![En finir avec le fétichisme de l’œuvre, surmonter le mythe
de l’artiste. Pratique populaire et œuvre reproductible
chez Ad Reinhardt](/api/image/getissuecoverimage?id=picture_2019_51416.jpg)
We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
The article aims to trace the reception of Antigone on the basis of feminist and gender criticism. It turns out that the same categories noticed byindividual researchers are assessed and valorized differently, accordinglyto the feminist trend they identify with. The author decides, therefore, toreverse the optics and evaluate the discourse through the prism of themethod of analysis and interpretation of the mythological heroine.
More...
The text by Janusz Jaroszewski (the author of artistic and scientific bookTHAT THERE… with no name) And so it happened is a draft of a manifesto,a critical assessment of all old and present religious as well as politicaldoctrines, that are intersubjective imagined orders, which, in author’s assessment, currently led to very serious crisis of all kinds of values. Jaroszewski strengthens his diagnosis with references to writers, poets andphilosophers, who also included these issues in their works – ThomasBernhard, Yuval Noah Harari, Miguel de Unamuno and Marina Tsvetaeva.
More...
I distinguish two ways of functionalising the concept of art in modern thinking: a metacritical way and a way where it is treated as exemplary experience. In both cases, the concept of art is diffused in the aesthetic, and the stake in the game of its new functionalisation in the field of contemporary humanities is updating of the question of autonomy of art. My claim is that in view of the contemporary challenges posed by the processes of fictionalisation of reality, tendencies towards autonomisation of art and transgression of its boundaries are inseparable from each other. Phenomenological and hermeneutic researches provide a good account of this situation.
More...
The article reflects on the contemporary situation in which the term “art” is broadly used, albeit without attempting to clarify its meaning or define it. This situation concerns both the area of aesthetics, where the deliberations on the concept of art have been abandoned for several decades, as well as the statements of critics and artists. The starting point of the reflections presented here is the situation that occurred in the 1950s and 1960s. In the aesthetic thought there appeared views pointing to the indefinability of the term “art”. (e.g. the stand of Morris Weitz) and the tendencies to indicate other usages of this term, than cognitive – to consider its evaluative, persuasive, etc. character, etc. In the 1990s, Arthur C. Danto's texts were an important contribution to this issue, commenting on the subject in the context of his theory of the “end of art”. That “end” did not mean the end of artistic crea-tivity, but only a change consisting in the end of the era of art as a theoretical problem. In the 20th century, both in created works and in written texts, attempts were made to establish what “true art” is. Today, however, all meanings of the word “art” become important. Artistic life, according to Danto, is therefore more peaceful, free from “ethnic cleansing”.How, then, do we motivate the inclusion of particular practices in the area of art? I believe that it often happens on a similar basis to playing dominoes. I illustrate this thesis with the use of the Polish example – the concept of “art with community” implemented since 2011 in the Warsaw district of Ursus. The text ends with reflections on contemporary “theorizing with uncertainty”. There is an assertion that the term “art” plays an integrating role in the face of various activities, for which otherwise it would be difficult to find an appropriate category.
More...
“Since I know the client in Amsterdam I have a dream to visit the Van Gogh Museum. See his originals and to feel how he felt. I want to get some inspiration from his paintings then my goal will be more clear,” read the subtitles in the movie China’s Van Goghs (2016). It is difficult for us to understand what the mass replicas manufacturer means. Does he want to deepen the knowledge of the knowing that type or does he simply want to increase the effectiveness of the knowledge of the knowing how type? But why would Zhao Xiaoyong – who has increasingly better Chinese connectivity – bother, despite the objections voiced by his wife, who is in charge of their home budget, since there is no guarantee that his thriving business will provide better art effects than Van Gogh originals? Are there other contexts – as, for example, Unsupervised Learning – in which we can look differently at Gilbert Ryle’s famous distinction and privileged position of well-established knowledge?
More...
The problem of the demarcation of art and the efforts of analytical philosophy to work out the definition of art were the key issues in aesthetics through most of the 20th century. Tho¬se issues emerged from recognizing the impossibility of indicating any sufficient or substantial attributes to being art. Instead of working out the definition the theorists eventually focused on the context which can by essential for recognize some actions or objects as an art. In my paper I cite one of the contemporary efforts of solution of that issues. I am referring to Jaques Rancière’s “regimes of art,” which can be consider as frames for not only interpretation of art but mostly as condition for recognition of art as visible. In other words: the dominant discourse decides what is recognized as art or what is visible as art. I will briefly present his “regimes of art” and I will try to confront them with one of the examples of contemporary socially engaged art.
More...
The article’s aim is to reflect on the late poststructuralist conceptualisations of social practices and autonomous fields of cultural production by Pierre Bourdieu in order to distin¬guish the specificity of the autonomous field of art and to grasp the author’s attitudes to these theoretical constructions. The autonomous field of art is being drawn in the late thought of the French thinker as one of the still existing structures of historical character enabling cultural production and reproduction that is relatively free from external pressures, favours the accu¬mulation of knowledge and enhances reflection. As such – it is diagnosed as a contemporary value in need of defence. The author of these considerations tries to extract this diagnosis, with which she agrees, form Bourdieu’s thought. She also attempts to point out the most important, according to her, humanistic traditions which enabled some selected approaches to the theory of practice of modernity and late modernity, and thus the development of Bourdieu’s ideas towards emancipation.
More...
This paper provides several polemic comments regarding the concept of the “paradigm of contemporary art” presented by Nathalie Heinich in her book entitled Le paradigme de l’art contemporain. Structure d’une révolution artistique. The paper questions the accuracy of the analogy between changes within artworld that took place in the 20th century and the structure of scientific revolutions discussed by Thomas Kuhn. The author also points to the incomplete¬ness of the proposal of the French sociologist, who neglects artistic activities that occur outside galleries and institutional art circles.
More...
The theme of this paper refers to the research approach which may be framed as the narrative and explanatory aspects of art, but with specific stress on New Media Art. Author’s objective is to show that artists perceive phenomena which in social perspective are frequently neglected despite their importance and which could be surely abandoned in public discourse unless they become the objects of artworks. A few examples may support this claim such as widespread web mediation, determination of artists based on common use of new technologies, and also possible surveillance of individuals, mediation of content as well as emerging authority based on massive web manipulations. Therefore, I would like to stress that art has become an indispensable and original source of knowledge on modern times, and with the use of original form, it may be persuasive and intervene for social change and/or warn against e.g. injustice, in¬cline to reflect, inspire and educate the public. These themes have been analyzed with reference to several artworks which raise specific and meaningful questions.
More...
The article attempts to discuss some aspects of the impact of performance on the con¬ceptual distinctions concerning art. This issue is very broad, which is why the starting point is the achievements of performers from the 1970s, when the concern with the theoretical context was particularly visible. At the beginning, the views of the participants of the international conference I am organized in Warsaw in 1978 are analyzed, and later texts by Rosalind Krauss and Anne M. Wagner, referring to various activities of Vito Acconci. The article concludes with an attempt to confront the theoretical consequences of sculptures and performances by Robert Morris. Contemporary attempts at confronting artistic fields may evoke associations with the Renaissan¬ce concept of art competition (paragon), but they have a different purpose. The current situation of art is characterized by its indeterminacy. It escapes generalized approaches. However, I belie¬ve that an analysis of partial analogies and differences may prove to be an important justification for maintaining the concept of ‘art’.
More...
The article deals with the genesis of street art, its transformation from a spontaneous phenomenon of the urban environment, to a phenomenon that has been recognized by the people and professionals and attracted the attention of expert artists. Successively, street art has transformed and is transforming into a specific type of contemporary art, in which various movements of international or regional character (graffiti, muralism) can be determined. The spread of street art as a phenomenon of art was promoted by the availability of information technologies and the activity of manufacturers of aerosol paints. In the process of development of street art, thanks to the participation of professional artists, the art techniques have emerged, which have an interconnection with the classical styles of art. Expanding the scope of applica¬tion of street art products becomes a significant component of the sphere of spiritual production and requires modern organizational structures and associations, such as art centres and art clusters. It will contribute to the effectiveness of their activities, the popularization of street art as a means of art education of the population, the synthesis of experience. Crystallization of creative processes and thanks to the globalization, their transformation into the directions and styles of street art occur.
More...
The article discusses the significance of the ethical aspects and limits in contemporary art. The text refers to the collection of works that were created based on torturing or killing ani¬mals. Those particular works have been considered as breaking ethical limits, evoked indignation and numerous protests of the public. The paper touches the issue of consequences resulting from such reactions, and the scandal that was born around the referred works. This forces me to pose a question not only on the reasonable limits of works of art and the importance of aesthetics, but also on the definition of the term ‘art’. The word ‘art’, having been applied to a number of redefinitions, makes it difficult or even impossible to set up clear rules. My analysis is not only attempted at answering questions on the limits of the contemporary art, but also on the justifica¬tion of the term ‘art’ itself in relation to today’s artistic creations.
More...
The article draws attention to the problem with the definition of the concept: “sceno¬graphy.” In the twentieth century, theater terminology underwent a number of changes. In the 1960s, the stage designer ceased to be a decorator, member of technical staff or even a craftsman, and became a theater artist. Currently, stage design/scenography has become an autonomous field of art, present also outside the sphere of theater building: in film, at social demonstrations, political rallies, rock concerts and in museums. The author discusses a change in the approach to the common understanding of the tasks and functions of scenography on the example of the terminology present in the language and theater dictionaries of Anglo-Saxon culture.
More...
At all times, art has quickly responded to the evident and concealed socio-political processes in the society. Starting from the first decades of the twentieth century, the semantic meaning of the terms “art” and “work of art” gradually has changed; art does not always refer to the category of beauty, and therefore the criteria for the selection of artefacts to works of art also has changed. The transformation of the phenomenon into art occurs gradually: first it arises spontaneously, then specific genres and professionals appear, then it becomes a social pheno¬menon and holds a particular niche in the cultural life of society. So, art should be a means of educating society, which develops according to the laws of aesthetics and composition, and in this case, the elemental phenomenon becomes an artistic phenomenon.The restoration industry is quite conservative; it adheres to the criteria for defining a work of art and the basics of preserving and reproducing a work of art that developed during the 20th and 21st centuries, in which restoration includes painting, murals, sculpture, carving, iconostasis, furniture, fabrics.
More...
Since Greek Antiquity, art historians, philosophers and sociologists alike have been engaged in an academic discourse to find a definition for art. It seems, however, to lie in the very nature of art to continuously redefine itself. The endeavor of developing a theoretical con¬struct for the visual arts appears therefor to succeed only in part; art seems always a step ahead of science. A scientific perspective on the concept of art still dominates literature today. This article highlights the artist’s perspective and shows what role a scientific approach to the con¬cept of art plays in artistic practice while also identifying alternative possibilities to define art. A quantitative survey among 80 visual artists revealed that they consider a scientific definition of art as rather irrelevant, a majority even deeming it unnecessary. Instead, they see artists as key figures on the art market, positioning themselves before art historians or curators when it comes to determining what art is. When it comes to the question of who ultimately defines the concept of art, it becomes clear that a certain incompatibility between art theorists and visual artists exi¬sts. Based on the insights gained, this study concludes with implications for further developing theories on the concept of art, proposing to better integrate artists in their roles as researchers in order to achieve more dynamic and adaptable approaches.
More...
This article aims to study the relationship between art and the esthetics of the Beautiful and the Ugly, by the analysis of paintings of the masters ofVerismo, such as Gerolamo Induno and Giovanni Fattori. In the meaning of theterms “Beautiful” and “Ugly”, we find that beauty means splendor and charm, while the definition of ugliness refers to something terrible and disgusting. The development of the esthetics of Bello and Brutto from one century to another depends on the vision of the artists, who, thanks to their artistic activities, have provided us with a clear tool to understand their expressive message through the use of their language pictorial. It is therefore possible to reconstruct thehistory of Italian art through the study of esthetics, in which we can say that the Beautiful is opposed to the Ugly. From this dichotomy, cited in all the definitions of Italian artists, we can analyze the idea of esthetics to study Italian Verismo in paintings that include political and military contents in the nineteenth century.
More...
La migration est l’objet de nombreuses recherches et discours faisant ressortir tantôt une image négative, tantôt une image pathétique du migrant. Dans notre étude, nous nous intéresserons à la figuration du migrant dans les caricatures de DILEM, figuration recourant aux concepts de la sémiotique et de l’argumentation. Nous nous intéresserons au migrant tel qu’il est représenté par les dessins humoristiques. Au-delà du sens satirique, notre intérêt s’accorde également à l’adéquation existante entre le monde du réel et l’univers du discours. Il est à signaler d’ores et déjà qu’une image négative lui est souvent attribuée.
More...
The goal of this article is first of all to describe the reception of exhibitions of Polish interwar art in the foreign press. I pay closer attention to those of exhibitions that were most prestigious and acclaimed, such as the Venice Biennale, where representatives of Polish art were juxtaposed with other countries’ pavilions and judged in comparison to them. It was the time of the battle against the radical avant‑garde, accused of bringing art to a state of impasse, stagnation, or even slow agony. Most exhibitions of Polish art abroad were organized by Mieczysław Treter (1883–1943) a philosopher and art historian, but also an exhibition curator and director of TOSSPO (the Association for the Promotion of Polish Art Abroad), who faced a very difficult task trying to fulfil his mission to promote Polish art through exhibitions. He had to take into account this artistic climate and the dynamically changing situation on the art market, and respond to the expectations of foreign critics, who would examine the art of particular nations with the focus on manifestations of national style. On the other hand, he had to consider the opinions of the Polish artists and critics as well as pressures from the ministry and Polish diplomats.
More...