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    Wyświetlanie 1-6 z 6
    Tytuł:
    Sztuka a ekonomia. O ekonomicznych wyborach artystów
    Art vs. economy. On artists’ economic choices
    Autorzy:
    Zboroń, Halina
    Powiązania:
    https://bibliotekanauki.pl/articles/593652.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet Ekonomiczny w Katowicach
    Tematy:
    Ekonomia kultury
    Ekonomia społeczna
    Komercjalizacja sztuki
    Wartości artystyczne
    Artistic values
    Commercialisation of art
    Culture economics
    Social economy
    Opis:
    Tematem artykułu jest kwestia komercjalizacji sztuki, która odniesiona została do pytania o miejsce twórczości artystycznej w praktyce gospodarczej. Celem opracowania jest przeanalizowanie wskazanych problemów oraz rozważenie wątpliwości w odniesieniu do traktowania dzieł sztuki jako dóbr rynkowych, a twórczości artystycznej jako działań gospodarczych mających zapewniać dochód artystom. Autorka przedstawia także możliwości alternatywnych rozwiązań tego problemu, jakie proponowane są w ramach ekonomii społecznej.
    The subject of the article is an issue of commercialisation of art. The issue is refered to a question concerning a place of art within an economy practice. The aim of the article is analysing these both issues and also considering queries related to treating art as a market product, as well as an art creation as a economic activities providing income to artists. The author presents also alternative solutions of this problem proposed by social economy.
    Źródło:
    Studia Ekonomiczne; 2018, 371; 137-149
    2083-8611
    Pojawia się w:
    Studia Ekonomiczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Rzeźby w przestrzeni publicznej a ich kontekst krajobrazowy. Projekt reorganizacji kolekcji rzeźb współczesnych w parku przy Centrum Rzeźby Polskiej w Orońsku
    Sculptures in public spaces and their landscape context the recomposition. Project of modern the sculpture collection located in the park near the Centre of Polish Sculpture in Orońsk
    Autorzy:
    Krug, D.
    Powiązania:
    https://bibliotekanauki.pl/articles/369950.pdf
    Data publikacji:
    2013
    Wydawca:
    Zachodniopomorski Uniwersytet Technologiczny w Szczecinie. Wydawnictwo Uczelniane ZUT w Szczecinie
    Tematy:
    rzeźba współczesna
    wystawa plenerowa
    wartości artystyczne,estetyczne, znaczeniowe
    modern sculpture
    park exposition
    artistic, aesthetic and symbolic values
    Opis:
    Niniejszy artykuł poświęcony jest projektowi nowego usytuowania rzeźb w parku przy Centrum Rzeźby Polskiej w Orońsku. Rzeźba – dzieło sztuki jest tu traktowana jako element kształtujący krajobraz przestrzeni publicznych. Zakładając, że każde dzieło sztuki należy rozpatrywać w trzech płaszczyznach: artystycznej, estetycznej i znaczeniowej to, przy usytuowaniu rzeźb w przestrzeni parku decyduje głównie ich wartość artystyczna. Potencjalny odbiorca natomiast, zwraca większą uwagę na to czy dzieło mu się podoba i jak na niego oddziałuje (czyli wartości estetyczne i znaczeniowe). Założono, że kontekst krajobrazowy ma znaczący wpływ na lepsze wyeksponowanie wartości estetycznych i znaczeniowych ale też artystycznych dzieła. Przedstawiono projekt rekompozycji rzeźb, który bierze pod uwagę wszystkie rodzaje wartości dzieła sztuki, a także kontekst krajobrazowy przestrzeni parku. Przedstawiono też propozycję analiz niezbędnych do prawidłowego usytuowania rzeźb.
    The article explores the subject of the new design for the sculpture arrangement in the park at the Centre of Polish Sculpture in Orońsk. A sculpture recognized as a work of art is perceived here as an element shaping the landscape of public spaces. Assuming that every art piece should be recognized in three different dimensions: artistic, aesthetic and semantic – it can be stated that the most important of them in terms of distribution in the park is the artistic value. A viewer would rather focus on the aesthetic and symbolic values – he or she would decide, if the piece pleases him/her with its form and whether it makes an impact on him/her. It was also assumed that the landscape context has a big influence on the self-manifestation of not only aesthetic and semantic values, but also the artistic values of the sculptures. Hence, a design of sculptures rearrangement that takes into account all the values and aspects of the art pieces as well as the natural landscape context of the park had been performed. A proposal of analysis needed for the good organization of the sculptures was presented as well.
    Źródło:
    Przestrzeń i Forma; 2013, 19; 275-288
    1895-3247
    2391-7725
    Pojawia się w:
    Przestrzeń i Forma
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Konserwacja obiektów sztuki sakralnej Kresów Wschodnich Rzeczypospolitej
    Conservation of objects of sacred art in the eastern borderlands
    Autorzy:
    Smaza, Janusz
    Powiązania:
    https://bibliotekanauki.pl/articles/539302.pdf
    Data publikacji:
    2010
    Wydawca:
    Narodowy Instytut Dziedzictwa
    Tematy:
    sztuka sakralna
    budowle sakralne
    kresy
    kresy wschodnie
    wschodnia Rzeczypospolita
    niewłaściwa adaptacja
    dzieje powojenne
    profesjonalne prace konserwatorskie
    prace restauratorskie
    światowej klasy wartości artystyczne
    kolegiata żółkiewska
    Żółkiew
    Dziedzictwo Kulturowe
    Ochrona Dziedzictwa Narodowego poza Granicami Kraju
    materialne dziedzictwo Kresów
    Opis:
    The tumultuous history of World War II along with its political outcomes have not only lead to moving borders of the Republic of Poland, but also to losing a considerable part of its territory. The lands which were the source and the breeding ground for multicultural tangible and intangible values remained beyond the eastern border. While direct military activities did not lead to the destruction of many temples, the period of fratricidal combat, particularly in Volhynia, fuelled chiefly with hatred and anger, caused vast destruction. Another period was the rule of the Soviet authorities, whose main goals included fighting religion, as well as its entire tangible heritage. The forms and the intensity of fighting varied: temples were being closed, blown up or transformed into factories, power stations, prisons, bakeries, warehouses (usually for artificial fertilizers, oftentimes stored loose), mills, stables, department stores, gymnasiums, offices, apartments, concert halls, or museums of atheism and religion; this was connected with the removal of crosses, towers and domes. Frequently, reconstructions were so extensive that today it is very difficult to recognise that they were once sacred buildings. The furnishing of temples, which often was at the highest artistic level in the world, suffered the cruellest fate. Usually, it was barbarically removed and burnt. Immense geopolitical changes in East-Central Europe in the early 1990’s brought independence to many countries, which undertook a number of regulations enabling the return of temples to their rightful owners. This process, very vigorous in the first period, has almost ceased in recent years. Restoring fairly original appearance to the recovered temples required a huge sacrifice, and oftentimes heroism. First of all, protective, repair, and construction works had to be conducted, in many instances without adequate knowledge. The restoration of the sacred interior designs of the temples was done on a random basis. While the way of proceeding with the restorations was somewhat justified at the time, the activities in recent years, including among others, the inappropriate reconstruction of furnishing, have resulted in a loss of the last remaining values. They have been replaced with mediocrity and tackiness. Professional restoration works have been carried out only in few cases. The reasons for this are varied, on the one hand, among others, the lack of funds, the lack of adequate identification and the preparation of objects in such a vast territory, and on the other hand, the lack of partners. Presently, works on the appropriate professional level are being conducted almost in every scope and discipline at several dozen temples. They are carried out by highly experienced specialists from Polish schools. The works which have been conducted for the last 22 years in the 17th century collegiate church in Zhovkva, Ukraine, constitute one of such exceptions. They have been carried out by students and graduates of Polish schools: the Academy of Fine Arts in Warsaw and the Academy of Fine Arts in Kraków, as well as the Nicolaus Copernicus University in Toruń at the faculty of conservation and restoration of sculpture and architectural structure, and occasionally conservation and restoration of painting, or historic textiles. The works have been conducted in various forms: as holiday internships (month long) or MA theses (in case of the Academy in Warsaw), and the most difficult conservation issues are solved by international committees of specialists and are rendered by certified conservators and restorers of works of art based on the contract for specific task (it has only been several years that this form has contributed to a significant acceleration of the state of completing the restoration of the temple), and also as a form of volunteer work. This last form of activity (increasingly popular) requires highly qualified specialists who undertake full responsibility for the conducted works. Moreover, specific regulations exist which pertain to carrying out restoration works on historical monuments. The assistance, especially financial, of the Department of National Heritage, existing as a part of the Ministry of Culture and National Heritage, or the Centre of Polish Cultural Heritage Abroad at the Association “Polish Community”, as well as the Senate of the Republic of Poland and various foundations, has decidedly increased the number of works rendered on the highest professional level in the world serving the preservation of heritage of the eastern borderlands. It is, regrettably, still “a drop in the ocean”.
    Źródło:
    Ochrona Zabytków; 2010, 1-4; 85-94
    0029-8247
    Pojawia się w:
    Ochrona Zabytków
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Performatywny charakter estetyki
    Autorzy:
    Dziamski, Grzegorz
    Powiązania:
    https://bibliotekanauki.pl/articles/487587.pdf
    Data publikacji:
    2018
    Wydawca:
    Akademia Sztuk Pięknych im. Eugeniusza Gepperta we Wrocławiu
    Tematy:
    AESTHETICS
    AESTHETICS OF POPULAR ART
    AESTHETIC EXPERIENCE, ARTISTIC VALUES
    AESTHETIC VALUES
    FINE ARTS
    INSTITUTIONAL ART
    AESTHETIC ART
    DEFINING ART
    ABSOLUTE ART
    ANTI-ART
    ESTETYKA
    ESTETYKA SZTUKI POPULARNEJ
    DOŚWIADCZENIE ESTETYCZNE
    WARTOŚCI ARTYSTYCZNE
    WARTOŚCI ESTETYCZNE SZTUKI PIĘKNE
    SZTUKA INSTYTUCJONALNA
    SZTUKA ESTETYCZNA
    DEFINIOWANIE SZTUKI
    SZTUKA ABSOLUTNA
    ANTYSZTUKA
    Opis:
    The performative character of aesthetics Many lecturers of aesthetics feel that the subject of their lectures is not necessarily aesthetics, but history of aesthetics, the aesthetic views of Plato and Aristotle, Kant and Hegel, Hume and Burke, the British philoso- phers of taste and German romanticists. Does that mean that aesthetics feeds on its own past, is nurtured by reinterpretations of its classics, defends concepts and categories that inspire no one and do not open new cognitive perspectives? Does it mean that aesthetics is dead today, like Latin or Sanskrit, while its vision of art and beauty is outdated, invalid and totally useless? Aesthetics is a polysemous concept, which has never been sufficient- ly defined. It can determine a way of perceiving and experiencing the world that is specific for a given community, in other words, taste, yet it can also mean certain countries’ or regions’ contribution to aesthetic thought, to the aesthetic self-knowledge of man. Thus its dimension is practical, cultural and philosophical. Today aesthetics faces new challenges that it has to live up to; its ma- jor tasks include the defence of popular art, polishing the concept of aes- thetic experience, aestheticization of everyday life and de-aestheticiza- tion of art, transcultural aesthetics and its approach to national cultures. In the book “Aesthetics: the Big Questions” (1998) Carolyn Korsmeyer reduces the main issues of contemporary aesthetics to six questions. The first question, old but valid, is a question about the definition of art. What is art? Nowadays everything can be art because art has shed all limita- tions, even the limitations of its own definition, and has gained absolute freedom. It has become absolute, as Boris Groys says. It has become absolute, because it has made anti-art a full-fledged part of art, and it has not been possible either to question or negate art since, as even the negation of 50 Grzegorz Dziamski art is art, legitimized by a more than 100 year long tradition, going back to the first ready-made by Marcel Duchamp in 1913. Today making art can be art and not making art can be art, as well, art is art and anti-art is art. The old question: “What is art?” loses its sense, and so does Nel- son Goodman’s question: “When art?”. When does something become art? These questions are substituted by new ones: “What is art for you?”, “What do you expect from art?”. There can be a lot of answers, because defining art has a performative character. Louise Bourgeois has ex- pressed the performative character of defining art in an even better way: “Art is whatever we believe to be art”. And for some reasons, which we do not fully realize ourselves, we want to make others share our belief. The text in an introduction to a new book on contemporary aesthetics by Grzegorz Dziamski.
    Źródło:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu; 2018, 26; 32-50
    1733-1528
    Pojawia się w:
    DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Fenomeny społecznej roli sztuki a demokratyzacja - od zarania kultury do sztuki Kantora i Abakanowicz. Percepcja, ochrona i zachowanie
    Phenomena of the social role of art and democratization - from the dawn of culture to Kantor and Abakanowicz. Perception, care and protection
    Autorzy:
    Szmelter, Iwona
    Powiązania:
    https://bibliotekanauki.pl/articles/424616.pdf
    Data publikacji:
    2017
    Wydawca:
    Akademia Sztuk Pięknych w Gdańsku
    Tematy:
    społeczna rola sztuki
    sztuka wizualna
    wartości dziedzictwa kultury
    konserwacja sztuki współczesnej
    wspólnotowe działania artystyczne
    paleolityczna sztuka jaskiniowa
    Multipart
    Tadeusz Kantor
    Opis:
    Art is not a collection of objects but a form of human activity with great social impact. It is in constant process with the next audiences and their successive generations. Based on Gadamer’s hermeneutic circle it can be interpreted as an action in the democratic sense, a kind of game. The following principal case study is analyzed: Tadeusz Kantor (1915-1990), an excellent painter and interdisciplinary creator organized a programme of conceptual art called Multipart (multiplication and participation). The first exhibition in the series was held in the Foksal Gallery in Warsaw on February 21st 1970 as an "exhibition of one image in 40 copies". Numbered copies of a single picture, entitled Parapluie-emballage, were made according to the artist's instructions. A big broken umbrella, (at that time an symbol associated with the art of Kantor) was glued onto canvas on a stretcher measuring 110cm × 120cm and everything was painted white. At the launch of the exhibition, all the pictures were sold for a symbolic price. Buyers had to sign a contract with Kantor, according to which they could add to the image: "Insults, expressions of approval, praise, sympathy, swear words, (...) erasures, deletions, drawings (...) changes to the image according to their own tastes (...) pierce it, burn it (...) sell, buy, speculate, steal it". The important thing was that the buyers were obliged to re-exhibit the works in the Foksal Gallery after a year of such treatment. Thus, on 20 February 1971, a second exhibition of works by Kantor was held, Multipart 2. This presented the year-old participatory works parapluie-emballage and there were surprising forms of ‘participation’. One unique form of ‘participation-democratisation’ included in the programme Multipart, was the picture which was bought by the “Zuzanna group”. They sowed cress seeds on the image, then treated it as a dish at banquets. Moreover the picture that they had bought was used as a banner in the May 1st communist parade in 1970, where students chanted ‘Kantor’ instead of ‘Lenin’, which was then risky. The event was immortalized in the artistic film Multipart by Christopher Kubicki and Mark Młodecki, which was shown during the exhibition at the Foksal Gallery in 1971. Kantor was positively surprised by the democratisation of his project. This was not the end of the participation of owners. After the exhibition the picture was officially buried in the earth along with a ‘procession’ to the accompaniment of string instruments. After 44 years, at the request of a group of architect-owners, on the 18th of May 2015 conservators undertook the careful exhumation of the object under the title Multipart in process. The remains were removed from the ground and conserved, making reference to documentation of its state before burial and was reassembled on a mount. Very important is the sense of Multipart. Kantor, by departing from his personal creation of the works, questioned and redefined the very concept of a work of art, traditionally treated as the creation of specific authors, the effect of the artist's work. In this case, the idea of these works was his and he created and presented their concept and their technical description. Denying the uniqueness of works of art, at the same time Kantor challenged the position of museums, galleries and collectors – directly to democracy in art. The action Multipart is one of the best-known projects organized by Kantor. It opened a new chapter in thinking about art in the world and in Poland. Paradoxically the Multipart continues (!) as does interest in it among collectors and museums. Due to the unusual character of the work and the need of dissemination, the arrangement of the 'learning zone' explains the conceptual design of Kantor and presents his ideas and their consequences in terms of the fate of an object called Multipart in process. Other case studies are devoted to the spectrum of time, starting from a democratic sense of paleolithic art as well as from the contemporary sense of Magdalena Abakanowicz’s art in public space. The phenomena of art, which consists in its constant inclusion and conservation, allows various forms of social roles to be presented and preserved. Finally, the idea of democracy is based on a paradoxical antinomy: ‘art in process - process in art’. It also requires maintenance for subsequent generations, protection, conservation and sometimes reconstruction.
    Źródło:
    Sztuka i Dokumentacja; 2017, 16; 49-61
    2080-413X
    Pojawia się w:
    Sztuka i Dokumentacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Study of the allegoric cculpture of generosity from the tombstone of Adam Hieronim Seniawski in the Castle Church of the Holy Trinity in Brzeżany
    Badanie alegorycznej rzeźby Szczodrości z nagrobka Adama Hieronima Sieniawskiego w zamkowym Kościele Św. Trójcy w Brzeżanach
    Autorzy:
    Chen, Lesya
    Ohnysta, Natalia
    Powiązania:
    https://bibliotekanauki.pl/articles/24200991.pdf
    Data publikacji:
    2022
    Wydawca:
    Stowarzyszenie Konserwatorów Zabytków
    Tematy:
    castle church
    tombstone of A. Sieniawski
    architectural and sculptural composition
    allegorical
    sculpture of Generosity
    historical and artistic value of sculpture
    restoration methods
    kościół zamkowy
    nagrobek A. Sieniawskiego
    kompozycja architektoniczna i rzeźbiarska
    alegoryczna rzeźba Szczodrości
    wartości
    historyczne i artystyczne rzeźby
    metody renowacji
    Opis:
    Noble tombstones of the Renaissance era were distinguished by lavishly decorated forms and were a direct reflection of the complex processes of artistic style formation in the lands of the former Polish-Lithuanian Commonwealth in the sixteenth and seventeenth centuries and that are now Western Ukrainian territories. The tombstones combined features of the late Italian Renaissance, Dutch Mannerism and local traditions. This paper presents a study of the Renaissance allegorical sculpture of Generosity in the castle Church of the Holy Trinity in the city of Brzeżany (present-day Berezhany in Ukraine), which is an integral element of the architectural and sculptural composition of the pediment finish of the tombstone of A.H. Sieniawski and the work of an outstanding sculptor from the first half of the seventeenth century—Jan Pfister. The sculpture belongs not only to the artistic heritage of Ukraine, but also that of the entire world. Under the influence of mechanical and physical factors, the sculpture suffered significant damage and requires urgent restoration measures. An analysis of its current state is analyzed and priority restoration measures are proposed.
    Szlacheckie nagrobki epoki renesansu odznaczały się bogato zdobionymi formami były bezpośrednim odzwierciedleniem kształtowania się stylów artystycznych na ziemiach należących w XVI i XVII wieku do dawnej Rzeczpospolitej Obojga Narodów, a obecnie stanowią terytoria Zachodniej Ukrainy. Nagrobki te łączyły cechy późnego włoskiego renesansu, holenderskiego manieryzmu i lokalnych tradycji. Niniejszy artykuł prezentuje badanie renesansowej rzeźby alegorycznej przedstawiającej Szczodrość, zlokalizowanej w zamkowym Kościele Św. Trójcy w Brzeżanach, która stanowi integralny element architektonicznej i rzeźbiarskiej kompozycji tympanonu nagrobka A.H. Sieniawskiego i dzieło znakomitego rzeźbiarza z pierwszej połowy XVII wieku, Jana Pfistera. Rzeźba ta należy nie tylko do dziedzictwa artystycznego Ukrainy, ale także całego świata. Pod wpływem czynników mechanicznych i fizycznych, rzeźba uległa znacznemu uszkodzeniu i wymaga pilnych działań rewaloryzacyjnych. Przedstawiono analizę jej obecnego stanu i zaproponowano priorytetowe działania naprawcze.
    Źródło:
    Wiadomości Konserwatorskie; 2022, 72; 101--109
    0860-2395
    2544-8870
    Pojawia się w:
    Wiadomości Konserwatorskie
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-6 z 6

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