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Kilka uwag o możliwości sacrum w sztuce współczesnej

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Winnicka-Gburek J.
Estetyka i Krytyka
|
2014
|
issue 4(35)
205-218
XX
This article consists of three parts. The first two parts have been devoted to two breakthroughs, in other words, to changes the paradigm of thinking about art, which constitutes the framework for transformations determining contemporary reality of art. The first one is the moment when “the era of art” started after “the era of the image” lasting until the modern times. Renaissance humanism led to the transformation of images being objects of religious worship into works of art. In the second part some of the problems of mutual relations between art and religion in more recent times, called by Arthur Danto the era “after the end of art”, have been indicated. The“strange” situation in which the art arising from religious inspiration is now might be considered the culmination of eighteenthcentury crisis Grand Theory of Art and at the same time the result of the process of secularization understood as the gradual disappearance of religious beliefs and practices in the modern world – sincere religious art has no place in the art world. At the end of the paper some of the theses which are in opposition to the trend of exclusion of religion from the public space, and thus from the world of art, have been discussed.
2
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Janina Makota: In memoriam (1921-2010)

100%
Winnicka-Gburek J.
Estetyka i Krytyka
|
2011
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issue 1(20)
11-15
3
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Znaczenie personalistycznej krytyki artystycznej w poszukiwaniu sensu sztuki

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Winnicka-Gburek J.
Estetyka i Krytyka
|
2011
|
issue 2(21)
167-178
EN
I perceive the art criticism as the philosophical reflection on art. It is possible to ask question about the sense of art only on the basis of philosophy including, among others, peronalism. In this text, the concept of Tymon Terlecki’s personalistic criticism based on Emmanuel Mounier’s philosophy is analyzed to assess the usefulness of its main assumptions and design a model of the contemporary artistic critic. The analysis of such concepts as person, personal movement, freedom, transcendence, symbol and view leads to the conclusion that a critic personalist is not supposed to be satisfied only with deciphering the sense of art. However, s/he is to extend the scope of her/his reflection with the context of the work’s potential impact on an artist and a viewer.
4
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W poszukiwaniu kryterium. Krytyka artystyczna po końcu krytyki

100%
Winnicka-Gburek J.
Estetyka i Krytyka
|
2010
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issue 19
121-129
EN
The article discusses the concept of normative criticism and the objective value of artworks by Daniel D. Kaufman. He has established both the notion of artistic value grounded on Aristotelian virtue ethics and the idea of artistic purpose which expresses „the interest of civilization in culture”. It seems that if we refer to the purposes of culture, different meanings of culture should be taken into account. I attempt to show the possibility of applying this view to the axiological (culture as a cult of values) and the pluralistic (culture as a cult of fluctuation) sense of culture. Kaufman denies art criticism the right to ask moral questions. This appears to be slightly reductive on account of his references to the philosophy of Aristotle, which is deeply rooted in ethics.
5
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IF A HOME THEN ALSO A 'PLAY', A 'SYMBOL' AND A 'FESTIVAL' - INSPIRED BY THE RELEVANCE OF THE BEAUTIFUL BY H. G. GADAMER (Jesli dom to i 'gra' i 'symbol' i 'swieto' - z inspiracji Aktualnoscia piekna H.G. Gadamera)

100%
Winnicka-Gburek J.
Konteksty - Polska Sztuka Ludowa
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2010
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vol. 64
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issue 2-3(289-290)
221-225
EN
An attempt at paraphrasing the theory of art expounded by Hans Georg Gadamer for the needs of an analysis of the category of the home. While discussing the book The Topicality of Beauty, in which the philosopher summarised his views about art and creativity, the author of the article wishes to show the connections between experiencing a work of art and a home.
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