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1

Autenticita: kritický pojem konstrukce nového kánonu českých dějin moderního umění

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Bartlová M., Šosová J.

Umění (Art)

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2022

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vol. 70

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issue 4

354-365

EN

The study is an analysis of a Czech discourse of the 1980s=1990s focused on the concept of authenticity. It is based on the question of what instruments functioned after the change of political regime and while creating a new canon of Czech post-war modern art. In this context, the term authenticity proved to be a key concept. After 1990 it was not only used in professional discourse but also in public debate and in the media. It became paradigmatic, so there was no need to define it; its breadth made possible the processes of the discursive merging of what was formerly known as the grey zone with the intellectual environment of dissent. The text reaches these findings after research into the meaning of the term and its antithetical meanings, on the one hand in Martin Heidegger and on the other, in Theodor W. Adorno. It describes the different functions of the two trends in the Czech intellectual environment of the cultural opposition in the 1970s-1980s. The distinction between the meaning of concept Eigentlichkeit as the uniqueness of an individual linked to a society and the term authenticity understood as a characteristic of an exclusive individuality is an important moment. The long-standing discussion about the thinking of the critic Jan Lopatka in Czech literary scholarship is used for comparison with the discourse in art theory and history. It shows that despite their differences, the key theoretical problem was the question of how to understand the relationship between an artistic work on the one hand as a formalistically conceived centre of interest of theory and history, and on the other the necessity of dealing with the political opinions and the attitudes of the artist. The final part is devoted to a clarification of the situation in the late 1980s, when a younger artistic generation emerged advocating postmodernism and opposing the morally connoted concept of authenticity In this context the authors try to initiate a discussion about the key process of the adaptation of thinking which before 1990 was forcibly marginalised, and after 1990 became, on the contrary, the foundation of the new norm.

CS

Studie je analýzou diskurzu soustředěného v 80. až 90. letech 20. století v českém prostředí kolem pojmu autenticita. Východiskem je otázka, jaké nástroje fungovaly po změně politického režimu při vytváření nového kánonu českého moderního poválečného umění. Termín autenticita se ukázal být v této souvislosti klíčovým pojmem. Po roce 1990 byl používán nejen v odborném diskurzu, ale byl výrazně přítomen i ve veřejné debatě a v médiích. Stal se paradigmatickým, takže nevznikala potřeba jej definovat, svou šíří umožňoval diskurzivní splývání dřívější tzv. šedé zóny s myšlenkovým prostředím disentu. Výrazné je zjištění, že termín autenticita byl použit při interpretaci myšlenek Jindřicha Chalupeckého v 90. letech, ačkoli sám jej neužíval v silném smyslu. K těmto zjištěním text dospívá po průzkumu významu termínu a jeho protikladným významům na jedné straně u M. Heideggera a na druhé straně u T. W. Adorna, v té souvislosti popisuje rozdílné funkce obou směrů v intelektuálním prostředí kulturní opozice. Důležitým momentem je rozlišení mezi významem pojmu Eigentlichkeit jako svébytnosti jedince propojeného se společností a termínu autenticita chápaného jako rys výlučné individuality. Pro srovnání s diskurzem teorie a dějin umění je využita dlouhodobá diskuse o myšlení kritika Jana Lopatky v literární vědě. Ukazuje se, že navzdory rozdílům se klíčový teoretický problém shodně soustřeďoval kolem otázky, jak chápat vztah mezi uměleckým dílem jako formalisticky pojatým centrem zájmu teorie i dějin a nezbytností zabývat se konkrétními politickými názory a postoji tvůrce. Závěrečná část studie se věnuje objasnění situace druhé poloviny 80. let, kdy vystoupila umělecká generace, která se hlásila k postmoderně a výslovně oponovala konceptu autenticity jako morálně konotovaného požadavku.

2

Czego brakuje sztuce współczesnej? Kuspit i Baudrillard

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Krawczyk M.

Estetyka i Krytyka

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2011

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issue 2(21)

89-100

EN

My basic attempt in this article is to answer the question: „What is contemporary art missing from?”. I am going to place my answer in the wide context of Kuspit’s and Baudrillard’s considerations. These two authors describe contemporary art in the strong way pointing towards many negative phenomena which are to be found in it. Their attention is first of all drawn to the breaking of the relation between art and aesthetics which in consequence cause the end of art and aesthetics. However they basically differ with respect to the evaluation of the phenomenon of a divorce between art and aesthetics

3

Zerowość estetyczna i granice sztuki.

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Kurowicki J.

Nowa Krytyka

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2016

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issue 36

181-188

EN

The article presents the concept of aesthetic zero and examples of benefits of its use in a reflection on modern art.

4

Writing on the history of modern art: from particularism to a new universalism

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Rakušanová M.

Umění (Art)

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2021

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vol. 69

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issue 2

168-174

EN

A number of art historians, both from Central Europe and elsewhere, currently refer to Piotr Piotrowski in their reflections. Even today, however, his texts also continue to provoke interesting polemical discussions. Both types of response are accompanied by paraphrases of some of his views. In order to strengthen the force of the argument, however, these views can also be misinterpreted. In his polemical article, Matthew Rampley alters the meaning of a number of Piotrowski’s theses in this way. Marie Rakušanová’s text attempts to show that this not only distorts the Polish scholar’s ideas, but also undermines the credibility of Rampley’s own suggestions for methodological innovations in writing the art history of Central Europe. Rampley’s mistaken reading of Piotrowski relates primarily to the article ‘On the Spatial Turn, or Horizontal Art History’, which was published in the journal Umění/Art in 2008, with variant versions also appearing in other publications. Rakušanová’s text reminds us not only of the true form of Piotrowski’s theses in this article, but also of his ideas expressed in the study ‘East European Art Peripheries Facing Post-colonial Theory’, published six years later. Piotrowski’s concepts of horizontalism, transnationalism, and critical art geography were opposed not only to the (particularist) universalism of Western writing on the history of modern art, but also to the mechanical transfer of the principles of postcolonial criticism to the setting of East-Central Europe. Piotrowski anticipated the significance of the specific regional, temporal, and linguistic features which determine the nature of modernity in this part of the world and art-historical research into it. The differing time frame of the development of art in Western and in East-Central Europe has a different character than the diversity of time lines made visible by postcolonialism, which was originally violently suppressed by Western colonial policy. East-Central Europe cannot lay claim to the status of a former colony of the West; it is a case that shows the division in relationships of place and time within Western culture as a whole. A shift from particularism to a new universalism in writing on Central European art history can only be achieved through the ability to reflect on this division. When Rampley calls for a change in the conceptual frame in writing the art history of East-Central Europe, this appeal does not take sufficient account of these problems, and it is not surprising that it results in another call to respect hierarchies.

CS

Na Piotra Piotrowského se dnes ve svých úvahách odvolává řada (nejen) středoevropských historiček a historiků umění. Jeho texty ovšem dodnes provokují také zajímavé polemiky. Oba tyto jevy jsou pak doprovázeny parafrázováním některých jeho názorů. Ty mohou být ovšem pro potřeby údernosti argumentace také dezinterpretovány. Matthew Rampley ve svém polemickém článku podobným způsobem posouvá význam některých Piotrowského tezí. Text Marie Rakušanové se pokouší prokázat, že tím nedochází pouze ke zkreslení myšlenek polského badatele, ale také ke znevěrohodnění Rampleyho vlastních návrhů metodologických inovací v psaní dějin umění Střední Evropy. Rampleyho mylné čtení Piotrowského se týká především článku On the Spatial Turn, or Horizontal Art History, který vyšel v roce 2008 v časopise Umění, a jeho varianty se objevily i v dalších publikacích. Rakušanové text ovšem připomíná nejen skutečnou podobu Piotrowského tezí z tohoto článku, ale také jeho myšlenky ze studie o šest let mladší East European Art Peripheries Facing Post-colonial Theory. Piotrowského koncepce horizontalismu, transnacionlismu a kritické geografie umění se vymezovala nejen vůči (partikularistickému) universalismu Západního dějepisu moderního umění, ale také vůči mechanickému transferu principů postkoloniální kritiky do prostoru Středovýchodní Evropy. Piotrowski anticipoval význam prostorových, časových a jazykových specifik, určujících povahu modernity této oblasti i jejího uměleckohistorického zkoumání. Časová nesouměřitelnost umění Západní a Středovýchodní Evropy má jiný charakter, než postkolonialismem zviditelněná diverzita časových linií různých kultur, původně násilně potlačovaná Západní koloniální politikou. Středovýchodní Evropa si nemůže nárokovat status někdejší kolonie Západu, její případ ukazuje rozpolcenost prostorových a časových vztahů uvnitř Západní kultury jako celku. Jedině schopnost reflektovat toto rozštěpení by v psaní středoevropských dějin umění mohla vést od partikularismu k novému universalismu. Když Rampley vyzývá ke změně konceptuálního rámce v psaní dějin umění Středovýchodní Evropy, jeho apel málo zohledňuje tyto problémy, a nepřekvapivě ústí v nabádání k respektování hierarchií.

5

Around Art Reception. A Model of Empirical Cognition of Early School Education Teachers’Attitudes to Modern Art - A Project Study

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Mazepa-Domagała B.

The New Educational Review

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2022

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vol. 67

117-131

EN

The paper results from considerations on art reception and reflection on the current position of art recipients, their dispositions, and behaviours towards modern artistic activity, including the emotional, cognitive and behavioural orientation of early school education teachers in modern art. It begins with reflections on modern art understood as artistic activity created based on various means of expression and avant-garde and neo-avant-garde artistic solutions, which reacts to the huge potential, possibilities, threats of the surrounding world, and the situation of the recipient of modern artistic activity. The study’s further part presents the basic findings on the theoretical and conceptual framework of the phenomenon and a model of empirical cognition of early school education teachers’attitudes towards modern art. The study is addressed to researchers of the subject area and pedagogues. Even though it can hardly be regarded as a handy compendium, it provides a theoretical base and a research perspective. Therefore, it can serve as a guideline for future research explorations.

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KATARZYNA JAGODZIŃSKA, CZAS MUZEÓW W EUROPIE ŚRODKOWEJ. MUZEA I CENTRA SZTUKI WSPÓŁCZESNEJ (1989–2014), KRAKÓW 2014

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Zugaj A.

Muzealnictwo

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2015

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vol. 56

180-182

XX

The value of Katarzyna Jagodzińska’s book is enhanced by the fact that there are still not enough such studies. She guides her readers through the theoretical discourse on museums in an accessible and knowledgeable way. She describes the presentation of contemporary/modern art in the former East-Bloc countries while introducing and describing their most important institutions. The value of this publication is unquestionable. It may be recommended without hesitation to people with various interests: museum professionals and museologists, art historians (in particular those dealing with contemporary art), architects, anyone interested in European art issues, the history and culture of the Visegrád Group as a whole or of each particular country forming it. It is also an excellent read for tourists planning their visits to Hungary, Czech Republic, Slovakia or those travelling in Poland; apart from the commonly-known monuments and museums already described in every guidebook, here one may find those places which are not so well-known but equally interesting.

PL

Książka Katarzyny Jagodzińskiej jest pozycją ważną, między innymi dlatego, że tego typu opracowań bardzo brakuje. W kompetentny i przystępny sposób wprowadza czytelnika w teoretyczny dyskurs o muzeum, na jego tle przedstawia specyfikę prezentowania sztuki współczesnej/nowoczesnej w krajach zrzeszonych niegdyś w Bloku Wschodnim, a jednocześnie prezentuje i opisuje najważniejsze instytucje w tych krajach. Jest to publikacja bardzo użyteczna. Można ją bez wahania polecić odbiorcom o bardzo różnych zainteresowaniach: muzealnikom i muzeologom, historykom sztuki (szczególnie współczesnej), architektom, wszystkim zainteresowanym zagadnieniami sztuki europejskiej, historią i kulturą Grupy Wyszehradzkiej jako całości, jak również poszczególnych państw wchodzących w jej skład. To także świetne uzupełnienie dla turystów wybierających się na Węgry, do Czech, Słowacji, podróżujących po Polsce; oprócz zabytków i muzeów powszechnie znanych i opisywanych w każdym przewodniku, znaleźć tu można te mniej znane, a równie ciekawe.

7

DZIAŁALNOŚĆ GALERII POLSKIEGO OŚRODKA SPOŁECZNOKKULTURALNEGO W LONDYNIE

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Ciechanowska J.

Zeszyty Naukowe PUNO

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2017

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issue 5

307-312

EN

POSK Gallery is situated in The Polish Social and Cultural Centre in West London. e gallery showcases primarily Polish modern and contemporary art focusing on both, globally established artists and the young up-and-coming talent. It also shows artists from continental Europe and beyond. Exhibitions frequently feature paintings, graphics, photography, sculpture and art installations.

8

OPENArt - a Tool Supporting Education in the Field of Culture and Art

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Piasecki A., Socha M., Górka W., Jankowska A.

e-mentor

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2018

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issue 5 (77)

53-59

EN

Many museums in Poland and all over the world make use of mobile technologies. Unfortunately, neither Polish nor overseas applications offer universal solutions for users with different levels of knowledge and different disabilities. People with sight and hearing disabilities, as well as those physically handicapped, are very often culturally excluded, which means they are excluded from an important aspect of social life. As part of the project ‘OPENArt – Contemporary Art for All,’ a multimedia guide was developed in the form of an application for portable devices. It was designed in accordance with the participatory design methodology and principles of universal design. It facilitates access to works of art exposed to people with hearing and visual impairments. The application can be used to educate the blind, visually impaired, the deaf and hard of hearing, as well as people working with non-disabled children in arts and language classes. In the paper the innovative features of the guide were presented, and its educational values were characterized.

9

NOWOCZESNA KOLEKCJA? „MUZEUM AUTORSKIE” JAKO PRZYKŁAD STRATEGII GROMADZENIA SZTUKI

70%

Tołysz A.

Muzealnictwo

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2013

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vol. 54

132-139

PL

Kolekcja muzealna jest jednym z ważniejszych elementów współtworzących muzeum szczególnie, gdy chodzi o instytucję, w której zainteresowaniach leży sztuka nowoczesna. Dobór dzieł do kolekcji wpływa nie tylko na charakter danej placówki, ale również na jej rangę w środowisku naukowym oraz w ocenie społecznej. Stąd tak ważne jest, aby strategia kolekcjonerska oparta była na przemyślnej polityce muzeum, rozumianej jako specjalizacja w danej dziedzinie zapewniająca wysoki poziom kolekcji, kontakty ze środowiskiem artystycznym, pozwalające na jej aktualność oraz konsekwencja w działaniu. Przykładem kolekcji sztuki nowoczesnej zbudowanych w oparciu o te zasady są m.in. Galeria 72 w Muzeum Okręgowym w Chełmie Lubelskim, stworzona we współpracy Kajetana Sosnowskiego z Bożeną Kowalską, kolekcja prac z plenerów w Osiekach organizowanych z inicjatywy Mariana Bogusza i Jerzego Fedorowicza w Muzeum w Koszalinie, czy Dział Sztuki Współczesnej w Muzeum Narodowym we Wrocławiu, zreformowany przez Bożenę Steinborn i rozwijany przez Mariusza Hermansdorfera. Wszystkie te kolekcje, zapoczątkowane w latach 60. i 70. XX w., łączy silna osobowość jej „autora”, czyli osoby odpowiedzialnej za budowę kolekcji. Niezwykłość tego typu działań polegała przede wszystkim na połączeniu praktyk kolekcjonerstwa prywatnego, czyli bezpośredniej współpracy z artystami, czy jednej osoby odpowiedzialnej za poziom zbiorów, z kolekcjonerstwem publicznym, realizującym misję gromadzenia sztuki. Muzea autorskie, bo tak można nazwać wyżej wspomniane instytucje, to wart przypomnienia przykład rozwiązań łączących w sobie aktualność i wysoką jakość zbiorów, z konsekwentnie realizowaną, indywidualnie opracowaną i długofalową strategią kolekcjonerską.

10

MODERN COLLECTION? THE ”AUTEUR MUSEUM” AS AN EXAMPLE OF THE STRATEGY OF COLLECTING ART

70%

Tołysz A.

Muzealnictwo

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2013

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vol. 54

132-139

EN

The museum collection is one of the more important elements co-creating a museum, especially in the case of an institution interested in modern art. The selection of works of art for an exhibition influences not only the character of a given institution, but also its rank in the scientifics mi-lieu and its social assessment. Hence it is important for the collection strategy to be founded on a well-conceived museum policy understood as specialization in a given domain guaranteeing the collection’s high standard and contacts with artists ensuring topicality and conservation. Excellent examples of modern art collections created upon the basis of these principles include, i.a. Galeria 72 at the Regional Museum in Chełm Lubelski, the outcome of the cooperation of Kajetan Sosnowski and Bożena Kowalska, the collection of works executed at open-air workshops in Osieki organised upon the initiative of Marian Bogusz and Jerzy Fedorowicz at the Museum in Koszalin, or the Department of Modern Art at the National Museum in Wrocław, reformed by Bożena Steinborn and developed by Mariusz Hermansdorfer. All the above collections, initiated during the 1960s and 1970s, share the strong personality of their “author”, i.e. the person responsible for creating them. The extraordinary nature of such undertakings consists, predominantly, of linking the praxis of private collections, namely, direct cooperation with the artists or a single person in charge of the rank of the collection, and public collections engaged in the realization of a mission of gathering artworks. The auteur museum - since this is the way we can describe the above-mentioned institutions - are noteworthy instances of solutions combining topicality and the superior standard of the collections and a consistently implemented, individually devised, and long-term collection strategy.

11

Dream of Freedom. Czech Interwar Artists and Classical Mythology

61%

Kocichová I.

Studia Hercynia

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2016

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vol. 20

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issue 1

159-170

EN

The study focuses on the themes of classical mythology in the Czech visual art with an emphasis on the period between the two World Wars. The depiction of classical myth in the work of modern Czech artists became not only a means of expressing their attitudes towards the tradition and the past, but was also a reflection of the current period’s events as well as the tool of perception of themselves in a modern society. Some Czech works of art inspired by classical mythology are very interesting examples dealing with conventional topics, but rendered with modern art forms. Moreover, they are very surprising in their contexts and meanings. The study deals with selected works of art on the theme of classical mythology, whose origin was influenced by the contemporary political environment. These works of art mirror the turbulent atmosphere of the first half of the 20th century, and show the myth in the original Czech (or more precisely Czechoslovak) context. Emil Filla, Alois Wachsman and Vladimír Sychra, prominent representatives of the Czech mythological painting, and other artists and their work are presented here.

12

Rekonstrukcja pamięci miasta w lwowskiej sztuce XXI wieku

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Jakubowska-Krawczyk K.

Studia Ucrainica Varsoviensia

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2015

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vol. 3

307-315

PL

In this paper I analyse the ways in which the traditions of the old Lvov are reconstructed and incorporated into the fl ow of culture. I do so using as an example the works of three young Ukrainian artists: Olya Kravchenko, Uliana Nyshchuk-Borysiak and Ostap Lozinsky. Special attention is devoted to a project called “10 х 10 сто wIkon Львова”, in which the artists focus on the painter’s iconographic interpretation of selected events, legends and stories from city’s history.

13

SZTUKA CZY ZUPA, SPOŁECZNA ODPOWIEDZIALNOŚĆ EDUKACJI MUZEALNEJ

61%

Karczewski L.

Muzealnictwo

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2015

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vol. 56

159-168

EN

The author, practitioner and theoretician of museum education in the spirit of participation, develops a mission of social responsibility of museum education and is involved in discussions about the performative turn in the humanities. He analyses the agency of museum institutions, the effects of exhibits and exposition rhetoric, the effects in the public non-artistic sphere and finally distinctive effects in the symbolic sphere. He sees a museum as a mediator for arousing conflicts where mediation is supposed to lead to the emancipation of audience. Its embodiment would be a high-brow educator who, as an ‘unwanted outsider’ destroys the existing status quo. The author reinterprets speculative museum findings by presenting three sets of activity of the Department of Education of the Museum of Art in Łódź. The first project, Avant-garde in Szczekociny, deals with the cooperation of community art with urban and rural society of Szczekociny, a commune with less than 4000 residents. The second one is the Coco&Vinci Project, according to which the museum education has become a vehicle of documented social advancement of pupils of Łódź reformatory. The third project, Gallery of jeans, is a project of a creative common room, in which activities related to art for children who are brought up in the gates of tenement houses in the neglected downtown of Łódź give way to volunteer social work. For two last projects, the author outlines a broader, not only museum-related, interpretative context which he sees for example in the Situational International or in the radical pedagogy. The common point here is the pursuit of emancipation. The author proves that socially responsible museum education must take into account the openness of a museum institution on different but equally valuable world orders. He also argues that a museum educator who facilitates a subjective change of participants in activities should be ready for it themselves. The emphasis on educator’s ethics is thus the polemics with arguments of the Polish museum environment who insist on a systemic way of training educators.

PL

Autor, praktyk i teoretyk edukacji muzealnej w duchu partycypacyjnym, projektuje misję społecznej odpowiedzialności edukacji muzealnej snując rozważania w ramach zwrotu performatywnego w naukach humanistycznych. Analizuje sprawczość instytucji muzealnej: oddziaływanie eksponatów i retoryki ekspozycyjnej, oddziaływanie w publicznej sferze pozaartystycznej, wreszcie – dystynktywne oddziaływanie w sferze symbolicznej. Widzi rolę muzeum spełniającego funkcję mediatora powstających konfliktów; mediacja ta ma prowadzić do emancypacji widza. Jej ucieleśnieniem byłby edukator-intelektualista, który, jako „niepożądany outsider” burzy zastane status quo. Autor reinterpretuje spekulatywne ustalenia muzeologiczne poprzez prezentowane trzy zespoły działań Działu Edukacji Muzeum Sztuki w Łodzi. Pierwszy to projekt Awangarda w Szczekocinach, działanie nurtu community art ze społecznością miejsko-wiejskiej gminy niespełna czterotysięcznego miasta Szczekociny. Drugi to projekt Coco&Vinci, w którym edukacja muzealna stała się wehikułem udokumentowanego, społecznego awansu podopiecznych łódzkiego poprawczaka. Trzeci to projekt świetlicy twórczej Galeria Dżinsów, w którym działania związane ze sztuką dla dzieci wychowujących się w bramach kamienic zaniedbanej ulicy łódzkiego Śródmieścia ustąpiły miejsca wolontaryjnej pracy socjalnej. Dla dwóch ostatnich działań autor zarysowuje szerszy, niż tylko muzealny, kontekst interpretacyjny, widząc go np. w Międzynarodówce Sytuacjonistycznej czy radykalnej pedagogice. Punkt wspólny stanowi tu dążenie emancypacyjne. Autor dowodzi, że społecznie odpowiedzialna edukacja muzealna musi uwzględniać otwartość instytucji muzeum na odmienne, a równie cenne porządki świata. Argumentuje także, że edukator muzealny, facylitujący podmiotowościową zmianę uczestników działań, sam powinien być na nią gotowy. Nacisk na etykę edukatora stanowi tym samym polemikę z głosami z polskiego środowiska muzealniczego, postulującymi systemowy sposób kształcenia edukatorów.

14

FROM ŁÓDŹ TO LEIDEN – ON INTERNATIONAL CONNECTIONS OF THE POLISH INTERWAR AVANT-GARDE

61%

Wenderski M.

Muzealnictwo

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2018

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vol. 59

203-210

EN

This article is dedicated to international connections between selected representatives of Polish and Western avant-gardes in art and literature of the interwar period. Both the nature and the scale of such relations have been exemplified by a number of artists from the “a.r.” group – Katarzyna Kobro, Władysław Strzemiński, Henryk Stażewski and Jan Brzękowski, as well as their relationships with the representatives of Dutch and Belgian formations, inter alia “De Stijl” group. The origin of those connections has been briefly presented, along with their nature, dynamics and an impact they made on artworks and theories of chosen artists. Their description is based on archival documents and publications, from which a picture of direct relationships between the leading artists of the European avant-garde emerges – some of them personal, some correspondence-based; they have also been presented in form of a diagram that illustrates the text.

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Urszula Czartoryska: a writer and museum curator

61%

Lechowicz L.

Muzealnictwo

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2022

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vol. 63

95-102

EN

In the first period of her career Urszula Czartoryska (1934–1998) dealt mainly with criticism. She predominantly focused on photography and its relations with other artistic phenomena, particularly from the borderline territory where artistic genres meet, covering also film and video. Two books summed up that stage in her writing career: Przygody plastyczne fotografii (1965) and Od pop-artu do sztuki konceptualnej (1973). Czartoryska’s professional domains extended in 1977 when she began work as the Head and Curator of the newly-established Department of Photography and Visual Techniques at the Museum of Art in Lodz, one of the first multimedia departments in world museology (photography, film, video, multimedia installations), forming part of the International Collection of Modern Art (opened to the public in 1931). The work for that institution did not imply only building the Department’s collection, but also involvement in the operations of the whole Museum, its display and publishing activity. It also impacted her writing activity in the sense that it extended to include research studies mainly on multi-motif inter- or interdisciplinary art. Apart from her work as a writer and museum curator, in 1978– 1993, Czartoryska also lectured: at the University of Lodz (1978–1986), Warsaw School of Photography (1985–1993), and at the State College of Fine Arts (today University of Fine Arts) in Poznan (1989–1993). Urszula Czartoryska represented the type of critic, museologist, and researcher opened to multiplicity of relations present in contemporary art, and drawing from numerous methods of its analysis and description.

16

„Szaman nigdy nie umiera”. Sztuka naskalna jako wyraz tożsamości w twórczości Jane Ash Poitras

53%

Rozwadowski A.

Folia Praehistorica Posnaniensia

|

2019

|

vol. 24

207-233

EN

This article discusses the phenomenon of reusing of ancient rock art iconography in modern art on the example of the artworks of Canadian Cree visual artist Jane Ash Poitras. To understand the role the rock art plays in the collages of J.A. Poitras, the first part of the paper is focused on the Indigenous perspective, which provides the clue to reading complexity of history and contemporary art of the First Nations in Canada. Then the painting Shaman never die V is thoroughly analyzed. It is showed that rock art motifs used in this artwork had been very carefully selected and the meanings they evoke significantly go in pair with wider ideas related to traumatic history of Indigenous Canadians as well as ideas related to persistence of Indigenous spirituality symbolized by the image of shaman.

17

Тенденции поп-арта в творчестве Леди Гага

51%

Zaytseva M.

Path of Science

|

2017

|

vol. 3

|

issue 2

2.1-2.15

RU

В статье выявлена связь между творческими принципами популярной певицы Леди Гаги(Lady Gaga) и культовой личности поп-арта – Энди Уорхола (Andy Warhol). На основе анализа исполнительской практики Леди Гаги выявлены особенности ее исполнительского стиля, сформировавшегося под воздействием эстетики поп-арта. Прослежена динамика становления и развития исполнительского стиля Леди Гаги.

EN

The article reveals the connection between the creative principles of the popular singer Lady Gaga and the cult personality of pop art – Andy Warhol. On the basis of analysis of Lady Gaga’s performance practice, the features of her performing style, formed under the influence of the aesthetics of pop art are revealed. The dynamics of formation and development of the performing style of Lady Gaga is followed.

18

„Herbarium czystych zewnętrzności”: Siegfried Kracauer, Busby Berkeley, Sherrie Levine

51%

Majewski T., Rejniak Majewska – A.

Estetyka i Krytyka

|

2009

|

issue 15-16

64-87

EN

For Kracauer, the regular abstract patterns viewed in the gymnastic stadiums and in the musical revues presented an analogy with modern life and technological Ratio. Ornament is a place of their meeting and mutual transformation, and thus the crucial point, which decides the future of the modernity project. Busby Berkeley’s choreography during the New Deal period is an extension of this phenomenon. In Gold Diggers of 1933 and Footlight Parade aesthetics of Fordism intercrosses with the Pythagorean and Renaissance Neo-platonic vision of an orderly and purposive cosmos, in which Eros is a kind of coordinating and organizing force (both in a cosmological and social way). Sherrie Levine’s work, which is a postmodern appropriation of Berkeley’s trademark, follows a similar method to undermine the distinction between individual creativity and well-regulated collective, between modern art and industrial production.

19

Herbert Read (1893-1968)

51%

Thistlewood D., Roś J.

Amor Fati

|

2017

|

issue 1(7)

188-215

20

Carlo di Prevo – un pittore ticinese in Polonia. Prova di approccio monografico

51%

Gurba S.

Resovia Sacra : Studia Teologiczno-Filozoficzne Diecezji Rzeszowskiej

|

2016

|

issue 23

75-93

EN

Charles de Prevo was the north Italian painter working in Poland at the turn of the seventeenth and eighteenth centuries. The article shows the artistic live of Charles de Prevo, in particular his whereabouts in Poland and his paintings. The study of article has been used publications about the painter and his works, correspondence painter from his patrons and other archives. So far there is no publication showing the overall artistic activity of Charles de Prevo. On the example of this painter was presented socio-political situation and artistic phenomenon in the XVI - XVIII centuries in Europe.

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„Herbarium czystych zewnętrzności”: Siegfried Kracauer, Busby Berkeley, Sherrie Levine

Herbert Read (1893-1968)

Carlo di Prevo – un pittore ticinese in Polonia. Prova di approccio monografico