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Tytuł:
Identification of Attitudes of Early School Education Teachers towards Contemporary Art in Early School Education – Construction of a Research Tool by Design
Autorzy:
Mazepa-Domagała, Beata
Powiązania:
https://bibliotekanauki.pl/articles/2233939.pdf
Data publikacji:
2023-06-30
Wydawca:
Wydawnictwo Adam Marszałek
Tematy:
contemporary art
reception of contemporary art
early school education teacher
Opis:
This document is a continuation of the reflections on issues related to the phenomena surrounding the reception of contemporary art, initiated in the scientific study Around Art Reception. A Model of Empirical Cognition of Early School Education Teachers’ Attitudes to Modern Art – A Project Study. The article presents basic assumptions regarding the exploration of attitudes of early school education teachers towards contemporary art, and its main part is an attempt to present the author’s research tool in the form of a measure to identify the attitudes of early school education teachers towards contemporary art in the early school education process. The presented research tool consists of 50 test positions grouped in three dimensions: thoughts and beliefs about the characteristics of the object of an attitude, sensations and emotions associated with the object of an attitude, as well as actions and behaviours towards the object of an attitude, aimed at determining the attitudes of early school education teachers towards contemporary art in the early school education process within the following system: acceptance – ambivalence – rejection. The projected research tool is the initial proposal for further attempts by researchers of the subject to create their original tools for identifying audiences’ attitudes towards contemporary art.
Źródło:
The New Educational Review; 2023, 72; 161-175
1732-6729
Pojawia się w:
The New Educational Review
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:
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:
Perspektywy i wyzwania badań na styku archeologii i sztuki
Perspectives and challenges on the edge of archaeology and art
Autorzy:
Stobiecka, Monika
Powiązania:
https://bibliotekanauki.pl/articles/1023735.pdf
Data publikacji:
2019-12-15
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
archaeology
contemporary art
Polish contemporary art
aesthetics in archaeology
theory of archaeology
archaeological imagination
Opis:
The main goal of this paper is to reflect on the perspectives and challenges of art and archaeology research. The paper investigates main objectives through the lens of the art historian and archaeologist. Even though, the study on relations between art and archaeology has a long tradition in archaeology and the most famous researchers reflected on those tensions (Colin Renfrew, Michael Shanks, Andrew Jones, Ian Russell, Paul Reilly, Paul Bonaventura), art and archaeology approach is still not a coherent and systematic methodological framework. To deal with this notable lack, the author revises previous studies and points at the possible advantages of the development of studies at the border of art, archaeology and aesthetics. The main problems are illustrated and discussed in reference to archaeological museums and the Polish contemporary art represented by Hubert Czerepok, Agata Ingarden, Agnieszka Kalinowska, Agnieszka Kurant, Robert Kuśmirowski and Joanna Rajkowska.
Źródło:
Folia Praehistorica Posnaniensia; 2019, 24; 263-288
0239-8524
2450-5846
Pojawia się w:
Folia Praehistorica Posnaniensia
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Funkcja dokumentacji w sztuce współczesnej
The Function Of Documentation In Contemporary Art
Autorzy:
Guzek, Łukasz
Powiązania:
https://bibliotekanauki.pl/articles/424428.pdf
Data publikacji:
2010
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
CONCEPTUALISM
CONTEMPORARY ART
DOCUMENTATION
INTERMEDIA
PERFORMANCE ART
Opis:
This text is an attempt to outline the status of documentation in contemporary art and to describe the process of how the role of documentation has changed within the last decade. Simply speaking, documentation has gained the independent status of a work of art. Documentation as an artistic phenomenon can be considered on two levels: formally as a way to create new works of art, and this is what interests me most here; contextually (socially), when issues arising from documentation are discussed institutionally from the point of view of curators, institutions or political decision makers. The most general category which covers the whole phenomenon of documentation as art is a category of the artistic means of expression created by Peter Burger. For him it replaced the traditional category of style in dealing with the 'non-organic' character of artworks created by the dada and surrealistic avant-garde. Its artistic heirs: conceptual art, action art and time-based installations are a starting point for this particular new role of documentation as art. In art history the existing standards outlining the relationship between the original and a repetition, (like Benjamin's aura, a dialectic combination of media such as Higgins's intermedia card), are not entirely applicable here. As in the works based on documentation, the problem of originality does not exist and the intermediality is currently made of several media. Therefore, although they somehow may serve as general patterns of thinking, they are, however, not sufficient to describe and interpret the specific works of art. Ankersmit's theory of history offers a pattern of a narration rooted in facts. Art based on documentation is in opposition to 'literature' created by curators and the contextual studies, into which art history has fallen. This text is illustrated with examples from the main exhibition of the festival 'Art and Documentation 2010' based on open submission and showing the works from last year.
Źródło:
Sztuka i Dokumentacja; 2010, 3; 5-14
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Dokumentacja interaktywnych aspektów dzieł sztuki mediów
Documentation Of An Interactive Aspect Of Media Art Works
Autorzy:
Dobrowolska, Weronika
Powiązania:
https://bibliotekanauki.pl/articles/424432.pdf
Data publikacji:
2011
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
CONTEMPORARY ART
DOCUMENTATION
INTERACTIVE ART
NEW MEDIA
Opis:
Media art requires that the traditional documenting methods both improve and work out new tools, allowing the documentation to catch specific features and phenomena associated with the functioning of artworks that include unstable, electronic media. One of the phenomena, a characteristic for many media works is an openness towards the interaction of the audience, who may manipulate the work using many interfaces creating their own performance, as well as modify the work within the framework defined by the artist. According to many researchers and artists, the actual artwork is the result of the activities of 'inter-actors' who experience it. The traditional methods used by art institutions to document the interactive aspect of the artworks is only to a very limited extent successful. The problem of documenting art created by non-standard media (including electronic media) was undertaken as part of many projects, for example: Documentation et conservation du patrimoine des arts mediatiques (DOCAM), Variable Media Initiative (VM), Capturing Unstable Media (CUM) or the thematic residential programs realised by the Daniel Langlois Foundation. However, not all of the above mentioned projects considered that the problem of interactivity and the experience of the audience had been dealt with thoroughly. In many of them a new theoretical ground taking the concept of both the artwork and the role of inter-actors was created. A few of the proposed solutions were quoted in the article. In the text, various strategies of documenting the interactive aspects of media artworks which result from adopting various perspectives and assumptions were described. These strategies oscillate around two opposing terms: interactivity and interaction, as well as the difference between the will to document an ideal representation of the work (according to the artistic concept) and an attempt to grasp how the work functions in real circumstances together with the more or less successful trials of the inter-actors to experience it. Of particular interest seem to be the attempts to document the experience of the audience and then applying the knowledge achieved to work further with the artwork - to protect it, exhibit it in various ways or allow it to communicate further with the audience.
Źródło:
Sztuka i Dokumentacja; 2011, 5; 33-53
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Biologiczne media i niepokojąca rola dokumentacji
Biological Media And The Unsettling Role Of Documentation
Autorzy:
Bakke, Monika
Powiązania:
https://bibliotekanauki.pl/articles/424624.pdf
Data publikacji:
2011
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
BIO ART
BIOLOGICAL MEDIA
CONTEMPORARY ART
DOCUMENTATION
Opis:
Biological art is one of the most recent manifestations at the intersection of art, science and technology, that has been highly productive for some time. Now, technologically augmented life, such as in vitro fertilisation and genetically engineered life forms, have come under the scrutiny of bio art in particular. By their very nature, biological media, being living systems, provoke a number of difficulties related to the production, exhibition and conservation practices of bio art. It is significant that this emerging genre of artistic expression does not operate on the level of representation, but on the level of presentation involving actual interventions into living systems. However, in some cases organising the presentation of a living art work in a public space is difficult or in fact impossible, which leads to substituting the actual art work by its documentation. Yet, such substitution practices are not accepted by those artists whose goal it is to provide audiences with a unique opportunity to encounter unusual forms of life as art works (wet works, entities still alive or once alive) in a gallery space. This attitude requires the curator not only to arrange suitable conditions for living art works outside the laboratory but also to obtain bio-security permissions. Another option for audiences to gain an opportunity to experience actual lab life is to follow the artists' instructions and join a do-it-yourself biotech movement. In this case, documentation plays the role of both instruction and evidence.
Źródło:
Sztuka i Dokumentacja; 2011, 5; 29-32
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Artistic Education and the Artist’s Work: the Way out of Producing Objects
Autorzy:
Nakonechna, Lada
Powiązania:
https://bibliotekanauki.pl/articles/485498.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie
Tematy:
Contemporary art
art education
objectlessness
creative economy
Opis:
In this article, the changes of the principles of teaching art in the 20th century are discussed. The artist’s path from producing objects to conducting sensory experiences, from producing representations of reality to taking an active part in the construction of reality, was reflected in the process of educational transformation. New art practices grounded in communicative features, interaction, collaboration, do not tend to make a material work as a final product, but they act in the area of the invisible. In the new conditions of the neo-liberal economy, the artist’s abilities, based on language and developed owing to pedagogical innovations in theart academies and university departments, are at risk of becoming a product of a new type, a valuable resource of creative economy, while counteraction determines new challenges for education.
Źródło:
Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione; 2018, 13; 105-114
2081-3325
2300-5912
Pojawia się w:
Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
“True fiction” – the memory and the postmemory of traumatic war events in a picturebook
Autorzy:
Howorus-Czajka, Magdalena
Powiązania:
https://bibliotekanauki.pl/articles/1388162.pdf
Data publikacji:
2016-05-29
Wydawca:
Uniwersytet Gdański. Wydawnictwo Uniwersytetu Gdańskiego
Tematy:
memory
postmemory
Polish picturebook
Polish contemporary art
Opis:
The World War II has left an emotional wound, and its direct victims as well as new generations have to cope with it. The main subject of my presentation will be an analysis of methods for presenting World War II history in against the background of a theory of memory and postmemory of war’s trauma through the example of picturebooks which were published in Poland during the first two decades of the XXI century. I would like to discuss the main trends in presenting the issues pertaining to the war. The transcription of the Second World War memory into picturebooks is especially interesting for me as a historian of art. I analyse the artistic styles adapted by the artists to express difficult topics, such as the holocaust, the horror of concentrations camps, hunger, fear, loss of family, death. Composition, artistic techniques, colour, vocabulary, typography – these are the tools in the hands of artists through which they can not only tell the story, but also stir up emotions and shape the personality. The picturebook, like other types of art, operates through the language of fiction to tell the truth. Art is one of the languages of historical narration.
Źródło:
Problemy Wczesnej Edukacji; 2016, 34, 3; 94-106
1734-1582
2451-2230
Pojawia się w:
Problemy Wczesnej Edukacji
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Sztuka zamiast filozofii
Art Instead Of Philosophy
Autorzy:
Jasiński, Bogusław
Powiązania:
https://bibliotekanauki.pl/articles/424367.pdf
Data publikacji:
2012
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
CONTEMPORARY ART
CONCEPTUAL ART
CONCEPTUALISM
AESTHETICS
ETHOSOPHY
EXISTENCE
Opis:
The aim of this text is to show the cognitive function of the art later referred to as conceptual. Conceptualism was particularly predisposed to express abstract messages which included philosophical ones. The basic question I would like to pose in this text is: can a conceptual art toolbox express in its own way that which had been formerly expressed by philosophy? How, with the usage of means suggested by conceptual art, may one build a general image of the world – comparable to that which philosophy had previously given? Perhaps a full answer to the above question leads us into the areas of art which ceased to fill the boundaries of conceptualism, or post-conceptualism and heads straightforward to action, which Grotowski called an ‘active culture’ — that is a place where art is not sufficient anymore.
Źródło:
Sztuka i Dokumentacja; 2012, 6; 97-107
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
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:
O stwarzaniu siebie na nowo O zmianie tożsamości w działaniach współczesnych artystów
Creating oneself again. Identity change in contemporary artists` activities
Autorzy:
Sokołowska, Zuzanna
Powiązania:
https://bibliotekanauki.pl/articles/514936.pdf
Data publikacji:
2017
Wydawca:
Fundacja dzień dobry! kolektyw kultury
Tematy:
identity
contemporary art
personality
tożsamość
osobowość
sztukawspółczesna
Opis:
There are so many definitions of identity. It’s very difficult to find an all-embracing (or universal) definition of identity in psychology, philosophy or even sociology. The author tries to recognize the reasons of this situation, especially using contemporary art. Contemporary artists try to an-swer the question: who are we now? How can we find ourselves in reality, in society or in cul-ture? The author examines Polish and international artists - their visual works which explain how we can understand identity and personality. What is most important is this article are perfor-mances and artistic experiences.
Źródło:
Amor Fati; 2017, 1(7); 40-56
2449-7819
Pojawia się w:
Amor Fati
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
"Po nas choćby Potop"? Zachowanie sztuki naszych czasów
'After Us The Deluge?' The Preservation Of The Art Of Our Times
Autorzy:
Jadzińska, Monika
Powiązania:
https://bibliotekanauki.pl/articles/424472.pdf
Data publikacji:
2011
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
CONSERVATION
CONTEMPORARY ART
CULTURAL HERITAGE
DOCUMENTATION
PRESERVATION
Opis:
This article outlines issues associated with the preservation and conservation of contemporary art and the role that documentation plays in this process. A contemporary artwork, in order to become an object of interest, analysis, purchase, collecting, exhibiting etc. must exist, and its existence must be preserved. Its preservation does not always mean, however, fixing the matter and halting the processes of deterioration such as in the case of traditional art, but it may adopt a totally different form, for example preservation in the form of documentation. The changeable character of ephemeral art, the use of perishable materials or ready-mades, as well as innovative concepts and techniques makes conservation a complex issue. An additional worrying factor is also often improperly conducted activities associated with exhibiting, transportation or storing of the artworks that cause a falsification of the artist's concept and destruction of an artwork's structure. The conservator must analyse, identify and preserve the matter in a professional way or, on the contrary, after an appropriate examination, act according to the artist's intention, and treat it in a way that is adequate to the artwork's character. This may involve the making of a replica, a reconstruction, an emulation, a re-enactment or preservation through documenting, or it may use entirely different possibilities of modern conservation. One must set a proper strategy of care and protection over the works of art and the proceedings must keep the authenticity of the artwork. The author of this article analyses the notion of authenticity and shows the change in understanding this concept, and the influence which this change had on the form and method of preserving artworks in the past, in contrast with contemporary visual art. She writes about the new role of an artwork's matter and substance, and the challenges that result from it, and about the new role and relationship between a conservator, an artist and other 'stakeholders'. She describes the threats to preservation and the aims and limits of preservation and conservation, pointing out the key role of documentation. She also pays attention to various forms of documentation by illustrating the article with comprehensive examples of good and bad practices associated with documenting contemporary artworks.
Źródło:
Sztuka i Dokumentacja; 2011, 5; 21-28
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 168

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