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FUNKCIA A VÝZNAM NAIVNOSTI VÝRAZU PRE OFICIÁLNE VÝTVARNÉ UMENIE „ČASU NESLOBODY“ NA SLOVENSKU

100%
Migašová J.
ESPES
|
2016
|
vol. 5
|
issue 2
25 – 37
EN
The study researches and outlines one of the possible views on the relationship of practice and theory in fine art with political doctrine of socialism in Slovakia between 1949 and 1989. The paper points out (on the basis of domestic as well as foreign literature) the meaning and functional expressive quality of naivety for aesthetical doctrine of socialist realism. Main aim of the paper is to point out the importance of relation of aesthetics, politics, artistic freedom and problem of “truth” in art.
2
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PRAMENE A FORMY PRIMITIVIZMU VO VÝTVARNOM UMENÍ PRVEJ POLOVICE 20. STOROČIA NA SLOVENSKU

100%
Migašová J.
ESPES
|
2012
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vol. 1
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issue 1
49 – 59
EN
The study deals with a phenomenon of primitivism in fine art of the first three decades of 20th century in Europe and Slovakia. The Slovak after-war fine art stylistically stemmed from two remarkable centres – from Budapest academic environment and from Prague cultural environment. On the basis of examining contemporary documents, the paper therefore proves Hungarian and Czech intellectual environment served the ideas of primitivism into Slovak fine art practice and science. The paper is based on the knowledge, that primitivism is a dynamic phenomenon and artistic expressions of primitivism come into Slovakia only it is second development stage – in 1920’s. This fact significantly influenced character of fine art modernity in Kosice and folk-oriented modernity of Prague school.
3
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V ZÁUJME STAROSTLIVOSTI O "NAŠE" AVANTGARDY: ESTETICKÉ, AXIOLOGICKÉ A UMELECKO-TEORETICKÉ POLOHY KRITIČKY A KUNSTHISTORIČKY IVY MOJŽIŠOVEJ

100%
Migašová J.
ESPES
|
2015
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vol. 4
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issue 2
60 – 68
EN
The paper represents analytic evaluation of key works of Slovak critic, art-theoretician and art-historian – Iva Mojžišová. The study contains an analysis of its partial problems – the meaning and the function of art-critique in Slovakia in the 20th century and nature of so called “authenticity” as key criterion of critical reflexions of fine art.
4
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BLACK MOUNTAIN COLLEGE CASE: TRANSFORMATION TRENDS IN ART EDUCATION IN THE FIRST HALF OF THE 20TH CENTURY

100%
Migašová J.
ESPES
|
2019
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vol. 8
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issue 2
51 – 58
EN
In the 19th century, a gradual reform of art education began, which achieved its peak in the 1930s. This process manifested itself in the form of schools with an explicit anti-academic spirit – the Bauhaus in Europe and Black Mountain College in the United States. In this paper, I contend that such attempt at reform has never repeated again after the Black Mountain College case, where the combination of John Dewey’s educational principles, Josef Albers’ peculiar conception of art instruction, and the college founders’ ideas concerning the essentiality of art for contemporary democratic societies created a unique environment for the development of an experimental form of art education. Examining this innovation with regard to the current situation of teaching art and the humanities, I argue that - despite a process of reform lasted more than a hundred years - art education still manifests residues of the old, conservative academic spirit, while art schools show features of exclusivity or even elitism. The pursuit for a wholesome social position of art, on the other hand, was the most striking endeavour of many brilliant thinkers in 19th and 20th century (e.g. Semper, Morris, Lichtwark, Dewey, Albers), something that art educators and art theoreticians of the 21st century must take this into a serious consideration.
5
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FRÁZA, REPETÍCIA, APATIA: VYBRANÉ MANIFESTÁCIE „BANÁLNEHO“ V UMENÍ

100%
Migašová J.
ESPES
|
2016
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vol. 5
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issue 1
33 – 45
EN
Banality could be perceived as an expressive aesthetic category appealing via visual artwork. The effect of banality emerges as an intention in various artistic realisations of the 20th century visual culture. Basis of the paper is assumption that concept of the banality in modernity acquired contents related to everyday life and mass culture phenomenon. The aim of the paper is a comparison of various attitudes to the concept of banality and differentiation of participation forms of banality in modern and postmodern artistic expression. Interpretation of banality is carried out on the basis of significant conceptions in the fields of art criticism, art theory and aesthetics.
6
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HESSE V ARKÁDII (CHARAKTERISTIKA VÝTVARNEJ ČINNOSTI LITERÁTA HERMANNA HESSEHO)

100%
Migašová J.
ESPES
|
2015
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vol. 4
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issue 1
39 – 46
EN
The paper deals with the auxiliary field of Hermann Hesse work – fine art. Particular parts of the text map, analyse and interpret his fine art expressions. They are interpreted in the context with contemporary, developing German expressionism as well as in comparison with his literary language. Methods chosen for interpretation of his work are iconography analysis and psychology of depiction.
7
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POSTMODERNÁ PRIMITÍVNOSŤ V OKRUHU SLOVENSKÉHO VÝTVARNÉHO UMENIA

100%
Migašová J.
ESPES
|
2013
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vol. 2
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issue 2
30 – 40
EN
The paper is the outcome of search for various forms of primitivism tendency in 20th century fine art in Slovakia. The development period of art called postmodernity is at the same time strong actualisation of the culture primitivism. It occurs not only as a type of “new wildness” painting in style level, but also as a sign or sign group which refers to “pre-cultural” or “counter-civilisation” ways of life in semantic sphere. Specific feature of Slovak postmodern primitivism is an artistic evocation of the Paradise and utopia images. From the primitivism point of view, there are presented contextually connected motifs of Arcadia, utopic lands, “lost Paradise” and “lost childhood”.
8
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SOMAESTHETICS AND BANALITY: A REPLY TO KREMER

100%
Migašová J.
ESPES
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2020
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vol. 9
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issue 2
75 – 80
EN
This short paper is an attempt to intersect my reading of Alexander Kremer’s key ideas in his article Pragmatists on the Everyday Aesthetic Experience (2020) with my previous thoughts on banality as an aesthetic quality experienced by the modern subject in her everyday life. My contribution tries to interconnect key theoretical and artistic conceptions of banality (as discussed for example by Charles Baudelaire, Hannah Arendt, Marie Darrieussecq, Edward Keinholz) with Shusterman’s somaesthetics and subsequently to reveal another possibility of rethinking the relationship between aesthetics and ethics.
9
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ERNST HANS GOMBRICH: JEHO KONCEPCIA DEJÍN UMENIA, METODOLOGICKÉ VÝCHODISKÁ A PRÍSPEVOK K CHÁPANIU MODERNÉHO VÝTVARNÉHO UMENIA

100%
Migašová J.
ESPES
|
2017
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vol. 6
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issue 1
29 – 39
EN
The paper is the contribution approach to interpretations of Ernst Gombrich’s contribution to the understanding of modern fine art. The basis of the paper stems out from knowledge of domestic and foreign interpretations of Gombrich’s art history concept (Bakoš, Mikš, Kesner, Hříbek, Elkins etc.). The main hypothesis of the paper is idea that Gombrich’s posthumously published work The Preference for the Primitive (2002) is, in spite of legitimate critiques on the part of contemporary art historians, not solely contribution to the primitivism phenomenon, but also to the understanding of modern art by its own historical perspective.
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