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EN
This paper aims at the problem of realism in the artistic representation of animals. Contemporary animal studies recognize the problem of narratives in which animals serve as a negative point of reference to humans or as a symbol, always referring to some cultural story. In this context the anthropocentric art of Walton Ford is particularly interesting. The painter is openly enthusiastic about the symbolic and narrative uses of animals in culture, and yet in his paintings he manages to represent animals’ otherness, and their ability not to be „tamed” by our schemes.
EN
Contemporary artists on the declarative level try to remain outside the political domain, at times unaware of the fact that an established dislike for politicians is not equivalent to refraining from political actions. Theatre has not so much become politically vulgarised but rather it has gained a potential additional act in the form of a strictly political phenomenon. This results from the disrupted demarcation lines traditionally dividing the freedom of artistic expression and the right to its rejection by those who have different ideological (religious) motivations. This stems from the fact that the performative act has been extended beyond the theatre stage, thus allowing political opponents to refer to non-aesthetic categories, to which artists themselves have assigned formally political features. Invoking the right to critically assess reality, to which both sides are entitled, they understand freedom as a justified negation of a different perspective. In an ideal situation, art would not be subordinated to political ends, while adding to it non-artistic dimensions makes it an emergent phenomenon. However, in the reality we have access to, there has developed an asymmetry as the theatrical circles have started to desire not only to create art but also to be the ones holding the key to the rules of its interpretation or criticism, which leads to a discussion on the limits of freedom of artistic expression when seen as political.
PL
Artykuł jest próbą systematyzowania ścieżki rozwoju sztuki internetu w oparciu o ogólną strukturę rozwoju sztuki nowych mediów. Uwagę koncentrują media społecznościowe, które w dobie rewolucji komunikacyjnej stały się miejscem społecznej aktywności, a w tym również działań artystycznych. Tekst otwiera dyskurs na temat statusu twórczości w przestrzeni mediów społecznościowych, a także tego jaki wpływ będzie ona miała na muzealnictwo i rynek sztuki w ogóle. Egzemplifikacja w artykule jest oparta na przykładach artystów polskich. Przytoczone opisy prac pokazują przede wszystkim różnorodność kreacji artystycznych powstających w mediach społecznościowych. Jednak dopiero większa baza przykładów pozwoliłaby na kategoryzację tej twórczości, a więc zrobienie pracy krytycznej, czyli dokonanie tego, czego nie uczyniły jeszcze instytucje sztuki czy instytuty badawcze.
EN
The article is an attempt to systematize the path of Internet Art development based on the general structure of the development of new media art. The attention is focused on the social media, which in the era of the communication revolution became a place of social activity, including artistic activities. The text opens a discourse on the status of creativity in the space of the social media, as well as the impact it will have on museology and the art market in general. The exemplification in the article is based on examples of works by Polish artists. The descriptions of works presented here show the diversity of artistic creations in the social media. However, only a larger database of examples would allow the categorization of these works, and thus conducting their critical assessment, that is, to do what art institutions or research institutes have not yet done.
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