documentation And The Horizontal Way Of Understanding Art
Autorzy:
Sztabiński, Grzegorz
Powiązania:
https://bibliotekanauki.pl/articles/424324.pdf
Data publikacji:
2011
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
CONCEPTUAL ART
CONTEMPORARY ART
DOCUMENTARY TURN
DOCUMENTATION
ETHNOGRAPHIC TURN
JOZEF ROBAKOWSKI
LAND ART
MOCK-DOCUMENTARY
POP ART
YVES KLEIN
ZBIGNIEW LIBERA
Opis:
The 'horisontalism' of artistic activity and reflection on art is connected with current life and surrounding reality. Their elements flow into works of art. Artworks are not examined historically (according to the history of a medium, style or individual creative evolution) but as a reaction to the network of object arrangements and functioning discourses that surround artists. Such comprehension of art has made Sztabinski introduce the concept of a 'documental turn'. Moreover, it has been depicted by him that the idea of 'documentation' is getting extended. Therefore, 'transdocumentation' appears. The term allows us to notice the specifics of such contemporary phenomena in which documentation does not only perform an informative function but also gives feedback upon what is documented. It is possible to distinguish many artistic approaches and practices within transdocumentation. One of them is a 'mock-documentary' - an ironic documentation that refers to documentary stereotypes and the audience's trust in the reliability of documents. 'Transdocumentation' as a practice and theoretical scheme, possible when understanding art 'horizontally', reveals a great potential for artistic activities and the critical practice.
Źródło:
Sztuka i Dokumentacja; 2011, 5; 6-15
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Prices of works of art by living and deceased artists auctioned in Poland from 1989 to 2012
Autorzy:
Szyszka, Adrianna
Białowąs, Sylwester
Powiązania:
https://bibliotekanauki.pl/articles/557820.pdf
Data publikacji:
2019
Wydawca:
Uniwersytet Ekonomiczny w Poznaniu
Tematy:
art prices
living status
death effect
art market
Źródło:
Economics and Business Review; 2019, 5 (19), 4; 112-127
2392-1641
Pojawia się w:
Economics and Business Review
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Art history and its dialogue with the wider public: promotion and raising the awareness of cultural heritage
Autorzy:
Dolšina, Marjana
Powiązania:
https://bibliotekanauki.pl/articles/628825.pdf
Data publikacji:
2013
Wydawca:
Fundacja Pro Scientia Publica
Tematy:
art history, art heritage, public use, dialogue, audience
Opis:
The paper is based on the results of the project All This Painting hasn’t Gone to Waste, 2011, which deals with early 16th century sacral wall paintings in southern Slovenia. It tries to resolve out some dilemmas in communication with the wider public and presents main objectives in regard to awareness-rising and promotion of art heritage, for example encouragement of insti-tutions and individual experts for more intensive study and/or conservation-restoration work.
Źródło:
Journal of Education Culture and Society; 2013, 4, 1; 221-227
2081-1640
Pojawia się w:
Journal of Education Culture and Society
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Estetyka technociał.
Autorzy:
Gajewska, Grażyna
Powiązania:
https://bibliotekanauki.pl/articles/631244.pdf
Data publikacji:
2012
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
MODERN ART
POSTMODERN ART
POSTHUMANISM
TRANSHUMANISM
BIOTECHNOLOGY
CYBORG
Opis:
The article Aesthetics of the Techno-bodies deals with the cultural and contextual complexity of the modern and postmodern figure of the cyborg, or rather the human relation to technology. The main problem is the formulation of the scope of the aesthetics of techno-bodies or aesthetic of artificial bodies. It is a contribution to a more extensive problem concerning the aesthetic, condition and possibilities of development of contemporary human who enters more and more intensively and further and further into the postbiological era. In the article I am analysing four artistic works: 1. “Das schöne Mädchen” (Beautiful Girl) by Hannah Höch; “Tête Méchanique” (Mechanical head) by Raul Hausmann; “All You Zombies: Truth before God” by Roberd Long; Cyborg by Lynn Randolph. Analysis of these artworks is used to show different ideological and aesthetic approaches towards techno-bodies.
Źródło:
Studia Europaea Gnesnensia; 2012, 6; 123-138
2082-5951
Pojawia się w:
Studia Europaea Gnesnensia
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Sztuka zamiast filozofii
Art Instead Of Philosophy
Autorzy:
Jasiński, Bogusław
Powiązania:
https://bibliotekanauki.pl/articles/424367.pdf
Data publikacji:
2012
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
CONTEMPORARY ART
CONCEPTUAL ART
CONCEPTUALISM
AESTHETICS
ETHOSOPHY
EXISTENCE
Opis:
The aim of this text is to show the cognitive function of the art later referred to as conceptual. Conceptualism was particularly predisposed to express abstract messages which included philosophical ones. The basic question I would like to pose in this text is: can a conceptual art toolbox express in its own way that which had been formerly expressed by philosophy? How, with the usage of means suggested by conceptual art, may one build a general image of the world – comparable to that which philosophy had previously given? Perhaps a full answer to the above question leads us into the areas of art which ceased to fill the boundaries of conceptualism, or post-conceptualism and heads straightforward to action, which Grotowski called an ‘active culture’ — that is a place where art is not sufficient anymore.
Źródło:
Sztuka i Dokumentacja; 2012, 6; 97-107
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ocena sztuki osób z niepełnosprawnością wzroku przez dzieci i dorosłych
Evaluation of Art of Visually Impaired People by Children and Adults
Autorzy:
Szubielska, Magdalena
Pasternak, Katarzyna
Wójtowicz, Marzena
Szymańska, Anna
Powiązania:
https://bibliotekanauki.pl/articles/1372608.pdf
Data publikacji:
2018-09-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
visual impairment
visual art
art evaluation
aesthetic preference
Opis:
The aim of the study was to determine whether the age of the audience of the exhibition influences the assessment of aesthetic preferences of artistic products made up by people with visual impairment. The research was conducted to give an answer if there are differences in the preferences of different categories of artworks created by artists who are blind or low vision. The research consisted in the evaluation of raised-line drawings, photographs, sculptures and the tactile picturebook. These artistic products were presented in the art gallery. The assessments were made on a 5-point scale, where the respondents indicated how much they liked the artworks they were watching. In the study participated 118 people, including 80 children and 38 adults. It turned out that age and type of art had an interactive impact on the aesthetic assessment. Age differences in aesthetic preference werefound in reference to drawings and picture books. The visual art created by people with sight impairment was evaluated very positively.
Źródło:
Interdyscyplinarne Konteksty Pedagogiki Specjalnej; 2018, 22; 167-183
2300-391X
Pojawia się w:
Interdyscyplinarne Konteksty Pedagogiki Specjalnej
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Perfectionist Behavior and Expressions of Perfectionism in Drawings of Kindergarteners
Autorzy:
Basak, Rasim
Powiązania:
https://bibliotekanauki.pl/articles/2004838.pdf
Data publikacji:
2016-12-31
Wydawca:
Wydawnictwo Adam Marszałek
Tematy:
perfectionism
kindergarten
artworks
perfectionism and art
art
perfectionist
Opis:
Results based on two consecutive qualitative studies are documented in this paper. The first study focused on perfectionist characteristics in drawings of fifth graders. The second study was designed based on the findings from the earlier study, but it focused on drawings of kindergarteners at this time. Children’s drawings were analyzed to see meaningful connections between their behavioral perfectionism scores and their drawing characteristics. Findings were partly consistent with the literature and revealed that perfectionist behavior may have meaningful expressions in the art-making process and in artworks. Working on specific details meticulously, focusing on time-consuming details, not being able to see the whole, spending too much time on certain parts, and starting from details, were described as perfectionism-related characteristics. As an emerging characteristic, self-doubt, a lesser degree of determination, assurance and boldness in drawings are positively correlated with perfectionism. Subjects’ age group may be a significant factor to study perfectionism, and lower grade levels may not be suitable to study perfectionism through drawings because of their artistic developmental levels.
Źródło:
The New Educational Review; 2016, 46; 233-244
1732-6729
Pojawia się w:
The New Educational Review
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Landscape art – a new definition and new look
Sztuka krajobrazu. Nowa definicja, nowe spojrzenie
Autorzy:
Frydryczak, Beata
Salwa, Mateusz
Powiązania:
https://bibliotekanauki.pl/articles/2041832.pdf
Data publikacji:
2021-11-25
Wydawca:
Łódzkie Towarzystwo Naukowe
Tematy:
art
art theory
landscape
krajobraz
sztuka
teoria sztuki
Opis:
The aim of this article is to propose a new definition of landscape art. By landscape art we mean all forms of art which refer to any landscape and problematize it, i.e. subject it to artistic analysis, interpretation and intervention, both in a formal and aesthetic, as well as critical sense. Landscape art understood in this way would not be a separate direction or trend in art and would not form a coherent artistic concept. In the article we indicate the current understanding of landscape functioning in the field of art and the reasons why the new definition is useful
Celem artykułu jest zaproponowanie nowej definicji sztuki krajobrazowej. Przez sztukę krajobrazową rozumiemy wszelkie formy sztuki, które odnoszą się do wszelkich krajobrazów, problematyzując je, czyli poddając je artystycznej analizie, interpretacji i interwencji, zarówno w sensie formalnym i estetycznym, jak i krytycznym. Tak rozumiana sztuka krajobrazowa nie byłaby więc wyodrębnionym kierunkiem czy nurtem w sztuce i nie tworzyłaby zwartej koncepcji artystycznej. W artykule wskazujemy dotychczasowe rozumienie krajobrazu funkcjonujące na gruncie sztuki oraz powody, dla których nowa definicja jest przydatna
Źródło:
Art Inquiry. Recherches sur les arts; 2021, 23; 113-123
1641-9278
Pojawia się w:
Art Inquiry. Recherches sur les arts
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Działalność dydaktyczna Zakładu Edukacji Estetycznej i Studiów nad Kulturą
Autorzy:
Barbara, Kwiatkowska-Tybulewicz,
Powiązania:
https://bibliotekanauki.pl/articles/892220.pdf
Data publikacji:
2018-02-07
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
art
education
didactic activity
art education
media education
Opis:
This article is a presentation of the didactic activity of the Aesthetic Education and Cultural Studies Unit. It presents a variety of didactic classes taught currently by the members of the Unit, starting from the study programme of the Art and Media Education specialisation, through obligatory and optional classes addressed to students of the Faculty of Education, to general university courses for students of other faculties and students of foreign universities.
Źródło:
Kwartalnik Pedagogiczny; 2017, 62(4 (246)); 123-133
0023-5938
Pojawia się w:
Kwartalnik Pedagogiczny
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Differences between Visual Performance and Theatre. The Question of Genre Identity
Autorzy:
Orlová, Jana
Powiązania:
https://bibliotekanauki.pl/articles/24546682.pdf
Data publikacji:
2023
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
Performance Art
Visual Performance
Theatr
Art Genre Identity
Źródło:
Sztuka i Dokumentacja; 2023, 29; 213-232
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The re-construction of urban space in the place between art and architecture: Selected paradigms of in situ art of the period 1950–2000
Autorzy:
Mandilari, Aggela
Powiązania:
https://bibliotekanauki.pl/articles/28407824.pdf
Data publikacji:
2022
Wydawca:
Uniwersytet Komisji Edukacji Narodowej w Krakowie
Tematy:
in situ art
art and architecture
place
specificity
Opis:
  This study investigates in situ art of recent art history and its potential regarding the reconstruction of public space and its meanings. Paradigms of art and architecture conjugation in site specific interventions are examined with a view to answer questions such as the transformative role art can play when it constitutes a plastic phenomenon functioning in a complementary or reactive way as a part of the urban and social space. In situ’s art sculptural objects, due to their transitional form, serve as metaphors for space and time and their condition of constant change in the everyday life of the city. They constitute a physical input in the urban space that seeks to redefine its material boundaries and highlight the interaction between the individual and the city seen as an incomplete entity in a constant re-casting. Through the practice of repetition and movement, sculptural objects are put in dialogue with the objects we come into contact daily, taking part into a new aesthetic reality. It is about a process of re-configurating of the everyday aesthetics of the city, challenging the relationship between art and architecture and thus offering new modes of spatialisation. By examining specific paradigms from the in situ art of the second half of the twentieth century (e.g. Aldo Van Eyck, Daniel Buren, Rachel Whiteread), this paper, seeks to unveil the process of activating the coexistence of the visible and the invisible, the inside and the outside, the private and the collective that this specific artistic process offers in material terms. The main question that this paper seeks to answer is how in situ art- e specially when oscillating between art and architecture- affect the everyday flow of the undifferentiated space and time? How does it shape the coexistence and interaction between city’s objects and subjects? Which alternative – discursive – reality does it offer?
Źródło:
Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione; 2022, 17, 375; 23-38
2081-3325
2300-5912
Pojawia się w:
Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Wyjście z muzeum – sztuka mediów jako laboratorium rzeczywistości
Out of museum – media art as a laboratory of reality
Autorzy:
Szykowna, Sylwia
Powiązania:
https://bibliotekanauki.pl/articles/1856689.pdf
Data publikacji:
2019
Wydawca:
Narodowe Centrum Kultury
Tematy:
laboratorium
medialab
sztuka nowych mediów
art & science
bio-art
laboratory
media lab
new media art
Opis:
This article offers an introduction to the complex area of media art laboratories which emerged along with the development of the art of new technologies. They came as a response to the need to search for new methods of cooperation that transgresses beyond disciplines, and to explore the potential of the previously impossible encounters of the world of art with the world of science. The art of new media has developed a completely different model of functioning in the world of art, enriching traditional exhibition practices which now include new educational and research formats. The primary aim of this text is to present a critical reflection on the role of contemporary media art laboratories. While analysing selected examples from the past, the author asks questions about the current challenges faced by art as a laboratory whose main task is to study reality and social relations, also in terms of contemporary culture and its technological aspects.
Źródło:
Kultura Współczesna. Teoria. Interpretacje. Praktyka; 2019, 105, 2; 63-75
1230-4808
Pojawia się w:
Kultura Współczesna. Teoria. Interpretacje. Praktyka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Rewolucja i reakcja
Revolution and Reaction
Autorzy:
Haskell, Francis
Mencfel, Michał
Powiązania:
https://bibliotekanauki.pl/articles/32354551.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
artistic taste
art market
history of collections
British art collections
French art collections
Napoleonic Wars
Opis:
The article is a Polish translation of a chapter from a book titled Rediscoveries in Art. Some Aspects of Taste, Fashion and Collecting in England and France. The Wrightsman Lectures delivered under the auspices of the New York University Institute of Fine Arts (Cornell University Press: Ithaca, New York 1980; first edition: Phaidon Press Limited 1976) by Francis Haskell (1928–2000), a renowned art historian, the author of classic studies on artistic patronage, the history of taste, and collecting. The subject of the essay is changes in tastes, particularly the increased interest in Italian and Northern European painting at the turn of 18th and 19th centuries and the consequences of this phenomenon for the British and French collections of painting created at that time (as well as the diverse political and social turbulences that occurred in the wake of the French Revolution and the Napoleonic wars).
Źródło:
Artium Quaestiones; 2023, 34; 253-292
0239-202X
Pojawia się w:
Artium Quaestiones
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Touring Feminist Realism in Actually Existing Socialism: The Exhibitions and Travels of Danish Artist Dea Trier Mørch across the Iron Curtain, 1962–1989
Autorzy:
Handberg, Kristian
Powiązania:
https://bibliotekanauki.pl/articles/50672990.pdf
Data publikacji:
2024-08-02
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
Danish art history
art and Women’s Rights
cultural exchange
cold war culture
poster art
Opis:
Dea Trier Mørch (1941–2001) was a popular – and recently rediscovered – artist often associated with feminism and the formative years of the Danish Women’s Rights movement. Throughout her career, she worked and exhibited frequently in the Eastern Bloc countries, but the details of these activities and the reception of her work in this context is still a little known aspect of her life and work. The article will analyse the case of Trier Mørch as a Danish artist exhibiting in the communist bloc countries. From attending art academies in the 1960s (mainly in Poland and the USSR) to taking part of exhibitions both individually and as part of artist collective Røde Mor such as Biennale der Ostseeländer in Rostock and Intergrafik in East Berlin, the activities of Trier Mørch show encounters and interactions with the other art world of state socialism at various levels, such as conflicts and paradoxes, including on the issue of feminism and women’s rights in the different systems. Following an individual through larger structures like international exchanges and art diplomacy will also shed fresh light on the developments in international cultural relations in the Nordic-Baltic region and provide context for the artist’s commitment and positioning through a formative period in contemporary history.
Źródło:
Ikonotheka; 2023, 33; 185-211
0860-5769
Pojawia się w:
Ikonotheka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Performatywne alter ego
Autorzy:
Szuba, Agata
Powiązania:
https://bibliotekanauki.pl/articles/487840.pdf
Data publikacji:
2018
Wydawca:
Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
Tematy:
PERFORMER
PERFORMANCE ART
INSTAGRAM
INTERNET ART
ALTER EGO
INFLUENCER
Opis:
Performative alter ego The dynamic development of the Internet and the constant search for new ways of reaching the user bring about the availability of materials that were previously unattainable. Performance art, thanks to its special openness to new methods of expression, reaches the mass media, while showing the individual’s psyche and character of the author’s work. The set of gestures, their sequence and narration are the basis for creating performance art, understood not only as a clear alternative to conven- tional art, but also characterized by unpredictability, in which the viewer is not prepared for the way messages are received. Undoubtedly, social platforms create an illusion. “The influencer” can reach thousands of viewers and gain fame without leaving home. Without a doubt, social media have created a new entry point to the global art scene, opening way to a wide spectrum of diverse artistic activities. The method of re- cording, the non-cutaneous nature of the phenomenon makes it possible to own performative actions. The context of a performance is particularly important. It affects what can be universally recognized as art. The ques- tion arises (since we distinguish two values of the performative action: in the art gallery and on the street), what frames on the social media allow the audience to interpret it as art, and assuming that it is an art, does it change the perception of a given phenomenon?
Źródło:
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2018, 26; 108-133
1733-1528
Pojawia się w:
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Private Hidden Art of Janusz Kaczorowski
Autorzy:
Siatka, Krzysztof
Powiązania:
https://bibliotekanauki.pl/articles/485506.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie
Tematy:
Janusz Kaczorowski
hidden art
subversive art
neo-avant-garde
Opis:
Artistic practice of Janusz Kaczorowski, of which only a few traces remain in the collections of institutions and in private hands, is characterised by surprisingly high quality of intellectual reflection. With his attitude and works, the artist affected several young artists and he is still remembered as an extraordinary personality. He created an original hidden art concept that avoids public presentation. I submit the idea expressed in The Private Manifesto of Hidden Art in a detailed analysis in the second part of the text. I locate the source of this idea in the examples of the artist’s reflection and works dedicated to the permanent presence of images and symbols of a totalitarian state in the iconosphere, which display the characteristics of a subversive artistic approach. Kaczorowski, a leftist and a socially engaged person, consistently embodied artistic ideas in life, and the several works that he left behind should be seen in terms of the power that generates acts of cessation, concealment and withdrawa
Źródło:
Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione; 2018, 13; 46-55
2081-3325
2300-5912
Pojawia się w:
Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Dzieło sztuki na granicy przeszłości i przyszłości. Historia i patriotyzm w sztuce nieprofesjonalnej
Autorzy:
Jarysz, Aleksandra Weronika
Powiązania:
https://bibliotekanauki.pl/articles/678079.pdf
Data publikacji:
2015
Wydawca:
Polska Akademia Nauk. Instytut Slawistyki PAN
Tematy:
Polish history
outsider art
professional painters
folk art
primitivism
Opis:
A work of art – a link between the present and the past. History and patriotism in non-professional art In her article, the author discusses art of non-professional artists who shape the national identity in an original way. In the former professional art, the works which illustrated and uplifted history were very popular. This phenomenon is still present among folk, naive, intuitive artists, generally speaking – non-professionals. The work of their hands and imagination is a tool serving the purpose of national values and ideas, and is sometimes the basis for broader considerations on the human condition. They balance between historical facts and ahistorical generalities. The martyrdom of the Polish nation with emphasis on the events of WWII has been inspiring artists, stimulating their imagination and artistic creation. Therefore numerous ‘monuments of patriotic art’ can be found in the wood sculpture, ceramics, painting, and glass painting works from the art collection of the Toruń Maria Znamierowska-Prüfferowa Ethnographic Museum. Dzieło sztuki na granicy przeszłości i przyszłości. Historia i patriotyzm w sztuce nieprofesjonalnejW swoim artykule autorka prezentuje sztukę twórców nieprofesjonalnych, którzy w sposób oryginalny kształtują tożsamość narodową. W dawnej sztuce profesjonalnej dzieła, które ilustrowały i uwznioślały historię były bardzo popularne. To zjawisko jest nadal aktualne wśród twórców ludowych, naiwnych, intuicyjnych, ogólnie nazywając – nieprofesjonalnych. Dzieło ich rąk i wyobraźni jest narzędziem w służbie wartości i idei narodowych, a niekiedy stanowi podstawę do szerszych rozważań nad kondycją człowieka. Balansują oni między konkretem historycznym a ahistoryczną ogólnością. Martyrologia narodu polskiego z naciskiem na wydarzenia II wojny światowej inspirowała i inspiruje twórców, pobudza ich wyobraźnię i zmusza do twórczej kreacji. Stąd też zarówno w rzeźbie w drewnie, w ceramice, na obrazach, w malarstwie na szkle, w zbiorach sztuki toruńskiego Muzeum Etnograficznego im. Marii Znamierowskiej-Prűfferowej możemy odnaleźć bogatą reprezentację „pomników sztuki patriotyzmu”.
Źródło:
Sprawy Narodowościowe; 2015, 47
2392-2427
Pojawia się w:
Sprawy Narodowościowe
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Nauczyciel przedmiotów artystycznych w szkolnictwie zawodowym w świetle aktów prawnych
Autorzy:
Dominika, Rutkowska-Sagata, Agnieszka
Powiązania:
https://bibliotekanauki.pl/articles/892491.pdf
Data publikacji:
2018-02-07
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
art education
art education teacher
vocational education
education law
Opis:
The paper analyses legislation concerning art education teachers in public vocational schools and focuses on the regulations on the required educational qualifications of the teaching staff members and currently available evaluation tools. Inaccuracies and lack of transparency are put into the limelight.
Źródło:
Kwartalnik Pedagogiczny; 2017, 62(4 (246)); 195-203
0023-5938
Pojawia się w:
Kwartalnik Pedagogiczny
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Negatyw świata”. Inspiracje techniką graficzną jako źródło refleksji metaliterackiej – na przykładzie wiersza Ewy Lipskiej Albatros i grawer
“Negative of the World”. Graphic Technique as a Source of Metaliterary Reflection in a Poem Albatros i Grawer (‘The Albatross and the Engraver’) by Ewa Lipska
Autorzy:
Szewczyk-Haake, Katarzyna
Powiązania:
https://bibliotekanauki.pl/articles/32051463.pdf
Data publikacji:
2022
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Ewa Lipska
literature and graphic art
modernist art in literature
ethical criticism of art
Opis:
The paper presents an analysis of Ewa Lipska’s poem Albatros i grawer [‘The Albatross and the Engraver’], which is a rare example of evoking a work of graphic art in a poem. The metaphors used in the text, exploiting the field of meaning related to graphics, become the basis for metaliterary reflection. Important interpretative contexts indicated in the article are, on one hand, the history of graphic art and its technical arcana, and on the other, the poem The Albatross by Charles Baudelaire, alluded to in the poem and, by the same token, modernist ideas about the art and the artist. The poem’s consideration of the problem of ‘a negative’ and ‘an imprint’ leads to questions about the relationship between art and reality, a relationship which, radically transformed in the modern era, demands an ethical evaluation, just as the poem suggests.
Źródło:
Przestrzenie Teorii; 2022, 37; 83-95
2450-5765
Pojawia się w:
Przestrzenie Teorii
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
A Ghost of Your Masterpiece. Correspondence Between Pawel Petasz and György Galántai (1978–2007)
Autorzy:
Kotun, Viktor
Powiązania:
https://bibliotekanauki.pl/articles/995539.pdf
Data publikacji:
2020
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
paweł petasz
györgy galántai
artpool
hungary can be yours
commonpress no.51
mail art
stamp art
conceptual art
dissident art
Opis:
Pawel Petasz, Polski artysta mail art i György Galántai, artysta i twórca archiwum Artpool w Budapest rozpoczęli współpracę i wymianę artystycznych artefaktów i idei artystycznych w 1978 roku. Galántai, razem z Julia Klaniczay, podjęli ideę Commonpress - magazynu, którego kolejne wydania były tworzone przez różnych artystów na świecie. Edycja Węgierska nosiłą tytuł 'Hungary Can be Yours' i była 51 numerem czasopisma. Materiały do tego wydania zostały zebrane w światowej sieci mail art, w której funkcjonowali obaj artyści, Petasz i Galántai. Zostały one pokazane w Budapest na wystawie, która jednak została zablokowana przez tajną policję węgierską. Raport policyjny na temat tej wystawy jest publikowany wraz z innymi materiałami towarzyszącymi temu artykułowi. Artykuł bazuje na archiwum Artpool. Prezentuje bibliografię publikacji i artefaktów mail art gromadzonych w Artpool. Historia opisana i poddana analizie w tym artykule stanowi przyczynek do zrozumienia zarówno warunków uprawiania twórczości w krajach za żelazną kurtyną, jak i specyfiki funkcjonowania sieci mail art jako mechanizmu kreacji artystycznej w skali globalnej.
Pawel Petasz, Polish mail art artist, and György Galántai, artist and creator of the Artpool archive in Budapest, began collaborating and exchanging artistic artifacts and artistic ideas in 1978. Galántai, together with Julia Klaniczay, took up the idea of Commonpress - a magazine whose subsequent editions were created by various artists around the world. The Hungarian edition was entitled 'Hungary Can be Yours' and was the 51st issue of the magazine. The materials for this issue were collected on the worldwide mail art network, in which both artists, Petasz and Galántai, functioned. They were shown in an exhibition in Budapest, which, however, was blocked by the Hungarian secret police. A police report on this exhibition is being published along with other material accompanying this article. The article is based on the Artpool archive. It presents a bibliography of publications and mail art artifacts collected in Artpool. The history described and analyzed in this article contributes to the understanding of both the conditions of cultivating creativity in countries behind the Iron Curtain, and the specificity of the functioning of the mail art network as a mechanism of artistic creation on a global scale.
Źródło:
Sztuka i Dokumentacja; 2020, 22; 315-365
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Pomiędzy adaptacją a edukacją. Sztuka mediów jako wprowadzenie do technokultury
Between adaptation and education. Media art as an introduction to technoculture
Autorzy:
Kluszczyński, Ryszard W.
Powiązania:
https://bibliotekanauki.pl/articles/1856710.pdf
Data publikacji:
2019
Wydawca:
Narodowe Centrum Kultury
Tematy:
sztuka mediów
sztuka nowych mediów
art & science
adaptacyjna funkcja sztuki
poznawcza funkcja sztuki
edukacyjna funkcja sztuki
media art
new media art
adaptive function of art
cognitive function of art
educational function of art
Opis:
Next to its fundamental artistic and aesthetic properties and functions, perceived as entirely intrinsic and thus developed only through experience that it itself calls into existence, art also serves multiple social purposes. Among the latter, a set of interconnected cognitive, educational and adaptive roles seems to come to the foreground. This article discusses forms in which these functions manifest themselves along with their mutual relationships that may be observed in the field of progressive avant-garde art. It focuses on selected phenomena in the art of experimental cinema, analogue and digital synthesis, as well as contemporary artistic forms that use the techniques of augmented reality and biotechnology, producing a myriad of diversified hybrid constructs.
Źródło:
Kultura Współczesna. Teoria. Interpretacje. Praktyka; 2019, 105, 2; 12-21
1230-4808
Pojawia się w:
Kultura Współczesna. Teoria. Interpretacje. Praktyka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
How Do Nonhuman Animals Make Art? Art as a Practice of Interspecies Questioning
Autorzy:
Cull Ó Maoilearca, Laura
Powiązania:
https://bibliotekanauki.pl/articles/31233876.pdf
Data publikacji:
2022
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
art
creator
recipient
Opis:
The presented statement is part of the volume it covers a variety of responses from people who interact with art in different ways. The aim is to suggest to the participant of the contemporary world a new, personal perspective to rethink what is this area of our world that we label with art; thoughts with and without theoretical suggestions - reflections by the creators and reflections by the audience, teaching humility and uniqueness, perhaps - forming a fresh perspective on art.
Źródło:
Roczniki Kulturoznawcze; 2022, 13, 4; 59-64
2082-8578
Pojawia się w:
Roczniki Kulturoznawcze
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Landscape as Art and as Persons
Autorzy:
Hirsch, Eric
Powiązania:
https://bibliotekanauki.pl/articles/31233878.pdf
Data publikacji:
2022
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
art
creator
recipient
Opis:
The presented statement is part of the volume it covers a variety of responses from people who interact with art in different ways. The aim is to suggest to the participant of the contemporary world a new, personal perspective to rethink what is this area of our world that we label with art; thoughts with and without theoretical suggestions - reflections by the creators and reflections by the audience, teaching humility and uniqueness, perhaps - forming a fresh perspective on art.
Źródło:
Roczniki Kulturoznawcze; 2022, 13, 4; 93-98
2082-8578
Pojawia się w:
Roczniki Kulturoznawcze
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Interaction between Contributors: Processes of an Art Piece Formation
Autorzy:
Mikhalchenko, Vadim
Powiązania:
https://bibliotekanauki.pl/articles/31233879.pdf
Data publikacji:
2022
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
art
creator
recipient
Opis:
The presented statement is part of the volume it covers a variety of responses from people who interact with art in different ways. The aim is to suggest to the participant of the contemporary world a new, personal perspective to rethink what is this area of our world that we label with art; thoughts with and without theoretical suggestions - reflections by the creators and reflections by the audience, teaching humility and uniqueness, perhaps - forming a fresh perspective on art.
Źródło:
Roczniki Kulturoznawcze; 2022, 13, 4; 133-136
2082-8578
Pojawia się w:
Roczniki Kulturoznawcze
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
What Is Art? From the Perspective of an Art Creator
Autorzy:
Salonna, Ilaria
Powiązania:
https://bibliotekanauki.pl/articles/31233880.pdf
Data publikacji:
2022
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
art
creator
recipient
Opis:
The presented statement is part of the volume it covers a variety of responses from people who interact with art in different ways. The aim is to suggest to the participant of the contemporary world a new, personal perspective to rethink what is this area of our world that we label with art; thoughts with and without theoretical suggestions - reflections by the creators and reflections by the audience, teaching humility and uniqueness, perhaps - forming a fresh perspective on art.
Źródło:
Roczniki Kulturoznawcze; 2022, 13, 4; 159-163
2082-8578
Pojawia się w:
Roczniki Kulturoznawcze
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Great Questions of Aesthetics and Small Gardens of Art
Autorzy:
Pękala, Teresa
Powiązania:
https://bibliotekanauki.pl/articles/31233881.pdf
Data publikacji:
2022
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
art
creator
recipient
Opis:
The presented statement is part of the volume it covers a variety of responses from people who interact with art in different ways. The aim is to suggest to the participant of the contemporary world a new, personal perspective to rethink what is this area of our world that we label with art; thoughts with and without theoretical suggestions - reflections by the creators and reflections by the audience, teaching humility and uniqueness, perhaps - forming a fresh perspective on art.
Źródło:
Roczniki Kulturoznawcze; 2022, 13, 4; 149-158
2082-8578
Pojawia się w:
Roczniki Kulturoznawcze
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Can ASMR Be Considered Art?
Autorzy:
Łapińska, Joanna
Powiązania:
https://bibliotekanauki.pl/articles/31233885.pdf
Data publikacji:
2022
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
art
creator
recipient
Opis:
The presented statement is part of the volume it covers a variety of responses from people who interact with art in different ways. The aim is to suggest to the participant of the contemporary world a new, personal perspective to rethink what is this area of our world that we label with art; thoughts with and without theoretical suggestions - reflections by the creators and reflections by the audience, teaching humility and uniqueness, perhaps - forming a fresh perspective on art.
Źródło:
Roczniki Kulturoznawcze; 2022, 13, 4; 111-117
2082-8578
Pojawia się w:
Roczniki Kulturoznawcze
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Artworld vs Art
Autorzy:
Łukaszewicz, Aleksandra
Powiązania:
https://bibliotekanauki.pl/articles/31233886.pdf
Data publikacji:
2022
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
art
creator
recipient
Opis:
The presented statement is part of the volume it covers a variety of responses from people who interact with art in different ways. The aim is to suggest to the participant of the contemporary world a new, personal perspective to rethink what is this area of our world that we label with art; thoughts with and without theoretical suggestions - reflections by the creators and reflections by the audience, teaching humility and uniqueness, perhaps - forming a fresh perspective on art.
Źródło:
Roczniki Kulturoznawcze; 2022, 13, 4; 119-128
2082-8578
Pojawia się w:
Roczniki Kulturoznawcze
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-100 z 2835

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