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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:
Charakterystyka twórczości Anupam Sud
Characteristics of Anupam Suds art
Autorzy:
Bednarz, Ewelina
Powiązania:
https://bibliotekanauki.pl/articles/460079.pdf
Data publikacji:
2016
Wydawca:
Fundacja Pro Scientia Publica
Tematy:
sztuka współczesna, sztuka indyjska, współczesna sztuka indyjska, sztuka kobieca, grafika, malarstwo, śakti, anupam sud
contemporary art, indian art, contemporary indian art, feminine art, woman art, graphics, painting, shakti, anupam sud
Opis:
Anupam Sud is considered as one of the greatest contemporary artists in India. The author makes polish readers more familiar with this artist. We focused on Sud's main works – graphics, paintings and even a sculpture. The article contains discussion about one of Sud’s most widely used motifs– a woman in search of shakti. Moreover, it covers issues of human depravity, one’s contempt for another, and primarily it points out main problem being faced by Hindu women in a patriarchal society. We draw attention to the most characteristic features of Anupam Sud’s work – artwork as manifested (by which Sud tries to draw attention to the Hindu woman’s situation), chiaroscuro and anatomy.
Anupam Sud jest zaliczana do grona najwybitniejszych współczesnych artystów w Indiach. Autorka w swoim tekście przybliża postać mało znaną polskiemu czytelnikowi. Omawia główne jej dzieła – graficzne, malarskie i jedną rzeźbiarską. Snuje rozważania na temat jednego z popularnych typów przedstawień kobiecych, chętnie ukazywanego przez artystkę – kobiety, która poszukuje śakti. Ponadto porusza problem zepsucia człowieka, gardzenia drugim, a przede wszystkim wskazuje na problemy, jakie towarzyszą Induskom w patriarchalnym społeczeństwie. Autorka prezentuje najbardziej charakterystyczne cechy twórczości Anupam Sud: szczegółowe przedstawianie anatomii, mistrzowskie operowanie światłocieniem oraz dzieła-manifesty, którymi graficzka stara się zwrócić uwagę odbiorców na sytuację kobiet w Indiach.
Źródło:
Ogrody Nauk i Sztuk; 2016, 6; 458-463
2084-1426
Pojawia się w:
Ogrody Nauk i Sztuk
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:
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:
Experiment and “Art Art”. From Uncertainty to Imitation
Eksperyment i „sztuka artystyczna”. Od niepewności do imitacji
Autorzy:
Białkowski, Łukasz
Powiązania:
https://bibliotekanauki.pl/articles/1366146.pdf
Data publikacji:
2020-12-25
Wydawca:
Łódzkie Towarzystwo Naukowe
Tematy:
experiment
Art art
experimental novel
experimental art
pastiche
imitation
eksperyment
sztuka artystyczna
powieść eksperymentalna
pastisz
imitacja
sztuka eksperymentalna
Opis:
The article discusses three various stages of artistic experiment. Both a source concept of experiment in artistic practice, developed by Émile Zola in the 19th century under the banner of 'experimental novel', and the neo-avant-garde distinction into Art art and experimental art created by Allan Kaprow in the 1960s, established a close connection of experiment with uncertainty and risk. In this context, the article investigates the extent to which contemporary artists' practices, including those frequently defined as experimental, can be subsumed under the historical meaning of experiment and poses a question whether they might have created another style of art. The problem is analysed in reference to Artur Żmijewski's film, Powtórzenie [Repetition].
Artykuł przedstawia trzy różne odsłony eksperymentu artystycznego. Źródłowa idea eksperymentu w działalności artystycznej, przedstawiona w XIX wieku przez Émila Zolę pod hasłem „powieści eksperymentalnej” a także neoawangardowe rozróżnienie na „sztukę artystyczną” i eksperymentalną dokonane przez Allan Kaprowa w latach 60. XX wieku łączyły ściśle eksperyment z niepewnością i niewiedzą. W tym kontekście w artykule postawione zostaje pytanie, w jakiej mierze praktyki współczesnych artystów, również często określane mianem eksperymentalnych, wpisują się w historyczne rozumienie eksperymentu i czy nie stały się kolejną artystyczną stylistyką. Kwestia ta jest analizowana w odniesieniu do filmu Powtórzenie Artura Żmijewskiego.
Źródło:
Art Inquiry. Recherches sur les arts; 2020, 22; 143-155
1641-9278
Pojawia się w:
Art Inquiry. Recherches sur les arts
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:
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:
Recenzja książki Roberto Mansbergera Amorosa pt. La Joven Europa y España: la cuestión de «el arte por el arte». Barcelona, 2013: Laertes. ISBN 978-84-7584-916-4, 466 stron
A Review of a Book by Roberto Mansberger Amorós entitled La Joven Europa y España: la cuestión de «el arte por el arte». Barcelona, 2013: Laertes. ISBN 978-84-7584-916-4, 466 pages
Autorzy:
Draus-Kłobucka, Agata
Powiązania:
https://bibliotekanauki.pl/articles/504764.pdf
Data publikacji:
2014
Wydawca:
Komisja Nauk Filologicznych Polskiej Akademii Nauk, Oddział we Wrocławiu
Tematy:
“art for art’s sake”
19th century
art and morals
Young Europe
Spanish literature
Decadent movement and Restoration
Opis:
The literary history of the question: “Art for art’s sake” in Europe and, more specifically, in Spain, is the subject of the book by Roberto Mansberger Amorós entitled La Joven Europa y España: la cuestión de «el arte por el arte» (Young Europe and Spain: the question of «art for art’s sake», written in Spanish). The book is composed of six chapters, along with the introduction, conclusion, extensive bibliography and index of names. The chapters focused on the general history of the idea alternate with those dedicated to the particular writers and thinkers. Chapter 1 presents the theory of “art for art’s sake,” its origin and progress. Chapter 2 introduces the subject of Young Europe, with the focus on Young Poland and Young Spain. Chapter 3 is an extensive digression about the subject of morals in Spanish 19th century literature, aesthetics, ethics and critics. Chapter 4 studies the individual stances of Valera and Campoamor, whereas chapter 5 undertakes the issue of the Decadent movement and the Restoration. The sixth and final chapter describes the poetry and the poets related to the concept “art for art’s sake.” The uniqueness of the book rests on the combination of the balanced analyses of literary sources and original period documents and archival material of Real Academia Española concerning the issues of art and morals, along with a reflection about the historical, philosophical and ideological context of the matter. Since this kind of profound knowledge united with the ability to write both persuasively and interestingly is rare, the book by Mansberger Amorós is an enlightening reading experience not only for specialists on the topic, but also for all those interested in the history of Spanish literature and ideas.
Źródło:
Academic Journal of Modern Philology; 2014, 3; 157-162
2299-7164
2353-3218
Pojawia się w:
Academic Journal of Modern Philology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Cuzco School Painting (Esquela Cusqueña) as a Manifestation of Andean Identity in the Past and Present
Autorzy:
Kubiak, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/1798727.pdf
Data publikacji:
2019-10-30
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
Cuzco painting; Baroque painting; colonial art; neo-Baroque; Peruvian art
Opis:
The Polish version of the article was published in Roczniki Humanistyczne vol. 65, issue 4 (2017). Painting of the Cuzco school developed in the city proper and in the Cuzco region in the 17th and 18th centuries. Its influence was not limited to this area; information about the presence of paintings from Cuzco in distant regions of the Viceroyalty of Peru can be found in numerous sources. The tradition which acknowledged Cuzco painting to be a manifestation of cultural mestization is extremely strong. We can easily point at Spanish (colonial) as well as native (Indian) features in both formal and semantic aspects of representations. However, Cuzco painting is not a matter of the past; nowadays there are still studies which produce neo-Baroque pictures, stylistically imitating old paintings. I would like to present neo-Baroque canvas and subsequent stages of work on them, using field research from 2013 and photographs taken in Galería de Artesanía “Fenix” in Cuzco, run by Luis Alfredo Pacheco Venero. What is important in the summary is reflections on cusqueñismo, a phenomenon typical of the city since the 1920s and wondering whether within its scope there is a place not only for the Inca tradition but also for colonial art. Modern search for regional identity is not limited to the pre-Columbian era, but more and more often highly assesses the colonial legacy.
Źródło:
Roczniki Humanistyczne; 2019, 67, 4 Selected Papers in English; 33-57
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Kreatywność we współczesnej sztuce pop . Inspiracje twórczością Warhola w edukacji studentów kierunków artystycznych
Autorzy:
Bugajska-Bigos, Iwona
Steliga, Anna Maria
Powiązania:
https://bibliotekanauki.pl/articles/606997.pdf
Data publikacji:
2019
Wydawca:
Uniwersytet Marii Curie-Skłodowskiej. Wydawnictwo Uniwersytetu Marii Curie-Skłodowskiej
Tematy:
creativity, pop-art, Warhol’s art, education
kreatywność, sztuka pop, twórczość Warhola, edukacja
Opis:
Pop-art was one of the most important artistic phenomena in the decade 1960-1970. In 2017 there was a thirty anniversary of andy Warhol’s death. This art revolutionist was a „painter of modern times”. He created, using mass culture products and at the same time showing the way the civilization is heading. a return to his creativeness in the international art project Warhol. pop contexts (30 years later) seems to be interesting: it presents students of art universities being representatives of the information generation who are inspired by Warhol’s work and also the direction in which the main aesthetics of pop style is currently migrating. young artists – are they creative or imitative? The article also describes educational dimension of the project.
Pop-art był jednym z najważniejszych zjawisk artystycznych w dziesięcioleciu 1960–1970. W 2017 roku minęła trzydziesta rocznica śmierci andy’ego Warhola. Ów rewolucjonista sztuki był „malarzem współczesności”. Tworzył, posługując się produktami kultury masowej, przy okazji ukazując drogę, po jakiej zmierza cywilizacja. Powrót do jego twórczości w Międzynarodowym projekcie artystycznym Warhol. Pop konteksty (30 lat później) wydaje się ciekawy: jak studenci szkół artystycznych, będący przedstawicielami pokolenia informacyjnego, inspirują się twórczością Warhola i w jakim kierunku obecnie migruje główna estetyka stylu pop? Czy młodzi twórcy są kreatywni czy naśladowczy? Artykuł opisuje także edukacyjny wymiar projektu.
Źródło:
Lubelski Rocznik Pedagogiczny; 2019, 38, 1
0137-6136
Pojawia się w:
Lubelski Rocznik Pedagogiczny
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Omnis natura artificiosa est. Projekt Symbiotyczność tworzenia w świetle teorii wartości paraartystycznych
Omnis natura artificiosa est. Project The Symbiosity of Creation in the light of the theory of paraartistic values
Autorzy:
Milczarczyk, Paula
Powiązania:
https://bibliotekanauki.pl/articles/424719.pdf
Data publikacji:
2016
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
sztuka współczesna, nowe media, interdyscyplinarność, badanie, estetyka, filozofia, krytyka, bio-art, contemporary art, new media, interdisciplinarity, research, aesthetics, philosophy, art-critics
Opis:
The Symbiosity of Creation (2012 – ca. 2034) by Jarosław Czarnecki (aka Elvin Flamingo) is an interdisciplinary art and research project which consists of six mobile incubators, whose interiors recreate the natural habitat of three species of ants. The project consists of three part-stories: “The Reconstruction of Non-human Culture”, “The Kingdom of the Shared Quotidian”, and “After Humans. The Biocorporation”, plus the recordings of failed attempts to create the colony collected in the form of “Subterranean Struggle”. As a result of the materials used (in vivo organism) Czarnecki’s work may seem to be a typical bio-art piece. In my text I would like to point out one very important, yet so far overlooked, critical aspect of the project and show Czarnecki’s artistic activities in the light of the theory of paraartistic values contained in the book Reality aesthetics by Maria Gołaszewska.
Źródło:
Sztuka i Dokumentacja; 2016, 14; 84-91
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Idea „sztuki dla sztuki” w kontekście sytuacji komunikacyjnej „autor–czytelnik”
The idea of “art for art’s sake” in the context of the communication situation “author–reader”
Идея «искусства для искусства» в контексте коммуникативной ситуации «автор–читатель»
Autorzy:
Kotin, Andrey
Powiązania:
https://bibliotekanauki.pl/articles/2085275.pdf
Data publikacji:
2022-05-30
Wydawca:
Polskie Towarzystwo Rusycystyczne
Tematy:
автореференциальность
искусство для искусства
модернизм
искусство
autoreferencja
sztuka dla sztuki
modernizm
sztuka
selfe-reference
art for art's sake
literature
modernism
art
Opis:
Autor artykułu rozpatruje koncepcję artystyczną „sztuki dla sztuki” (l’art pour l’art) w jej rozmaitych przejawach: jako manifest pewnej epoki historycznej (modernizm, dekadentyzm, postmodernizm) lub też osobisty światopogląd pojedynczych pisarzy i filozofów (Nabokov, Croce). Szczególną uwagę poświęca się nierozerwalnej symbiozie formy i treści, zwłaszcza idei ich strukturalno-semantycznej identyczności. Jednym z kluczowych wniosków przeprowadzonego badania jest wyraźna niejednorodność idei „sztuki dla sztuki”, której główne postulaty i tezy wykazują radykalne, niekiedy wykluczające się nawzajem różnice, w zależności od szkoły literackiej, literaturo- lub kulturoznawczej teorii, indywidualności konkretnego pisarza.
Автором статьи рассматривается художественная концепция «искусства для искусства» (l’art pour l’art) в её разнообразных проявлениях: как манифест определённой исторической эпохи (модернизм, декаданс, постмодернизм) или же личная установка отдельных писателей и философов (Набоков, Кроче). Особое внимание уделяется неразрывной взаимосвязи формы и содержания, а также идее их структурно-семантической тождественности. Одним из ключевых выводов проведённого исследования является крайняя неоднородность идеи «искусства для искусства», главные постулаты и основоположения которой обнаруживают радикальные, подчас взаимоисключающие отличия в зависимости от литературного направления, литературо- или культуроведческой теории, индивидуальности конкретного писателя.
The author of the article examines the artistic concept of “art for art’s sake” (l’art pour l’art) in its various forms: as a manifesto of a certain historical era (modernism, decadence, postmodernism) or the personal attitude of individual writers and philosophers (Nabokov, Croce). Particular attention is paid to the inextricable relationship of form and content, as well as the idea of their structural and semantic identity. One of the key conclusions of the study is the extreme heterogeneity of the idea of “art for art’s sake”, which main postulates and foundations reveal radical, sometimes mutually exclusive differences depending on the literary trend, literary or cultural theory, as well as in the individuality of a particular writer.
Źródło:
Przegląd Rusycystyczny; 2022, 2 (178); 7-22
0137-298X
Pojawia się w:
Przegląd Rusycystyczny
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:
Shaftesbury’s Dictionary of Terms of Art
„Dictionary of Terms of Art” – Słownik pojęć teoretycznych-artystycznych Shaftesbury’ego
Autorzy:
Kern, Ulrike
Powiązania:
https://bibliotekanauki.pl/articles/2082091.pdf
Data publikacji:
2020
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
art theory
aesthetic theory
literary theory
18th Century British aesthetics
vocabulary of art theory and art history terms
aesthetic experience
Opis:
This article discusses Shaftesbury’s fragmentary ‘Dictionary of art terms’, an appendix to the unfinished Plastics, and its relevance in establishing an aesthetic and moral art theory in Britain. The article argues that, although the ‘Dictionary’ is rudimentary, it already reveals enough information to assess it as an important document of English art philosophy. Given that Shaftesbury’s dictionary project was the first English attempt to produce a theoretical art dictionary, it is discussed in the light of traditions of the art dictionary in this country. The study clarifies notions of the dictionary’s art terms through comparative analyses with the use of the words in the aesthetic discourses in the Plastics. It looks at Shaftesbury’s creation of novel words based on classical literature and his use of contemporary literary sources which was partly ambivalent, for fear that only words were transferred from their original context but no ideologies that the author disapproved of. With the help of exemplary discussions of Shaftesbury’s art vocabulary, the study illustrates the shaping of an aesthetic vocabulary in England.
Źródło:
Rocznik Historii Sztuki; 2020, 45; 19-29
0080-3472
Pojawia się w:
Rocznik Historii Sztuki
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Tego się nie robi kotu, czyli o ciałach martwych zwierząt w sztuce najnowszej
You can’t do that to a cat, or dead animals in recent art
Autorzy:
Pitrus, Andrzej
Powiązania:
https://bibliotekanauki.pl/articles/692152.pdf
Data publikacji:
2019
Wydawca:
Wydawnictwo Uniwersytetu Śląskiego
Tematy:
sztuka współczesna, taksydermia, części ciała, rynek sztuki
contemporary art, taxidermy, body parts, art market
Opis:
The article deals with the subject of art made with body parts of animals. The motive of a dead animal has been present in art since its beginning; in cave paintings and later in Flemish still lives. Yet it is contemporary art that tries to go even further. Instead of representing dead bodies, the artists simply use them. They could be “mere” dead flies, or giant sharks. Andrzej Pitrus discusses taxidermy, which normally is not considered a proper art, but many “real” artists use this technique as well. Some ethical issues are also discussed, because many of the works are nowadays sold for steep prices. Where does the critical art end, and exploitation start? It is hard to answer this question, which nevertheless sould be asked.
Źródło:
Zoophilologica. Polish Journal of Animal Studies; 2019, 5
2719-2687
2451-3849
Pojawia się w:
Zoophilologica. Polish Journal of Animal Studies
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Jelenie na rykowisku”: o demonach sztuki i granicach sztuki popularnej
Autorzy:
Sikorska, Karolina
Powiązania:
https://bibliotekanauki.pl/articles/694817.pdf
Data publikacji:
2018
Wydawca:
Polskie Towarzystwo Ludoznawcze
Tematy:
high art, popular art, popular culture, James Clifford, kitsch, authenticity, aura, polysemy
sztuka wysoka, sztuka popularna, kultura popularna, James Clifford, kicz, autentyczność, aura, wieloznaczność
Opis:
In this article I consider the role of popular artistic representations, first of all referring to perfectly known but ill-famed motive of “deer in rut”. Starting with “art-culture”, the scheme proposed by James Clifford, I try to argue for the fluidity and cultural contextualization of paintings which escape easy categorizations as bad art or kitsch. As a result, through the analysis of meanings of this kind of representations, I attempt to point out how these representations are situated both in the sphere of high (modern) art and in popular culture, still synonymous with low culture. I also show results of this polysemous entanglement.
W artykule zastanawiam się nad rolą popularnych przedstawień artystycznych, odnosząc się przede wszystkim do doskonale znanego, choć niecieszącego się dobrą sławą motywu „jeleni na rykowisku”. Wychodząc od schematu „sztuka – kultura, zaproponowanego przez Jamesa Clifforda”, próbuję argumentować na rzecz przemieszczeń i kulturowych kontekstualizacji obrazów, które nie dają się łatwo zaklasyfikować jako zła sztuka lub kicz. W konsekwencji poprzez analizę znaczeń tego rodzaju przedstawień próbuję pokazać, w jaki sposób są one osadzone zarówno w obszarze tzw. sztuki wysokiej (modernistycznej), jak i w obszarze kultury popularnej, utożsamianej ciągle jeszcze z kulturą niską – i co z tego wieloznacznego uwikłania wynika.
Źródło:
Literatura Ludowa; 2018, 62, 1
2544-2872
0024-4708
Pojawia się w:
Literatura Ludowa
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Zespół witraży w kościele parafialnym w Mszance koło Gorlic. Przyczynek do dziejów witrażownictwa krakowskiego 2. ćwierci XX wieku
Autorzy:
Laskowski, Andrzej
Powiązania:
https://bibliotekanauki.pl/articles/669621.pdf
Data publikacji:
2013
Wydawca:
Uniwersytet Papieski Jana Pawła II w Krakowie
Tematy:
Stained glass art, 20th-century art, Jan Kusiak, Maksymilian Romańczyk, Teodor Zajdzikowski, S. G. Żeleński, Kraków
Opis:
Windows in the parish church of the Holy Apostles Peter and Paul in Mszanka near Gorlice, which supplements the architecture of the church built in 1938–1940 following the design of Edward Okoń, an architect from Tarnów, comprises 12 stained glass: two figural in the chancel, eight geometrical with medallions in the nave and transept, and two with monograms on both sides of the main entrance. Although plain in the artistic sense, and in the case of the figural ones – mediocre, these stained glass successfully complement the bright and orderly interior of the parish church. The inscriptions on two panels and existing archival sources inform us that the windows were created in 1938 in the Kraków workshop of Maksymilian Romańczyk. The archival documents describe the entire investment process leading to their creation and their repair which was necessary due to their deficient construction. This task was undertaken in 1949 by the renowned Kraków Stained Glass Company S. G. Żeleński, which is also described in detail in the historical records.Stained glass and primarily the archival materials preserved in Mszanka are excellent sources of many valuable details on stained glass workmanship in Poland in the second quarter of the 20th century, the division of tasks within stained glass workshops, the involvement of the clients, and on projects that the above-mentioned workshops were working on concurrently at that time – information which was previously unknown. In turn, the preserved company letterhead authorised with the original stamps provides useful information on the functioning of these types of workshops, their products and achievements. In quite a distinct manner, the letterhead also tells us a little about the history of the workshops.The above example confirms that works of art or archival material stored until this day in locations outside urban areas can valuably supplement and sometimes even alter our knowledge of stained glass art in Poland.
Źródło:
Analecta Cracoviensia; 2013, 45
2391-6842
0209-0864
Pojawia się w:
Analecta Cracoviensia
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Blask Taboru. Światło ikony. Od bizantyńskiej mozaiki do Andrieja Rublowa
The Taboric Light and the Light of the Icon: From Byzantine Mosaics to Andrei Rublev
Autorzy:
BRĄŻKIEWICZ, Bartłomiej
Powiązania:
https://bibliotekanauki.pl/articles/1046858.pdf
Data publikacji:
2020-01-12
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II
Tematy:
sztuka bizantyńska, sztuka staroruska, Teofanes Grek, Andriej Rublow, hezychazm
Byzantine Art, Old Russian Art, Theophanes the Greek, Andrei Rublev, Hesychasm
Opis:
Ikona, czyli obraz, jest nie tylko dziełem sztuki, lecz przede wszystkim widomym znakiem Boga. Potwierdzają to nawiązujące do teorii estetycznych antycznej Grecji wczesnochrześcijańskie rozważania teologiczne, z objawiającym się człowiekowi bytem transcendentnym łączące kategorię piękna. Wnikliwy ogląd zachowanych zabytków sztuki sakralnej – bizantyńskiej mozaiki i staroruskiego malarstwa ikonowego – pozwala stwierdzić, że zarówno jedne, jak i drugie powstawały pod wpływem monastycznego hezychazmu: pierwsze kształtowane w duchu tradycji egipskich ojców pustyni, drugie zaś poprzez oddziaływanie doktryny św. Grzegorza Palamasa. Przekonanie o możliwości ujrzenia Bożej Światłości w wyniku kontemplacyjnych praktyk ascetycznych znajdowało nie tylko odbicie, lecz również uzasadnienie w przedstawieniu biblijnego Przemienienia. Motyw objawionego na górze Tabor światła symbolizował zewnętrzną względem człowieka światłość, będącą swoistym preludium do uczestnictwa w przebóstwieniu, czyli do wewnętrznej światłości duszy. Uwidoczniony na bizantyńskich mozaikach oraz na ikonach Teofanesa Greka i Andrieja Rublowa temat może być postrzegany nie tyle na poziomie dydaktycznym (jako przekazująca religijne treści ilustracja), ile jako sprzyjające wewnętrznej przemianie źródło modlitewnej zadumy.
The icon, having originally been an image, is not only a piece of art, but above all a visible sign of God. Such an interpretation of the icon was approved in the early Christian theological thought referring to the aesthetic theories of ancient Greece which linked beauty with the essence of the transcendent being revealed to mankind. A thorough overview of Byzantine mosaics and Old Russian iconic paintings, the preserved works of sacred art, shows that both of them developed under the influence of monastic hesychasm, the former shaped in the spirit of the Egyptian desert fathers, the latter formed by the impact of the Palamist doctrine. The belief in the potentiality of seeing God’s Light as a result of contemplative ascetic practices was not only reflected, but also grounded in the biblical narrative of the Transfiguration. The Light revealed at Mount Tabor was the Light coming to humanity from without, which signified a possibility of theosis: obtaining inner Light by the human soul and its resultant divinization. The theme recognized in the Byzantine mosaics, as well as in the icons by Theophanes the Greek and Andrei Rublev, can be seen not so much as the fulfilment of didactic purposes, a plain illustration spreading religious content, but rather as a source of prayerful reflection leading to inner metamorphosis.
Źródło:
Ethos; 2017, 30, 3 (119); 59-74
0860-8024
Pojawia się w:
Ethos
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Jelenie na rykowisku”: o demonach sztuki i granicach sztuki popularnej
Autorzy:
Sikorska, Karolina
Powiązania:
https://bibliotekanauki.pl/articles/694950.pdf
Data publikacji:
2018
Wydawca:
Polskie Towarzystwo Ludoznawcze
Tematy:
high art, popular art, popular culture, James Clifford, kitsch, authenticity, aura, polysemy
sztuka wysoka, sztuka popularna, kultura popularna, James Clifford, kicz, autentyczność, aura, wieloznaczność
Opis:
In this article I consider the role of popular artistic representations, first of all referring to perfectly known but ill-famed motive of “deer in rut”. Starting with “art-culture”, the scheme proposed by James Clifford, I try to argue for the fluidity and cultural contextualization of paintings which escape easy categorizations as bad art or kitsch. As a result, through the analysis of meanings of this kind of representations, I attempt to point out how these representations are situated both in the sphere of high (modern) art and in popular culture, still synonymous with low culture. I also show results of this polysemous entanglement.
W artykule zastanawiam się nad rolą popularnych przedstawień artystycznych, odnosząc się przede wszystkim do doskonale znanego, choć niecieszącego się dobrą sławą motywu „jeleni na rykowisku”. Wychodząc od schematu „sztuka – kultura, zaproponowanego przez Jamesa Clifforda”, próbuję argumentować na rzecz przemieszczeń i kulturowych kontekstualizacji obrazów, które nie dają się łatwo zaklasyfikować jako zła sztuka lub kicz. W konsekwencji poprzez analizę znaczeń tego rodzaju przedstawień próbuję pokazać, w jaki sposób są one osadzone zarówno w obszarze tzw. sztuki wysokiej (modernistycznej), jak i w obszarze kultury popularnej, utożsamianej ciągle jeszcze z kulturą niską – i co z tego wieloznacznego uwikłania wynika.
Źródło:
Literatura Ludowa; 2018, 62, 1
2544-2872
0024-4708
Pojawia się w:
Literatura Ludowa
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Rethinking Polish assemblages of the 1960s: The (re)turn to things
Autorzy:
Błotnicka-Mazur, Elżbieta
Powiązania:
https://bibliotekanauki.pl/articles/1806875.pdf
Data publikacji:
2019-10-23
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
polskie asamblaże; zwrot materialny; przedmioty w sztuce; polska sztuka lat 60. XX wieku
Polish assemblages; material turn; objects in art; Polish art of the 1960s
Opis:
Przemyśleć na nowo polskie asamblaże z lat 60. XX wieku: powrót do rzeczy Celem artykułu jest analiza statusu obiektu w praktykach neoawangardowych wybranych polskich artystów w latach 60. XX wieku, z perspektywy „zwrotu materialnego”, zainicjowanego przez kryzys reprezentacji postrukturalizmu w naukach społecznych i humanistycznych. Chęć wyjścia poza tradycyjne dzieło malarskie, pojmowane w kategoriach płaskiej, dwuwymiarowej powierzchni, sprawiła, że artyści zaczęli wprowadzać do sztuki przedmioty z prawdziwego życia, dzięki czemu dzieło zyskiwało nowe życie i „osobowość”. Artykuł koncentruje się na pracach czterech wybitnych polskich artystów neoawangardowych: Erny Rosenstein, Włodzimierza Borowskiego, Tadeusza Kantora i Aliny Szapocznikow. Biorąc pod uwagę różnice między ich postawami artystycznymi i osobistymi doświadczeniami, można zaobserwować wspólne zainteresowanie materialnością świata, które zaowocowało różnorodnymi interpretacjami przedmiotów (Rosenstein, Borowski, Kantor), a także reifikacją ciała (Szapocznikow). Odniesienie do teorii aktora-sieci Latoura tworzy także nową perspektywę dla badań nad rolą obiektów w dziełach sztuki (Kantor).
The article aims to analyse the status of the object in the neo-avantgarde practice of selected Polish artists in 1960s assemblages, from the perspective of the ‘material turn’, initiated by postructuralism’s crisis of representation in the social sciences and humanities. Trespassing on the intellectual ground associated with traditional painting, which was conceived as a flat two-dimensional surface, led the artists to introducing objects from real life into their art, this gave the artwork containing objects new life and ‘personality’. The paper focuses on the works by four prominent modernist Polish artists: Erna Rosenstein, Włodzimierz Borowski, Tadeusz Kantor and Alina Szapocznikow. Taking into account the differences between their artistic attitudes and personal experiences, one may observe a common interest in the materiality of the world that resulted in a variety of object interpretations (Rosenstein, Borowski, Kantor) as well as the reification the body (Szapocznikow). Reference to Latour’s Actor-Network-Theory also creates a new perspective for research on the objects in works of art (Kantor).
Źródło:
Roczniki Humanistyczne; 2018, 66, 4; 131-150
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
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:
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:
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:
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:
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:
Beziehungen zwischen Literatur und Film am Beispiel des Schaffens von Kathrin Röggla
Autorzy:
Wojno-Owczarska, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/700303.pdf
Data publikacji:
2013
Wydawca:
Stowarzyszenie Germanistów Polskich
Tematy:
film and literature, literature and cinematic art, influence of modern filmic art on Kathrin Röggla’s work, Kathrin Röggla
Opis:
In the article I attempt to analyze Kathrin Röggla’s “cinematic style” using a theory which assumes the simulation of media-related forms in literature (e.g. Philipp Löser’s works). Her literary style is characterized by features such as film metaphor (e.g. the “dual perception” phenomenon), editing seemingly unconnected scenes, citations from TV and interview recordings, and narration inspired by film techniques such as time-lapse and slow motion. The author seems to be fascinated by Japanese anime and Harun Farocki’s film essays. David Lynch’s and Tom Tykwer’s masterpieces function as metaphors for today’s entangled reality in her work. In “tokio, rückwärtstagebuch” she depicts the culture clash phenomenon similarly to Sofia Coppola in Lost in Translation. Both Kathrin Röggla and Susan Sontag criticize the voyeuristic personality of modern man and the influence of our media-dominated culture on the means of artistic expression.
Źródło:
Zeitschrift des Verbandes Polnischer Germanisten; 2013, 2, 4
2353-656X
2353-4893
Pojawia się w:
Zeitschrift des Verbandes Polnischer Germanisten
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

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