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Nowa Rzeczowość w perspektywie teorii awangardy Petera Bürgera

100%
Rybkowska A.
Estetyka i Krytyka
|
2015
|
issue 3(38)
85-106
EN
The article is devoted to the subject of the New Objectivity movement in German art in the mid 1920s, its causes and consequences. The detailed depiction of post-war reality in New Objectivity painting with its social criticism and commitment is presented as the most suitable exemplification of Peter Bürger’s famous theory of the avant-garde. In his account of avant-garde, Bürger paid most attention to the avant-garde criticism of the institution of art in a bourgeois society and to dialectics of autonomy of art. However, he did not give many examples of such understood avant-garde art, mentioning only Dadaism and surrealism. This text tries to find another examples for Bürger’s theory, New Objectivity being a per-fect one. Not only was it very strongly connected with a social, economical and political situation of its times but it also tried to resolve the problem of art’s au-tonomy by praising artistic engagement and commitment to the society. High-lighting this sphere of activity of the artists of the New Objectivity and putting it together with Bürger’s ideas may help to understand better both New Objectivity, little known in Poland, and Theory of the Avant-Garde.
2
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Lyrische Stadtbilder der Neuen Sachlichkeit

88%
Brylla W.
Acta Universitatis Lodziensis. Folia Germanica
|
2020
|
issue 15
19-30
EN
For the New Objectivity art, both literature and paintings, urban reality played a significant role. The aesthetics of the New Objectivity, movement that bloomed in the 20s and 30s, was defined through urban issues. This tendency can be observed primarily in the so-called Zeitroman that became a topic of interest for German literary studies earlier. In contrast to the prose, the New Objectivity poetry was rarely an object of studies. In the article, selected urban verses are analysed and connected with the New Objectivity paintings on a modernist background.
3

Architektoniczność jako paradygmat sztuki Aleksandra Rodczenko. Konteksty konstruktywizmu

75%
Łukaszewicz-Alcaraz A.
Nowa Krytyka
|
2015
|
issue 34
247-261
EN
There are at least a few reasons to consider deeply the art of Aleksandr Rodchenko. Undoubtebly a pretext is an exposition that had taken place in National Museum in Cracov during the Month of Photography between May and August 2012: „Aleksandr Rodchenko. Revolution in Photography”. Nevertheless, apart from photographic creation of Rodchenko it is worth to put an interest on his painting from one side and on the other on manifests of constructivism and texts on art, photography, society and on his perception of future. Then appears an image of the whole Rodchenko’s artistic figure. In this figure seems to dominate an architectural form of seeing and of constructing of space in its‘ visual, social, political, ideological and philosophical aspects. Rodchenko was looking on the world, the reality surrounding him through prism of architecture, plan, construction. This architectural form of seeing, explicit in Rodchenko’s art, is present on many levels and has deeper meaning referring itself to „the construction of the new world“ and has theoretical reasons on social, political, artistical and esthetical basis.
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