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1

Biuro, natura, wyobraźnia, wiejska chata, fabryczna hala. Wizerunki artystycznej pracowni w dokumentalnym filmie o sztuce czasów PRL-u

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Juszkiewicz P.

Artium Quaestiones

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2015

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issue 26

149-169

PL

Artists’ studios turned into museums are always specific representations of the past – spatial images reflecting some idea of art and the artist, as well as his or her works, and even the position of the spectator imagined as a visitor, admirer, insider, outsider or pilgrim. When a studio is shown through a film, its status of representation comes to the foreground very distinctly just because of the properties of the medium. A filmic representation of the studio is a result of combining images into a sequence, while individual images attract the spectator’s attention to particular places, areas or aspects of the space of creation, thus making him or her follow a certain trajectory of meaning. What is more, such a sequence does not have to be limited to the studio’s interior since the cinematic montage allows the director to expand it freely by adding some historicizing or contextualizing frames. Finally, film allows one to meet the artist in his or her space through an interview, representation of the creative process or an actor-impersonator. In the first I discuss briefly three issues: the general idea of the present paper and its historical and theoretical contexts. First, my objective is to provide information on my research on Polish documentary film on art in 1948–1989, which was financially supported by the Ministry of Science and Higher Education. I was doing this research with help of a small team of young scholars – phd students and a younger collegue from Institute of Art History at Adam Mickiewicz University in Poznań. In this article I will not address general problems related to the filmic representation of artists’ studios, but discuss several individual cases. Second, the historical context is connected with the hopes of totalitarian states to use mass culture, and particularly film, to manipulate the masses. Even though in particular decades of the 20th century, and in different countries, those hopes were put into practice in different ways, their ideological and practical implementation had a common basis. That basis can perhaps be best described by Walter Benjamin’s idea that a modern wish to regenerate the world requires the destruction of the auratic art and influencing the masses with some other kind of artistic creation that could organize them according to a fixed political purpose. Benjamin believed that the most useful in that respect would be film, which in his opinion was both technical and massoriented. The masses could receive film with little effort so that it would imperceptibly form their mental and imaginative habits, and therefore also a political bias. My point is that the filmic representations of artists’ studios must be approached in the general context of the role assigned to film in the communist Poland, even though one should also remember that artists had various attitudes and censors kept changing their criteria of appropriateness. Still, the research focused on the representation of the artist, his or her studio, and the ideas of art will reveal an officially accepted picture to be transmitted into the public space. One the other hand, one should remember that within precisely defined political limits Polish documentary (and other) filmmakers could ignore commercial aspects and refer to the acknowledged high position of art, experimenting in different ways with a relationship between film and the visual arts. Third, my theoretical context is related to the status of the documentary or, that of reality represented in documentary films. In my view, shared also by a number of scholars, documentaries have an element of creation and their reality is always processed in one way or another. My examples will include studio as office, nature, space of imagination, village hut or cottage, and engine room.

2

Oko, ciało i słowo. Rosalind Krauss o rzeźbie Richarda Serry. „Uważna lektura” tekstu

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Juszkiewicz P.

Biuletyn Historii Sztuki

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2023

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vol. 85

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issue 4

117-134

EN

This essay is an example of a “close reading” of a text in the field of art criticism. The postulate of “reading closely” is effectuated by paying analytical attention to four fundamental elements of a text: the construction of the narrating subject; the conception of an artwork embedded in the text; the modes of description adopted therein; the principle of ordering the field of artistic tradition. The subject of the analysis is Rosalind Krauss’s text on the output of Richard Serra, who, according to the author, played a part in the crucial transformation of American art associated with abandoning the philosophical assumptions and artistic practice of abstract expressionism. The analysis reveals a convergence between the formation of the essential aspects of the text and its implication, which is critical towards the effects of the endeavours undertaken by the members and supporters of this artistic formation.

PL

Niniejszy tekst jest przykładem „uważnego czytania” tekstu z zakresu krytyki artystycznej. Postulat „close reading” został tu podjęty poprzez zwrócenie analitycznej uwagi na cztery bazowe elementy tekstu: konstrukcję mówiącego podmiotu, wpisaną w tekst koncepcję dzieła sztuki, przyjęte sposoby opisu i zasadę porządkowania obszaru artystycznej tradycji. Przedmiotem analizy jest tekst Rosalind Krauss na temat twórczości Richarda Serry, który, zdaniem autorki, miał swój udział w kluczowej przemianie sztuki amerykańskiej, związanej z porzuceniem filozoficznych założeń i artystycznej praktyki abstrakcyjnego ekspresjonizmu. Analiza wykazuje zbieżność pomiędzy ukształtowaniem zasadniczych aspektów tekstu, a jego krytyczną wobec efektów działalności przedstawicieli i zwolenników tej artystycznej formacji wymową.

3

O koncepcjach prymitywizmu, sztuki ludowej i twórczości dziecięcej w pismach Stefana Szumana

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Juszkiewicz P.

Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica

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2021

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issue 39

11-22

EN

The article is devoted to the aesthetic concepts of the Polish philosopher and pedagogical theorist, Stefan Szuman (1898-1972). Szuman’s interest in the work of children and folk art was in line with the shift towards the “primitive” in European culture at the beginning of the 20th century, which resulted from the critical assessment of the processes of modernization and longings for regeneration, as well as from the anthropological research on the structure of primitive societies and their creativity. Like Franz Boas, who in his theory of primitive art rejected the evolutionist model and the identification of “primitive” with a lower stage of development, Szuman emphasized the specificity of children’s creativity and folk art. Referring to the neo-evolutionist ethnologist Max Richard Verworn (the concept of “ideoplastic”) and to the psychological hypotheses od Jean Piaget, Szuman saw in the art of children a connection with the organic development of cognitive abilities and the need to externalize them. The concept of education through art proposed by Szuman, which assumed not so much a ready curriculum as supporting the development of students, has become a part of the trend of personalistic pedagogy, represented in Poland among others by Henryk Rowid, Janusz Korczak and Antoni Kenar.

PL

Artykuł poświęcony jest koncepcjom estetycznym polskiego filozofa i teoretyka pedagogiki, Stefana Szumana (1898–1972). Jego zainteresowanie twórczością dziecka i sztuką ludową wpisuje się w szeroki w kulturze europejskiej początków XX w. zwrot ku „prymitywowi”, będący pochodną tyleż krytycznej oceny procesów modernizacyjnych i regeneracyjnych tęsknot, co ówczesnych badań antropologicznych nad strukturą społeczeństw pierwotnych i ich twórczością. Podobnie jak Franz Boas, który w swej teorii sztuki prymitywnej odrzucił model ewolucjonistyczny i utożsamienie „prymitywu” z niższym stadium rozwoju, Szuman podkreślał swoistość twórczości dziecięcej i sztuki ludowej. Nawiązując do etnologa neoewolucjonisty Maxa Richarda Verworna (pojęcie „ideoplastyki”) i do psychologicznych hipotez Jeana Piageta, w sztuce dziecka widział związek z organicznym rozwojem zdolności poznawczych i potrzebą ich uzewnętrzniania. Proponowana przez Szumana koncepcja wychowania przez sztukę, zakładająca nie tyle gotowy program kształcenia, co wspomaganie indywidualnego rozwoju uczniów, stała się częścią silnego w polskiej tradycji nurtu pedagogiki personalistycznej, reprezentowanej m.in. przez Henryka Rowida, Janusza Korczaka czy Antoniego Kenara.

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1 Acta Universitatis Lodziensis. Folia Philosophica. Ethica – Aesthetica – Practica

1 Artium Quaestiones

1 Biuletyn Historii Sztuki

1 2023

1 2021

1 2015

3 Juszkiewicz P.

Biuro, natura, wyobraźnia, wiejska chata, fabryczna hala. Wizerunki artystycznej pracowni w dokumentalnym filmie o sztuce czasów PRL-u

Oko, ciało i słowo. Rosalind Krauss o rzeźbie Richarda Serry. „Uważna lektura” tekstu

O koncepcjach prymitywizmu, sztuki ludowej i twórczości dziecięcej w pismach Stefana Szumana