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1

WELCOME TO CAPITALISM. INSTITUTIONAL DIMENSIONS OF ART HISTORY IN POST-COMMUNIST SLOVAKIA

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Orišková M.
ARS
|
2012
|
vol. 45
|
issue 1
56 – 66
EN
The paper examines the social and institutional dimensions of art history in post-communist Slovakia. Art history itself an often-presumed neutral autonomous science – though brutally contaminated ideologically in the previous regime – struggles today with several problems. Not only a lack of self-reflection on the discipline and its methods and a lack of critical dialogue with past practices, but a new socio-economic framework outline the set of questions that need to be asked. The fundamental question, which the author asks, is how the science entitled art historiography is constituted and how it distributes knowledge under new conditions through concrete institutions.
2

OD DEJÍN UMENIA K VIZUÁLNEJ KULTÚRE? PRÍKLAD BROOKLYN MUSEUM OF ART V NEW YORKU

100%
Orišková M.
ARS
|
2005
|
vol. 38
|
issue 1
42-52
EN
The case study of Brooklyn Museum of Art in New York is an attempt to discuss the issue of multiculturalism in art museums traditionally based on universalistic (Western) aesthetics. The story of Western art which once was central for the museum is now more complicated by the addition of non-Western art/objects. However, one of the biggest American museums - Brooklyn Museum of Art in New York goes beyond the polarities 'high art' vs. 'ethnographic object' showing the hybrid culture as the result of colonialism, migration, slavery, diaspora, conflicts or oppression. The authoress summarizes some important views at relations between art and ethnicity what is one of the main concerns in the museums in multicultural society, presented by Svetlana Alpers, James Clifford or Susan Vogel. Dismantling 'true representations' in the museum opened new issues: the issue of parallelisms and horizontal surveys, both promoted by Homi Bhabha as cultural paradigm during the exhibition 'Circa 1492: Art in the Age of Exploration'. Hybridity, the term used by Annie E. Coombes is articulated as a symptom of what is identified as postcolonial in a sense of the postmodern strategy of bricolage superficially reproducing and celebratory affirming that all are equal. Still, under the cover of celebration (and fast-food like consumption) of differences there is the inequality of access to economic and political power. And only the dominant groups articulate the ways in which such differences are constituted.
3

RE-WRITING HISTORY, RE-DRAWING MAPS: CENTRAL EUROPE IN THE GLOBAL STORY OF ART

100%
Orišková M.
ARS
|
2007
|
vol. 40
|
issue 2
279-286
EN
This article is dedicated to re-examine the problematic of art geography in the era of globalization concentrated on the focus of the new 'postmodern' geographies and the 'spatial turn'. The authoress discusses about the map of art history on the case study of the DuMont's 'Atlas of World Art' (2004), which is the latest attempt to write the global history of art. The era of globalization brought a new idea of the national states without borders. . Social and cultural geographers have been also concerned with the globalization of cultural flows, mostly in relation to transnational migration and to a 'common global culture' as a very problematic concept. The notions of flow, fluidity, fluid spaces instead of a fixed space/place, mobility, deterritorialisation, unbelonging and non-spaces, relational networks as the opposite of natural/constant or absolute/Carthesian spaces demonstrate the axiomatic shift or even the end of traditional social geography. In spite of the Geography of Art developed a long time ago, recently Thomas DaCosta Kaufmann examined the geographical approaches in art history from early antiquity to the present day. This timely and important contribution to art history re-establishes the 'spatial dimensions/turn' of the discipline towards to 'complementary cultural dimension/turn'. From the 'Atlas of World Art' point of view the strategies of representation are limited because they represent the 'Second Europe' as non-urban, underdeveloped or backward. It is actually an empty space without flow. On one hand there is the rhetoric of the 'New Europe' today, Europe without borders or globalized space within which happened that Eastern Europe is on the map, on the other hand there are no visible distinctions - primary features (lack of exoticism mentioned by several occasions) identifying the East European 'Other' (the key word for postcolonial discourse).
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