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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:
“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:
Natalia LL jako artystka neoawangardowa
Natalia LL - the Neo Avant-garde Artist
Autorzy:
Świeściak, Alina
Powiązania:
https://bibliotekanauki.pl/articles/579049.pdf
Data publikacji:
2018
Wydawca:
Łódzkie Towarzystwo Naukowe
Tematy:
neo avant-garde
conceptual art
body-art
feminist art
“consumer art”
Opis:
The paper shows Natalia Lach-Lachowicz (Natalia LL) as a neo avant-garde artist whose works in a specific maximalistic way are very close to the main currents of avant-garde trends: newmediality (photograph), minimalism, conceptualism, performance, bodyart, pop-art and feminist art. The paper concentrates mainly on the mutual influencing features of conceptualism, consumptionism and feminism in Natalia LL’s works and pays attention to the emancipational potential of her works of the 70s and 80s.
Źródło:
Zagadnienia Rodzajów Literackich; 2018, 61, 2(126); 91-102
0084-4446
Pojawia się w:
Zagadnienia Rodzajów Literackich
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Happenings-Events-Performances in Poland: Intermingling Histories of Art and Politics
Autorzy:
Guzek, Łukasz
Powiązania:
https://bibliotekanauki.pl/articles/1011598.pdf
Data publikacji:
2020
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
performance art
art and politics
contemporary art in poland
art alternative
dissident art
Opis:
The article interprets selected works of action art in Poland, but in the context of their relationship - more or less direct - to the political situation in Poland under the rule of the totalitarian regime in 1945-1989. Paying attention to the political aspect of the works of performance art allows them to be compared with the works of Korean artists who create works of action also in totalitarian regime conditions, although of a different nature. Action art turns out to be an effective way of practicing free creative expression, because it is difficult for totalitarian authorities to apply preventive censorship against ephemeral art. Although the authorities use various repressions against artists on the spot during the action and ex post. Despite the geographical distance between Korea and Poland, despite the cultural and social differences, as well as the lack of direct personal contacts between the artists - the forms of action art and their context of creation and its critical goals are similar and are similarly effective in the conditions existing in both countries.
Artykuł interpretuje wybrane dzieła sztuki akcji w Polsce, jednak w kontekście ich relacji - mniej lub bardziej bezpośredniej - do sytuacji politycznej w Polsce pod rządami regime totalitarnego w latach 1945-1989. Zwrócenie uwagi na polityczny aspekt dzieł sztuki performance pozwala na ich porównanie z dziełami artystów Koreańskich, tworzących dzieła akcji również w warunkach regime totalitarnego, chociaż o odmiennej naturze. Sztuka akcji okazuje się skutecznym sposobem praktykowania wolnej ekspresji twórczej, gdyż trudno jest władzy totalitarnej stosować cenzurę prewencyjną wobec sztuki efemerycznej. Choć władza stosuje rozmaite represje wobec artystów na miejscu w trakcie akcji i ex post. Mimo dystansu geograficznego pomiędzy Koreą a Polską, mimo różnic kulturowych i społecznych, a także pomimo braku bezpośrednich kontaktów personalnych pomiędzy artystami - formy sztuki akcji i ich kontekst tworzenia oraz jej cele krytyczne są podobne i podobnie są skuteczne w warunkach istniejących w obu krajów.
Źródło:
Sztuka i Dokumentacja; 2020, 22; 89-101
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Czy polska sztuka konceptualna ma płeć?
What Is The Gender Of Polish Conceptual Art?
Autorzy:
Hussakowska, Maria
Powiązania:
https://bibliotekanauki.pl/articles/424259.pdf
Data publikacji:
2012
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
CONTEMPORARY ART
CONCEPTUAL ART
CONCEPTUALISM
GENDER
NATALIA LL
EWA PARTUM
FEMINIST ART
FEMALE ART
MODERN ART
FEMINISM AND ART
Opis:
The essay was inspired by Pawel Dybel’s book The secret of the "other gender". Disputes around the sexual differences in psychoanalysis and feminism, in which he asked a question about the gender of logos. My – less ambitious – attempt was to try to describe the potential of gender in Polish conceptual art. The question is ahistorical, but there are a number of reasons to ask it. Many female artists that were very active during the time of conceptual incitation are invisible. Polish conceptualism which was formed be some artistic couples, historically has lost female faces. Some of these contributors – like Natalia LL or Ewa Partum – we can find out about in the discourse among first Polish feminist artists, but the question of women’s input into conceptualism is still open and does not attract enough interest of scholars. Maybe this is because of the fragile and delicate matter of an artistic partnership in contrast with the heroic notion of artistic individuality that is still attractive for conceptual artists. Maybe this is because of dangerous stereotypes about masculinity and femininity and male and female roles in artistic couples. There are very few scholars who are interested in examining the notion of collaboration in its very complex form. Much of the contemporary discourse on Polish conceptual art has been conveyed through exhibitions. This tactic may be seen as paying respect to the form of an exhibition – a specific, ideal medium to consider works of art not individually, but as they interact with each other. The specifics of conceptual works that were generally visually unattractive in the early seventies has changed, partly because of the most recent generation. The new face of Polish conceptualism is very conservative with regard to the lack of input by women. Unfortunately the belief popular among scholars and curators that women do not do ‘serious’ work still persist, but fortunately for those women artists who are active and visible – they found a useful label in the discourse. Placing them within the feminist movement, one should not forget their conceptual roots, and should delete the question as to whether their works were serious.
Źródło:
Sztuka i Dokumentacja; 2012, 6; 29-40
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Still Ekphrasis? Visual and Non-Visual Art in Contemporary Anglophone Fiction
Autorzy:
Hetman, Jarosław
Powiązania:
https://bibliotekanauki.pl/articles/1366474.pdf
Data publikacji:
2020
Wydawca:
Uniwersytet Marii Curie-Skłodowskiej. Wydawnictwo Uniwersytetu Marii Curie-Skłodowskiej
Tematy:
ekphrasis
allographic art
autographic art
notional ekphrasis
visual art/non-visual art
Opis:
The article explores the ancient notion of ekphrasis in an attempt to redefine it and to adjust it to the requirements of the contemporary literary and artistic landscape. An overview of the transformations in the world of art in the 20th century allows us to adjust our understanding of what art is today and to examine its existence within the literary context. In light of the above, I postulate a broadening of the definition of ekphrasis so as to include not only painting and sculpture on the one side, and poetry on the other, but also to open it up to less conventional forms of artistic expression, and allow for its use in reference to prose. In order to illustrate its relevance to the novel, I have conducted a study of three contemporary novels – John Banville’s Athena, Kurt Vonnegut’s Bluebeard and Don DeLillo’s Mao II – in order to uncover the innovative ways in which novelists nowadays use ekphrasis to reinvigorate long prose.
Źródło:
Lublin Studies in Modern Languages and Literature; 2020, 44, 2; 15-25
0137-4699
Pojawia się w:
Lublin Studies in Modern Languages and Literature
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Dual Place of Street Art – the City vs the Internet
Autorzy:
Gralińska-Toborek, Agnieszka
Powiązania:
https://bibliotekanauki.pl/articles/665830.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Street art.
graffiti
urban art.
art in public space
art in Internet
Opis:
Street art (or more broadly urban art), as the name suggests, has its own specific place, which is the street. However one would be mistaken to think that this type of art can only be seen there. Most street art lovers know the works of their favourite artists primarily through the Internet, not only because this kind of art is ephemeral or not easily accessible (for example, due to its dangerous or exotic locations), but because it is perhaps the best documented art that has been created in the world. For artists and lovers of street art, the Internet has become a common space to share photos. More often than not, the Internet also becomes the only place where artistic ideas exist. Paradoxically, such art, which was supposed to be the nearest to the viewer in the physical sense, has become the nearest in the virtual sense. One can, however, hope that neither consumers of art. nor artists will have to give up their direct experience of art that builds our polysensory sensitivity.
Źródło:
Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica; 2017, 30; 99-109
0208-6107
2353-9631
Pojawia się w:
Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Make no mistake! Reflections on the benefits of erring in postconceptual art practice. Introduction
Autorzy:
Kaźmierczak, Małgorzata
Siatka, Krzysztof
Powiązania:
https://bibliotekanauki.pl/articles/2127566.pdf
Data publikacji:
2020
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
performance art
improvisation
contingency
coincidence in art
happening
croatian art
wincenty dunikowski-duniko
post-digitality
digital art
computer art
error in art
software art
Źródło:
Sztuka i Dokumentacja; 2020, 22; 7
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
ACCIDENT, ARTISTIC INTENT AND ERROR: A STUDY OF (UN) INTENTIONALITY IN POST-WORLD WAR II CROATIAN ART
Autorzy:
Derado, Dora
Powiązania:
https://bibliotekanauki.pl/articles/1011633.pdf
Data publikacji:
2020
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
croatian art
unintentionality
error in art
neoavantgarde
conceptual art
art informel
Opis:
In modern art, the boundaries between artist and spectator are often blurred as the spectator is engaged in the interpretation process and thus in the creation of an artwork, a process referred to by Marcel Duchamp as the "transubstantiation" of objects into art. However, this communication of artistic intent provides room for error, misinterpretation, and reinterpretation (accidental or intentional) of the artwork's intended meaning. Duchamp refers to this as the "art coefficient," which is mathematically explained as the difference between the artist's intended, unexpressed idea and what they unintentionally expressed. The idea of artistic intent, or lack thereof, was toyed with by Duchamp and the artists who followed in his footsteps, including some protagonists of the post-WWII Croatian art scene (Ivo Gattin, Goran Trbuljak, Braco Dimitrijević, and Tomislav Gotovac) who were involved in emerging art movements such as Art Informel, Conceptual art, and the neo-avantgarde, respectively. This paper puts forward works by Croatian artists who experimented with (un)intentionality and haphazardness by employing new artistic techniques, leaving room for (intentional) error and chance, or challenging the artist's and spectator's role, often by exploiting the latter to do their work for them.
Źródło:
Sztuka i Dokumentacja; 2020, 22; 17-26
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Perfoactivism: from Three Weeks in May to The Museum of Arte Útil
Autorzy:
Kaźmierczak, Małgorzata
Powiązania:
https://bibliotekanauki.pl/articles/485512.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie
Tematy:
performance art
art activism
Opis:
From the very beginning, performance art has been anti-institutional and counter-cultural. Because of that performance artists tended to look for other channels to achieve visibility, often intentionally avoiding it. Since the late 1960s performance art has been exhibited in independent art spaces, at festivals organised by other artists, as well as in public space as guerrilla actions. This paper discusses a subjective selection of the most interesting socially or politically-engaged performances, which at present have taken the form of perfoactivism, functioning outside the art market and popularly understood art institutions. This article is also a review of criticism around artivism, focused on writers such as Gregory Sholette, Boris Groys, Grant Kester, and Claire Bishop.
Źródło:
Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione; 2018, 13; 77-86
2081-3325
2300-5912
Pojawia się w:
Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Changes in the global art market
Autorzy:
Bialynicka-Birula, Joanna
Powiązania:
https://bibliotekanauki.pl/articles/19081050.pdf
Data publikacji:
2018
Wydawca:
Instytut Badań Gospodarczych
Tematy:
art market
art economics
art
market analysis
cultural economics
Opis:
Research background: The dynamics of the art market are usually presented in terms of price fluctuations, price indexes and financial returns. This paper proposes the value and volume approach, which has not been considered in an aggregative way for a long time in the economic literature. Purpose of the article: The aim of the paper is to present changes in the global art market in the period 2002-2015. The results of dynamic analysis of the art market are presented, including two approaches: value of transactions and volume of transactions. The impact of the global crisis on the art market is considered. Methods: In order to present the changes on the global art market, statistical indexes of dynamics (single base and chain indexes) are used. Moreover, trend analyses have been conducted for the value and volume of transactions on the art market. The sources of data on the global art market are from Artprice, ArtTactic, and TEFAF (The European Fine Art Foundation). Findings & Value added: In the analysed period of 2002-2015, sales on the global art market generally increased. The value and volume of sales peaked in 2007 and 2014. The art market was considerably affected by the economic recession in 2009, but in the next year it recovered. The trend analyses allow the changes on the market to be described by means of mathematical functions, and the countries with the largest share in the global art market can be identified. Particular attention has been paid to the existence of a triad on the art market consisting of Europe, the USA and China. It is noteworthy that Europe and the USA have rapidly lost market share to China.
Źródło:
Oeconomia Copernicana; 2018, 9, 4; 695-714
2083-1277
Pojawia się w:
Oeconomia Copernicana
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Rozwój polskiej teorii wychowania estetycznego – prekursorzy i twórcy
Autorzy:
Krystyna, Pankowska,
Powiązania:
https://bibliotekanauki.pl/articles/892641.pdf
Data publikacji:
2018-02-06
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
Education
art
education towards art
education through art
Opis:
The article presents the achievements and thought of chosen pedagogues taking part in the creation of the Polish model of education through art. Janina Mortkowiczowa, the author of the book On aesthetic education (1903), emphasised the issue of the social significance of aesthetic culture and noted its linkage with moral culture. Stefan Szuman set out his main theses in the book On art and aesthetic education (1962), where he pointed out various dimensions of creative activity, including children’s art and its important role in the process of development of the young human being. Bogdan Suchodolski looked at art from the perspective of culture and general education. Irena Wojnar provided the final shape to the theory of aesthetic education (Theory of aesthetic education, 1976), by distinguishing two aspects within it: education towards art and education through art.
Źródło:
Kwartalnik Pedagogiczny; 2017, 62(4 (246)); 41-55
0023-5938
Pojawia się w:
Kwartalnik Pedagogiczny
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Od sztuki site-specific po sztukę partycypacyjną. Sztuka zaangażowana – wybrane współczesne teorie i praktyki artystyczne
From site-specific to participatory art. Socially engaged art – an overview of contemporary theories and artistic practices
Autorzy:
Urwanowicz-Rojecka, Eliza
Powiązania:
https://bibliotekanauki.pl/articles/952057.pdf
Data publikacji:
2015
Wydawca:
Uniwersytet w Białymstoku. Wydawnictwo Uniwersytetu w Białymstoku
Tematy:
participatory art
site-specific art
socially engaged art
Opis:
Site-specific art has been changing through the years. Firstly, it was connected with its location and directly corresponding with a given site, then critically reconfiguring it. Later it became art that served aesthetic processes in the site, and finally, art that defined the site in a very abstract way (which marked the beginnings of public and community art). Among different paradigms of artistic practices, the latter may take the form of participatory art. Miwon Kwon, Grant Kester and Claire Bishop are considered to be its key theorists. Changes within site-specific practices and their aspiration for a meaningful social context have helped to (re)define the categories of public space, community, and participation. The last of the three has become globally common for artistic practices, without regard for cultural differences, varied political contexts, or issues of funding of this genre of art. Why participatory art is so popular? What kind of impact does it have on the socio-cultural reality? The paper provides an overview of the changes that have taken place within site-specific artistic practices, showing that even a provisionary answer to the above questions cannot be found without an interdisciplinary approach.
Źródło:
Pogranicze. Studia Społeczne; 2015, 26; 31-47
1230-2392
Pojawia się w:
Pogranicze. Studia Społeczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Sztuka jako wyraz świadomości artysty
Art As An Expression Of The Artist’s Awareness
Autorzy:
Zagrodzki, Janusz
Powiązania:
https://bibliotekanauki.pl/articles/424492.pdf
Data publikacji:
2012
Wydawca:
Akademia Sztuk Pięknych w Gdańsku
Tematy:
CONTEMPORARY ART
CONCEPTUAL ART
CONCEPTUALISM
Opis:
Considerations upon the awareness that previously had been identified as the power of God's creation, a universal mind that binds all terrestrial matters together, are the source of an ancient thought. The term conceptualism — conceptus, defining a thought, a concept, an imagination—was inherited from the Latin, but as an idea it emerged in philosophical discussions long before Socrates. The idea of conceptual perception may be found in Plato's philosophy; the definition of creative awareness was not, however, precisely defined by him. It was only Aristotle who assumed that a condition for art to exist is “a permanent disposition capable of producing something with reason”. This direction of research was undertaken by Friedrich Wilhelm Joseph Schelling, one of the first philosophers examining consciousness, the author of the treatise entitled “Philosophy of Art”. The power of Schelling's thought was an emphasis on using symbols in art. Confronting hidden meanings with the literality of concepts based on tangible aspects of knowledge mean that his opinions are still of interest for researchers. The concept of a self-awareness we owe to the establishments of René Descartes. His principle “I think therefore I am” did not remove and in fact even highlighted the doubts that arise during creative activity. What is contemporary art?— a discipline which attempts to understand the power of the human mind, which enables artists to use the knowledge they possess in action. It is an inborn predisposition, or perhaps it is a disposition to produce something material with a thought and therefore it is conceptual in nature. The values in art result from the essence of a message, and the methods of transmitting and receiving are, in a natural way, linked to the intellectual process and it does not matter, which form of the ‘conceptualisation’ of the world the artist chose. Art understood as a concept is often identified as utopian. Utopia, on the other hand, is most often understood as an intentional attitude that exists in one’s consciousness, an idea which cannot be realised. The question arises: what is an artwork completed as an artistic fact. This apparent antinomy between the notions of reality, utopia and concept in art results from an assumption that something is possible and other things are not and that all arguments depend on the assumed point of reference. It is often claimed in colloquial sentences that a project turned out to be utopian. But what does it mean? Can art be utopian? Has any art program ever been fully completed? Can ideas stemming from one’s artistic statement, in their full complexity, demanding a lot of harmonious circumstances, ever be realised? So called utopian or conceptual thought is the basis of all meaningful art achievements, contrary to intentions thought to be realistic, which by their very down-to-earth nature, lack fantasy and therefore have little in common with art. The emergence of an art concept is parallel to the possibilities of its realisation. Not sooner does art exist for real, then as a result a conflict between creative ideas and changing reality appears. Sometimes artistic objectives do not develop further beyond the project stage, sometimes they turn into concrete objects, events or processes. The fact that their incarnations exist, does not determine the meanings. The essence of artistic work is to sustain the idea created. If it takes the form of a registered project then it automatically turns into a tangible object, an item, a phenomenon which can be a base for further actions. So, when the artist questions the rules of the surrounding reality, it is not a conceptual utopia that emerges, but new realities.
Źródło:
Sztuka i Dokumentacja; 2012, 6; 119-122
2080-413X
Pojawia się w:
Sztuka i Dokumentacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Towards the Theory of the Naïve Art – Grgo Gamulin and the Understanding of Modernism
Autorzy:
Mance, Ivana
Powiązania:
https://bibliotekanauki.pl/articles/909528.pdf
Data publikacji:
2019-12-20
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Grgo Gamulin
Croatia
naïve art
modernism
art theory
art historiography
Opis:
The article presents the theory of naïve art of the Croatian art historian Grgo Gamulin (1910–1997), which he developed in a number of texts written from early 1960s. In his theory, Gamulin tried to explain the phenomenon of naïve art on the basis of the modernist paradigm by applying the type of argumentation that is characteristic for the discourse of high-modernity. Gamulin’s postulates on the naïve can be summarised with a few basic lines of speculation. First of all, Gamulin claims that the phenomenon of the naïve was epistemologically possible only in the context of modernism, and that it should therefore be considered an equally valuable movement of contemporary art. However, in order to defend its authenticity, he began adhering to the ab ovo theory, the notion that naïve art does not arise as a cumulative result of the historical development of art, but that it ontologically precedes that development. The naïve artist, according to Gamulin, always starts from the beginning, independent of events in the art world, and immune to influences. A naïve artist is therefore necessarily authentic, or rather original: not having any role models, he develops an individual style, independently building his own visual arts language. Gamulin further posits that the visual arts language of the naïve is not based on a naive imitation of reality, or mimesis, but on an instinctive, spontaneous symbolisation of subjective experience, and as such is completely autonomous in relation to the laws of reality, i.e. it is ontologically grounded in the artist’s imagination. Finally, in an effort to explain the social significance of naïve art, Gamulin interprets the emergence of the naïve in the context of the culture of modernism as compensation – a supposedly naïve attitude to aesthetic norms, as well as an imaginarium that evokes “lost spaces of childhood,” necessarily functions as a therapeutic substitute for the alienation of art and the modern life in general. As such, Gamulin’s theory vividly testifies to the character of naïve art as a phenomenon that is constitutive of the culture of modernism, but that also reflects a number of contemporary polemics and split opinions, not only on the topic of the naïve but of modernism as a whole. The split of opinions on naïve art, especially with regard to its genesis, partly reflects the positions of the so-called conflict on the left, discussions that were taking place between the interwar period and early 1950s with the aim of defining the relationship of leftist ideology to modernism, or rather the relationship between the values of socially-critical engagement and aesthetic autonomy. The discussion on the naïve, however, experienced a certain changing of sides– Grgo Gamulin, a one-time advocate for socialist realism, began supporting naïve art and thus rose to the defence of basically liberal understanding of modernism, while former opponents of socialist realism denounced the phenomenon of the naïve as ideologically inconsistent and aesthetically doctored. In conclusion, Gamulin’s theory, as well as the entire polemic around naïve art that was taking place during the 1960s and which the theory necessarily ties in with, demonstrates the complex contextual reality of a seemingly integral modernist paradigm, illustrating the confrontation of positions that is by no means peculiar to Yugoslav society.
Źródło:
Artium Quaestiones; 2019, 30; 191-209
0239-202X
Pojawia się w:
Artium Quaestiones
Dostawca treści:
Biblioteka Nauki
Artykuł
Wyświetlanie 1-15 z 2770

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