Artysta jako Świadek. Pamięć Zagłady w twórczości Władysława Strzemińskiego
Recenzja książki Luizy Nader, Afekt Strzemińskiego. „Teoria widzenia”, rysunki wojenne, Pamięci przyjaciół – Żydów, Instytut Badań Literackich PAN, Warszawa 2019
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Recenzja książki Luizy Nader, Afekt Strzemińskiego. „Teoria widzenia”, rysunki wojenne, Pamięci przyjaciół – Żydów, Instytut Badań Literackich PAN, Warszawa 2019
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Recenzja książki Michała Piepiórki Rockefellerowie i Marks nad Warszawą. Polskie filmy fabularne wobec transformacji gospodarczej, Wydawnictwo Ossolineum, Wrocław 2019.
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El siguiente trabajo propone pensar la relación entre la experiencia vital/mortal que implica un conflicto bélico y una visualidad propia de la guerra. Para eso se trabaja con una manera particular de vincularse con el campo de lo visible: la técnica del montaje. Es a partir de ésta última que podemos pensar a las imágenes que se abordarán en el presente artículo como una colisión de tiempos heterogéneos. Pensar la experiencia de la guerra es pensar una experiencia del desorden, por lo tanto el campo visual que la instituye y que a la vez ésta ayuda a configurar no puede ser lineal sino fragmentado, ensamblado, estallado. Esto no ocurre en una guerra en particular sino en la experiencia bélica per se. En nuestra cultura visual contemporánea sin embargo encontramos un tipo de imagen que fue utilizada para pensar estos conflictos y contestarlos: el meme, que aquí será puesto en diálogo con otras imágenes aparentemente inconexas pero que forman parte de la genealogía de estas imágenes pobres (H Steyerl) que circulan por las redes sociales y se vuelven virales. Es decir, se abordarán grabados del siglo XIX de Francisco de Goya, los montajes brechtianos de la Segunda Guerra Mundial y los memes que circularon durante el conflicto armado en Siria en el cual intervinieron los Estados Unidos, para pensar no sólo el montaje como forma de conocer sino también como parte de una cultura visual de la guerra que nos permite entender que nuestras imágenes están cargadas de tiempo y en esa genealogía y temporalidad compleja además ganan potencia.
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The present study will only refer to the Early Hallstatt, Ha A-B, the beginning of the first Iron Age brought important transformations recorded in ceramics, once the production forces started to develop because of the spreading of iron metallurgy. In a time when ceramics suffers major transformations regarding forms and decor – we are talking here about the first period of Hallstatt (the early one) – the Hallstatt Complex with incised and engraved ceramics completes the image of pottery at that time, together with the other great cultural unity (the horizon with fluted ceramics).
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In the training process within the textile art course, a system of methods of studying and applying the elements of the plastic language is used within the proposed methodology, which was followed by the development of artistic creativity in the students of the plastic art faculty. These methods were developed and applied in the course of textile art for the compartments: elaboration of creative compositions; consciously applying the elements of plastic language; studying and applying ornamental motifs in the textile art course. The methods developed for the textile art course, in their interaction, will contribute to the development of the student's artistic creativity, helping him to execute the creative product in the field of textile arts.
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In the context of social priorities, artistic education serves a variety of purposes related to regional, community, education policies and, of course, educational purposes. This means that learning is not limited to was is obtained in schools. The ways young people engage in and through art involve covering several cultural areas. For example, while education in general is contextually defined, artistic education in particular is increasingly driven by access to technology, the degree of economic development of different societies, the culture to which young people choose to adhere and a higher degree of understanding that school is only a means to deliver education, but not the only means.
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The present study aims to describe the ways in which art education impacts community life through art products. The sample consists of 32 teachers/creators in various fields of work such as fine arts, composition, literature, musical interpretation, choreography and acting. Categorical content analysis is used for data analysis. The highest-ranking emerging theme is related to the means of educational intervention in the community through art. Artistic education leads to empowerment and emancipation by provoking people to think differently while the exposure to artistic creations has a therapeutic effect and contributes to identifying new ways of action. Artists in the role of teachers feel a responsibility both for the educational process and also for the emotional message that their creative product transmits to the audience.
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The University of Prishtina “Hasan Prishtina” is the biggest higher education institution in Kosovo, which ever since its foundation has held the main burden of education and the development of the Kosovar society. If in the past the University of Prishtina was not only a hearth of knowledge, but also an icon of Kosova’s high education, now its mission is to offer stable and qualitative education to the new generation, functioning as an asset for the development and the strengthening of the Kosovar society. Currently, the UP is the biggest higher education institution in the Kosovo, with 42.006 students, above 1.000 academic staff members and around 350 administrative staff members, accommodated in 14 Academic Units. The research conducted in this paper reflects quality aspects in artistic education for sustainable product design, especially in art, architecture, creativity and innovation in academia curricula. The research methods consist of empirical observation in academia, direct observation of teaching methods, and promoting contemporary interactive teaching methods. To perceive a clearer research data, exploring was made within: The department of Architecture, Department of Anthropology-Archeology, The faculty of Arts in the University of Prishtina, also with UBT - Higher Education Institution in Kosovo, in the context of the possibilities for the improvement of the curricula’s, within actual and accredited academic frameworks. Research concludes that new teaching strategies must involve a new closeness, a brand new and more refining holistic system, as a response to less functional academic curriculums.
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Kosovo after the 1999 conflict was in a social, economic and environmental disadvantage. The creation of peace and stability depended on many actors such as UNMIK, whose mission was to achieve the overall goal of providing security and the normal living of all peoples in Kosovo and to achieve stability in South East Europe and the Balkans respectively. The research conducted in this paper reflects quality aspects in urban development of university campus and quality aspects of artistic education, especially in art, architecture, creativity, and regular meetings with focus groups, especially with residents of all settlements in Peja. The research methods consist of empirical observation in academia, observation of teaching methods, and promoting healthy academic campuses. Research concludes paper indicate that through urban development of university campus in Peja and quality aspects of artistic education in teaching methods as contemporary learning strategies strengthened with informal meeting places for education, can effectively present a urban plan methodology, hence, which can bring more clarity to the academia campuses and contemporary labor market. Furthermore, new academia campuses must involve a new closeness, a brand-new teaching method, as a response to the future contemporary academic objectives strengthened with a quality aspect of artistic education, for which Peja municipality are very well known. Peja has had and actually has the two artistic branches with legacy in education, such are the school of Fine Arts and the school of Music. The two schools in which has attended the dozen renowned Kosovar artists, who now live and work across Europe.
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The Burke’s Pentad (Act, Agent, Agency, Scene and Purpose) is a creative idea generation guide for dramatism (or dramatistic framework). Its utilization to probe, often engenders a process of stochastic combination, whereby a vista of multiple ideational variations emerge in one’s mind, from which an appropriate subset could be selected and implemented. This usually affords inspiration, creative flow and energy that are pivotal for success in drama as much as in visual communication. However, there is prevalent unawareness of the potentials of the Pentad model as a veritable structure to creating innovative ideas in art and design. Therefore, this paper focused on the potentiality of the Pentad for creating and or analyzing ideas on form generation for pedagogical, practical, or theoretical purpose in graphic communication design. Towards this end, a triangulation of methods: critical-historical-analytic examination, artistic exploration, and content analysis are employed. The paper introduced the reader to the need for a strategy to generate new ideas, stimulate creative thinking, and enhance self-motivation in visual expression for structural and human development. Furthermore, it highlighted the processes of creativity, and form generation for material culture development. Also, the paper discussed the Pentad and its utilization for generating new ideas in art/design. It was found that the Pentad is indispensable in generating ideas for creating, interpreting and teaching visual form. The paper ended with the need for visual communicators to be acquainted by use of the Pentad for creative ideas to generate product with satisfactory outcomes.
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This article is a description of the main themes of narthex decoration from one of the most known monuments of the medieval Serbia, Dečani located in the region of Metohija, which preserves Byzantine art from XIVth century during the reign of Serbian King Stefan Dečanski. I have examined the architectural features of the Raška style and provided an iconographic analysis of the menologe theme of narthex frescoes. Also I have pointed out stylistic elements of compositions, the theological significance and I have brought into the limelight the peculiarities and similarities with other monuments from Atonite and Moldavian churches that have been decorated after this period in Byzantine heritage.
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Ştefan Luchian was born in Ștefănești, a village of Botoșani County, as the son of Major Dumitru Luchian and of Elena Chiriacescu. The Luchian family moved to Bucharest in 1873 and his mother desired that he would follow his father’s path and join the Military School.Instead, in 1885, Luchian joined the painting class at the Fine Arts School, where he was encouraged to pursue a career in art by Nicolae Grigorescu, whose work was to have a major impact on his entire creative life. Starting in autumn of 1889 Luchian studied for two semesters at the Munich Fine Arts Academy, where he created copies of the works by Correggio and Rembrandt housed in the Kunstareal. After his return to Romania, he took part in the first exhibition of the Cercul Artistic art group. He showed himself unable to accept the academic guidelines imposed by the Bavarian and Romanian schools. The following year, he left for Paris, where he studied at the Académie Julian, and, became acquainted with impressionist works of art. Luchian’s painting Ultima cursă de toamnă shows the influence of Édouard Manet and Edgar Degas, but also echoes of the Société des Artistes Indépendants, Modernism, and Post-impressionism (also obvious in works created after his return to Bucharest). This work is an extract from a larger biographic work about ȘtefanLuchian and his relation with Moinești area.
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Kihűlt világ. Farkas István (1887–1944) művészete 2019. december 13. – 2020. március 1. Magyar Nemzeti Galéria, C épület, földszint A kiállítás kurátora: Kolozsváry Marianna művészettörténész. A kiállítást 340 oldalas, gazdagon illusztrált magyar és angol nyelvű katalógus kíséri. A tárlatot a Soá című kamarakiállítás egészíti ki, amely a 75 évvel ezelőtti vészkorszak áldozatainak állít emléket.
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Clara. Rotschild Klára – Divatkirálynő a vasfüggöny mögött című kiállítás 2019. november 16. – 2020. április 30. Magyar Nemzeti Múzeum Kurátor: Simonovics Ildikó
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