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THE FIRST LATVIAN ART SALONS AROUND 1910 AND THEIR CREATORS (Latviesu pirmie makslas saloni ap 1910. gadu un to veidotaji)

100%
Abele K.
Materiali Latvijas makslas vesturei
|
2007
|
vol. 6
108-124
EN
The article reconstructs the history of the first short-lived Latvian-owned art salons that were founded in Riga from 1909 till the mid-1910s. Their interpretation in publications on Latvian early-20th-century art so far has been limited to vague and inaccurate references. However, many of these inaccuracies can be eliminated by a number of recent discoveries. The story begins in December 1909 when painter, writer and critic Janis Jaunsudrabins first inquired who was to blame that 'Riga, which, in cultural matters, is one of the best cities in Russia' is like an orphan where the art of painting is concerned. He concluded that 'above all things, an art salon is needed, where painters could present their works', and announced that such a salon would in the coming days be opened by photographer Janis Rieksts at 17 Alexander (now 41 Brivibas) Street. In January 1910 Rieksts set up an exposition featuring Baltic artists of different generations, nationalities and level: Janis Rozentals and Vilhelms Purvitis, Theodor Kraus and Gerhard von Rosen, Bernhard Borchert and Eva Margarethe Borchert-Schweinfurth, etc. Unlike many of his fellow nationals, Rieksts promoted an international vision of art, and his consulting partner was the artists' club 'Kunstecke' ('Corner of Art'). The need of additional investments made Rieksts drop this business. Grieving over the failure of Rieksts' well-intended art-dealing initiative, one could turn hopefully to the National Romanticist building of Kenins Schools at 15/17 Terbatas Street where the art section of Peteris Saulitis' book and art shop in December 1910 was reorganised into a separate salon, later named the Saulitis-Melderis (Saulit-Melder) Latvian Art Salon. In April the salon news were dominated by the name of Peteris Krastins, who had recently returned from abroad, and soon his solo-exhibition was organised, provoking fears whether any colleagues would ever dare to fill the salon space after him. While Rieksts believed in the inherent internationalism of art, the Saulitis-Melderis enterprise laid stress on Latvianness and Latvian-produced art. The popularity of the visual arts was lagging considerably behind the growing prosperity of Riga in other areas, and the first art salons one after another suffered commercial fiasco. Nonetheless these economically precipitate business activities were very timely diversifiers of the local art scene.
2
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ON SOME NOVEL ENCOUNTERS WITH FINE ARTS. WHERE TO SEARCH FOR AESTHETICS AND WHERE AESTHETICS MAY HAVE SOMETHING TO (RE)SEARCH

86%
Somhegyi Z.
ESPES
|
2020
|
vol. 9
|
issue 2
23 – 31
EN
In this paper, I examine some of the various ways, spaces, and situations in which one can currently encounter aesthetic content and have an aesthetic experience. By focusing on examples coming from the world of fine arts, my survey will tackle a double question: I will try to investigate where to search for aesthetics and where aesthetics may have something to (re)search. Considering the novel forms of art presentation that are related to the spread of alternative exhibition spaces, I will examine the emergence of new audiences, the rising power of the art market and art commerce, and their dubious influence on the creation of new standards and canons of art.
3
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Podział świata sztuki i jego zniesienie

72%
Dziamski G.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
|
2019
|
vol. 27(27)
68-87
PL
A starting point is the division of the world of art onto Western and East- ern, and the question whether this division is still relevant after 1989? The Western world of art was equated with the market, the Eastern with ideol- ogy. Does the Eastern art have to join the Western world of art? Will the term avant-garde of third generation allow to better describe the transi- tion of art in real socialism countries? Does avant-garde in the times of post-modernist’s pluralism exist?
4
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POLITYKA GLOBALNEGO ŚWIATA SZTUKI

58%
Dziamski G.
DYSKURS: Pismo Naukowo-Artystyczne ASP we Wrocławiu
|
2016
|
vol. 21
20-34
EN
POLITICS OF GLOBAL ARTWORLD The term ‘art world’ (Artworld) was not used before the 1960’, and if – rather rarely and without consequences. It was only in 1964 that Arthur Danto has made the term one of the key concepts of contemporary reflection on art. The artworld has come to mean the discourse accompanying art. The world of art should not be equated with art market, although today the Western artworld is increasingly subordinated to the market. Can market replace politics? Can it become policy? Is this the way of post-political policy? Is the market always connected with some policies and always requires some assistance from politics? Today’s global art world wants to combine what is global with what is local; it combines global discourses and local practices. It contributes to global circulation of what is local. Very often, what is local, turn to subaltern art, younger art, lower, worse.
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