Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 3

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  POP ART
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1

La reelaboración de la cultura pop por los Novísimos: delante y detrás de la cámara...

100%
Lavergne L.
Estudios Hispánicos
|
2010
|
vol. 18
119-132
EN
The works of the Novísimos, Spanish poets of the 1970s, often include different manifestations of pop culture: photo, cinema, comics, popular literature, etc. Sometimes these references operate benevolently and pop culture is looked upon with nostalgia. At other times they bitterly denounce the superficiality of contemporary society and the failure of pop culture to say anything about reality. The vain attempt of the creators (painters, and then poets) to situate themselves in the gap between art and life (Rauschenberg) proved fruitless in their search to reveal the essence of things and men. But beyond the reference to pop culture (as a theme), its integration into poetic compositions and to writing process engenders a commentary of writing itself. Especially as seen in Pere Gimferrer’s poetry, cinema is used either with a “transformation” (G. Genette), i.e. an appropriation of images, characters or situations, or with an “imitation,” i.e. a formal influence of its processes on poetic writing. In the first case, pop culture enables an understanding of the subject itself, whereas in the second, the influence of pop culture suggests a writing method for a “Poetic Pop Art.”
2

HAS THE AVANT-GARDE DIED ?

100%
Kappanyos A.
Slovak Review. A Review of World Literature Research
|
2004
|
vol. 13
|
issue 1
90-96
EN
The study offers a new perspective on a frequently researched question of the supposed end of the Avant-gardes. He mentions various researches on this issue to finally disagree with Peter Bürger who claims the end of the Avant-gardes as inevitable consequence of their basic structure. Bürger wants to discredit the whole 'neo' Avant-garde as a rootless, meaningless phenomenon and criticizes Adorno for not distinguishing between faddish (arbitrary) and historically necessary newness. What Bürger ignores here is the historical fact that Pop Art and its heirs (especially Fluxus) reflects very consciously this difference, and this in itself makes them legitimate. Bürger attributes to Avant-garde the intention of destroying the institutional system of arts and holds the whole Avant-garde a failure as it failed to fulfil this aim. The general acceptance of Duchamp's 'Fountain' as a work of art is for Bürger a proof of the Avant-garde's fall, or even of its failure. However, this is possible to interpret also as its success, because even Duchamp never wanted to destroy these institutions altogether: he wanted to subvert them. As he managed to make them accept an urinal as a work of art, he certainly achieved his goal to change the institutions of art. Moreover, by no means is the Duchamp's radical conception of anti-art the only incarnation of Avantgardes. The author mentions dadaists, expressionists and others. Finally he recognizes the acceptance of Duchamp's urinal as the success of subversion, the chief goal of Avantgarde movements, claiming that the refusal of it would have meant that 'we stay with a 19th century concept of art plus an ordinary urinal that remains outside the history of art'.
3
Publication available in full text mode
Content available

Dokumentacja a horyzontalny sposób pojmowania twórczości artystycznej

58%
Sztabiński G.
Sztuka i Dokumentacja
|
2011
|
issue 5
6-15
EN
The 'horisontalism' of artistic activity and reflection on art is connected with current life and surrounding reality. Their elements flow into works of art. Artworks are not examined historically (according to the history of a medium, style or individual creative evolution) but as a reaction to the network of object arrangements and functioning discourses that surround artists. Such comprehension of art has made Sztabinski introduce the concept of a 'documental turn'. Moreover, it has been depicted by him that the idea of 'documentation' is getting extended. Therefore, 'transdocumentation' appears. The term allows us to notice the specifics of such contemporary phenomena in which documentation does not only perform an informative function but also gives feedback upon what is documented. It is possible to distinguish many artistic approaches and practices within transdocumentation. One of them is a 'mock-documentary' - an ironic documentation that refers to documentary stereotypes and the audience's trust in the reliability of documents. 'Transdocumentation' as a practice and theoretical scheme, possible when understanding art 'horizontally', reveals a great potential for artistic activities and the critical practice.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.